High-Fidelity-1963-N

AMPLIFIER POWER: How Much Is Enough? 60 cents X high fideli iCD NOVEMBER THE MAGAZINE FOR MUSIC LISTENERS Iii63

Tite Winds of Mozart

www.americanradiohistory.com The Fisher KM-60 StrataKit is the most sensitive FM- Stereo -Multiplex tuner ever offered in kit form. Its ultrasophisticated Fisher wide -band circuitry incorporates the revolutionary GOLDEN CASCODE - four IF stages and three limiters, resulting in a sensitivity of 1.8 microvolts (IHF standard), a capture ratio of 2.5 db and a signal -to -noise ratio of 70 db. The front - end and multiplex stages of the kit come completely assembled and pre -aligned. The other stages are also aligned and require only a touch -up adjustment by means of the tuner's laboratory -type d'Arsonval signal -strength meter. An outstanding feature of the Multiplex section is the exclusive STEREO BEAMt, an ingenious Fisher invention that shows instantly whether or not an FM station is broadcasting in stereo. It is in operation at all times and is independent of the tuning meter. Price, $169.50 *.

The Fisher KX -200 StrataKit is the most advanced single -chassis stereo control -amplifier available in kit form. Its music power output of 80 watts (IHF Standard, both channels) is sufficient to drive even extremely low -efficiency speaker systems to their maximum performance level. Harmonic distortion at rated output is only 0.4 %. The built -in laboratory -type d'Arsonval calibration meter assures optimum bias and balance adjustment and permits 'touching up' for continued peak performance throughout the years, regardless of tube aging. A third -channel power output with separate volume control makes it possible to feed a blend of both stereo channels into a center -channel fill -in speaker or a mono extension speaker at any desired volume level. Other features include DC heating of all voltage amplifier tubes and control facilities of almost unlimited flexibility. Price, $169.50 *.

The Fisher KX -100 StrataKit is today's most spectacular value in stereo control -amplifier kits. With a music power output of 50 watts (IHF standard, both channels), it assures superior dynamic range regardless of speaker efficiency. Harmonic distortion at rated output is 0.5 %. A special power output is provided for driving a third speaker (center channel or mono extension) without the use of an additional amplifier. The exclusive Fisher duplex tape monitor permits the use of all controls and switches during tape monitoring without any change in cable connections. The convenient front -panel headphone jack is equipped with a switch for silencing the main loudspeakers, if desired. All other control and switching facilities are equally professional in their flexibility. Comparable kits are available only at much higher cost. Price, $129.50 *.

The Fisher K -1000 StrataKit is the world's finest, most powerful stereo power amplifier in kit form. Its music power rating, with both channels driven, is 150 watts (IHF) and 130 (RMS). watts At this output, harmonic distortion is under 0.5 %. Its output stage is engineered around the newly developed 8417 beam power pentodes, never before used in any electronic device. The input stage is of a type widely used in laboratory oscilloscopes but never before in high -fidelity amplifiers. The power supply is one of the most elaborate ever used in this type of unit. Bias of each channel is readily adjustable by means of a built -in laboratory -type calibration meter, but the controls for these rarely needed adjustments are ingeniously concealed behind an attractive hinged cover -another Fisher exclusive. Other features: StrataBalance#, the ingenious foolproof Fisher technique that makes it possible to precisely adjust the push -pull circuitry of the K -1000 StrataKit using nothing more than an ordinary light bulb. Also, an entirely new driver stage that results in very low distortion, the fastest possible recovery time, great stability, and outstanding transient response. Price, $279.50 *.

The Fisher KS-1 StrataKit, the first true slim -line (only 53/4" deep) speaker system obtainable in kit form, is still the big value in its field. A three -way system of this caliber in an ultra -thin enclosure would be a remarkable engineering development even as a factory- assembled unit, but as a kit it is a technological tour de force. It is designed around the most advanced components: 10 -inch free -piston woofer with 30 cps free -air resonance and 41/2-1b. magnet structure; 5 -inch mid -range 3 driver; -inch super tweeter; three -way LC -type dividing network with 1400 cps and 5000 cps crossovers; 18" x 24" x 53/4" deep cabinet packed with AcoustiGlas padding; matching grille cloth. The KS-I can be mounted on the wall, placed anywhere on the floor or used bookshelf. in a Its unstrained, transparent sound quality, with precise transients and full, rich texture, is nothing short of astonishing for its size and cost. Price, $59.50 * *. The Fisher KS-2 StrataKit is the newest, most advanced 3 -way slim -line speaker system available in any form, at anywhere near the price. By simply installing the driver units, wiring the crossover network and completing the pre -assembled cabinet, you'll be well on your way to knowing why. The 12" free -piston woofer utilizes a half -roll cotton surround, 6 lb. magnet structure and has a free -air resonance of 25 cps. The 5" mid -range employs a butyl -coated surround and is sealed off to avoid interaction with woofer and tweeter. The 3" cone -type tweeter has a hemispherical dome bonded directly to a 1 " voice coil with a massive 2 lb. magnet structure. Highs are silky smooth and widely dispersed. The full 3 -way inductance- capacitance network crosses over at 1200 and 2800 cycles and has a continuously variable tweeter balance control. The completely sealed, fiberglass-packed cabinet is available in solid walnut or birch, measures 20" wide x 25" high x 61/2" deep and weighs 35 lbs. The KS -2 requires as little as 10 watts of power and will handle up to 60 watts. Response is from 35 cycles to well beyond audibility. Price, $89.50f.

t REND - WALNUT OR MHOOAHV CIINP, , U..Ol, Ce1NET, 1,5.95. "IN SANDED. UNFINISHED MOWN. ALSO AvlAcr IN UNFINISHED WALNUT. 164.50. rC *Der ASSEML[O. ,N FINISHED 1e...0. IN OILED WALNUT. $09.50. t,H UNFINISHED SANDED BIRCH. IN UNFINISHED WALNUT. 19.50. SS IN Clog. r Nebo, SANDED AND FINISHED BIRCH. SI1.50; IN OILED WALNUT, Re,CES Su OHTly wOHq rN THE PAR WEST. EXPORT. FISHER RADIO INTSRNn ORAL. INC., LONG ISLAND [ATV I. N. V. CANADA, SRI SEL ASSOCIAT, LTD., WILLOWOLE, ONT.

CIRCLE 44 ON READER -SERVICE CARD

www.americanradiohistory.com The other is you. . 4 ; > , StsaurAca li ...... , U .I a

-, . I -T-1 . Seutwlra r ll *warml 4 . .. 1 -"ri

,- II° KM-60 - sr..ra.a, 11/4., 17 7 STRATAKIT

...J

THE FISHER - S-mA-r-4KIT

(You can build just as fine stereo components as Fisher -with Fisher StrataKits!)

The six Fisher StrataKits shown here have elicited comments of almost unprecedented enthusiasm from a host of stereo component builders ranging from novices to pro- PLACE fessional audio reviewers. This may be by the fact that no matter who 40 explained builds it, a Fisher is a Fisher. STAMP The assembly of a StrataKit takes place HERE by simple, error -proof stages (Strata). Each stage corresponds to a separate fold -out page in the instruction manual, and is built from a separate transparent packet of parts (StrataPack). Major components come pre - mounted on the extra heavy gauge steel ti chassis. Wires are pre -cut for every stage - FISHER RADIO CORPORATION which means every page. All work can he 21 -25 44th Drive checked: stage -by- stage. page-by -page. Thus, you've no last minute 'surprises' to Long Island City 1, N.Y. You can't help ending up with ó worry about. N a faultless Fisher stereo component when you build a StrataKit.

The Warranty That Means More And Does More For You É a In striking contrast to the industry -wide. v standard of 90 days, the Fisher Warranty z C) is extended to all tubes and diodes for a period of one year from date of purchase.

Willowdak, Ont Foreign residents write to: Fisher Radio International, Inc., Long Island City 1, N.Y. Canadian residents write to: Tri -Tel Associates. Ltd..

CIRCLE 44 ON READER -SERVICE CARD

www.americanradiohistory.com There are two makers of stereo components who give you the most sophisticated engineering at the fairest possible price.

One is Fisher.

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CIRCLE 44 ON READER-SERVICE CARD

www.americanradiohistory.com what makes an automatic sound like a turntable?

The new generation of automatic turntables tracking and tripping at lower The U38! and lower forces demands this new kind of cartridge. Demands a "floating stylus" that protects your diamond and record as it plays...demands complementary electrical characteristics which maximize the use of forward -looking expressly designed circuitry whether vacuum tube or solid state. The U -38 meets these demands and makes your automatic sound like a turntable. With Pickering's famous for automatic plug -in replaceable stylus assembly you get a cartridge with a life -time of trouble free performance. i C enn turntables Pickering and Company, Inc., Plainview, New York. q

U35 cart with AT Stylus..idge.2 -5 grams tracking force i iC PIu;I -in head assembly for 'l ATO...1.3 grams Garrard Type A and Model AT6 CIRCLE 69 ON READER- SERVICE CARD 2 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Page 54 high fidelity

Page 65

Music and Musicians 58 Mozart on the Menu: the music for winds Erik Smith 65 A Legend Reëmergent: Artur Schnabel Philip Hart 46 Gina Bachauer: an interview Shirley Fleming 26 Notes from Abroad- London, Bayreuth, Paris

Sound Reproduction 53 The Fallaciousness of Formulas: an editorial 54 Amplifier Power: How Much Is Enough? Albert Sterling 61 On Call with an Audio Doctor Leonard Marcus 43 High Fidelity Newsfronts: stereo in the Windy City Norman Eisenberg 71 Equipment Reports United Audio Dual 1009 "Auto 'Professional" Turntable EICO Model ST -97 FM 'Stereo Tuner Kit Fisher Model X -101 -C Control Amplifier Audio Dynamics Corporation Model ADC -12 Speaker System

Reviews of Recordings 77 Feature Record Reviews Chopin: Piano Concerto No. 2; Falla: Noches en los jardines de Espana (Clara Haskil) Haydn: Symphonies (Max Goberman, Antonio Janigro) 79 Other Classical Reviews 92 The Imports Gene Bruck 110 The Lighter Side 117 Jazz 121 The Tape Deck

NOVEMBER 1963 VOLUME 13 NUMBER 11

Published monthly of Great Barrington, Moss. by The Billboard Publishing Co. Copyright m 1963 by The Billboard Publishing Co. The design and contents of High Fidelity Magazine ore fully protected by copyright and must not be reproduced in any manner. Second -class postage paid at Great Barrington

and at additional moiling offices. One year subscription -anywhere on Earth $7.00. Indexed in the "Reader's Guide to Periodical Literature." Change of

Address notices and undelivered copies (Form 3579) should be addressed to High Fidelity, Subscription Dept., 2160 Patterson St., Cinc :nail 14, O.

www.americanradiohistory.com high fideltit

It, 11 ,,.d,

Cover Design: Antonio Frasconi .`

Roland Gelatt Editor in Chief If you're willing Joan Griffiths to pay anything for Executive Editor professional quality but would rather Norman Eisenberg not Audio Editor The Concertone 605 is for the one man in several who can't stand Sue Severn less than perfection...but can't see why professional quality should Managing Editor cost so much. Never before have so many features and so much pro- Shirley Fleming fessional quality been available at this price. Read ahead carefully Assistant Editor and see: Precision plug -in head assembly...includes four precision heads; Separate microphone H. C. Robbins Landon and line controls (input can be mixed) ; European Editor Delay memory control circuit (never spill or break tape) ; Automatic glass tape lifters, including electric cue feature; Sound on sound and Roy Lindstrom add sound; Solenoid operated brakes; Three motors, including Art Director 2 -speed hysteresis synchronous drive ; Automatic rewind ; Exclusive Nathan Broder John M. Conly Reverse- O- Matic ®. Learn all about the 605 in complete Ask detail. R. D. Darrell your dealer for a demonstration or send for free literature today. Alfred Frankenstein John F. Indcox Robert C. Marsh Contributing Editors

CONCERTONE 607 Claire N. Eddings Broadcast version Director of Advertising Sales

The Concertone 607 with higher Walter F. Grueninger impedance is for the true professional Circulation Director or broadcaster. Remote control optional. This superb tape recorder Warren B. Syer is constructed to 19" x 14" dimensions, Publisher permitting it to be used as an exact replacement for old or outdated tape recorders.

A D V E R T I S I N G CONCERTONE 400 COSMOPOLITAN Main Office Claire N. Eddings, The Publishing House For people on the go...it's the Cosmopolitan Great Barrington, Mass., 01230 - Combination Tape Recorder with AM Telephone: 1300 Radio. A versatile companion and co- worker New York for business or pleasure travels. 5" reel 1564 Broadway, New York 10036 Telephone: Plaza 7 -2800 capacity. Push -button operation. Amazing Seymour Resnick, Andrew Spanoerger fidelity. Remote mike. Foot-pedal control. This all- transistorized recorder has big Chicago recorder features in miniature form. The Billboard Publishing Co. 188 W. Randolph St., Chicago 60601 Telephone: Central 6 -9818 Jerry Taylor for further AMERICAN Los Angeles information CONCERTONE, INC. A DIVISION OF ASTRO- SCIENCE CORP. 434 So. San Vicente Blvd. write: 0149 W. JEFFERSON BLVD. CULVER CITY CALIF. Los Angeles 90048 e Telephone: Olympia 2 -2100 HF -1163 Export: .1. D. Marshal International, 170 W Washington, Chicago, Illinois Robed J. Friedman, Michael R. Simon

CIRCLE 8 ON READER -SERVICE CARD 4 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com (O limited offering of the widely -heralded Shakespeare Recording Society production of Macbeth...at an extraordinary price

Thy Tragedy Two 12 -inch. long- playing record, of Macbeth. in brilliant high fidelity - plus complete text of the play

//BEAUTIFULLY BOXED SET (catalogue price: $11.90)

i tchen you become a Charter Member for of the Society 40I6ont, rifoord. ( ;u ,, h'i ngyron flavor, Gaaky f f.:amnt! WILLIAM SHAKESPEARE

The full -length presentation of Shakespeare's masterpiece recorded by a distinguished cast expressly for listening enjoyment - blending word, music and background effect so skillfully you are transported back into the world of "sound and fury" that was medieval Scotland

if your woman of terrifying capability, using her voice program notes) cost non -members far more, P Iyou enjoy theatre and drama ... plus home is one in which informed people virtually as a musical instrument to convey the you will pay only $8.90 and $12.90, for two- and three -record boxed sets gather . . if you and your family want to finest nuances of thought and emotion. Stanley shipping, of the Holloway, in the casting "genius stroke" of the ( stereo or monaural at the same low price). thrill to the richest literary treasures during the English-speaking world ... you will welcome year, delivers the Porter's ribald commentary You need purchase only four plays Shakespeare Re- on liquor and lechery with the candor of a year- taking your choice either from the So- this unusual offer from the recorded Shake- cording Society and the opportunity to be- twinkly -eyed old Scotsman. ciety's extensive library of spearean works or from forthcoming selec- come a Charter Member. you receive the FOLLOW THE ACTION IN THE TEXT. tions. With every fourth purchase You are invited to accept for only $1 a valuable Caedmon spoken -word album free. Society's memorable production of Macbeth The complete play in a separate bound vol- -not merely a few isolated scenes and speeches, ume, printed specially for the Shakespeare to end -on Recording Society, is included with the record ACCEPT A CHARTER MEMBERSHIP NOW. but the entire play from beginning To obtain the complete Macbeth album for two long -playing, 12 -inch records. To listen album. You can therefore follow the perform- discover an ance line by line for added enjoyment, if you only $1 with trial membership, mail the en- to this superb recording is to form below. If not delighted, you entirely new dimension in the enjoyment of wish. The text is the noteworthy G. B. Har- rollment of rison edition printed in clear, readable type on may return it within 10 days and cancel Shakespeare. For here, in the intimacy membership. But be sure to mail the your home, Shakespeare's soaring poetic im- fine paper -with guides on the page that make your before -through it easy to locate your favorite passages and form promptly -while the Society is able to ex- agery comes alive as never tend this limited time offer to new members. the skillful interpretations of Anthony Quayle, scenes on the records. -11.63 Stanley Holloway Shakespeare Recording Society, Dept.HiFi Gwen Ffrangcon Davies, Avenue, New York 1, N. Y. and an outstanding company of players. WHY THIS OFFER IS BEING MADE. This 461 Eighth recording of Macbeth is offered for From the first peals of thunder as the complete ENROLL NOW...SEND NO MONEY witches gather upon the heath, "there to meet only $1.00 plus shipping to acquaint you with with Macbeth" ... to the sonorous strains of the advantages of membership in one of the Lady Macbeth plotting the murder of the un- most acclaimed cultural programs of our time. Shakespeare Recording Society suspecting Duncan ...to the eerie sound of The Shakespeare Recording Society is recre- 961 Eighth Ave., New York 1, N.Y. Banquo's ghost slithering into Macbeth's chair ating all of the plays of Shakespeare in full- l'le:uc send me the complete Shakespeare at the feast ... to the final "march" of Birnam length recorded versions, produced for the So- Recording Society album of Macbeth and ciety by Caedmon Records, famed for its bill me only $1.00, plus shipping. Also en- NVood to Dunsinane ... you are caught up in roll me as a member in the Society. I need the monstrous tide of events that races inex- spoken -word albums. accept only four additional albums during orably to the final scene. In London, a "company extraorc::nary ' of my first year of membership; I am free to world- famous actors and actresses has been cancel anytime thereafter. I will pay only the special members' price of $8.90 for 2- assembled for this unprecedented undertak- and for 3- record 111 Sir John Gielgud, who gives record albums $12.90 11 11 11 11 ing. They include albums ( same low price for stereo or mon- a royal performance as King Richard II; Claire aural records - and I may change over at Finney's Ro- I pur- MAGIC OF SHAKESPEARE. If Bloom as Juliet opposite Albert any time). With every fourth album THE TRUE meo; Siobhan McKenna as Viola with Paul chase, I will receive FREE a valuable you know Macbeth well, or if you have only a Cacdmon spoken -word recording. with the play even Scofield hilarious as Malvolio; Pamela Brown nodding acquaintance ... and Rex Harrison, Dame Peggy If not delighted. return Macbeth album if you have never seen or heard it performed as Cleopatra; In IU days t c trel nwiu ersh how all Ashcroft, Richard Burton, Sir Ralph Richard- before ... you will be astonished at and other noted per- Name the sounds and images unite to make this ex- son, Dame Edith Evans, ever imag- formers, all under the direction of Howard perience more gripping than you and Peter Wood of London's Old Vic. Address ined Shakespeare could be. Anthony Quayle Sackler, Society, you will be City & 's is Macbeth - with all his burning ambition, As a member of the State each new full -scale production at a Zone his impulsiveness, and that final lack of "stay- offered Until further notice. send records in Mon ing power" which prevents him from holding substantial saving. You will be notified of re- aural (play on any 33':t LP phonograph):N the throne. Gwen Ffrangcon Davies, hailed as leases as they become available. Although Stereo (play only on stereophonic equipment) "the Lady Macbeth," makes the queen a these albums ( complete with play texts and CIRCLE 78 ON READER- SERVICE CARD NOVEMBER 1963 5

www.americanradiohistory.com ANOTHER REASON WHY HEATHKIT

SOLID - STATE' STEREO

NEW! AR -13 STEREO RECEIVER... only $19500

2. 7.

21.

. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20.

1. Preassembled FM Front End 12. Stereo Separation Control 2. Individual AM and FM Tuning 13. FM Squelch Control 3. AM Rod Antenna 14. Level Balance Control 4. Regulated & Electronic Filtered Power Supply 15. Phase Adjust Switch 5. Tuning Meter 16. AFC Switch 6. Transformer Operated Power Supply 17. Local- Distance Switch 7. Stereo Indicator Light 18. SCA Filter Switch 8. Input Level Controls 19. Noise Filter Switch 9. Illuminated Slide Rule Dials 20. Speaker Phase Switch 10. Phase Adjust Control 21. Hinged Lower Front Panel 11. Converter Balance Control (conceals secondary controls)

* 43 Transistor, 16 Diode Circuitry

CIRCLE 48 ON READER -SERVICE CARD 6 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com LEADS IN TRANSISTOR STEREO TUNER -AMPLIFIER by Heathkit

FIRST IN KIT FORM!

ALL -TRANSISTOR AM -FM & FM STEREO TUNER PLUS ALL -TRANSISTOR 40 -WATT STEREO AMPLIFIER -ALL IN ONE SMART WALNUT CABINET FOR JUST $195.00

Now in time for Christmas giving, Christmas listening! Two free stereo recording. Dual -tandem controls provide simul- 20 -watt power amplifiers...two separate preamplifiers...plus taneous adjustment of volume, bass, and treble of both wide -band AM, FM, and FM Stereo...all beautifully housed channels. Balancing of both channels is accomplished by a in this one, compact Heathkit All- Transistor Stereo Re- separate control. The AM tuner features a high -gain RF ceiver. For Heathkit this means another first! For you it stage and high -Q rod antenna. means experiencing the uncompromising realism of "tran- Other quality features include a local- distance switch to sistor sound" in a handsomely styled receiver that won't prevent overloading in strong signal areas; a squelch control overheat...just the coolest, fastest, most "hum- free" oper- to eliminate between- station noise; AFC for drift -free re- ation possible! Just the purest, most "solid sound" possible! ception; heavy die -cast flywheel for accurate, effortless tun- This is the why of transistor stereo. This is why you should ing; pin -point tuning meter; and external antenna terminals move up to the new AR -13 Receiver. And the traditional for long- distance reception. For added convenience the Heathkit economy makes this advanced performer easy to secondary controls are "out -of- the -way" under the hinged own... just $195.00 lower front panel to prevent accidental system changes. All the electronics you need for a complete music system Building the AR -13 is quick and easy with the pre- assem- are "Heath- Engineered" into this handsome unit... just add bled FM "front -end" and 3 -stage AM -FM I.F. strip, plus two speakers and a phonograph or tape recorder! And there's circuit board construction. Styled in Heathkit's new low - plenty of advanced features to match the advanced perform- silhouette design, the beautiful walnut cabinet accented with ance of the AR -13. You'll like the way this unit automatically the extruded gold- anodized aluminum front panel makes the switches to stereo, thus eliminating any manual operation. AR -13 a handsome addition to any home decor. This Christ- In addition the automatic stereo indicator light silently sig- mas, move up to the better listening of "transistor sound" nals when stereo is being received. For versatility there's with the new AR -13 Stereo Receiver...another example of three stereo inputs (mag. phono and two auxiliary) plus two superb Heathkit quality at unmatched savings. filtered tape recorder outputs for direct "off- the -air" beat - Kit AR -13, 30 lbs., no money dn., $19 mo. $195.00

SPECIFICATIONS-Amplifler: Power output per channel (Heath Rating): Control; Phase Switch; Input Level Controls (all inputs except Aux. 2); Push -Pull ON OFF 20 watts /8 ohm load, 13.5 watts /16 ohm load. 9 watts :4 ohm load. (I)-1FM Music Power Switch. FM: Tuning range:88 mc to 108 mc. IF frequency: 10.7 mc. Antenna: 300 ohm Output): 33 watts /8 ohm load, 18 watts /16 ohm load, 16 wat1s /4 ohm load ® 0.7°%, THE), balanced (internal for local reception). Quieting sensitivity: ?X uv for 20 db of quieting, 1 KC. Power response: +I db from 15 cps to 30 KC ® rated output; ±3 db from 10 cps 3;4 uv for 30 db of quieting. Bandwidth: 250 KC 6 db down (full quieting). Image to 60 KC ® rated output. Harmonic distortion (at rated output): Less than 1% ® rejection: 30 db. IF 'election: 70 db. AM suppression: 33 db. Harmonic distortion: 20 cps; less than 0.3% 1 KC: less 1 %, 20 ® than ® KC. Intermodulation distortion (at Less than 1 %. Multiplex: bandpass: t''/. db, 50 to 53,000 cps. Channel separation: rated output): Less than 1 %, 60 6 6,000 cps signal mixed 4:1. Hum i noise: Mag. 30 db, 50 to 2.000 cps; 25 db ® 10 KC. 18 KC suppression: 50 db down, from output phono, 50 db below rated output; Aux. t . 1 inputs. 65 db below rated output. Channel sepa- KC. 38 KC suppression: 45 db down, from output ® 1 KC. SCA rejection: 30 db. ration: 40 db ® 20 KC, 60 db ® 1 KC, 40 db ® 20 cps. Input sensitivity (for H watts AM: tuning range: 535 to 1620 KC. IF h 455 kc. Sensitivity: 1400 KC. 3.5 uv; output per channel. 8 ohm load): Mag. phono, 6 MV; Aux. 1, .25 v; Aux. 2, .25 v. 1000 KC, 5 uv; 500 KC. 10 uv- standard IRE dummy antenna. Bandwidth: 8 KC ® 6 db Input impedance: Mag phone. 35 K ohm; Aux. 1, 100 K ohm; Aux. 2, 100 K ohm. down. Image rejection: 30 db ® 600 KC. IF rejection: 45 db ® 600 KC. Harmonic Outputs: 4, 8, Q. 16 ohm and low impedance tape recorder outputs. Controls: 5- position distortion: Less than 1 %. Overall dimensions: 17' L x 5% H o 14%- D. Selector; 3- position Mode: Dual Tandem Volume; Bass 6 Treble Controls; Balance r

NEW! FREE 1964 HEATH - HEATHKIT-1964 KIT CATALOG. See the latest new products in HEATH COMPANY Benton Harbor 8, Michigan 49023 Heathkit's wide, wonderful line. Over 250 do -it- yourself kits for stereo/ p Enclosed is $195.00, plus postage. Please send Model No. AR -13. hi -fi, marine, TV, elec- Please send Free Copy of New 1964 Catalog. tronic organs, amateur radio, test instruments, educational, and home Name and hobby items that will save you up to 50% . Send for your free Address copy today!

City State

CIRCLE 48 ON READER -SERVICE CARD NoNj.511telt 1963 7

www.americanradiohistory.com AUTHORitatively Speaking

Albert Sterling, author of the article on amplifier power which leads off this NEW! issue (p. 54), is a well -known tecnnlcal writer whose interests cover a wide range but who has a special expertise in audio matters (many readers will remember GRADO TRACER BEAM his comprehensive article on loudspeakers in these pages last June). Mr. Sterling lives in a Westchester suburb in a split - STEREO CARTRIDGES level house with one wife, three children, one dog, two cars ... plays bridge one evening a week and golf on Sundays . . . has become a master barbecue -chef but finds operating the family dishwasher beyond him. Which facts. he says. make him a typical statistic in the aggregate identifying the great middle class. for ourselves, we distrust statistics. .. .

The charming essay on Mozart's music for winds appearing on p. 58 marxs Erik Smith's initial contribution to HIGH FIDELITY, but while this young English- man's name may be unfamiliar to our readers his work almost certainly is not. A recording director for Decca- London, Mr. Smith has had a large hand in the production of such London albums as La Bohème and Britten's Peter Grimes and has supervised many recordings, including Die Walkiire and a number of Pierre Monteux discs. released by RCA Victor. The range of Mr. Smith's pro- THE GRADO TRACER BEAM STEREO CARTRIDGES fessional credits indicates a versatile talent indeed. but he confesses to a MEET ALL OF THESE REQUIREMENTS! personal predilection for chamber music. as Man- Eliminate inner groove distortion. Since his recent appointment aging Editor of one of this journal's sister publications, we have come to Elim nate completely "Shattering," and buzzing regard Leonard Marcus practically as during playback. a fellow staff member. We therefore felt no hesitancy in suggesting that he 'lay both stereo and monaural records. compose his own portrait for this col- umn. Mr. Marcus declined. It seems that staff Be completely non -critical to installation problem and writing about himself makes quasi member Marcus feel queasy. Actually still perform superbly. we suspect that Mr. M is simply pre- occupied. We very much doubt that he Track in a good tone at 1 gram or less (not just make will read these words: we doubt that he sound but trace with low distortion!) will even reread his own article herein ( "On Call with an Audio Doctor," Work in all record changers and automatic turntables p. 6l ). When this issue appears in print. will be very, at up to 6 grams. our friend and colleague very busy: on -sale date for November's FIDELITY fatherhood for Mr. Have IM distortion of no more than 2 °0 at the highest HIGH and Marcus are expected to coincide. recorded levels and maintain 1°b or less IM distortion for normal 'recorded levels. When Philip Hart sent us "A Legend Reëmergent" (p. 65), we knew. of Hcve a high frequency response to at least course. that he was a long -time admirer 24,000 CPS or better. of Artur Schnabel. We did not know that his regard for the pianist went back Have a FLAT frequency response down to 10 CPS. to 1936. when as a student at Reed College he drove from Portland to his first Schnabel con- STYLUS ASSEMBLY REPLACEABLE BY CONSUMER! Seattle to hear cert. The following summer found him loading beer trucks and computing his TRACER BEAM MK II STEREO CARTRIDGE $49.50 hourly wages in terms of how many volumes of the Beethoven Sonata Soci- TRACER BEAM MK III STEREO CARTRIDGE $37.50 ety he was earning. Some years later, TRACER BEAM MK IV STEREO CARTRIDGE $27.50 as a concert manager in Oregon. Mr. Hart was instrumental in presenting Schnabel to audiences on the West Coast. This business association led to a social acquaintance which was continued until For further information please write: the artist's death in 1951. For Mr. Hart. the Schnabel legend has been a living one for nearly three decades. and we feel 4614 Seventh Ave., 20, N.Y. GRADO LABORATORIES, INC. B'klyn that its rebirth must surely owe something to him and others like him. Mr. Hart is in an excellent position to know young musicians. by the way: for the last two years he has been Concert Man- ager at the Juilliard School of Music. CIRCLE 45 ON READER- SERVICE CARD 8 HIGH FIDELITY MAGAZINE

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New! Deluxe All- Transistor, All -Mode AJ -43 All -Mode All- Transis- AA -21 70 -Watt All -Transis- tor Stereo Tuner, 18 lbs., tor Stereo Amplifier, 29 Stereo Tuner & Matching 70 -Watt Amplifier $11 mo $119.95 lbs., $13 mo. $139.95

Instantaneous bursts of power as the music demands...clean, uncompromising "solid" sound...cooler, faster, "hum- free" operation...this is the exciting performance of Heathkit's new deluxe all- transistor twosome. Add luxurious deluxe styling, plenty of deluxe features, plus "Heath- Engineered" quality, and you have the neatest, most advanced tuner and amplifier in the industry today! You'll enjoy deluxe extras like the unique "push -to -turn- off/on" switch, the concealed secondary controls to prevent accidental system changes, the automatic switch -to- stereo feature of the tuner, and the THE LATEST IN FEATURES THE LATEST IN FEATURES prebuilt, prewired encapsulated component modules in 25 transistors, 9 diodes Bu, -In Eight Germanium Power Output the amplifier for circuitry Automatic Stereo Indi- Transistors mounted on lour linnad quick, easy assembly. You'll enjoy high fidelity AM -FM -FM Stereo recep- Cato, Automatic Stereo switching heat sinks Output circuit breakers to eliminate manual switching to Power amplifier circuit boards con- tion, plus a full 70 watts of continuous power, 100 watts music power at all receive stereo Built -in Automatic taining lour transistors and six diodes frequencies from 13 to 25,000 cps. You'll enjoy handsome matched tan, Frequency Control and Automatic Two driver transformers Two Gain Control Adjustable FM squelch preamplifier circuit boards contain vinyl -clad steel cabinet styling with polished aluminum trim and soft re- Stereo phase control Filtered six epoxy-sealed component modules fracted lighting...complements stereo tape recorder Built -in AM and ten transistors Two Germa- any decor! Both units are easy to build... & FM antennas Separate AM & nium driver Transistors plus two elec- easy to own! These are reasons you should move up to this all- transistor FM tuning meters Lighted slide - tronic tiller transistors Filter con- rule dial Flywheel tuning Reg- densers and four power supply diodes twosome from Heathkit now! ulated power supply Factory as- Output terminal boards Input AJ-43, sembled FM tuning unit and 4 -stage jacks Tape recorder output Power Kit Tuner, 18 lbs., no money dn., $11 mo $119.95 IF circuit board Concealed con- transformer AC outlets. Kit AA-21, Amplifier, 29 lbs., no money dn., $13 mo. $139.95 trols behind hinged lower front panel. r NEW! FREE 1964 NEATHKIT CATALOG HEATH COMPANY, Benton Harbor 8, Michigan 49023 See the newest products in Heathkit's f Enclosed is $- , wide exciting line. Over 250 do -it. plus postage. Please send Model No yourself kits for stereo/hi -fi, marine, Please send FREE copy of New 1964 Catalog. TV, electronic organ, amateur radio, test instruments, educational and Name home & hobby items that will save you up to 50 %. Send for your free Address copy today! L -, City State Zip No J CIRCLE 48 ON READER -SERVICE CARD

NOVEMBER 1963 9

www.americanradiohistory.com The biggest name in FMIAM transistor Radios and TV

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For more information please write to: SONY CORPORATION OF AMERICA 580 FIFTH AVE., N.Y. 36, N.Y. REGIONAL OFFICES. LOS ANGELES CHICAGO CIRCLE 82 ON READER -SERVICE CARD 10 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com AA -22 40 -watt Transistor AJ -33 Transistor AM -FM- NEW! Low -Cost All- Transistor, All Mode Stereo Amplifier, 14 lbs. FM Stereo Tuner, 14 lbs. ;99.95 $10 mo. $99.95 Stereo Tuner and Matching 40 -Watt $10 mo. Stereo Amplifier Cooler, faster operation ... lower power consumption . .. longer life . . . and the clean, quick realism of "transistor sound." You'll enjoy all this and more with Heathkit's newest All-Transistor Stereo "Twins." Com- pact, low- silhouette styling magnificently fashioned in rich walnut neatly fits this handsome pair into a "proud place" in any 40 watts of power (20 per Stereo phase control Auto- cabinets channel) 5 stereo inputs matic stereo indicator AFC hi -fi stereo system. Add to this extruded brushed gold -anodized alum- Speaker phase switch Minia- and AGC Filtered stereo tape to conceal secondary controls ture indicator light for each posi- recorder outputs Built -in inum front panels that serve practically tion on mode switch Trans - stereo demodulator Tuning decoratively to enhance over-all beauty. The AA -22 Amplifier pro- formerless output circuits meter Flywheel tuning and -rule dial Prealigned FM 15 30,000 cps with Brushed gold- anodized aluminum Slide vides 40 watts of continuous power at 11 db from to front panel conceals secondary tuner and circuit board con- pure solid sound! The AJ -33 Tuner offers controls Walnut cabinetry struction Brushed gold - no fading, no faltering ... just anodized aluminum front panel selection of AM, FM, or FM Stereo to please any listening preference. conceals secondary controls Check both unit's features and discover why Heathkit leads in Transistor Walnut cabinet Stereo. The price? A great value, you'll agree ... $99.95 each! r , 8. 49023 "[AT"I(,T-1v4 NEW! FREE 1964 HEATHKIT CATALOG HEATH COMPANY Benton Harbor Michigan See the latest new products in Heath - Enclosed is $ , plus postage. Please send model No kit's wide, wonderful line. Over 250 Catalog. do -it- yourself kits for stereo /hi -fi, [ Please send Free Copy of New 1964 _, marine, TV, electronic organs, ama- -1 teur radio, test Instruments, educa- Name tional, and home and hobby items that will save you up to 50%. Send for Address ___ your free copy today! _State_ City - J L CIRCLE 48 ON READER -SERVICE CARD NOVEMBER 1963 11

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... every tinte you capture the magnificent world of full fidelity sound on tape. Taped sound retains full fidelity after hundreds of playbacks . yours to enjoy always . .. on VIKING tape com- naturally. ponents, Schoenberg Disputants lite A VIKING invests you with unlimited versatility to record SIR: programs or off the air including F.M. multiplex, duplicate, Bravo to Peter Heyworth for his sober, put sound on sound and edit with perfect ease. intelligent, and perceptive article "Lis- tening to Schoenberg" [August 1963]. It represents another of those rare and Retro- ntatic 220 - ultimate important contributions to the cause of performance with tomorrow's new music. Is it too much to hope that features for discriminating some conscientious record company will audiophiles and professionals now take measures to fill the gap only. created by the inexcusable absence from Two - directional playback, quarter track the catalogue of the great string trio, stereo at two speeds. "Feather touch" push Op. 46? And we certainly could do buttons, remote control, 12 watt amplifier, simultaneous record /playback with 20.25,- with a new recording of the four 000 cps frequency response. Independent quartets. channel controls, "luma- touch" record but- George Heussenstanun tons and illuminated VU meters. Photo Altadena, Calif. electric run-out sensor, four heads, hysteresis capstan motor plus two reel drive motors and digital counter. Superbly styled SIR: with stainless steel face plate this compact In Peter Heyworth's article on Arnold operates vertically or horizontally. Schoenberg he asserts that "the important thing for the listener is to steer clear of the theological fury of the theoretical disputes which have clouded the whole question, and to concentrate on the music itself." If Heyworth thinks that 88 Stereo Compact-for con - Schoenberg's lack of popular acceptance noisseurs of the fine things stems from controversy over the twelve - in high fidelity stereo sound. tone system, he is sadly mistaken. Berg's Two speed tape recorder with choice of Wozzeck, for example, is as twelve -tonal half or quarter track stereo. Three new as anything written in the past sixty years, type hyperbolic heads -no more old fashioned pressure pads. New design amplifier and it is popular nonetheless. Innu- with excellent 30-18,000 cps frequency re- merable avant -garde works that are really sponse, lets you monitor off the tape with hardly any less disturbing than Pierrot "A - B" comparison switch. Independent Lunaire have quietly made their way channel controls and VU meters, two motors, record indicator light, counter, auto- into the repertoire without difficulty. matic tape shutoff. With its attractive, When Mr. Heyworth tells us to "con- brushed aluminum face panel, the 88 Com- centrate on the music itself" he is, pact fits any installation for vertical or in fact, pointing up the actual reason horizontal operation. for this composer's neglect today -the paucity of ideas that Schoenberg's serial - your finger tips with VIKING ism only partially conceals. Put Command Performance at R. Simels made by skilled American craftsmen. Steven tape components - Teaneck, N. J. Tape recorders, transports, cartridge players -even for your car or boat - at reputable high fidelity dealers most everywhere. Haydn's Comic Opera

SIR: Your assurance In "Music Makers" for July, I noted of Quality in with great interest your remarks about ¡king OF MINNEAPOLIS, INC. Tape Components Haydn's rediscovered opera, Die Feuers- L 9600 Aldrich Avenue South. Minneapolis, Minnesota, 55420 Continued on page 18 CIRCLE 93 ON READER -SERVICE CARD 12 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com h Records in eview 1963 Edition

Like its seven predecessors, we bring you in one You'll find the reviews organized alphabetically convenient book hundreds of reviews of records by composer for quick, easy reference -and in the (stereo and mono) which appeared in HIGH case of composers frequently recorded, further sub- FIDELITY MAGAZINE. This edition reprints divided by such categories as Chamber Music, Vocal reviews that appeared in 1962- classical and semi- Music. etc. You'll find, too. a special section on classical music exclusively. Recitals and Miscellany. And an Artists' Index. It will save you many hours in your dealer's Writing about previous editions, The SATUR- listening booth or earphone corner. And it will help DAY REVIEW pointed out RECORDS IN you build a library of music YOU enjoy, for it is REVIEW "gives a surprisingly well- rounded picture the most complete and authoritative book of its of what's available on records and most reviews kind -the standard reference work that gains in describe the work as well as the performance, pro- value as the years roll by. viding each annual with a permanent use." The Pittsfield, Mass., EAGLE critic, Milton R. Each reviewer stands high in his field -Nathan Bass. wrote "I have found the reviews in HIGH Broder, for example, reviews Bach and Mozart. FIDELITY to be the most discerning and informa- Alfred Frankenstein the moderns ... Paul Affelder publication in the country the book Marsh specializes tive of any ... covers the romantics, Robert C. is a must for the serious record collector." in Haydn and Beethoven . Conrad L. Osborne writes on opera recordings. Forthrightly, they dis- This hardcover book of over 500 pages is yours cuss the composition. performance and fidelity. for only $5.95 postpaid. Payment with order but And they compare new recordings with earlier satisfaction guaranteed or your money back. Con- releases. venient order form below.

1163 THE WYETH PRESS, A DIVISION OF HIGH FIDELITY, Publishing House, Great Barrington, Mass., 01230. Send me RECORDS IN REVIEW 1963 Edition for the $5.95 enclosed.

Name

Address

City State Foreign: 25c additional for shipping.

www.americanradiohistory.com fers "The performance of the 340B was amazing! JI,.._.

/ampliti n It's the first tuner w w isfy ea . r-' rw ..n .: to monitor o -:... good enough Y . . n Ñr is .... SI . Mt M M r our broadcasts in r .. a. 91 a="w: of r .. : Manhaftcr..Y N Y N the canyons Yr e - Peter now, w % Ar ' o?of 4 r pioneer mu t w -1', p yllpt-rE N :S- . -se. " r.= y ... . t' . it M w . . r i. l . N . wrr.. - I hest - . I've i . . . w : . ..W . ' .r . ., , N r .i.11;4w.Yr~MS..M.,yy fi ". I111W -..f. . ice of hi i :i- rwrrw..NrN ... .. u- .'ve never . M. . tr. .. 3 -t . I :8".. i. .. . - . u .0 u e I - Y1 w m : lrw m e OIL -' 'Ill . rN1- .. : ss . ... 'ti p . w b . . n ii w . . .r N .. ''! 3- w wÑ. Y. ,,tl ' ::...7% _r r nsions in ..:...... /L.'1._ ñ rÚ w i :.. .1 ..."'S . . se .. r i' M ', r - 4 tr __ .y ... N Section: J ;. . . w. , . a. J,. . H w, b : ..T.Ir w' ñ.. I No . rti° rr... .. se Ratio ::¡: 11' nw , . . . 1.8 ' =S1 wNww:: . `r 11 aa' " I on 0.8<<; ... ' ,j t '- . w , a,, ''. ' r III o iÑ n . iÁi: rQrr' ' :: ¿ .', N 01 . 9 0- 20,000; . 1 _ ' i aa . ...w u . , .. I .. ,1' ¡' S .. c' F ..r 11 9 . 1' "=..N .N»wwwt. rious ' Ñ.M w..i. Re- ' IM iiï. r l w =r ' , N MY l' ,wÑ.:rii : e . i¡.i. rw ); Tuning . ...Bo ».N . . r w . 11 1 . ,/.r., : N ...wi-.. nw . , iwww _ .. -:I;; N 1 ... '. NINO aa ..w . w._ )n 0.5r/c; ISMw . ww' u re.' ti , i » . al 'I ~ - : n: Music . I II . -"as, . '"` r , wer each j .,1. i : s - . ,. w . OF I 1 ., aal ..' t1.0 db) . I . 1 t_ ../e .w s. i ¡ r.,P..wM nd Noise - _Un r .1 N_ ..... r A* ra. ' 'RU ' I '.+ ii' 1 aken, refer 1963. ' I s - June 1 e

A AA I . ;i..l1 . - .. 11 IN NI I s u or lull at 8 a: in LI 1111' a 11 1/ si # a 1 - I r r' imam ta d.ó.i The remote broad.ast station itistallation lif the -eeert New York : of WDHA -FM . . . 'l.a .. r. i -las.r w ! High Fidelity Show. Mr. Arraow, at the I Be 1 a .a controls, is using the Scott 340B as a seas 1 is ,...11111,.1119: station monitor. % )B and 1 11111 ea %1111111111 4 WDHA-FM laced a serious recep- Lan's 11 :!1' 1e tion problem while operating re- ttaa!aa,RI1 11 11 1s stm New York Hi Fi a . I motely at the . 11 show. Signals frtm their traismi. ter /»1 t1. 1; located in Dov. r. N. J. vere ex- i r 1a d them tremely difficult :o receive due to II "( 'w,ittl a . -111,1! p.11 e -. N 11 :; the surrounding s.eel- framed build- '1 - ' was at a premium. '-11 ..111 - If Io IIII ings,and space alle ISIS 1 N!' I 11 Peter Arnow, the Station's director, , \t! 1 N.Y.C. ; 1/.11 chose a Scott 3443B for this critical !I! .e1 -11t1Ul 11 Toronto task. He was able to make perfect 11 1t! tI 11 es el s off-the -air checks at this remote i=IV'1 location. 2 a1111 - a, 1 4' 1114,, www.americanradiohistory.comIN MI Painting by Joseph Ablow

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www.americanradiohistory.com LETTERS

Continued from page 12

brunst. In July this opera was given its first European performance in two hundred years at the Bregenz Festival in Austria. I had the good fortune to real FM see the telecast and can heartily endorse your assessment of the opera as a minor masterpiece. It is certainly evocative of Mozart's operas, and also of Haydn's authorities oratorios The Seasons and The Creation. I look forward, and I hope not vainly, to its early recording, for it is a work that one would enjoy being able to hear agree ... again and again at leisure. Captain Lorne Henry Montreal, Canada

Misattribution

SIR: In your review [August 1963, page 95] of the RCA Camden album "My Silent Love" you attribute the Naomi Waltz to my uncle, Nathaniel Shilkret, whereas it was composed by me and named for my wife. Since the publication of Naomi, I have changed my name pro- fessionally from Warner Shilkret to Neil Warner. Neil Warner New York, N. Y.

Dynagroove -an Exchange

SIR: It was with considerable amusement that I read R. D. Darrell's deft attempt in your August issue ( "A Second Look at Dynagroove "] to take an uncompromising position on both sides of the Dynagroove question. If one is prepared to grant that distortion introduced in groove shaping to compensate for deficiencies in playback equipment will not show up as distortion when the recording is played on superior equipment, then Dynagroove can be considered as an advance. I, for one, am not willing to agree to the validity of such an approach. It would seem axio- matic that modification of the groove to make a record suitable for playback on deficient equipment would lessen its value when used in conjunction with adequate equipment. for the best seat in the house .. . The purpose of this letter, however, is not to belabor the obvious, but to point out that Mr. Darrell is lagging you need a FINCO AWARD WINNING somewhat behind technology when he points out that there might be theoretical criticism of the Dynagroove cutting prac- FM ANTENNA tices since they are predicated on a 0.5- or 0.7 -mil stylus, whereas smaller Guarantee yourself the best seat in the house for radii styli would not work as well. This is true, and the recently introduced tonight's FM concert . . . install a fidelity -phased Ortofon elliptical stylus removes any necessity for the dubious blessings of FINCO FM antenna. Dept. HF. Dynagroove. Joseph H. Igo THE FINNEY COMPANY Golden, Colo. Mr. Darrell replies: 1 grin wryly at Bedford, Ohio the above. 1 was in fact acutely conscious in writing my "Second Look . . ." of

Continued on page 20 CIRCLE 43 ON READER -SERVICE CARD 18 HIGH FIDELITY MAGAZINE

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INTRODUCING the HYSTERESIS ISOLATION S -340 TONEARM. new Rek -O -Kut R -34 SYNCHRONOUS SUSPENSION: Totally A modified version of playback system - MOTOR. Pabst is its eliminates acoustic the S -320 professional a complete 2 -speed name. Pioneered by feedback. Makes tonearm. Tracks turntable, tonearm, Rek- O -Kut. For vertical rumble a at less than one gram! and base unit, WITH constant speed no negative factor. No Resonance factor is A 5 YEAR GUARANTEE matter what the need for complicated below 12 cycles. ...unheard of in the variation in line spring devices to Ruggedly constructed, audio industry! When voltage. It's the first shock -mount your its removable cartridge we say our turntables time this motor (used playback system. Ever. shell handles any are built to take it- in our higher -priced standard cartridge. we mean it. units) has been used Available separately in a system at this at $24.95. INSTANT SPEED price. SELECTOR. A mere flick of your finger changes its speed from 33'/3 to 45 rpm. An exclusive Rek -O -Kut feature.

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REK- O -KUT, the world's largest manufacturer of turntables. 38 -19 108 Street, Corona 68, New York Export: Morhan Exporting Corp., 458 B'way, N.Y.C. Canada: Atlas Radio, 50 Wtngold Ave., Toronto 19 CIRCLE 96 ON READER- SERVICE CARD (NOVEMBER 1963 19

www.americanradiohistory.com new Announcing the line of world- famous Schober Organ Kits... LETTERS ASSEMBLE YOUR OWN ALL-TRANSISTOR Continued from page 18 my split attitude -but how else could SCHOBER ELECTRONIC ORGAN I describe what I felt? For, alas, I cannot honestly take a simple black -and- All -New, All- Transistor Schober white position towards Dynagroove (or Recital Organ any other) recordings, describing them 32 voices, 6 couplers delight as wholly bad or wholly good. Like professional musicians ... make other correspondents on the subject, learning easy for beginners. Mr. Igo seems to skip over what seems Standard console, pedals. key- to me a vital point: that some of the board correspond exactly to really bad sonic qualities in some Dyna- pipe -organ specifications. groove releases are the result of re- Printed circuit construction and detailed, illustrated instructions cording procedures (ultraclose miking make for easy assembly ...no and heavily damped acoustics) which are previous experience necessary. quite independent of the Dynagroove Highly accurate church and techniques themselves and are indeed theatre pipe tone in 5 pitch reg- often found in the current releases of isters make every kind of organ other manufacturers. music sound "right ". I quite agree that Dynagroove tech- Optional: Combination Action, its Schober Reverbatape Unit, Re- nology is shortsighted in restricting petitive Theatre Percussions. groove -cutting benefits (and it does have All- transistor circuitry makes some) to currently used 0.7- and 0.5 -mil possible full 5 -year guarantee. styli, which eventually will be superseded either by smaller- tipped or elliptically Designed by organists for organists, the Recital suitable Organ for the most rigor- shaped styli. But how soon will such new Schober Recital Organ actually ous church and recital work. The Schober come general use? The virtues sounds like a fine pipe organ. The newly - Reverbatape Unit gives you big- auditor- styli into invented Schober Library of Stops pro- ium sound even in the smallest living of elliptical styli have long been known: vides you with an infinite number of extra room. An instrument of this caliber would yet it's only now that they're being made voices so that you can instantly plug in cost you $5000 to $6000 in a store. Direct available . . . in one imported, expen- the exact voices you prefer for a particular from Schober, in kit form (without op- sive pickup. Dynagroove is frankly aimed kind of music. Thirteen -piston, instantly tional percussions, pistons, Reverbatape at the current mass market and has been resettable Combination Action makes the Unit) you costs only $1500. undeniably successful there. Yet co far New, All- Transistor at least some of the Dynagroove re- Schober Consolette II leases are also remarkably effective on HERE'S WHY YOU SHOULD Here's the most luxuri- better playback equipment too. Eventu- ous "home- size" organ BUILD A SCHOBER ORGAN! ally, Dynagroove will be outmoded, available today... with You cannot buy a finer musical instru- but radical changes in widely used play- the same circuitry and ment for over twice the price. You get back equipment come very slowly . . . musical design as the the finest in musical and mechanical impressive Recital Or- quality. and in any case, a reviewer must remem- gun. Full 61 -note man- ber that the most advanced playback uals, 17 22 It's easy to assemble a Schober Organ. ' pedals, stops resources are the property of only a and coupler, 3 pitch If you can read and use your hands. registers, and authentic you can easily make your own superb fortunate few among his readers. theatre voicing leave little to be desired. Musically organ. Everything you need is fur- nished ... including the know -how; you much larger than ready -made organs selling for One Man's Pip $1800 and more ... the Consoletie 11, in kit form, supply only simple tools and time - costs only $850. no knowledge or experience is required. SIR: New Schober Spinet You can buy the organ section by sec - As a new reader of your magazine I tion... so you needn't spend the The Schober Spinet is whole amount at once. am enjoying its contents. but I would among the very smallest like to take issue with the attitude You can begin playing in hour, genuine electronic or- an represented by Nathan Broder in his gans; only 391/4 inches even if you've never played before - wide, it will fit into the with the ingenious Pointer System smallest living room or available from Schober. Continued on page 24 playroom - even in a Thousands of men and women -teen- mobile home. Yet it agers. too -have already assembled has the same big -organ Schober Organs. We are proud to say tone and almost the that many who could afford to buy same variety of voices as the larger Consolette I1. any organ have chosen Schober be. High Fidelity. November 1963. Vol. 13. No. The Schober Spinet far exceeds the musical speci- cause they preferred it musically. II. Published monthly by The Billboard fications of ready -made organs selling for $1100 Publishing Co.. publishers of Billboard. and more. In easy -to- assemble kits ... only $550. Vend. Amusement Business, American Art- ist. Modem Photography. and the Carnegie Schober Organ Kits are sold in the U.S. only by ... Hall Program. Telephone: Great Barrington 1300. Member Audit Bureau of Circulations. THE r/G CORPORATION Editorial Correspondence should be ad- treh n dressed to The Editor, High Fidelity. Great Barrington, Mass.. 111230. Editorial contribu- 43 West 61st Street. New York, N.Y., 10023 Dealers in Canada. Australia, Hong Kong, Mexico. Puerto Rico and the United Kingdom. lions will be welcomed. Payment for articles accepted will be arranged prior to publication. Unsolicited manuscripts should be SEND FOR FREE SCHOBER BOOKLET The Schober Organ Corp., Dept. HF -15 accompanied by return postage. . Describes the exciting Schober Organ 43 West 61st St., New York, N.Y., 10023 and optional accessories in detail; it in- Please send me, without cost or obliga- Subscriptions: Subscriptions should be ad- cludes a FREE 7 -inch "sampler" record tion, the Schober Organ Booklet dressed to High Fidelity, Great Barrington, so you can hear before you buy. and free 7 -inch "sampler" record. Mass.. 01230. Subscription rates: Anywhere Enclosed find $2.00 for 10 -inch quality, on Earth, 1 year, $7; 2 years, $13; 3 years. Also available: LP record of Schober Organ music. >17. Single copies 60 cents. 10-inch high -quality, ($2.00 refunded with purchase of first long playing record... kit.) Change of address notices and undelivered fully illustrates all three Name copies (Form 3579) should be addressed to models with different High Fidelity, Subscription Fulfillment Dept., kinds of music. Price is ;if Address- 2160 Patterson Street, Cincinnati, Ohio. refunded with first kit City State Zip No._ 45214. purchase... $2.00 J CIRCLE 76 ON READER -SERVICE CARD 20 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com the one outstanding feature is that it has them all

New Benjamin -Truvox PD -100

The Truvox PD -100 is a new 4- track, stereo cat',ode- follower outputs o transistor pre - and here are some hints of the quality tope deck with built -in 'record', 'playback' amps for monito. ing 'record' qual ty with low - you can expect: o frequency response: 30 and 'monitor' preamplifiers. It is so complete impedance headphones directly from tape. to 20,000 cycles at 71/2 ips; 30 to 12,000 in every detail, no one feature or facility O 2 VU db- calibrated meters o 4 -digit at 33/4; and 50 to 8,000 at 17/8; ±3 db can be said to dominate. It has them all. counter with a,ttomatic zero --eset button O wow and flutter: less than 0.1 % at 71/2 A remarkable example of British through - o 'stop -start' cueing button o self-adjusting ips; 0.15% at 33/4; and 0.25% at 17/8. ness in audio equipment design! instantaneous 'stop' brakes o hinged -cover o signal /noise ratio: better than 50 db giving access to tape heads with con- o channel separation: better than 55 db Whether you judge this unit by these feat- venient splicing guide -plate built in o auto- ures or by the quality of its performance, Dimensions of the PD -100: 141/4" wide x matic- enc -of -play and tape -break 'shut -off' there is only one conclusion you will reach: 157/8" deep x 7" high. Price is $399.50 ( less O patented 'hubloc' spindles hold reels the PD -100 stands squarely with the finest base). At your high fidelity dealer, or write: securely when operated vertically o func- professional tape units available today. Benjamin Electronic Sound Corp., 80 Swaim tion signcl lights. Street, Westbury, New York. features: o operates vertically hori- -the or recording versctility: o off -air tapes of Sole U.S. Distributor for Truvox tape recorders, zontally a 3 speeds: 71/2, 33/4 and 1 ips FM- multiplex, mono radio or TV programs Mirocord turntables and Eloc cartridges. 0 3 heads: 'erase', 'record', and 'playback' o stereo and mono tapes from your favorite r o 3 motors: including Papst 'squirrel -cage' records for unlimited playback without wear BENJAMIN motor for capstan drive 0 61/2 -inch capstan to your records and styles a sound -on- flywheel o 'record -playback' preamps with sound o echo, fade and mixed input effects. TFtuvox

CIRCLE 1 ON READER -SERVICE CARD NOVEMBER 1963 21

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It's a pleasure to announce the fifth annual -tuners: what's needed for high fidelity reception roundup of stereo component developments -plus of mono and stereo broadcasts plus insight into a glimpse of what imaginative specialists see antenna problems beyond the horizon. -what you should know about tape recorders STEREO 1964 Edition- which, like its predecessors, is published by HIGH FIDELITY Maga- -what's new in speakers, large and small, and zine- sparks ideas that help you achieve the best some advice on how to select a speaker and stereo reproducing system at the price you decide enclosure to pay. And it helps you get the most out of your present stereo system, if you are that far along. -wiring the stereo system In sum, it's a blend of news and expert comment that covers such exciting subjects as these: -decorating with a new stereo installation

-new and choice record playing equipment: turn- -elementary do- it- yourself maintenance of stereo tables and changers, arms, cartridges, integrated equipment designs, record cleaning devices -the year's outstanding stereo records and tapes -amplifier trends, including transistors, and amplifier requirements for high fidelity stereo There's much more, of course, including scores reproduction of illustrations, but this gives you an idea of the scope of this publication of about the size of this issue of HIGH FIDELITY. High Fidelity, Publishing House, Great Barrington. Massachusetts, 01230 AND IT'S YOURS FOR ONLY $1.

Send me STEREO: 1964 Edition for the If you're particularly interested in the high dollar enclosed. fidelity reproduction of music, can you afford to be without STEREO: 1964 Edition? Name If you wish a copy conveniently delivered to Address your home before the turn of the year, as soon as it is published, just fill in and mail the order form City State with your dollar. Do it now -while you're think- 1163 ing about it.

22 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com NEW FOR VIANINVK PERFECTION

Transistors have changed the idea that old - But no amount of words on paper can relate SPECIAL FEATURES Automatic reset circuit fashioned vacuumtube amplifiers could not the somewhat startling audio revelation we breakers for over -current protection of each be appreciably improved. First proof of what had when we first listened to the 360A. The channel and AC line. Diffused keyboard illumi- transistors could really do came to us five sound of perfection is not easy to describe. nation plus daylight power indicator. Both years ago when we applied solid state circuitry May we suggest a trip to your nearest Altec headset and speaker monitoring for tape to specialized amplifiers for the telephone Distributor for a personal evaluation of this recording on front panel. Variable crossover industry, the military, and other commercial thing we call "transistor sound" (or perfection type bass tone control for bass boost inde- and professional users. This early experience if you will). pendent of mid -range. taught us that transistors had a revolution in store for future amplifier development; it was only a matter of time and a great deal of PERFECT PARTNERS experimentation before we could make a more NEW IN APPEARANCE, TOO! truly perfect amplifier available for studio The 360A is the first "keyboard" ampli- VINOACI: and serious home use. fier. Named for its unique musical- instru- Three years ago, at a time when most ampli- ment type front panel keyboard control fiers were of the vacuum tube type, we mar- arrangement, the 360A offers operating keted our first all- transistor power amplifier convenience at one central front panel for ?Vs:M Ç .. applications. Today, the 351B location, eliminating the universal objec- model is credited as the most advanced single - tion to a miscellany of switches. channel amplifier of its type in the professional field. Shortly after the 351, we introduced the now famous 708A "Astro" -the only all -in -one stereo center with all- transistor power output POWER 70 watts (IHFM); 35 watts per stages. Now, after five years of actual produc- channel. FAVORITE tion experience with solid state circuitry, we OF BROADCASTERS take pride in introducing the 360A all- transistor INPUTS 12, stereo or mono: magnetic or The 314A Emperor Royale FM Multiplex Tuner. stereo pre /power amplifier ... for ceramic phono, tape head, stereo microphones, perfection. tape, radio, auxiliary. For FM stereo that will do justice to the Royale II, the 314A Emperor Royale FM Multiplex WANT TO HEAR THE SOUND OUTPUTS 7, stereo or mono: left, right and tuner is the answer. The 314A is a fully profes- OF PI.ANVACK. PERFECTION? center speaker outputs, left and right channel sional component which is offered in the Altec recorder outputs, center channel voltage output That question contains a P \.\\H\CF_ catalog for network relay and strong claim, but one for auxiliary headphone that we have seen substantiated time and amplifier, output jack. rebroadcast applications. Among its distinctive again during the many listening tests per- features is a monophonic output for feeding a KEYBOARD CONTROLS Rumble filter, stereo - formed 3516 all- power - on the new solid -state Altec 360A Roy- mono switch, tape monitor, channel reverse, hi- transistor amplifier for single ale II stereo amplifier /preamplifier. In fact, the low gain, volume contour, scratch filter, phase channel music distribution througout the difference in perfection between this unit and reverse, headphone-speaker output switch. home. Price: $359.00, including cabinet. even the finest vacuum tube amplifier is amaz- Hear Altec's complete line of genuine studio ingly apparent. The lowest frequencies are OTHER FRONT PANEL CONTROLS Input P\.1\9ACF: components soon at your nearest unbelievably solid and life-like; snare drums selector, channel reverse, independent bass Altec Distributor (see your Yellow Pages). sound like snare drums, an organ is an organ and treble controls (friction coupled), blend Also, be sure to ask for your courtesy copy (you almost look for the pipes). Transient dis- control, balance control, volume control. of the Altec Catalog, " ?L\\6 \CI. and Speech tortion, background hiss. and microphonics are REAR PANEL CONTROLS Magnetic-ceramic Input Equipment for Recording and Broad- conspicuous by their absence. Hum is so corn - phono input selector. speaker impedence cast Studios," which illustrates how the big pletely inaudible, even at loudest volumes, that selector. name record companies and broadcast net- we conclude there just isn't any. The highs are works use Altec equipment to achieve crisp, clean, transparent; for the first time, PRICE $366.00 including cabinet. Only 5,/," H, P\.\\B \C.1:, perfection. Or, write for your free you hear a piccolo in complete purity because 15" W, 11,4" D. copy to Dept. HF -II the amplifier does not contain, and does not need. a built -in bass boost for the lower end. In short, the 360A is so far more perfect than the finest tube amplifier, we predict that ALTEC LANSING others will hastily experiment and a rash of transistorized amplifiers will follow. But at CORPORATION Altec, experimentation is over! Five years of ALTE[ '. A Subsidiary of transistor amplifier production have literally LANSING CORPORATION /7 & put the 360A five years ahead of the home ñ ` Ling- Temco- Vought, Inc. music field. / ANAHEIM, CALIFORNIA

CIRCLE 7 ON READER -SERVICE CARD I\OVEM1tER 1963 23

www.americanradiohistory.com LETTERS NEW! ENGINEERING BREAKTHROUGH Continued front page 20 review of a collection of recorder en- ROBERTS CROSS FIELD ® semble pieces by Stanley Taylor [Sep- tember 1963]. The reviewer does not conceal his bias ( "Long pieces for re- .ÿ corder . . . give me the pip ") -which 770 is honest and fair. I sympathize with him and I am sure his reaction is shared by many people. However, he compro- records automatically- mises his professional evaluation by expressing his personal pique, with the result that I cannot guess whether from my point of view the album would be a desirable purchase or not. He says that the record is for the "enthusiastic admirer" of recorder consorts. I am enthusiastic about high quality, mu- sicianly performance of such music, but I am not so infatuated with "dulcet pipes" (it's an annoying title) that I will accept any of it uncritically. N. B.'s other reviews indicate that he is a temperate person with a wide acquaintance of early music. But if a particular medium irritates him. for heaven's sake let another critic take over there. Cornelius Lansing, M. D. 15 high fidelity Chapel Hill, N. C. stereo albums for the price of one Prescription for Hum SIR: Now. 8 hours of full-range, true, high fidelity stereophonic music, or 16 monaural hours, can be yours I have a stereo tuner- preamp, stereo on one 7" reel, with the revolutionary new Roberts Cross Field "770" Tape Recorder. The average tape amp, mono center -channel amp, and a cost per album: only 33f. The "770" has an exclusive patented third head, the Cross Field Head, small 10 -watt amp in my outfit. About which separates recording and biasing functions. The result: the "770" records 40 to 22,000 cps, a year ago a serious hum developed producing true fidelity at 13/8 ips and preserving the high frequency harmonics that breathe life into in channel A. I checked every tube and music playback. The Cross Field playback head has a gap width of only 40 micro-inches, the smallest, every connection, not once but many most responsive head ever engineered. For this head, Roberts employs NC-88, a new alloy, that is times, grounded the amp to a water pipe, practically wear -proof. Other features: 2-speed, electrically- switched, heavy -duty hysteresis synchro- tightened the screws on the transformers, nous motor, miniscule wow and flutter at slow speeds; special ventilation system keeps the "770" cool even after 8 hours; two 5" x 7' self- contained elliptical, extended -range, heavy-duty Alnico rearranged all wires and cables -and if Vmagnet speakers; new automatic total shut-off switch. I had known how to look for ground loops, I would have. Sometimes there Today, see the Roberts Cross Field "770" Tape Recorder at better music and camera centers. ;499.95. was a slight improvement, but invariably Specifications: 71/2, 33/4, 1%8 ips. Power Amplifier Output: 12 watts Frequency response: at 7/2 ips, ±2 the hum soon returned. 40 to 22,000 cps db; at 334 ips, 43 to 18,000 cps ±2 db; at 1741 ips, 40 to 13,000 cps -3 db In desperation I had my electrician signal to noise ratio: -55 below 0 recorded level Wow and flutter: at 71/2 ips, less than 0.12% install a new and separate power line rms; at 334 ips, less than 0.20 %; at 17/8 ips, less than 0.30% Blower vent 2 system large from the meter to the wall plugs stereo 5" x 7" elliptical, extended range, heavy duty Alnico V magnet speakers Hysteresis synchro- I nous instantaneous electrically controlled 2 speed motor Automatic total shutoff Operates use for my phono. Nothing but the Horizontally or Vertically. phono is on this line- nothing else will ever be as long as I am in charge. Results were amazing, marvelous, and New Model 330: Another New Professional Model 455: achievement of Roberts' elec. Has three electrically switched, instantaneous. Since that day I have tronic engineering. Sound -on- dual -speed motors, separate had no hum worries. Now, with a quiet sound multiple recording, 3 bass controls, 4 simultaneous heads for separate record, mixing inputs, playback loud- record on the turntable at normal listen- playback, erase two 7" ness controls, track selector, ing distance, when the music stops I full -range speakers. Special two full range 5" n 7" speak. biasing for FM Multiplex Re. ers. 7'/, 334 ips. $599.95; hear NOTHING, and I mean absolutely cording Systems. Speeds: 71/2, Remote control, $49.95. nothing. If I put my ear to the speaker, 33/e ips. 27 lbs. $349.95. I hear a low, gentle, natural hum. Three feet away it cannot be heard. See the entire line of Roberts professional and home tape recorders There are two more advantages gained from $269.95 at better music and photo centers. from the exclusive power line. Now, with the radio on, an electric razor can be used without interference. If I want a football picture on TV and the narra- Roberts Electronics, Inc. 5978 Bowcroft, Dept. HF -11, Los Angeles 16, Calif. tion on radio, there is no interference. Please send free booklet ri I do not know and probably never Please send me complete information will know what caused the hum. But I about Roberts Tape Recorders 'J thought my experience might be of Name benefit to some other amateur who hates Address AND MORE hum as much as I do, and doesn't know FREE BOOKLET! "40 WAYS TO USE City State A ROBERTS TAPE RECORDER" what to do about it. Roy W. Holland IN CANADA: I. M. Nelson Electronics Ltd.. 7725 Adera St., Vancouver 14, B.C. (Prices slightly higher in Canada) Anthony, Kan. CIRCLE 72 ON READER -SERVICE CARD 24 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Events that loom large in the hi -fi world -a new design or a hi -fi show - rarely seem important to the world outside. But the live vs. recorded concerts staged by Acoustic Research (most of them in collaboration with Dynakit) have made news headlines in New York, what hi-fi news Chicago, Toledo, Ontario, and Washington. These concerts present a direct comparison between the live performance and its reproduction in stereo. makes the At periodic intervals AR -3 loudspeakers, playing a previously recorded tape, take over from the musicians.

If the function of high fidelity equipment is to reproduce musical sound rather than to create its own kind of sound, such a comparison is the final test of loudspeaker quality. We know of nine reviewers* who reported that press? during these concerts they were unable to detect most of the switchovers from live to reproduced sound, from string quartet or pipe organ to AR speakers.

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ound Demonstration Produces Startling Results AofieK, :wp. ,c Br Sop.b R., a eH,,., ...

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AR -3 speakers are $203 to $225, depending on finish. Other models are from $89, all with a five -year guarantee whose coverage is complete, even to shipping charges. Literature, including a list of dealers in your area, is available on request.

*In addition to newspaper reviewers, critics in Audio, The Ameri- can Record Guide, High Fidelity, and the Saturday Review.

ACOUSTIC RESEARCH, INC., 24 Thorndike Street, Cambridge, Massachusetts 02141

CIRCLE 3 ON READER -SERVICE CARD NOVEMBER 1963 25

www.americanradiohistory.com NoTS FROM ABROAD

Halcyon summer days The Archbishop's Reservations. How in Cambridge. among Raeburn came by his certitudes makes LONDON mortar boards, aca- a small though piquant addition to Han- 101 Puts your components on the wall where th ey may demic gowns, spires. del lore. As soon as the recording had be enjoyed so conveniently. A refreshing new approach to express your individuality. Offers a thousand and bells, and immemorial been decided upon, he sought advice as one decorative possibilities. Complete with equipment trees. Sun fell like to the Anthems' sequence from the man enclosure, record shelf, custom panel and concealed honey on the tracer- who knows more about Coronation mu- wall supports. Finished in Oiled Walnut. $19.50 ies and finials of King's College Chapel. sic and its history than anybody else in Inside. gently spotlit, the Rubens paint- the world, Sir William McKie, Organist ing of the Adoring Magi, which will and Master of the Choristers at West- some day hang behind the high altar, minster Abbey. Sir William had been in glowed opulently on its easel near the charge of the music at Queen Eliza- rood screen. Fiddlers and wind players beth II's crowning. He told Raeburn were assembling. Harpsichord arpeggios that after vainly combing the Abbey's made silvery crepitations. Less romanti- musical archives he had turned to the cally, technicians were snaking cables to library at Lambeth Palace (administra- and from thirteen microphones. The tive seat of the Archbishop of Canter- cables led from the Chapel out into the bury) and there had come upon the open and around corners to a paneled 1727 Order of Service -which settled don's room in Gibb's Building, which the matter once and for all. "It's an had been turned for a couple of days interesting document in more ways than aa into a recording director's control room. one," Raeburn reported McKie as saying: "Go and see it for yourself." Music for George H. The recording di- Not only. found Raeburn, did the 303 Award winning design created for "Snell Speak- rector in question was Argo's Andrew Order of Service give the sequence as ers." Place your shelf speakers at each end and in- quoted above. It also bore marginal stantly a beautiful Stereo Music Center is created. Has Raeburn. When himself a King's College adjustable component shelves. sliding changer /turn- undergraduate. Raeburn sang for three comments by Archbishop Wake, the table pull -out shelf and place for hundred! of records years as a "volunteer" (as distinct from reigning prelate. Wake did not think and tape deck, too. Over six feet long. 5108.50 "choral scholar" -see below) in the much of the 1727 performance. The Chapel's renowned choir. Here he was first anthem. intended to accompany the again, helping to implement Argo's prac- entrance into the Abbey of George II tice of producing each year at least one and his consort. was not heard at all. recording. preferably choral. that will "Anthem was omitted by the negligence combine prestige and rarity. (Among re- of the choir at Westminster," noted cent offerings in this category -issued in Wake. Opposite another of the anthems the States on the London label -one re- he wrote: "Anthem in confusion: all members particularly Noye's Fludde and irregular in the music." the Nelson Mass.) This year Raeburn's target was the four Coronation Anthems Choral Scholars and a Kettledrum. With composed (in four weeks. we are told) a Decca- London recording team at his by George Frideric Handel for the service. Raeburn resolved to do better crowning of George II in 1727. The than this -with smaller resources. As anthems have never previously been re- compared with the 1727 choir (fifty corded in their entirety; and the music strong), he used thirty -two voices. com- is nobly Handelian all the way. prising sixteen boy trebles from the Col- that features two 404 Stunning equipment cabinet "A capital choice," I observed. "But lege choir school and fourteen adults big pull -out drawers, one for changer/turntable, the ( six other for hundreds of records or tape deck E. your the reference books are at loggerheads four tenors, four countertenors, fingertips. Beautifully accented fronts in cane or match- or noncommittal about the true sequence basses). All the adults were under- ing veneers. 589.50 of the anthems. In what order are you graduates who had come up to Cam- All are carefully crafted from genuine hardwoods and going to record them?" bridge University on choral scholarships superbly finished to match every decor. See the corn - "While not wanting to boast," an- awarded for vocal merit and general plete line at leading Hi Ft dealers or write for free brochure. swered Raeburn, permitting himself a musicianship. While doing the normal smile of modest pride. "I may claim that undergraduate course, choral scholars we're going to record them in the right are required to sing in the Chapel choir order -that is to say: one. The King shall regularly for a statutory three years. CD rejoice; two, Zadok the Priest; three, They and their chief, David Valentine rigiIlals Let Thy Hand be strengthened; four, 414 S. MERIDIAN ST INDIANAPOLIS 25, IND ANA My heart is inditing." Continued on page 28 CIRCLE 17 ON READER -SERVICE CARD 26 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com IF YOU HEAR RUMBLE FROM AN AR TURNTABLE, CHANGE THE RECORD.

Hi -Fi /Stereo Review's Julian Hirsch writes: "... the only rumble that can be heard with the AR turntable, even with the tone controls set for heavy bass boost, is the rumble

from the record itself." John Milder reports on the AR turntable in Modern Hi -Fi:

"...the only time rumble is audible is when it has previously been engraved on a record

by a noisy cutting lathe." Reviews of the AR turntable in Audio, High Fidelity, and in various non -hi -fi publications have reported its exceptionally silent operation.

AR turntables are guaranteed, as a condition of sale, to meet NAB Standards for professional broadcast equipment on rumble, wow, flutter, and speed accuracy. Literature, including reprints of the two reviews quoted from above, will be sent on request.

Q00 331/3 and 45 rpm, complete with arm, oiled walnut base, (JOS6800 and dust cover, but less cartridge

(331/3 only, $66)

5% higher in the West and Deep South

ACOUSTIC RESEARCH, INC., 24 Thorndike Street, Cambridge, Massachusetts 02141

CIRCLE 3 ON READER -SERVICE CARD NOVEMBER 1963 27

www.americanradiohistory.com NOTES FROM ABROAD

Continued from page 26

Ampex introduces Willcocks (Fellow and Organist of King's College and Cambridge University's Lecturer on Music), are spurred on by a a new 4- track stereo formidable tradition. Except perhaps for some interruption during the Puritan revolution, Matins and Evensong have been $299 sung daily in the Chapel since long recorder for before the days of Orlando Gibbons, that great deviser of motets, madrigals, and street -cry tunes, who entered the choir in 1596 as a twelve -year -old. As to the instrumental side of the recording, Raeburn discreetly ignored Handel's reported specification of 160 players and brought in the English Chamber Orchestra, whose constitution for the occasion was: ten first violins, eight seconds, six violas, four cellos, two double basses, three trumpets, two oboes (as against twenty -four in Handel's day! ), two bassoons, harpsichord, chamber organ, and kettledrum. Mr. Willcocks -of recent seasons much in demand on the podium both in and out of London -conducted the assembled forces. By this time he is, of course, thoroughly conversant with the acoustical challenges of the Chapel, and Decca- London engineers have become pretty much at home in this locale too. The reverberations which so readily mul- tiply under the famous Tudor fan - vaulting are tamed for the recording tape by two factors: relatively close -in placement of microphones, and readjust- ments of performance dynamics. An instance of the latter was illustrated by pre- cautions taken with the kettledrum. For- tissimo strokes, whatever the microphone tactic employed, produce an unrecogniz- able whoosh on tape. The practice for the Coronation Anthems was to peg down all kettledrum fortissimos to mezzo - forte and give them microphone boosting. with an introductory offer The question may be asked: if choral recording in King's College Chapel in- volves such niceties, wouldn't it be better of $50 worth of to choose some other place? Official answer: no. Those responsible are convinced that, given the technique long free stereo tape ago worked out and now stabilized, the sound combines clarity with a fine feeling of ancient fane. CHARLES REID Meet the newest stereo tape recorder in town -the UST -4. It's recommended by Ampex engineers as an outstanding value in its price range. And Ampex has this introductory offer: when you buy the UST -4, you get $50 worth of recorded stereo tapes; choose from hundreds American artists had of albums. The total price? Just $299. Here's what you get: 4 -track stereo or 4 -track a conspicuous share recording. Two speeds. A self- contained amplifier /speaker system which includes BAYREUTH in this year's Wagner monophonic Festival. Among those and two 5' x 7' speakers. And you get high quality reproduction of your a stereo amplifier present were: Carlos recorder dealer about it today. Or for a own recordings or recorded tapes. Ask your tape Alexander (an im- coupon. Ampex brochure and a list of the free recorded albums available, please send in the pressive Beckmesser), Corporation, Consumer Products Division. Go stereo tape -start right with Ampex Margarete Bence (Erda), Grace Bumbry (Venus in 1961 and 1962, this year AMPEX soloist in the performance of Beethoven's Ninth under Karl Böhm which opened To: Ampex Corporation, Mail Stop E -1 the festival), Irene Dalis (Kundry), Redwood City, California Grace Hoffman (Fricka), George Lon- Please send me the brochure and li;t of free albums. don (Amfortas), Richard Martell (Melot), Sylvia Stahlman (Blumen- name mädchen), Thomas Stewart (Amfortas), less Thomas (who sang both Walter von address Stolzing and Parsifal). City zone -state Continued on page 34 CIRCLE 9 ON READER -SERVICE CARD 28 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com eini\(------10db ki

500 c s 1,000 c,'s / 2,000 c s

(111# 5,000 c 's ,- 8,000 cis 10,000 c's

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i t , /

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Horizontal Polar Curves of the 12,500 C'S 16,000 cis Quad Electrostatic Speaker.

POLAR CURVES

A good loudspeaker should provide an even distribution over the listening area. It should produce a minimum of output in other directions. There should be no abrupt change of directivity with frequency. A loudspeaker should be chosen by intelligent listening and not by impressive specifications or curves, even good ones like these. Having made the choice, however, it may be interesting to know one of the reasons why. DEALERS ONLY. Specialist high fidelity dealers with demonstration and service facilities are still required in several areas for appointment as QUAD agents. Write for details of this interesting scheme.

FOR THE CLOSEST APPROACH TO THIS ORIGINAL SOUND.

Q1 WRITE FOR AN ILLUSTRATED LEAFLET AND THE NAME OF YOUR NEAREST QUAD DEALER TO ACOUSTICAL MANUFACTURING CO. LTD.. HUNTINGDON. ENGLAND.

CIRCLE 4 ON READER -SERVICE CARD NOVEMBER 1963 31

www.americanradiohistory.com TODAY... A GREAT NEW A GREAT NEW BREED OF THE INCOMPARABLE 1000

THE A -1000T PROFESSIONAL SOLID STATE INTEGRATED 70 -WATT STEREO AMPLIFIER

In much of today's advertising the word great is Amplifier. It is the first integrated amplifier to ex- stretched and strained beyond belief. In the new tend the range of reproduced sound well beyond 1000 Series Harman -Kardon recaptures its full the normal range of hearing - an unprecedented meaning. 10 to 100,000 cps, -+- 1/2 db! But equally important The A -1000T and F -1000T provide the cleanest, -the A -1000T delivers solid usable power across most transparent sound ever achieved in an inte- the entire bandwidth. grated stereo amplifier and FM stereo tuner. Through the use of specially designed high Both reflect Harman -Kardon's years of research power, industrial -grade silicon semi -conductors, in the application of semi -conductors to high fidel- its 70 watts is pure power. Distortion is actually ity design. This new technology breaks through the unmeasurable! performance limitations imposed by vacuum tubes The results (a visit to your dealer will verify and audio transformers in conventional compo- them): tone quality that is totally transparent and nents. It permits the engineer to design to the theo- true to the original; unsurpassed instrument sepa- retical limits of perfection. ration and perfect speaker control (damping) over Consider the A- 1000T, 70- Watt Stereophonic the entire audio spectrum! Use any speaker system

CIRCLE 47 ON READER -SERVICE CARD

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you wish - high or low efficiency - the A -1000T diffused junction transistors, plus a professional will make it sound better. Demonstrably better. D'Arsonval signal strength tuning meter. In short, The F -1000T is the perfect mate for the A- 1O00T. the F -1000T meets the highest professional broad- It is the first FM stereo (multiplex) tuner free of cast standards. drift, distortion, hum, heat and microphonics. With In their striking good looks, both instruments its exclusive STEREO -LOGIC circuit, it even thinks embody the true elegance of totally functional de- for you. This new device automatically switches the sign. (The lower right -hand panel on each unit is a tuner to stereo the instant a station broadcasts hideaway door for all infrequently used controls!) stereo! For a completely documented brochure on these

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CIRCLE 47 ON READER -SERVICE CARD

www.americanradiohistory.com NOTES FROM ABROAD

Continued from page 28

Succès de Scandale. While long-time Wagnerites are by now accustomed to large -scale participation of transatlantic singers in a festival until recently considered the exclusive domain of German and Scandinavian artists, they view some other changes with considerable alarm. Old -guard criticism is mainly directed against Wieland Wagner and certain in- novations he has introduced. This past summer disaffection even led to the hiss- ing of Die Meistersinger. Although the strongest protest concerned the stage production itself -which attempts to restore the lively comedy that Wieland Wagner believes his grandfather intended -exception was also taken to the conducting of Thomas Schippers. The young American had for the most part chosen tempos to which tradition -bound members of the audience were not accus- WHEN OTHER TAPES HAVE RUN OUT tomed. Less conservative listeners found ... his handling of the orchestra wholly in keeping with Wieland Wagner's aims: certainly his brisk attack helped strip the opera of the rather pompous solem- nity which has accrued to it over the years. Schippers had never conducted Die Meistersinger anywhere before. But even conductors with an established Meister- singer routine find it difficult to cope with one problem peculiar to the Fest- spielhaus: they cannot hear the singers most of the time. "I had to learn reading the singers' lips," Schippers said. When I examined the orchestra pit myself, I could clearly see the necessity for this feat. The musicians, buried in the "mystical abyss" covered by a wood- en roof, obviously cannot hear what is transpiring on the stage. They must rely entirely on the conductor, who in turn can very often establish only visual contact with the singers.

Bayreuth Rumors. In spite of (or perhaps because of) vociferous opposition Die Meistersinger turned out to be the AMERICAN'S "PROFESSIONAL LENGTH" most talked about operatic event of the year. Wieland Wagner seems to thrive STILL HAS 25% MORE ON THE REEL on even the most blatant headlines in the German press ( "Bayreuth Scandal of 1963," e.g.). Actually, no advertising Only American's Revolutionary New campaign could arouse more interest in the Festival than the vociferous battle "Professional Length" Tapes offer now going on. It is expected that Bay- reuth -made recordings will also share up to 25% more tape and 25% the advantages engendered by the new publicity. One large recording firm, in more playing time on the standard fact, is said to be already planning for 7" reel. Available in 1500', 2000', next summer a documentation of the Bayreuth Meistersinger: while, accord- 3000' and 3600' reels at little or no ing to current report, it will be a studio - made project, the cast will include the more than you would pay for other Festival's Jess Thomas as Walther, Anja Silja as Eva, either Otto Wiener or Josef leading brands in standard lengths. Greindl as Sachs -and the unorthodox Schippers as conductor. See your dealer or write to: During my stay in the town I heard too of new attempts to have last year's live recording of Parsifal, conducted by 291 S. LA CIENEGA BOULEVARD E L E C T R O N I C S GREENTREE BEVER_Y HILLS, CALIFORNIA Hans Knappertsbusch, made available Continued on page 36 CIRCLE 46 ON READER- SERVICE CARD 34 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com - The Fisher FM -100 -B is incomparable. Compare it:

Fisher Specifications FM -100 -B Tuner A Tuner B Tuner C Tuner D Tuner E Sensitivity (IHFM Standard) 1.95 µv 3.2 µv 2.5 µv 5.8 µv 6µv 2.5 µv Distortion (100% modulation) 0.65% 1.1% 0.9% 2.2% 0.75% 1% Capture Ratio (the lower the better) 3 db 4.2 db 5 db 11 db 7.5 db 3.2 db Frequency Response (50 to 15,000 cps) ±1.5 dbt ±0.5 db ±2 db -±1.5 db ±0.5 db ±1.5 db Channel Separation at middle frequencies 30 db 27 db 35 db 27.5 db 30 db 25 db at 10,000 cps 23 db 18.5 db 17 db 23 db 17 db 20 db+ at 15,000 cps 14 db 11 db 10 db 11 db 12 db (not given) Hum (referred to 100% modulation) -60.5 db -56.5 db -51.5 db -48 db -55 db -54 db

Audio Output 4.3 y 2.1 V (not given) (not given) 2 v (not given) Number of IF Stages 5 2 2 4 4 2 Number of Limiters 4 2 2 4 4 2 Visual Stereo Program Yes No Yes Yes Yes No Indicator (aural) Automatic Mono/ Stereo Switching Yes No No No Yes No Price $249.50* $219.95 $199.50 $189.95 $169.95 $160.00

All data and specifications from "Laboratory Test of Stereo FM Tuners" by Julian D. Hirsch and Gladden Houck, Jr., HiFi /Stereo Review, January & February, 1963. Draw your own conclusions.

r-FREE! $1.00 VALUE! The new 1963 edition of The Fisher Handbook. a lavishly illustrated 44 -page reference guide. idea hook and component catalogue for custom stereo. FISHER RADIO CORPORATION 21 -25 44th Drive. Long Island City 1, N. Y. Please send free 44 -page Handbook. complete with detailed specifications on all Fisher stereo components. Including FM tuners.

Name I

Address I

City Zone State L (1111112-J I MAMO.AMr pALMYr O. DA.MSr. sm.. MRAL oA.IMSr DAIMST. 511.35. MIOM[M m THE P 1 MI wormy r . e., LOMO uuMO CM .V ni TEL A55ocun5, LTD., MuLowoAU, ONT. CIRCLE 44 ON READER -SERVICE CARD NOVEMBER 1963 35

www.americanradiohistory.com NOTES FROM ABROAD ""Iillllll___II!üilulnü::!1 Continued from page 34

for release. Philips sent a team with the finished tapes to Bayreuth in order to have them checked here by the artists concerned. It now appears that only legal problems stand in the way of publication. There is, finally, talk of a Tristan under Karl Böhm, whose 1963 Bayreuth performance was much admired by critics and public alike. Böhm admitted to me the possibility of such a project, but felt that further discussion was premature. KURT BLAUKOPF

Recently an earnest group of representa- PARIS tives from radio organizations in twenty - six countries got together here in one of the modernistic halls CIPHER VII STEREO of UNESCO House. Each had with him tape minutes In so many ways, the new Cipher VII stereo tape recorder is heads above on forty -five of contem- the crowd: records and playsback in 4- track, 3 -speed stereo or monaural, porary music, most of it written by com- records sound -on- sound, and its two full -range speakers are detachable for posers from his own country. For the best positioning. Cipher VII can be played horizontally or vertically, or it next five days everybody listened to can be installed into your present hi -fi system. everybody else's tapes -a grand total of Other professional features of the Cipher VII include: separate volume and eighty -nine works. Then. rising above tone controls for each channel 2 dynamic microphones 2 VU meters patriotism and the numbness induced by editing facilities tape index counter auto, reel -end so much new sound, they voted. shut -off 10 watt output two -tone cabinet with brushed CEP The top honor went to Tadeusz Biard, aluminum control panel. $274.95 of Poland, for his Variations sans thènre For brochure and name of nearest Cipher dealer. write to: INTER NARK pour orchestre symphonique. Also liked INTER -MARK CORP., Dept. HF, 29 West 36th Street, New York 18, N. Y. were compositions by Romuald Twar- CIRCLE 50 ON READER -SERVICE CARD dowski. another Pole; Niccolo Casti- glioni. of Italy; Jean -Louis Martinet, of O DOWNTOWN CHICAGO DOWNTOWN CHICAGO France. and Tohru Takemitsu, of Japan. O 0 When the forum broke up, each radio \\ I l l t Q i organization was committed to broad- V Fora week or weekend- l l O drive -in free park- casting during the 1963 -64 season a \\ Overlooking,/ '% V ing. Free wake -up ÿ minimum of six of the eighty -nine corn- Z Ai coffee -ice cubes- Grant Park - O positions presented (not necessarily the í`TV, radio. Free Cour- - victors in the voting). When possible, a _ at a concert will O and = z live performance public tesy Car service. be given. but for most of the works a if,, Swimming pool, room ' Lake 2 tape from the originating station will be service. Famous Café 3 . i^1 used. French Market and '/ Michigan \ D 0 Progeny of the IMC. This exchange, L entertainment. Sen - "iltllt% \\\\ O which began in 1954 with only four na- sible rates. Call us tions participating and is now probably today. Motel atmos- 0 doing more than a dozen festivals could phere, Hotel facilities. do to bring new music to the public, Z is organized annually by an energetic Just south of the O outfit called the International Rostrum Conrad Hilton of Composers, whose chairman is conductor Pierre Colombo (also deputy director Phone: of Radio Geneva). The Rostrum is one WAbash of the numerous brain children of the ASCOT International Music Council of the 2 -2900 -one strangest and most wonderful organiza- HOUSE tions in the strange and wonderful world of music organizations. The IMC was created in 1949 through the agency of UNESCO, and now occupies a couple of small offices at 6 rue Recommended by AAA, Best Western. Franklin, Paris I6e, not far from where Make reservations directly with each mo- philosophe put up his first tel or through Travel Agents, Best West- the American ern or Quality Courts. lightning rod. Being nongovernmental, Its mem- Write now for Reservations, Dept. 164. it is in, but not of, UNESCO. bers are the national music committees Nearest to McCormick Place, Conn ention countries, ten specialized interna- and Entertainment Centers. of forty tional groups (the Folk Music Council, p MICHIGAN AVENUE at 11TH STREET o DOWNTOWN CHICAGO DOWNTOWN CHICAGO Continued On page 38 CIRCLE 13 ON READER- SERVICE CARD 36 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com plays your precious records with a light, gentle touch

you Whether use your Miracord as a manual turntable, an auto- Incredibly quiet, smooth and gentle, the Miracord brings out the matic turntable or an automatic changer; whether you play best in your records with every play, and preserves that quality stereo or mono; you enjoy the same gentle quality, the same, for long- lasting enjoyment. flawless performance that has made Mirocord first choice in the Before ycu choose a record player for your system, be sure finest consoles and component systems. to see anc hear the Miracord at your high fidelity dealer. Model It is the only unit of its type obtainable with self -regulated, 10H with hysteresis motor, $99.50; model 10 with 4 -pole induc- constant -speed hysteresis motor, the only one with c one -piece, tion motor, $89.50 (less 12 -inch turntable and mass -balanced tane arm employing no cartridge and base). For rBENJAMIN springs, and the only one with feathertouch pushbutton control. complete de-ails, write to: inn IRACORCO

BENJAMIN ELECTRONIC SOUND CORP., 80 SWALM SE.. WESTBUP,, US' SOLE J 5. DISTRIBUTOR FOE MIRACORD TURNTABLES, E.AC CARTRIDGES AND OTHER ELECTROACUSTICS RECORD PLAYING COMPONENTS. www.americanradiohistory.com NOTES FROM ABROAD ENGINE E RI NG BREAKTHROUGH Continued from page 36

ELLIPTICAL STYLUS for example), and ten individuals, of whom the best known are Shostakovich. EXCLUSIVE Kodály, Menuhin, and Milhaud. The art president is Mario Labroca, but the day - with by-day activity is supervised and often initiated by two men who in themselves "SEPRA- SPECTRUM SOUND" practically constitute the IMC's working forces: executive secretary Jack Bornoff. design improve- Now the long ac- tic an Englishman, and associate secretary ment in years mini- knowledged supe- John Evarts, an American. stylus mizes pinch effect, rior elliptical Mr. Bornoff was away on a mission made inner groove distor- is a reality, the morning I dropped by the office, possible by Ortofon tion, bottoming and and I talked with Mr. Evarts, a large Engineering in con- reduces phase dis- with its tortion -long major Yale man who is a pianist, a former junction professor at Black Mountain College in diamond supplier. This most drama - problems of Pick -Up Manufacturers. North Carolina, a onetime "music of- PINCH EFFECT INNER GROOVE DISTORTION ficer" in the Military Government of oc- occurs when as illus- .. occurs when the modulations of the record trated in the drawings at groove are so severe and the angle so acute that a cupied Germany, and an admirer of the left, the cutter, while mov- conventional sized spherical stylus cannot maintain koto and the Yale Whiffenpoofs. What. ing from side to side in continuous contact with both sides of the groove at I wanted plotting a wave form, left the correct velocity. to know, does the International much a groove of varying width, It should be noted that there is just as Music Council actually do? which literally forces he playback stylus upward recorded information on the innermost groove of a at the narrower portion of the groove. Since stereo record as there is on the first. In less than 50 °a cartridges have vertica as well as horizontal com- of the space! pliance, this undesirab e motion creates an output The elliptical stylus is far better suited to trace by the cartridge which manifests itself as "second these severe modulations than the conventional sized Tangible Labors. "Well." he said, "we re spherical stylus. harmonic distortion." a catalytic agent. Since we have to get stylus essentially has the BOTTOMING Since the elliptical along on dues from our members. which same shape as the cutter, it traces the actual path This can occur when made by the cutter with the sides of the record. record groove is either are not always paid. and on a relatively stylus maintains the same tangential not perfectly "V" shaped The playback siis too wide for the contact with the groove walls as the side of the te stylus used. Distor- small sum UNESCO gives us. we do not while cutting the groove. tion Is Introduced if the A stylus In A stylus out cutter did stylus tip, tact. the proper post of Control be- have the money to do much ourselves. This is not true with a spherical stylus, since its bottom r ' the groove Clon In wet cause Of . while not maintaining Cut croon.. rounded and So we get other people, who do have tangential angle of contact with the record grooves proper contact with the poorly armed will vary as illustrated in opening paragraph. groove walls. groove. money, to do things we think ought to LPA be done. The exchange of contemporary There is more in store for ELPA MARKETING INDUSTRIES, INC. by radio stations is a good ex- '64. Write Dept. HF -11. Ortofon Division, New Hyde Park, N.Y. music ample. We organize international festivals, conferences. congresses. and semi- 40 ON READER -SERVICE CARD CIRCLE nars. and report on them in our bulletin, The World of Music. Our next big con- gress, to be held in Hamburg next year from June 16 to June 24, will concentrate on music theatre, and while the sessions are going on the Hamburg Opera will stage a festival of works by y Berg, Britten, Dallapiccola, Henze. Pro- kofiev. and Stravinsky. among others. We also, as you probably have noticed, 41. make suggestions for recordings by commercial companies and then help with publicity and allow the use of the HOW FAR WRONG (AN YOU GO FOR $1 A YEAR! UNESCO stamp on the product." Discs brought out under the aus- to sell, buy or swap used high fidelity speakers, Eager pices of the IMC (many of them re- turntables, tuners, records, etc.? amplifiers, cartridges, viewed in HIGH FIDELITY) include works bulletin: The BUY- SELL -or- Turn to our monthly by Dutilleux, Petrassi, Boulez. Nono, SWAP NEWSLETTER. Stockhausen. and Webern. issued by If you want to SELL -classified listings of used equip- Véga; the "Musica Nova" series of ment and records cost only $1 per ad -limit 30 words Deutsche Grammophon; the "Storia including name and address. No dealer ads accepted. della Musica Italiana" issued by RCA Italiana; and the "Contemporary Spanish If you want to BUY-lots of bargains offered in the Music" and Spanish folk music series 50 or more ads that appear here every month. Sub- brought out by Hispavox. scription price: only $1 a year! Now under way is a monumental of the how far wrong can you go for UNESCO musical anthology If you're audio-minded, Orient, which is being edited by the the form below today! SI? Fill in and mail IMC under the direction of Alain Dan- iélou, a French specialist who lived in HIGH FIDELITY, Dept. CE Enclosed is my payment for S the Far East for twenty -four years. Barrington, Mass. Great Insert the following 30 -word adver- It is being issued by Bärenreiter- Musica- Rec- Start my subscription to your BSS tisement (including name and address) in phon (stateside address: Musurgia Newsletter with the next issue. (Only $1) the next issue of the BSS Newsletter. ords, 309 West 104th St., New York, (Type or print plainly.) ($1) N.Y. 10025). The albums devoted to

Name i the music of Laos, Cambodia. Afghanis- tan, Iran, and India have already ap- Address peared; those covering Tunisia and Japan are scheduled for release early next year. City State _ ROY MCMULLEN

MAGAZINE 38 HIGH FIDELITY

www.americanradiohistory.com Now you know why you waited

KLH has just introduced a new speaker system multi -speaker system, of a revolutionary technique which - the Model Fourteen - designed to accomplish two we call frequency contouring. This technique was pioneered objectives: - to reproduce music (1) with less distortion by KLH in the now famous Model Eight FM Receiving and (2) with more bass than has heretofore been possible System and Model Eleven Portable Stereophonic Phono- for a small speaker system. Inside the compact enclosure graph - each generally conceded to be the finest example of this new speaker are a number of vital departures from of its class yet produced. Incorporated in the Model any speaker system ever produced before. Fourteen is a passive electronic network which reshapes The Model Fourteen employs two extremely com- the power output of any conventional amplifier to match pliant full -range speakers. The diameter of their cones is exactly the low frequency power requirements of the only 3 ". Their maximum excursion is 3/8". This excursion speakers, so that their response curve remains flat far below is controlled by the highest ratio of magnet power to its normal roll -off point. cone lightness ever engineered into a loudspeaker. This technique can only be applied successfully There are a series of problems involved in achieving with speakers whose low frequency response is held good bass response in a small speaker system. First, all precisely to a profile of certain specific characteristics. speakers roll off in the bass region. Small speakers have Only because the speakers used in the Model Fourteen higher resonant frequencies and roll off at higher fre- - including their impregnated paper cones - are designed quencies than large speakers. But a large speaker is not and manufactured in our own plant can they be held effective in a compact enclosure. The conventional small to the rigid uniformity required for the use of frequency speaker is no better, since it cannot move enough air to contouring. No commercially supplied cones have the produce respectable bass. necessary uniformity. No other manufacturer of small In the Model Fourteen, part of the answer is a full -range speakers produces its own cones. small speaker with a very powerful magnet and long excur- The result is a range and quality of reproduction sion. This provides two great advantages - the ability to you have never heard before in a compact speaker. The move large volumes of air, and the precise control over Model Fourteen, at any given level of overall loudness, cone movement necessary for freedom from distortion. It will deliver more bass power, at lower frequencies, with also provides a problem, however, since the damping effect less distortion than any other speaker system in the same of the heavy magnet increases at the lower frequencies. range of cost or size. This reduces the bass output of the speaker. The Model Fourteen's dimensions are 18" x 14" The rest of the answer is the first use, in a small x 331 ". The price is about $50. Wait no longer.

1.°.° ..I

4. I.....

KLH RESEARCH AND DEVELOPMENT CORPORATION

30 CROSS STREET. CAMBRIDGE 19. MASSACHUSETTS

CIRCLE 55 ON READER -SERVICE CARD NOVEMBER 1963 39

www.americanradiohistory.com ALABAMA OAKLAND Lloyd's Hi Fi Shop MASSACHUSETTS NEW BRUNSWICK Macy PENNSYLVANIA True Recordings Co. 410 S. Colorado Blvd. BOSTON Hi Fi Haven Herald Square B IRMINGHAM 3883 Piedmont Avenue 28 Easton Avenue PHILADELPHIA Ack Radio Supply Co. Sound in the Round De Mambro Radio Packard Electronics Radio Electric Service 3101 4th Avenue, So. ORANGE 562 S. Broadway 1095 Commonwealth PARAMUS Corporation Co. of Penn. Fidelity Sound Bamberger's CONNECTICUT Avenue 33 Union Square West 701 Arch Street ARIZONA 238 South Glassell CAMBRIDGE Garden State Plaza Rabsons -57 Street Inc. HARTFORD Gem Electronics SWARTHMORE PHOENIX PALM SPRINGS Minute Man Radio 119 West 57th Street Hi Fi Studio Pat Barbara Music Stereo Shop Inc. 28 Boylston Street 385 Route 17 Audio Specialists 229 Asylum Street Sonocraft 8 Park Avenue 333 E. Came!back 121 S. Palm Canyon Rd. PLAINFIELD HOLYOKE 115 W. 45th Street WILLOW GROVE Bruces World of Sound PALO ALTO NEW HAVEN Del Padre Audio Lafayette Radio Electronics Terminal Hudson Radio Electric Service 2711 E. Indian Sch. Rd. Mard ix David Dean Smith 270 High Street Electronic's Inc. Co. of Penn. El 139 W. 2nd Street Electronic Center Inc. 2103 Camino Real 262 Elm Street NORTHAMPTON 48 West 48th Street 29 York Road SHREWSBURY 3400 E. Thomas Rd. PASADENA DELAWARE Del Padre Audio Terminal Hudson High Fidelity Sound Electronic Components 28 Main Street Federated Purchasers WILMINGTON 483 Electronic's Inc. RHODE ISLAND Systems of Pasadena SPRINGFIELD Broad Street 212 Fulton Street (Formerly Dow Radio) Radio Electric Service CRANSTON 1809 E. McDowell Del Padre Audio SPRINGFIELD Soundco -rams 1759 E. Colorado Blvd. Co. of Delaware ROCHESTER TUCSON 999 Worthington St. Federated Purchasers Craig Audio Labs 758 Reservoir Avenue House 3rd and Tatnall Street U.S. Route 22 The Sound Shop High Fidelity Soundco Electronics 139 North Union Street 4659 E. Broadway 563 S. Fair Oaks DISTRICT OF 147 Dwight Street Gem Electronics TENNESSEE Route :22 SYOSSET, L.I. Stereo Mart COLUMBIA WELLESLEY Lafayette Radio KNOXVILLE 3205 E. Foothill Blvd. ARKANSAS WASHINGTON, D.C. Music Box TOTOWA BOROUGH Electronics McClung Appliances LITTLE ROCK REDONDO BEACH 58 Central Avenue Sim.orama Sound 111 Jericho Turnpike 310 Georgia Street. N. E. Custom Hi Fi Service Moses Griffey Electronics 1811 Columbia Rd. N.W. TUCKAHOE MEMPHIS 505 Main 235 N. Pac. Cst. HiWay 572 Union Blvd. Electronic Wholesalers MICHIGAN Boynton Studio's W & W Distributing Co. RIVERSIDE 2345 Sherman Ave.N.W. ANN ARBOR TRENTON 295 Main Street 644 -46 Madison Avenue CALIFORNIA House of Hi Fi Audio Designers Kitt Music Company The Music Center WHITE PLAINS ANAHEIM 4010 Merrill Street 304 S. Thayer Street 961 Princeton Avenue Music 1330 G Street, N.W. The Audio Exchange TEXAS Allied World of SACRAMENTO DEARBORN WESTFIELD 203 Mamaroneck Ave. 912.916 S. Euclid Shrader Sound AUSTIN Industrial Sound & Almas HiFi Stereo Stuart's Audio High Fidelity Radio 2803 M Street, N.W. 17 Elm Street YONKERS Henry Telephone 15031 Michigan Ave. Gem Electronics 1610 Lavaca 931 N. Euclid Avenue 2001 El Camino Ave. FLORIDA DETROIT NEW MEXICO 1937 Central Avenue BEAUMONT Stereo Mart McCurry Camera Stores FT. LAUDERDALE Almas HiFi Stereo Brock Audio 979 S. Los Angeles St. 8th and Eye Street ALBUQUERQUE High Fidelity Associates 7104 W. 7 Mile Road Sound By Hi Fi House OHIO 2293 Calder AZUSA McCurry Camera Stores 1620 N. Federal Hwy. High Fidelity Workshop 3011 Monte Vista AKRON Rancho Sound Co. DALLAS Country Club Center MIAMI 16400 W. 7 Mile Road Blvd., N.E. Olson Electronics, Inc. 18532 E. Alosta Ernstroms McCurry Camera Stores Electronic Wholesalers Lobby Hobby LAS CRUCES 69 West State Street 4356 Lovers Lane B AKERSFIELD Southgate Center 9390 N.W. 27th Ave. 17300 Woodward Milligan's Audio Visual Ave. Mannié s TV CINCINNATI Hillcrest High Fidelity SAN BERNARDINO Flagler Radio Co. 802 S. Solano Customcrafters Audio 217 S. Chester 6309 Hillcrest George Barns & Son 1068 West Flagler St. Electronics 2259 Gilbert Avenue Home B ERKELEY NEW YORK MusicAssociates 3358 N. "E" Street High Fidelity Associates 20700 Hubbell Avenue Steinberg's 4518 N. Central Thos Tenney Hi Fi Shop 3180 Biscayne Blvd. BRONX 633 Walnut Street 2984 College Avenue SAN DIEGO Pecar Electronics Expressway Electronic Equipment High Fidelity Associates 11201 Morang Gem Electronics CLEVELAND B URBANK Way 565 East Fordham Road EL PASO Distributors 3396 Coral EAST LANSING Audio Craft Company The Howell Company Audio Mart 3686 El Caton Blvd. Sound Box Lafayette Radio 2915 Prospect Avenue W. Magnolia Tape Recording Ind. 2873 Pershing Drive 921 Blvd. High Fidelity House 11503 S. Dixie Hwy. Electronics 1101 E. Grand River Olson Electronics FT. WORTH B URLINGAME 1635 University Ave. PENSACOLA 542 East Fordham Road of Cleveland Foremans GRAND RAPIDS Audio Associates Recording Center Once Electronics B ROOKLYN 2020 Euclid Avenue 1409 Burlingame Ave. Audio Distributors The Audio Exchange 4802 Camp Bowie 3941.5th Avenue 300 E. Wright Street 2342 S. Division Ave. Olson Electronics VALLEY 1065 Flatbush Avenue HOUSTON CASTRO Tetrad Electronics TAMPA -Southland Calbar Custom Electronic Sound Gem Electronics Audio Center 3453 University Ave. Viviano Stereo Center 2249 S. Division 6813 Pearl Road 1424 Electronics 1538 Dale Mabry 59 Willoughby Street Westheimer Wrights House of Hi Fi S. COLUMBUS 3223 CastroValley Blvd. B UFFALO Busacker Electronic 5140 El Cajon Blvd. MINNESOTA Electronic Supply Systems CULVER CITY IDAHO FM Sound Equipment 814 West 3rd Avenue Electronic Trading Post SAN FRANCISCO IDAHO FALLS MINNEAPOLIS 1241 Main Street 1216 West Clay 4364 Sepulveda Blvd. Lakeshore Hi Fi Hart's Inc. Audio King Jimmy Rea's Hi Fi Kit Shop Portal Avenue 913 West Lake Street Purchase Radio & 479 West Rich Street Hi Fi Matic Company 222 W. 633 Safstrom Drive HFi Corp. 2326 Bissonnet Hirsch & Kaye Palmer Electronics 5554 Sepulveda Blvd. Skinner MISSOURI (Lafayette Radio Sound Equipment Co. FRESNO 229 Kearny Street ILLINOIS Associate Store) 1589 W. Fifth Avenue 2506 Crawford Street Bradford Zack Electronics AURORA KANSAS CITY 747 Main Street DAYTON Stephenson BursteinApplebee Co. Sound Equipment Co. Music Co. 1424 Market Street Cook's Hi Fi FARMINGDALE, Custom Electronics 3727 Westheimer 47 Fox 1012 McGee Street L.I. 624 W. Olive SAN MATEO Street Gem Electronics 1918 South Brown St. Burstein -Applebee Co. LAREDO FULLERTON Foreman's CHAMPAIGN 34 Hempstead Turnpike Klopf's Music Shop Cowl's Music Center Radio Doctor's Hi FI 301 East 55th Street Pacific Recorders I 1 1 East Fourth Ave. FOREST HILLS 323 Salem Avenue 1212 Hidalgo 811 W. Springfield Improved Method's 1532 W. Commonwealth Foreman's Gem Electronics FAIRBORN MIDLAND GARDENA 202 Hillsdale Mall CHICAGO Corporation 101.10 Queens Blvd. Custom Electronics Allied Radio 8325 Wornall Road May-Duncan Music Stereo Hi Fi Center SAN PEDRO Corp. HUNTINGTON STA., LI. 419 West Dayton Drive 219 N. Main 13996 S. Crenshaw Bowers Music 100 N. Western Ave. McGee Radio Co. Rite Electronics KENT Allied Radio Corp. 1901 McGee Street Midland Camera Co. GARDEN GROVE 810 South Gaffey 1946 New York Avenue Dayho Electronics 317 N. Colorado State Electronics 2025 West 95th St. ST. LOUIS 411 Longmere SAN RAFAEL Allied Radio JAMAICA, L.I. SAN ANGELO 13225 Harbor Blvd. Catania Sound Corp. Aeolian Co. of Missouri The Audio Exchange SPRINGFIELD 921 North Rush St. 1004 Olive Street Accurate Sound GLENDALE 1541 Fourth Street 153.21 Hillside Avenue Gene Tavenner 15 N. Tyler Medico Electric Labs Educational Specialists Aeolian Co. of Missouri Radio 32 E. Harding SANTA ANA 915 W. Wilson Ave. Lafayette 1111 E. Chevy Chase Dr. 39 Crestwood. Plaza Electronics SAN ANTONIO Campbells Photo.Audio Freid's YOUNGSTOWN Bill Case Sound Aeolian Co. of Missouri 165-08 Liberty Avenue Hi Fi Radio Lab Center 3801 W. 26th Center 3522 Broadway 806 S. Central 2122 N. Main Street 7754 Forsyth Blvd. MANHASSET 2802 Market Street Musicraft Sterling Electronics Van Radio - The Audio Exchange GOLETA Hi Fidelity Associates 48 E. Oak Street Sickle 3903 San Pedro Electronic Components 1812 N. Main Street Electronics, Inc. 451 Plundome Road OKLAHOMA NewarkElecironicsCorp 1113 Pine Street Vandergrift Audio Co. of Oxnard SANTA BARBARA 223 West Madison NEW YORK NORMAN (Formerly Dow Elec. Audio Unlimited Thomson Sound 6740 San Pedro Audio Center Ralph's Hi Fi tronics) 3321 State Street NEBRASKA 715 2nd Avenue 315 W. Boyd 1505 S. Oxnard Blvd. 5310 W. North Ave. UTAH Electronic Components Schwartz Bros. OMAHA Carston Studios OKLAHOMA CITY HOLLYWOOD J B Electronics OGDEN of Santa Barbara 8533 S. Cottage Grove 125 East 88th Street Audio Specialties Franklin Electronics (Formerly Dow Elec- Hi -Fi- Stereo Consolidated 2608 N. Pennsylvania Hi Fi Shop EVANSTON 1618 Cass Street of California tronics) Radio Sales Larsen Music Co. 2323 Washington Blvd. 5945 Gregory Avenue 5857 Hollister Avenue Allied Radio Corp. 768Amsterdam Avenue 602 Davis Street NEVADA 314 Park Avenue SALT LAKE CITY INGLEWOOD Westen's. Inc. G. Schirmer TULSA Clark Music Newark Electronics Co. 800 State Street OAK PARK LAS VEGAS 4 East 49th Street 28 East 1st South W. Allied Radio Corp. Music Sound Unlimited 4747 Century Blvd. Garehime George F. Webb Sales SANTA MARIA 7055 W. North Ave. 115 N. 3rd Street Gem Electronics 3745 S. Peoria Olson Electronics Electronic Components 202 East 44th Street 937 E. 33rd South St. Inglewood of of Santa Maria INDIANA RENO Harvey Radio Co. OREGON House of Music 4642 W. Century Blvd. Art Rempel Sound (Formerly Dow Elec. INDIANAPOLIS 103 West 43rd Street EUGENE 156 South Main LA CANADA tronics) Supply Co. Pearson Platters 460 S. Wells Avenue Harvey Radio Co. Oregon Typewriter Audio Corner 222 W. Main Devington Center 1123 6th Avenue & Recorder WASHINGTON 655 Foothill Blvd. TUJUNGA Hi- Fidelity Center 1111 Willamette Street BURIEN LANCASTER Woodall Cameras IOWA NEW JERSEY ALLENTOWN 1797 First Ave. PORTLAND Hess Recorder Co. Loewen and Sons 7165 Foothill Blvd. WATERLOO (at 93rd St.) High Stereo Center 755 Lancaster Blvd. Federated Purchasers Fidelity Unlimited VISTA Farnsworth Electronics Leonard Radio Inc. 2816 S.W. Sam 650 S.W. 152nd Street 201.205 E. Mullan 1113 Hamilton Street LIVERMORE T.V. Craftsmen Ave. 69 Cortlandt Street Jackson Park Road LYNNWOOD Calbar Custom 516518 E. Vista Way CAMDEN KANSAS Radio Electric Service Leonard Radio Oregon Typewriter Cascade Electronic Electronics WALNUT CREEK 2184 First Street DODGE CITY Co. of Penn. 1163 Avenue of & Recorder Stevenson Electronics 30 Market Street the Americas 500 S.W. 5th Avenue P.O. Building LONG BEACH 1531 Street Dodge Music locust 203 First Avenue Lyric High Fidelity Oregon Typewriter RICHLAND Scott Audio Company WHITTIER CLARK 20th Century Sales 266 Alamitos Scholl Electronics Center & Recorder Oxbow Electronics KENTUCKY 1113 Raritan Road 1221 Lexington Avenue 1061 Lloyds Center 260 Williams Blvd. LOS ALTOS 15914 E. Whittier Blvd. LOUISVILLE CRANFORD SEATTLE Audio Center WEST LOS ANGELES Gatchel's Eleclricraft 293 State Street Stuart's Audio 1408 6th Ave. Bel Air Camera 431 W. Walnut St. 8 Alden Street Here's where to LOS ANGELES 933 Westwood Blvd. SPOKANE Beverly Electronics Co. LOUISIANA JERSEY CITY 20th Century Sales 8413 Beverly Blvd. BATON ROUGE Massa Sales & Service COLORADO 434 Central Avenue see and hear the new W. 1021 First Avenue Crenshaw Hi Fi Center BOULDER Ogden Park Record TACOMA 107 Santa Barbara Pl. House of Music Shop LYNDHURST Paulson's 618 N. 3rd A Custom Stereo Center Ampex Fine Line F -44. Electronic Components 1779 29th Cross Roads, 530 Riverside Avenue 1101 South K Street of Westwood North LAFAYETTE Paulson's MENLO PARK 2008.18 W estwood Blvd. COLORADO "Prof" Erny's Music 6111 100th S.W. SPRINGS 1508 S. College Bamberger's Henry Radio Dick Jurgen's High Parsonage Rd. 11240 W. Olympic Blvd. Fidelity and Sound SHREVEPORT WISCONSIN 530 South Tejon Koelemay Sales Co. MONMOUTH Hi Fi Corner 2530 Linwood Avenue Bamberger's MILWAUKEE 7901 Melrose Avenue DENVER EatontownShoppingCtr. Allied Rad io Corporation Hi Fi Corner BursteinApplebee Co. MARYLAND 3555 S. 27th Street 1237 16th Street MONTCLAIR 669 N. Fairfax BALTIMORE Perdue Radio Company Allied Radio Corporation Magnetic Recorders Co. Davis Audio.Visual, Inc. Hi Fi Shop 10 South Park Street 5314 N. Pt. 2149 South Grape St. Washington Road 7140 Melrose Avenue 320 W. Baltimore St. MORRISTOWN Ralke Company Electric Accessories Co. High Fidelity House Paramount-Morristown Flanner and Hafsoos 849 N. Highland Ave. 1620 Blake Street 5123 Roland Avenue TV & Radio Sales 2500 N. 108th Street MENLO PARK Electric Accessories Co. BETHESDA 33 South Street Hi -Fi Center McDaniel's Hi Fi 262 Fillmore Street Audio Center NEWARK 4236 W. Capitol Drive 935 El Camino Real Empire tereo & Hi Fi 4962 Fairmount Ave. Bamberger's Photoart Visual Service NORTH HOLLYWOOD Center SILVER SPRINGS 131 Market St. 840 N. Plankinton Ave. Chesney Stereo Center 1100 Broadway Federated Purchasers Lafayette Radio Wack Sales Co. 11335 Camarillo Gramophone Shop 1310 Apple Avenue Electronics .,V1 PI_ X 3131 W. North Avenue Olson Electronics of 2904 E. 3rd Avenue TOWSON 24 Central Avenue RACINE N. Hollywood Howard Sound Corp. Hi Fi Shop Sound Reproduction Edward's Sound 5356 Lankershim Blvd. 843 Broadway Towson Plaza 34 New Street 856 Washington CIRCLE 9 ON READER -SERVICE CARD 40 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com What new recorder is virtually custom- built? AMPEX F -44

The F -44 is a brand new 4 -track stereo recorder from response curve, the signal -to -noise ratio, the flutter and Ampex. It's Ampex through and through. And there's this, wow, and the crosstalk rejection measurement. And it is too: at every stage of manufacture Ampex tunes, adjusts signed by the Ampex engineers who tuned and adjusted and aligns each F -44 to obtain its maximum performance - your recorder. The new Ampex Fine Line F -44 also features far beyond minimum specifications. Thus, no two F -44s a new specia design hysteresis motor for smooth, quiet. are quite alike. Each is vi- tually a custom -built re _order. accurate operation; an easy -to read point -to -point record Each performs to the utmost of its capabilities. And each level meter 'or each channel; multiple sound -on -sound gives you the best possible sounds today -and fo- many capability; new simplified controls; and the Ampex one year years to come. As an F -44 owner, you'll receive from warranty. See and hear the new F -44 at your local Ampex Ampex a record of the individual performance specifica- dealer (listed opposi'e). Brochure? Write: Ampex Corpor- tions of your own F -44. This record shows the frequency ation, Redwood City, Calif. Worldwide sales and service. CIRCLE 9 ON READER -SERVICE CARD NoVEMHEIt 1963 41

www.americanradiohistory.com Now there are two Troubadors

The New Empire 498 - No Larger Than A Record down. (Dimensions: 15'43" wide x 131/4" deep . .. height Changer ... Every Inch A Troubador. The model 498 required above mounting board 23/ "; depth required below is tailor -made for console or equipment cabinets. Record turntable base plate playback in console cabinets has special problems. Acoustic The Famous Empire 398. Outstanding! Too perfectly en- feedback, for one. Because of the close proximity of turn- gineered fer even a whisper of distortion . too hand- table to speaker, stereo equipment often "talks back." Not somely finished to hide behind cabinet doors. The response too long ago, Audio Magazine tested the Empire Troubador of the country's hi fi magazines to the Empire Troubador . they reported: "We tried to induce acoustic feedback says it as well as we could. High Fidelity, for example, by placing the turntable on top of our large speaker system reports: "The 'Troubador' represents a precision -engineered and turning up the gain -WE WERE UNSUCCESSFUL." product of the highest gaality . .. wow, TROUBADOR factors important to cabinet owners are s :ab.lity and Rutter and rumble completely inaudible Other TABLE OF CONTENTS level requirements. Many turntables call for a perfectly level first -race audio components: hum E surface, and the jars and jolts of heavy footsteps or acci- field comp etely negligible . . . speed me ,ei, e °. "° w S' a in accuracy very 1."mae 0.0"' dental bumps can jump some arms even the most stable g ood...maximum tracking °,n' m .. of cabinets. Stability under virtually any conceivable situa- error of the arm was judged to be neg- ;^ urnal.11 " tion is assured by Empire's sensational "Dyna-Mount' ligibly small . . very low needle talk, .M""rc"'e,le,rt0 itrM per;", 1n, ."wnr (vibration- absorbing multiple -floating suspension system). minimum hum pickup clean response o, ",1,1, . As for levelness ... the New 498 Troubador with more one of the fines:, handsomest record C;,ne'ut "'" ease °'" !9° "Ill3110 perfect balance, tracks and plays even while turning upside players available." 398 - $190 For a demonstration: see local Hi Fl dealer / For complete literature write Empire Scientific Corp., Dept. H., Garden City, N.Y.

FEMPIRE "World's Most Perfect Record Playback System."

EXPORT: EMEC, PLAINVIEW, L. I , N. Y. CANADA, EMPIRE SCIENTIFIC CORP., LTD., 1051 EGLINGTON WEST, TORONTO CIRCLE 41 ON READER -SERVICE CARD 42 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com HIGH FIDELITY

B Y N O R M A N E I S E N B E R G NEWSFRONTS Stereo in the Windy City. If one accepts are immersed in transistor technology. catalogue has grown to the point where the "megalopolis theory" of cities and Spokesman Earl Broihier showed us pro- it no longer is feasible to issue it in a allows that Chicago includes the south- totypes of a new solid -state tuner and single volume: there are now two -one western corner of Michigan (specifically, amplifier while an engineer told us that concentrating on consumer equipment. Buchanan and St. Joseph, which are re- "we can hear the difference between one on professional and industrial equip- lated to the city proper by super high- solid -state equipment and equivalent -rated ment. Jules Rubin explained this as he ways), then the "hog butcher of the tube equipment, but proving it in terms led us on a tour of Allied Radio's vast world" can be said to have become of test numbers will take some doing. stock rooms, with their long conveyer "components supplier for the world" as The industry may have to develop new belts carrying colored baskets filled with well. For if the specific products made tests for transistorized components." electronic merchandise. The color of the by such companies as Electro- Voice, Interest in solid -state is evident too basket triggers a gate along the con- Heath, Jensen, Knight, Sherwood, and at Sherwood, where vice -president Ed- veyer route and channels the order to Shure are not enough, virtually anything ward Miller voiced his conviction that its proper destination according to made by anyone else can be ordered transistors make it feasible to design in- whether it is a mail -order or over -the- from that giant of audio retailers, Allied tegrated amplifiers of higher power, counter sale. Besides this retail operation, Radio. cleaner response, and less heat produc- Allied. of course. has its own Knight -Kit On a recent tour of the area we made, tion than existing tube designs. During line which is designed and engineered in we found that sheer quantity and variety our visit to the Chicago plant, Mr. Mill- its own modern plant several miles away. were not its only distinguishing features. er showed us a speaker system in the There is. we discovered, a very real dis- It is, in fact, a breeding ground of new making. Built around five drivers, the tinction between the Knight -Kit and the ideas in sound reproduction and in forthcoming Sherwood "Tanglewood" Knight lines. Knight -Kits comprise an methods for manufacturing components. will be larger than a compact -closer to original. proprietary line. Knight equip- At Electro- Voice, for instance, produc- the "medium size" system that seems to ment has no relation to Knight -Kits; duction techniques vary from the fab- be coming up in the lines from several rather, it is equipment made by other rication of speaker frames (they originate manufacturers (Wharfedale, Fisher, and manufacturers for sale under the Allied as molten metal in huge vats) to the Electro- Voice, for instance). Because of Knight label. What then are wired ver- delicate etching of the circuit boards its bass output, Mr. Miller refers affec- sions of Knight -Kits called? That's sim- the in that comprise dividing networks tionately to this newest Sherwood speak- ple: there are none. However. in true systems. E -V vice speaker -president er as "our earthquake machine." Knight(ly) fashion, taking things in to us Lawrence LeKashman pointed out A room that might resist earthquakes, stride, a spokesman told us that if ever in speaker that a "revolution the indus- aside from its audio uses, is the anechoic there were, they could be called Knight - try has taken place -not in the basic chamber at Shure Brothers in Evanston, Kits- wired. techniques for producing sound but in Illinois. Actually, this is a room within a We the process of making speakers. have room -the inner chamber being shock - Signature V. The legend that nothing is literally taught ourselves how to produce mounted and isolated from the outer too big or expensive for Texans is given a speaker that is better today, but costs shell so that it actually "gives" a little if new support by the Ampex Signature V, no more, than a speaker made five years you push against it. Another novel room an audio -video console on display for ago. This may not be the dramatic 'break- at Shure is one in which no two walls are Christmas shoppers at Nieman -Marcus of through' some talk about, but it is mean- of equal dimensions or are parallel. These Dallas. Nine feet long, and priced at a ingful progress." Among E -V's new sys- rooms, as you might suppose, are for test- cool $30.000. the Signature V is without tems is a revised version of the Patrician, ing microphones. and were used in the doubt the most elaborate and versatile both in kit and factory -built form, as development of the "noise- canceling" conglomeration of "home entertainment" well as a new "medium- size" system (the microphone which picks up only the equipment ever assembled. It contains, Model 6) that employs an 18 -inch woof- speaker's voice. Oddly enough, when to begin with. a home version of Ampex's er. In cartridges, E -V engineers expect it was tried at a baseball game. many video tape recorder which can be used to eventually to perfect a ceramic type that listeners objected to this microphone - record programs off the air from the will have the advantages of the best they missed the background noise that it Signature V's color TV set (the record- magnetics, such as very high compliance so effectively negated. ings will be black and white, regardless 12 kc, and extended response beyond At Allied Radio we learned that the of the program). Also included is a as well as the high output of the ceramic, vidicon camera for making one's own say about 5 volts. Meanwhile, the E-V live video programs. Aside from these people are preening themselves on the appurtenances, the console offers-for firm's newest electronic organ. Unlike old- fashioned audio -the new Ampex previous instruments, this does not em- F -4452 stereo tape recorder, an AM /FM to produce its ploy signal generators stereo tuner, stereo record player, twin - tones. Instead, it scans and amplifies channel control amplifiers, and stereo the etched waveforms that have been pre- speaker systems. In addition to the equip- recorded from various pipe organs. The ment and the handsomely styled cabinet new instrument is thus a "composite" of (walnut with black vinyl detail), there sonic segments gleaned from choice are some choice refinements. For in- organs throughout the country. stance. a timer can be preset to allow the If the E -V plant is one of high TV recorder to tape a program while you fidelity's largest, Heath's is one of the are out. Too, inasmuch as two TV tuners most modern, the architectural pride of are supplied. the recorder can be used for St. Joseph, blending with the contempo- taping one TV program while another is rary homes and Frank Lloyd Wright -in- being viewed on the screen. A remote con- spired motels that overlook this part of trol permits not only the sound, but the the Lake Michigan shoreline. Aside from lighting in your own room, to be ad- their preoccupation with designing audio products in kit form, Heath engineers Ampex's audio -ria' o console. Continued on page 127

NOVEMBER 1963 43

www.americanradiohistory.com S4uHU ',OR'il1tiG «±FL `ts t'" tiil 310,17 SOUND

New Polyester Base for extended play

SU\1N4 EIECti51t0iNCz A

CIRCLE 37 ON READER- SERVICE CARD 44 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com both with high -performance oxide layer that provides brilliant sound quality

With its new bases and oxide layer KODAK Sound Recording Tape now becomes an all -new standard of tape quality: Two new bases. New DUROL Base for Kodak tape is a new triacetate that is 40% stronger, yet breaks clean in case of accident. It permits splicing a break without loss of recorded sound. Kodak tape on 11/2-mil DUROL Base can be your standard of tape excellence. For 50% longer play choose the 1 -mil thickness. To double the recording time, get KODAK Sound Recording Tape on 1/2-mil Polyester Base. New oxide layer. Kodak emulsion scientists have found a better way to disperse the recording oxide in a new, tougher resin binder. Result: a smoother oxide surface which reduces residual noise and recording head wear, increases high -frequency response.

KODAK Thread -Easy Reel. Simply pull tape through the slot -it's loaded! Timesaving splicing jigs and index scales are on both sides RECORDING TAPE of reel. Try all -new KODAK Sound Recording Tape soon. At your Kodak dealer's now! Exclusive Backprinting. All Kodak tapes are printed on the base side with our company name and manufacturing control number as your assurance of quality and uniformity.

E A S T M A N K O D A K C O

3 006 13 2 006 =s\ Remember: You get each 7 -inch roll of Kodak tape on the popular KODAK Thread -Easy Reel.

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CIRCLE 37 ON READER -SERVICE CARD NOVEMBER 1963

www.americanradiohistory.com Gina Ì321('ÌlallCl'

For difficult works a man -sized technique,

for people a special warmth.

Harold Lawrence

GINA Bachauer is a woman whose very little to do. essentially. with the East. Of the war and the period that warmth seems to radiate to the very quality of her music making. More followed, Mme. Bachauer speaks quietly corners of a room she occupies. It is pertinent is her artistic inheritance. Her and with a calm so deep- rooted that one entirely characteristic of her. for ex- terms of study in Paris with Rachmani- senses all the more strongly the degree ample. that at the close of a particularly noff (four years) and Cortot (three) un- to which she suffered. All her im- grueling three -hour recording session, questionably account for many of the re- mediate family were killed during the having dealt with the cataclysmic diffi- markable aspects of her pianism. as does occupation of Greece, and all property culties of Stravinsky's Pétrouchka Suite her early training in her native Greece. and possessions destroyed. In the mean- in a manner that left observers breathless, Mme. Bachauer lays strong emphasis time she had married, and shortly after she should walk into the control room. on the benefits gained from her first the war, while on a trip to England, fling her arms around the recording di- teacher at the Athens Conservatory. she received word that her husband had rector and the engineer. kiss them both. Woldemar Freeman. He was a pupil of died very suddenly. "I was in a strange and say "You have been so wonderful Busoni and himself a strong adherent country where I could not even speak and so patient!" of the German school. stressing tech- the language. and I had no money and The real wonder of the morning, of nique and a thorough grounding in the no friends. But I did not want help - course. had been Mme. Bachauer's bril- German classics. "He taught me Bach. this was something I wanted to do with liance. humor. and sheer endurance in When I wanted to study the French corn - my own hands." In 1948. she made taping this work -so thick with notes posers, he was wise enough to know that her English debut with the London Phil- that some passages are written on four he could not give me enough, and he harmonic under Alec Sherman, playing staves. and so challenging to the per- sent me to Cortot. the Grieg Concerto. No one but Sher- former that Stravinsky once remarked "Cortot was a great musician. but man and the musicians had had a hint he would be happy if someone could first and foremost he was a poet. At a in advance of the caliber of the unknown play it with only three thousand mis- lesson he talked more than he played. Greek pianist, but at the close of the takes (he always expected eight thou- He would give you the most marvelous performance the audience rose to a stand- sand, he's said to have added). Mme. picture of what the piece was about and ing ovation. Eventually, too, conductor Bachauer, presumably. would be the what was in the composer's mind when Sherman and his soloist were married. last to gainsay this evaluation. At one he wrote it. And, of course. this was a The longer one talks with Mme. point during the recording session (for man who had been with Ravel and with Bachauer, the more conscious one be- Mercury) director Harold Lawrence Debussy. I studied these composers with comes of a very human personality. "It was heard to comment admiringly, "Gina, him. and also Chopin and Schumann. is very hard for a woman to have the you are marvelous!" "I am dead." said I think his Schumann was the most stamina for traveling and to carry on the she, cheerfully. "Let us get on with beautiful I have ever heard in my life. struggle to be a concert performer. It is this catastrophe." "Now Rachmaninoff was quite dif- hard to be alone in a hotel room after a "Do you know why it is so difficult ?" ferent. He was not a teacher and did concert, and it is hard to make the de- the pianist mused later, as the final tapes not like to teach. I studied the con- cision not to have children." But the were being packed away. "Two things. certos with him -the Beethoven and difficulties of her calling have not frayed First. there is so much written where the Brahms. You would come in to a lesson in the slightest the delightful, rather self - right hand is high-very high up, and with your concerto prepared and he deprecating humor typical of the stories the left hand is low in the bass. It is would sit at the other piano and play this unpretentious celebrity tells on her- hard for a woman, without the broad- with you. He would suggest a certain self: "Nobody takes me seriously. When ness across the shoulders, to open up way to play. Then the next time he I try to act a little bit prima donna -ish, that much and to have enough physical had a completely new idea, and the third everybody just laughs. I remember once power. And second, Stravinsky writes time another new idea. But that was the when I was in London recording the such big chords -elevenths and twelfths. wonderful thing -that this music was so Bach Two -Piano Concerto and every- with notes in the middle. And you not fresh to him each time. And that was thing went wrong. First, I gave up my only must play those notes; he wants why after a concert, when most artists good piano to my partner, and then them to sing! It is especially difficult go to their hotel to rest or get a bite when I was ready to play. the machines in recording because you have to con- to eat, Rachmaninoff went back and broke down. I said to myself, 'Gina! centrate so hard. You must have two or played over the whole program. This, Now is the time to be the prima donna!' three complete takes. In concert you after every performance." So next morning I came in [Mme. play the whole thing through -and if a Bachauer pulled herself up royally to few notes are missed, no one minds. But demonstrate the grandeur of her en- a record will be played many times." AFTER STUDY with the two masters in trance] and demanded, 'Where is my It is appropriate that Mme. Bachauer, Paris. Mme. Bachauer set forth to estab- piano! I refuse to play on any piano but who has come to have a rather special lish a career just before the outbreak of the one I have ordered!' And the record- reputation for her command of the man - World War II. She found herself ing director rushed out of the control sized works in the piano literature, should stranded in Cairo in 1939. and for the room and said. 'But darling. what is the be the first woman to record the Stra- ensuing five years she gave recitals for matter? You must be sick.' That was the vinsky. Yet the circumstance of sex has Allied troops throughout the Middle end of it." SHIRLEY FLEMIN i

46 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ONGS BY: 6ÓL6 PORTI" HAROLD ARLEN IRVING BERWN ingOúK LOEWE %UCIIIBD RODBEBS AND OTHERS

CHORA -E AND 20-VOICE ORCHESTRA HIS 55 PIECE POLI AKIN BY . RAOUL ARRANGEMENTS IN RICH TEREO LIBRARY EVEREST 5 MAGNIFICENT FROM THE

$1.00 Christmas is early th s year! We're offering a recordings. The $1.00 price tag is even more superb recorded tape for a fraction of its actual remarkable when you consider that the entire cost for trying a 7" reel of Double Recording program is recorded on a reel of standard Audiotape on Tempered "Mylar." (A great tape Audiotape which actually sells for more than in itself: double length plus double strength.) twice that price! So even if you erased the tape

Just buy a reel of Double Recording Audio - (heaven forbid!) you'd still be ahead of the tape (Type 2431T) at the regular price, and for game. Go to any store that carries Audiotape only $1.00 additional come away with The products and buy a reel of Double Recording Melody Lingers On -a magnificent 55- minute Audiotape, Type 2431T. Then add one dollar program of great popular standards. These for The Melody Lingers On, a great tape that unforgettable melodies are performed in lux- you and the women in your life will treasure. AUDIO DEVICES, INC. urious arrangements from the Everest stereo Available only in 4 -track stereo. And Merry 444 MADISON AVENUE. library, long noted for the superb quality of its Christmas! NEW YORK 22. NEW YORK CIRCLE 14 ON READER -SERVICE CARD

www.americanradiohistory.com WILL -- r;44

No, Music -Lover-take heart. Live music is here to stay. But when recorded music can be so perfectly played back that even experts can't tell the difference from a live performance, this is big news for those who love music, live or otherwise. This September, over 4000 audiophiles witnessed a "live vs. recorded" demonstration at the New York High Fidelity Music Show, featuring Gustavo Lopez, guitarist, and for four years now, thousands of discriminating listeners have attended concerts of the Fine Arts Quartet, sponsored jointly by the manufacturers of Dyna amplifiers and AR speakers. Performances were so arranged that the audiences were alternately listening to live and recorded portions, without prior announcement as to which was which. These are typical comments of recognized experts:

C. G. McProud, editor of Audio reported: "We must admit that we couldn't tell when it was live and when it wasn't." The Herald Tribune referred to "awesome fidelity." Record reviewer E. T. Canby wrote: "My eyes told me one thing, my ears another." Ralph Freas, audio editor of High Fidelity, wrote: "Few could separate the live from the recorded portions."

When reproduction and reality cannot be separated, the reproducing equipment has achieved the top -most practical level of quality. And when that equipment is so moderately priced as Dyna Mark III amplifiers and PAS -2 preamplifiers, the obvious conclusion is that you can spend more money but you can't get higher quality. Anybody can build a Dynakit, including you, Music- Lover. And you can be confident that it will work well with performance indistinguishable from the original source of sound.

All Dynakits are designed with top performance as the primary objective. In any power range, mono or stereo, the established excellence of Dynakits is assured. If Dyna's superior engineering, high quality parts and functional layout give you such fine performance that you can't tell the difference, why pay the difference?

TRADITIONAL DYNA EXCELLENCE WITH SMART NEW STYLING. The FM -3 stereomatic FM multiplex tuner and PAS -3 stereo preamplifier stack beautifully for a compact control center of matchless performance. Your present Dynatuner and PAS -2 can now look as fine as they sound, too, for identical champagne-gold accessory panels and knobs are available from your dealer. Your Dynakits are never obsolete.

DY N A C O , I N C 3912 POWELTON AVE., PHILADELPHIA 4, PA. CABLE ADDRESS: DYNACO PHILADELPHIA Write for complete descriptive literature

CIRCLE 36 ON READER -SERVICE CARD 48 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com NEW LOOK... NEW SOUND... NEW VALUE... NEW HEATHKIT SPEAKER LINE

Need A High- Efficiency, High Fidelity Speaker

For A Particular Music System Job?

...You'll Find It In Heath's Exclusive New Line!

hether you want an advanced -engineered, professional -performing speaker for Dual-Cone 2 -Way Co- 12" Hi -Fi need a radio or TV speaker, you'll find 8" r your custom music system, or to replace 8' Space -Saver Speaker. axial Speaker Speaker, it in this exciting new Heathkit line. Specially designed to meet Heath's exacting Speaker, $4.95 $9.95 $14.95 $9.95 specifications, each speaker has been carefully crafted to perform a particular job. And regardless of which speaker you choose, each has a ceramic annular ring magnet for high efficiency and superior performance, plus polarized speaker terminals for proper phasing. All speakers except the least expensive in each size, have rugged, die -cast metal frames for life -long, trouble -free performance. In addition, each speaker is handsomely styled in a richly warm two -tone cinnamon and light tan motif, and carries a full one -year guarantee. Prices range from $4.95 to 549.95 . . . truly superb performance at unmatched savings! Send for your 12" 2 -Way High 12" 3 -Way High 12" 3 -Way Co- 12" 2 -Way Co- free Heathkit Catalog now, and select the proper Heathkit speaker to fulfill Compliance Compliance axial Speaker, axial Speaker, your needs! Speaker, $49.95 Speaker, $39.95 $29.95 $19.95 - rltlil°1-1-rilil'1'I HEATH COMPANY NEW! FREE Benton Harbor 8, Michigan 49023 1114 HEATHKIT CATALOG Please send Free copy of new 1964 catalog. See the latest new products in Heath - kit's wide, wonderful line. Over 250 do -it- yourself kits for stereo /hi -fi, Name marine, TV, electronic organ, amateur radio, test instruments, educa- Address tional, home and hobby that will save you up to 50%. Send for your free copy today! City Sate Zip Code

L -1 CIRCLE 48 ON READER -SERVICE CARD tiovENInER 1963 49

www.americanradiohistory.com . ` -1111EM=1 NEW! A tape reel that threads itself! (even in the dark!)

Just lay recording tape inside this new reel and start your write -on labels and snap -tight plastic collar that seals reel recorder. This exclusive new SCOTCH® BRAND Self-Threading edges against dust, makes reel self-storing without a box. Reel holds tape firmly, but gently, as recorder starts -actually SPECIAL OFFER SAVES $1.11! Now, you can have one threads up automatically. no No hooks, slots, no attachments of these new "SCOTCH" Self -Threading reels ($1.50 value) as a -no tape fumbles. This reef does away with thread -up prob- take-up reel for only 390 with the purchase of three regular 7' lems. (You wouldn't really need the light of a match to use it!) reels of a wide variety of "SCOTCH" BRAND Recording Tape. Now, this reel is offered as a take -up reel for only 39¢ in a Ask your dealer for the special package, shown below. And special offer from the granddaddy of all tape- makers, 3M. for an expandable, gold -plated tape rack ($4.95 value) that New reel threads up with all tape thicknesses or with leader holds up to 40 reels, send the tabs from three "SCOTCH" tape. Tape rewinds off reel freely and easily. Solid sides pro- Recording Tapes, together with $2.50, to 3M Magnetic Prod- tect tape against dust and damage. Reel comes complete with ucts Division, Dept. MBF -113, St. Paul 19, Minn.

Magnetic Products nri Division COMPANY

,...... OrSIGN NNE REws.EEn .. - o.RC*uRM. r. n . iM99Y AvE.. NEW Lay in tape ... start recorder ... watch reel thread itself! vONN. cNNO.r iON:, '. .199I0 01963. M CO.

CIRCLE 65 ON READER- SERVICE CARD 50 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Who says

' afford an organ this Christmas?

This New Feature -Packed 1964 Model Of The HEATHKIT 2 Keyboard "Transistor" Organ Costs Just $349.95... AND YOU CAN BUILD IT!

What a delightful surprise on Christmas morning! And there's endless COMPARE THESE FEATURES hours of fun, relaxation, education and achievement ahead for the WITH UNITS COSTING TWICE AS MUCH! whole family with Heathkit's 1964 version of the famous Thomas Organ. You'll be saving big money too, by easily building it yourself! No *10 True Organ Voices; Trom- bone, Reed, Flute, Oboe, Cornet, experience necessary! And you're assured long, faithful performance with Violin, Saxophone, Horn, Viola, Dia- quickly pason * New! Variable Repeat the full 5 -year warranty on tone generators. Can't play a note? Learn Percussion; produces effects of and easily with a complete 48- lesson self- teacher course on 4 LP records banjo, marimba, mandolin, balalaika, etc. * Variable Bass Pedal Vol- (GDA -232 -2) that's valued at $50 ... its yours for only $19.95! Like to ume Control * Manual Balance it Send 50c to the address below, and ask for demonstration Control; adjusts volume of keyboards hear perform? in any degree for solo work * Vari- record GDA -232-5. Plan now to give your family the exciting dimension of able Vibrato * Standard Expres- sion Pedal; adjusts volume from soft live music with the 1964 Heathkit Electronic Organ this Christmas! to full * 13 -Note Heel & Toe Bass Pedals * Two Over -Hanging Kit GD -232R, Organ, 160 lbs., no money dn., $23 mo $349.95 Keyboards; each with 37 notes, range C thru C * Beautiful Walnut GDA- 232 -1, Matching walnut bench, 16 lbs., no money dn., $5 mo $24.95 Cabinet; modern styling, hand - rubbed, hand -crafted * 20 -Watt Peak -Power Amplifier & Speaker Percussion to your Attention Heathkit Organ Owners! Add Variable Repeat 31c Compact Size; 341/," H x 39?;" W Heathkit Organ with the eas-to- install kit. x 21 %" D tK Transistorized; for longer life, better tone, trouble -free GDA- 232 -4, 1 lb only $9.95 operation.

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www.americanradiohistory.com WHAT'S THE BEST THING ABOUT A GARRARD AUTOMATIC TURNTABLE?

It could be the tone arm -dynamically balanced ...counterweight adjusted ...tracking even professional cartridges flawlessly for flawless reproduction. It could be the turntable...over sized, heavy, and balanced. It could be the motor...Laboratory Series speed...double- shielded against hum, and free from rumble. It could be the automatic feature...at your service when you want it...foolproof, incomparably gentle to records. It could be any of these...precision components that you would previously have expected to select individually and have mounted together. Now, in the Automatic Turntable, Garrard has combined and integrated them for you. But we don't think any of these are the best thing about a Garrard Automatic Turn- table. Most people realize after they own a Garrard, that the most important advantage it offers stems from a 50 year fund of engineering experience and a glorious tradition of craftsmanship ...supported by superior manufacturing and quality- control techniques, and the industry's most comprehensive spare parts and authorized nationwide service network. These practical factors result in the enduring satisfaction which Garrard owners enjoy. Every time you play your Garrard, the pleasure and the pride you will derive from owning this magnificent mechanism will increase. We think this is the best thing about a Garrard Automatic Turntable! There is a Garrard for every high fidelity systcm. Type A $70.50, AT6 $54.50, Autoslim $39.5 (). For Comparator Guide, write: Dept. GS -23, Garrard Sales Corp., Poet llúshiugtou, New York. Worlds Finest

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www.americanradiohistory.com The Fallaciousness of Formulas

EXERCISING his critical prerogatives, a reader What is low distortion worth -forty per cent of the rather challenged us recently with a blunt proposal. total, or sixty? And how does one compare the "Why not," he wrote us, "classify high fidelity amplifier deliberately designed with frequency cut- equipment the way a decathlon athlete is scored? offs to the amplifier designed for wider response? Decide on ten most critical features for a given Finally, when all the scoring is done, of what real component, attach a numerical weight to each, and significance would it be to learn that amplifier add up the scores for various models." If amplifier A made a mark of eighty- eight, and amplifier B A gets eighty -eight points out of a possible hundred a grade of eighty- seven? con- while B gets eighty- seven, then A is automatically In our opinion a method of reporting that declared The Winner. siders each piece of equipment in its own terms The suggestion has the attraction of neatness and with a recognition of the variables governing its and simplicity. And while we don't really see much use-as individual listening tastes, power require- analogy between evaluating audio equipment and ments, acoustic environment. etc. -is intellectually judging an athletic contest, we have to admit that more valid and morally more honest than one that audio terminology sometimes smacks more of the attempts categorical appraisals. The assembling of a stadium than of the concert hall-viz: the amplifier home music system is a very personal matter. We covered the range smoothly; this pickup is very good here abjure the arrogance of prescription by formula; at tracking; our tape recorder is relay-operated; the rather, we will describe, we will explain, we will speaker cleared the sonic hurdles with ease; and so suggest... . on. But however limited the resources of language, Our method may be imperfect, but we call upon however scientifically inexact, however susceptible our readers to "piece out our imperfections with to the writer's (perhaps unconscious) motivations your thoughts." Our readers, we know, are eminently and the reader's (perhaps unrecognized) preconcep- thinking persons, and to them we are grateful for tions, we prefer verbal description to mathematical pointing out our deficiencies and our ineptitudes. formulas. Of late we have given considerable thought, for in- While figures may not lie, what they reveal is stance, to the comment that the "numbers" cited often so little as to be meaningless -and it is this in a test report are hard to interpret in listening that our Olympics- minded friend above seems to terms, and, further, that often the inclusion of numeri- have forgotten. In the equipment reports published cal data in the body of a report impedes the non- in this journal we refuse to "score" equipment on a technical reader's progress. To obviate these diffi- comparative basis because we believe that such culties, we are now casting our reports in a new ratings raise more questions than they answer. Are form. By abstracting the bulk of purely quantitative there, for example, "ten most critical features" for data from the more generalized text of the report, each component? Why not six or eighteen? Is a and by distinguishing clearly between the two sec- rumble filter a critical feature (to a man who owns tions, we expect to make ourselves readily intelligi- tape equipment exclusively) or a tape monitor switch ble to both the technical and the nontechnical reader. (to the man who does not own a tape recorder)? We hope thus to address the results of conscientious And if so, how many points should these features equipment reporting to the ever more discerning audi- be assigned? And what about performance factors? ence for high quality music reproduction.

AS high SEES IT

NOVEMBER 1963 53

www.americanradiohistory.com Do You AUTOMATICALLY achieve more fidelity electric bulb or turns an electric motor. But the when you buy a 70 -watt amplifier than when you wattage rating of an electric bulb has nothing to purchase a 10 -watt model? Some experts insist that do with the number of watts needed in an ampli- more watts mean more of everything: better frequen- fier. We have to examine the end product or the cy response, crisper bass, better transients, and the "load" being driven -in the case of the amplifier, a like. But an opposing view holds that unless you loudspeaker for reproducing music -to find out what have an enormous room, 10 watts is ample power for our requirements are. almost any system, and points out further that only a How, then, is amplifier power related to the hundredth of one watt can produce fairly loud music we hear from the loudspeaker? The electri- sound. Adding to the complexity is the array of cal power coming out of the amplifier is converted terms -"music power," "continuous power," "sine - into acoustic power, or sound -vibrations of the wave power," "peak power," "power bandwidth" - air in the room. The acoustic power (sound) flows used to denote amplifier wattage. into the room somewhat as water flows into a con- Watts specify the power capacity of an amplifier, tainer. The listener's ear senses the intensity of the or the rate at which the amplifier can deliver energy sound at a given point in the room: this intensity for its job -which is driving a loudspeaker. The corresponds in a very rough way to the level of the force that does the work of an amplifier is, of water in the container. If at any instant the electri- course, electrical, the same force that lights an cal power from the amplifier is strong, then acoustic

54 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com power flows into the room at a high rate, the sound But the changes in power needed to make these intensity at any point in the room is high, and our changes in intensity are comparatively enormous. ears report to the brain a loud sound. Conversely, For a 3 -db increase in intensity it is necessary to low power output from the amplifier is perceived as double the power, from 10 to 20 watts, say; for a a soft sound. 10 -db increase ten times the power is needed. In But just as it takes more water to fill to a certain other words, to increase loudness slightly, power level a large container than a small one, it takes must skyrocket. An amplifier putting out 70 watts more acoustic power, and thus more amplifier pow- is capable of louder sound than one putting out 10 er, to produce the same sound intensity in a big watts, but the sound will not be seven times louder. room as in a small one. Moreover, more power is The difference is much more moderate than that. required to produce a given sound intensity in a Thus, as far as loudness is concerned, a 10 -watt room with a lot of sound -absorbing surface -thick amplifier is not a pygmy compared to a 70 -watt rugs, lots of upholstered furniture, heavy drapes - size. Actually, nothing above 3 watts should be than in a room of the same size with mostly hard, called "low power." Conversely, a 40 -watt amplifier bare surfaces which keep bouncing the sound back should not be thought of as "twice as powerful" into the room. Finally, we have to consider the as a 20 -watt amplifier but, rather, as capable of fact that loudspeakers themselves differ in the delivering 3 db more of peak sound intensities. amount of acoustic power they turn out for each electrical watt fed to them. The efficiency of a speaker measures the relationship between electrical WE NOTED ABOVE that the intensity of a full or- and acoustic watts: for instance, 5% efficiency (a chestra, playing fortissimo and heard close up, high efficiency, by the way, for high fidelity speak- reached short crests of about 100 to 110 db. Should we ers) means that to get one acoustic watt out of the we, then, simply take 100 db as the top loudness speaker we must feed 20 electrical watts into it. want in the living room? An adequate amount of amplifier power is thus We have here an issue susceptible to consider- said that whatever is capable of producing the loudest music able misunderstanding. It is sometimes than in the a listener will ever care to hear in his living room, music must be much softer in the home taking into consideration the size of that room and concert hall because the average listener could not living its sound -absorbing capacity, and the efficiency of tolerate the sound of a full orchestra in his his loudspeaker. We are not here considering such room. The two parts of this statement are not logi- factors as frequency response and distortion inas- cally related. Remember that the perception of loud- single much as, strictly speaking, they are not related to ness depends on the intensity of sound at a is at least rea- power as such (although from a practical design point -at the listener's ear. Since it standpoint many engineers agree that it is easier to sonable to assume that if a listener likes a certain in achieve good response characteristics by designing intensity in a concert hall, he will like the same for high power). his home, we simply cannot say categorically that Probably most readers will agree that a full or- music should be softer at home than in the concert chestra playing fortissimo, as heard from the first hall. We can say, however, that the listener could room, few rows in a concert hall, produces about the loud- not tolerate a full orchestra in his living level est musical sound that they hear with full enjoyment. the reason being that music played at the same room The scale commonly used to specify the intensity of would sound many times louder in the living pouring sound is a decibel (db) scale, and the number of than in the concert hall. With an orchestra decibels indicates how far the sound is above the its full output of acoustic power into a small room, softest sound that a person with normal hearing the sound intensity at various points in the room can perceive. This average softest -heard sound is would be far, far higher than it would be in an designated 0 db; the other end of the decibel scale, auditorium. the loudest sound which the human ear can endure, Should we then aim for concert hall sound in- room? As far as I know, there I is around 140 db (a jet motor from a few hun- tensity in the living dred feet, for instance). has been no large -scale investigation to determine Measurements have shown that a full orchestra, whether or not people really want concert hall inten- playing fortissimo, often produces short bursts of sity at home. There have been some scattered experi- to indi- music that go to 100 db, with perhaps occasional ments, based on monophonic reproduction, very short bursts that go to 110 db. We must, of cate a preference for considerably lower sound levels, course, relate these intensity figures to power -re- but these same experiments showed a wide range member that intensity is roughly similar to the in individual preferences, people with musical ex- level of the water in a container, and power like the perience liking their music louder than did untrained at- total quantity of the water -and in doing so we listeners. Professional audio people tentatively come to a very significant fact. A change of in- tribute the preference for lower levels at home to distorting or limiting effect of the reproduc- tensity of 1 db is about the smallest the ear can some reproduction it- detect; a change of 3 db sounds like about one "step" tion process, probably monophonic of loudness; a change of 10 db is still only a moder- self. Recent experiments tend to confirm this theory. ate change in loudness. My own limited researches suggest that experienced

55 NOVEMBER 1963

www.americanradiohistory.com and 15 amplifier watts would be sufficient for 100 db. Differences in listening situations, loudspeakers used, and possibly sheer habit may well account for the fact that a 10- or 15 -watt amplifier is considered a high -power type in England, whereas "high power" Till in the United States generally implies 40 or more. The actual amplifier wattage is the same on both sides of the Atlantic: what differs is the way in which it is converted to sound- generally, speakers are more efficient and rooms smaller abroad, which would explain the British leaning towards what we might call low- or medium- powered amplifiers. This trend, however, is slowly changing, and higher - listeners prefer their music louder when it is repro- powered amplifiers are beginning to gain wider duced in good stereo than when it is heard in single - favor abroad. Americans may also have more of a channel reproduction. psychological bias towards high power for its own Suppose we assume. then, that if you have a sake: over the years there has been in this country stereo system of very low distortion you will, from a "watts race" in amplifiers paralleling in many time to time, want to hear full orchestral music respects the "horsepower race" in automobiles. with short bursts that reach an intensity of 100 db. Although normally you will operate your system at a much lower level-chamber music or solo instru- SUPPOSING 30 watts is the power a prospective ments would be grotesque at such levels -the am- amplifier buyer decides he needs, let us define just plifier must be capable of carrying the heaviest load what is meant by a "30 -watt amplifier." All well- which may ever be put on it. Let us assume further designed feedback amplifiers (practically all home that the system will be played in a moderately large audio amplifiers today are feedback types) react in room -say 3,000 cubic feet (24' x 15' x 8'4 ")- approximately the same way as one gradually turns of average sound- absorbing properties. In such a up the volume from soft to loud, calling on the am- room, a sound intensity of 100 db is produced when plifier for more and more power. When the volume the speaker pours out about 0.45 acoustic watt. is low, the distortion introduced by the amplifier is Next we must consider the loudspeaker with which extremely low (say less than 0.5% ). As volume goes the amplifier is to be used, particularly in terms of up, distortion increases only a little until a certain the speaker's efficiency. While exact efficiency fig- critical power output is reached, characteristic of ures are hard to come by for many speakers, it is each amplifier. helpful to bear in mind that an efficiency of 5 to As power passes this critical level, distortion 6% is regarded as "high." Compact speakers of the shoots up; and if we turn the volume just a little acoustic suspension variety are usually no more than higher, the amplifier "clips." This important and 1 to 3% efficient. A typical compact system will descriptive term means that each electrical wave have an efficiency of, say, 1.5%. For such a speaker representing a sound wave reaches the absolute upper to waft 0.45 acoustic watts into the air of the room, limit of the power the amplifier can put out before it must be driven by 30 watts from the amplifier. the crest of the wave can develop: each wave, in ef- (For the same speaker to produce the 4.5 acoustic fect, bumps its head on the ceiling. The crests can't watts needed for 110 -db sound intensities, it would get through the amplifier, and when the waves are need 300 electrical watts! Luckily, for reasons that viewed on an oscilloscope, they are all seen to be will be clear as we go on, we can eliminate the flattened on top, or "clipped." 110 -db bursts from our calculations.) The audible results of pushing an amplifier to its It might be well to emphasize here how large clipping point, and beyond, are very germane to an a change in power requirements is made by a com- understanding of what happens when amplifier pow- paratively small change in listening habits or room er is inadequate for the signal intensity desired. acoustics. If one were content with a maximum First, it is well to distinguish between run -of- the -mill loudness of 90 db -which would seem to the ear amplifiers and feedback amplifiers of really good not drastically lower than 100 db -the maximum design. We must also know the duration of the amplifier power requirement would drop from 30 to bursts of music that exceed the clipping level. 3 watts! On the other hand, double the size of With a run -of- the -mill amplifier, distortion be- the room, and the power need would go up, very comes very high long before clipping is reached. roughly, to double, or 60 watts. Again, an increase If the loudness is increased to a level at which for - in the amount of sound- absorbing material used tissimos approach the clipping level, much of the in the room -- replacement of small rugs by thick music will sound blurred or "scratchy." If this wall -to -wall carpeting, more and heavier drapes- amplifier is driven into clipping. even for very short might demand 80 or 90 watts for a desired 100 db. bursts of music, you are likely to hear burps, grunts, Conversely, increase the speaker efficiency to 3 %, blats, or repeated choking sounds. In the well -de-

56 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com signed feedback amplifier the fortissimos -as long 10 -watt performance. When a system owner changes as they do not push the amplifier into clipping- from a 10 -watt to a 70 -watt model and notices much come through loud and clear because the distortion crisper, deeper bass, better transients, clearer highs, introduced by the amplifier is extremely small. and so on, the improvement does not necessarily Moreover, such an amplifier can handle short bursts mean that his rig always "needed" 70 watts. It may of music exceeding the clipping level without audible well mean that his 10 -watt amplifier was really only distortion. An amplifier of this kind is said to have a half -watt or a tenth -watt amplifier in the low bass "overload stability," or is described as "clipping and high treble regions. In general, if your maxi- cleanly." It is so designed that if it is overloaded for mum loudness requirement calls for IO watts and a fraction of a second it simply stands still until you have a really good 10 -watt amplifier (one that the overload passes, without making any audible delivers 10 watts at low distortion across the entire fuss about it. audio range), you would not hear any improvement The significance of the 100 -db to 110 -db loud- if you substituted a 70 -watt model. Any well -de- ness measure should now be apparent. Bursts to 100 signed feedback amplifier, operated below its critical db are not infrequent in orchestral music and the level, gives virtually perfect performance. amplifier should be able to handle them without Another factor needed in a complete specifica- clipping; to reproduce them accurately, the amplifier tion is a clear statement of how the power has been must have adequate low- distortion power. Bursts to measured. This complication has been added in re- 110 db are rare and extremely short. A well- designed cent years by an increasing variety of measurement amplifier with overload stability will not reproduce techniques, some of which produce a much higher these bursts in full but it will be able to handle rating for a given amplifier than the method for- them without any audible evidence of overload. merly used. The old and long -accepted method Most of the time, of course, even in full orches- produces a figure for "continuous power" or "sine - tral music the loudness is considerably below the wave power." An alternate rating method is called I00 -db level, and thus the power the amplifier must "music power," which means the power an amplifier deliver is well below the 30-watt maximum we have can deliver in short bursts (without clipping). The established for a 1.5 %- efficient speaker in a 3,000 - theory of the music power rating is that most music cubic -foot room. At 80 db, for instance, a fairly comes in short bursts and that an amplifier used in loud sound, the amplifier is called on for only 0.3 the reproduction of music is therefore properly "job watt. A pianissimo. say 50 db, takes a mere 0.0003 rated" on the basis of its short -term power capacity, watt. What we need 30 watts for, in other words, is which can be quite a bit higher than its continuous distortionless reproduction of loud bursts. power capacity. To identify that well- designed 30 -watt model, In my opinion the "music power" method of rat- we need a specification that describes the distortion ing is not desirable. A well- designed feedback am- introduced by the amplifier as very low right up to plifier with good power -supply stability has about the the 30 -watt level -right up to clipping, in fact. same rating on a continuous power as on a music "Low" distortion we can take as anything well under power basis. By the same token, if an amplifier's 1% total harmonic distortion (THD) -the lower the music power rating is considerably higher than its better. Top -grade amplifiers now sometimes include continuous power rating, the amplifier probably has in published descriptions some such phrase as "clips a poorly designed power supply, with a tendency to at 0.6% THD." drop in effectiveness when called on to deliver large A complete specification would include two ad- amounts of power (when reproducing very loud, ditional characteristics. One relates to the fact that continuous bass notes, for instance). While the an amplifier may put out 30 watts at low distortion music power rating is made by using an external, in the middle of the frequency range, at 1,000 cps, regulated power supply (which tends "to give the but distort badly at a fraction of a watt at 50 cps, amplifier the benefit of Continued on pace 126 or at 10,000 cps, or both. This lack of power capacity at the extremes of the frequency range is very

typical of run -of- the -mill amplifiers. A specification 50 simply states "30 watts at 0.5% distortion" is, that 45 Power 42 .4 Worts therefore, useless -it may mean that the amplifier 40 "Music' Power 34 Wont was measured at 1,000 cps only. We need a speci- 35

fication called the "power bandwidth," which tells us 30 Continuous RMS o over what frequency range the stated power and dis- 25 Ef{ech.e Poorer JO Watts tortion levels hold: for instance, "30 watts at 0.5% 20

total harmonic distortion, 30 to 15,000 cps" -which 15

would describe an excellent 30-watt amplifier indeed. 10

It is worth noting here that the characteristic 5

falling -off in the bass response of poorly designed o amplifiers is one of the main sources of the idea that a 70 -watt amplifier is necessary for really good Ratings vary frith the measurement technique used.

NOVEMBER 1963 57

www.americanradiohistory.com r

There's nothing really wrong with dining to divertimentos-or at least Mozart didn't think so when he wrote his wind band music.

EATING PATE DE FOIE GRAS to the sound of trumpets was, according to Sidney Smith, somebody's vision of heaven. In our own age of incessant and all too ubiquitous music many a dour reactionary prefers to eat his pâté in silence. But let him remember Old King Cole and all other merry or ill - fated souls from Belshazzar to Don Giovanni who always feasted to music. With the release of Mozart's Complete Wind Music (in a five -disc set issued this month by London Records), each possessor of a gramophone can now sit down in that celebrated company. Is the notion of Mozart on the menu so reprehensible? An article in these pages by H. C. Robbins Landon (June 1961) described minor ha- BY ERIK SMITH roque music as "music to eat by "; the personal ahuse which the author reaped from incensed Vivaldi -ists, Telemann -iacs, and Manfredini-ites would have amazed those old masters, who considered the composition of Talelmusik perfectly respectable. Minstrels and troubadours had sweetened the

58 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com salted fare of the Middle Ages. In Elizabethan times Mannheim orchestra in 1778: "Oh, if only we had we know that Sir Francis Drake, for instance, in- clarinets too-you have no idea of the glorious ef- tending to dine to music during his circumnavigation fect of a symphony with flutes, oboes, and clarinets." of the world, borrowed the waits (or town musi- The basset horn, a sort of alto clarinet much favored cians) of the city of Norwich (and somehow, alas, in Mozart's later music, was just producing its first lost half of them on the way round). In the melancholy toot. The bassoon rarely did more than eighteenth century we find wind bands in the serv- double the bass line. As to the hornists, they were ice of many noblemen of substance: Don Giovanni quite likely to be packed off in their liveries to ac- has the typical band of 2 oboes, 2 clarinets, 2 bas- company the Prince's hunting party. soons, and 2 horns to accompany his dinner in Act A good many divertimentos for wind had been Il. It plays tunes from popular operas, simple music written, especially in Bohemia, which always seems you can beat time to but which need not take your to have enjoyed wind music. Haydn, for instance, mind off the menu. Incidentally. it is not the Don while in the service of Count Morzin in Bohemia in but Leporello who recognizes all the tunes; when 1760 -61, wrote a series of tiny divertimentos of the Figaro's "Noii più andrai" turns up, he groans "Oh, Tafelmusik type -their title, Feldparthien, implies not that thing again!" In Così fan tutte, however, open -air performance, but one can imagine their we find the same band (less oboes but plus one being played at picnics. What Mozart did in this flute) employed to a different end, to serenade the medium, as in so many others, was to take an exist- ladies with sweet insinuating melody. It is not long ing form and to give it depth and color. In his very before the power of music is made tangible as Dora - first wind divertimentos there is a delight in the bella falls into Guglielmó s arms. sheer sound of the instruments that makes Haydn's Nearly all of Mozart's wind music belongs to music dry by comparison. these two types. The Divertimentos are Tafelmusik, their fairly short movements generally based on gay dance rhythms. Not only those movements which VARIOUS FRAGMENTS, arrangements, works of Mozart headed "Menuetto." "Polonaise," and "Con - doubtful origin or instrumentation having been omit- tredanse" (a lively dance in 2!4 time. possibly de- ted, London's new album can claim to include all of rived from the English "country dance" and one of Mozart's wind band music, very little of which has the dances appearing in the wild confusion of Don been available on microgroove. The first works in Giovanni's ballroom) but most of the others are the series are the two Divertimentos -in E flat, K. dance movements -the Andantes generally Gavottes 166, and in B flat, K. 186 -for 2 oboes, 2 cors and the finales Contredanses. The Serenades contain anglais, 2 clarinets, 2 bassoons (in unison), and 2 music of greater emotional intensity, indeed some horns. They were written as Musica da tavola for a of the most beautiful music Mozart ever wrote, and Milan patron by the sixteen -year -old composer in they are akin rather to the singing lines and dramatic 1772. Their expressive range is surprisingly wide- contrasts of his operas. This is music for the eve- from the gay opening of the B flat Divertimento, a ning, perhaps for a mistress and probably for the combination of a formal Mirada and a peasants' open air. Leopold Mozart brings alive a summer Liindler, and the rather awkward doubling of oboe evening in Salzburg when he writes to his son that and cor anglais in the Andante of the E flat Diverti- he heard one of his Serenades "from in front of Herr mento, to the Adagios, radiant with sustained oboes von Mayer's house; we knew nothing about it until and high horns and reproving all but the most in- we heard it deliciously in our rooms from across the sensitive gormandizers with grave and innocent water." Perhaps the real apotheosis of Mozart's writ- nobility. ing for wind band came some years after the three The five Divertimentos designated K. 213, K. great Serenades, in the late Piano Concertos, espe- 240, K. 252, K. 253, and K. 270 were composed be- cially those in E flat, K. 482, and in C minor, K. tween 1773 and 1776 for the dinners of the Prince 491, which a contemporary described as being "con- Archbishop of Salzburg. They are all written for certos for wind with piano obbligato." 2 oboes. 2 bassoons, and 2 horns. While this music In 1772, when Mozart wrote his first wind di- may be Mozart as the nineteenth century saw him - vertimentos, the place of wind instruments in the graceful and melodious, witty and tender. but with orchestra was not yet altogether settled. The oboists no real depth -one's intelligence can only wonder sometimes played the cor anglais and more often the at the variety of invention and perfect execution, and flute. Mozart. in accordance with eighteenth -cen- one's heart be warmed by the sheer joie de vivre of tury practice, does not use the flute in any of his the young Mozart. In the first of these diverti- pure wind band music, but he does blend it most mentos he is absolute master of the medium. At the beautifully with the other wind instruments in the opening, for example, the oboe plays the part. as late piano concertos. Clarinets were not yet generally only an oboe can, of a Till Eulenspiegel, skipping established, and Salzburg did not possess any. about and laughing at his more solemn companions. Mozart wrote wistfully after hearing the famous With the three great Serenades -in E flat,

NOVEMBER 1963 59

www.americanradiohistory.com K. 375, and in C minor, K. 388, for 2 oboes, 2 monic clashes on the one hand, and the profound clarinets, 2 bassoons, and 2 horns, and in the B flat, serenity of the Trio on the other. The fact that the K. 361, for thirteen wind instruments -the wind Trio is a contrapuntal tour de force (no less a feat serenade acquires a musical importance equal to than a double mirror canon) does not detract from that of the symphony or string quartet. The year a spontaneous beauty as great as that of the Trio 1781 was a busy one for Mozart: it saw the produc- of the G minor Symphony. Although the most re- tion of his first great opera, Idomeneo; a visit to spectable sources have considered the three Diverti- Vienna in the retinue of the Prince Archbishop of mentos, K. 289, K. App. 226, and K. App. 227. to Salzburg; his dismissal by his reverent employer, em- be by Mozart -Einstein in the revised Köchel cata- phasized by the boot of the Archbishop's steward; logue even gave dates for their composition, and his engagement to Constanze Weber; and the com- Wyzewa and Saint -Foix were eloquent about the position of several major works, including the Sere- inimitable Mozartean quality of the music -no auto- nade, K. 361. The earliest surviving mention of a graphs survive, and the publication of these works performance of this work appears in the Wiener under Mozart's name some time after his death is no Bliittchen for March 20, 1784, announcing a benefit evidence for their authenticity. They are well worth concert for the clarinetist Anton Stadler in the attention, however, and contain charming music, Nationaltheater to include a "big wind piece of quite such as the oboe concerto slow movement of K. 289, an exceptional kind composed by Herr Mozart." and the Minuets and the Finale with the hunting Besides the usual pairs of oboes, clarinets, bassoons, scene of K. App. 226. But Mozart would certainly and horns, there is a pair of basset horns, which never have perpetrated the wholly irrational con- Mozart here uses for the first time, a second pair struction of the first movement of K. App. 226, of horns (but in a different key, in order to furnish nor the blatant consecutive fifths (a first -year stu- several notes not available to one pair of natural or dent's error) in the Finale of K. 289, nor the repeti- valveless horns), and a string double bass. London's tiveness of the melodies in that work, nor the thin recording substitutes the more suitable double bas- scoring of K. App. 227. This is excellent music to soon, a great rarity in Mozart's time but an instru- dine by -but no Mozart. ment he undoubtedly would have used in this com- Finally, there are two Adagios belonging to an bination if a competent performer had been avail- entirely different world. The Adagio in F, K. 410, able. This long seven -movement work includes a is a strict inverted canon for two basset horns with great range of expression, from the jolly military a free bass for bassoon. Mozart was at his best manner of the first Allegro molto and the circus when writing in free counterpoint, as in the Finale gaiety of the Finale, through the Idomeneo -like no- of the Jupiter Symphony, which is sometimes fugal bility of the Romanza to the serene beauty of the and sometimes just melodic. His music in strict Adagio. The last -named is the loveliest movement counterpoint was generally too much in the shadow ever written for wind instruments, an "opera trio" of J. S. Bach to be much more than an exercise. Yet in which the first oboe, clarinet, and basset horn there is a touching quality about this page of music. sing their interweaving lines over an accompaniment The Adagio in B flat, K. 411, was probably written consisting of a rhythmical figure that remains con- at the end of his life. It is for 2 clarinets and 3 bas- stant for forty -one of the forty -six measures of the set horns. G. B. Shaw wrote of this instrument as movement, with an effect not of monotony but of possessing a "peculiar watery melancholy and the incantation. total absence of any richness or passion in its tone, "At 11 o'clock last night I was serenaded by just the thing for a funeral." Though there is a grain 2 clarinets, 2 bassoons, and 2 horns playing my own of truth in this as in all Shaw's remarks, we know music," writes Mozart on November 3, 1781, refer- that Mozart loved the basset horn and that this ring to the Serenade which was to become K. 375. Adagio is of a rare melancholy and beauty. This new work had been played all over Vienna on The British instrumentalists invited to participate Saint Teresa's Night to the profit of its performers, in the recordings welcomed the opportunity, though and they were now coming to show their gratitude. they knew they would meet one severe problem - "The six musicians are poor wretches who play quite Mozart. like Bach, gave little thought to letting his nicely all the same, especially the first clarinet and wind players breathe in. A wind sextet, in partic- the two horn players ... so they had the front door ular, where the first oboe carries almost the whole opened for them and when they had formed up in the of the melodic line, is virtually impossible to play courtyard, they gave me, just as I was about to un- straight through. For this reason these enchanting dress for bed, the most delightful surprise in the works can hardly be programmed in concert, and it is world with the opening E flat chord." A year later only modern techniques of tape editing that enable Mozart rewrote this Serenade, adding two oboes, them to he heard without the players' audible pauses and it is in this form that it has now been recorded. for breathing. Latter-day performers do not have all In 1784 came the last and greatest work for the advantages, though. This music was played on wind, the Serenade in C minor, K. 388. Here the no soft summer evening beneath the trees of a Vien- lighthearted quality characteristic of Serenades has nese courtyard: after their labors, there was nothing almost entirely disappeared; instead there are dimin- for our musicians to do but to put on their boots ished sevenths, plaintive oboe cries, and fierce har- and trample off into London's dirty snow.

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www.americanradiohistory.com On Call with

Meet William Bohn, serviceman l who to the extraordinary, ministers Audio needs of ailing music systems in their natural habitat.

As IF IT WEREN'T BAD enough that the modern composer has Doctor turned into an electrician, now the modern listener is expected to become one too. There was once a time, or so I have been told, when the ownership of audio equipment was considered practically tantamount to having a certificate from an engineering institute. Not only was the early High Fidelio likely to have built his own rig, but he was just as likely to have done so to his own specifications and from his own plans. Furthermore, he took his pleasure in diagnosing any troubles which developed in his components and in treating an afflicted member himself. In those days the ordinary music lover, with no such pretensions,

BY LEONARD MARCUS

NOVEMBER 1963 61

www.americanradiohistory.com On clients, a medical student at the Albert Einstein Col- lege of Medicine, pointed out, "he really does work like a doctor" (except, of course, for making house Call calls). Since the medical student's audio misadven- tures seem typical, his story may be of special inter- with est. He had acquired a set of components worth well an over $1,000, and had decided to complete the sys- tern by buying a multiplex adapter made by the Audio manufacturer of his tuner. But when he plugged it in and turned it on, all it produced was a reduction Doctor in volume and the substitution of noise for music. He took it back to the dealer, complaining that it knew his place, contenting himself with his unintim- didn't work. The dealer tested the tubes. idating phonograph and supplying inaudible orches- "Yes, it works," he reported. tra parts from imagination. The dealer then suggested that the adapter might But "upward mobility " -or some such -has been not be aligned to the tuner, but unfortunately he operative here too. Today's listener has been con- himself wasn't equipped for servicing. There was, ditioned to demand wide -range reproduction and however, a nearby service station authorized to do thus highly sensitive playback equipment. Unlike work on components of this make. The student took the old -time enthusiast, though, the latter -day record his adapter and tuner there and, for $20, had them collector probably hasn't acquired much in the way of "married." (Although the adapter was still in war- electronics expertise, and when the inevitable gremlin ranty, this covered only "defects in parts and work- invades his setup, he will find exorcizing it a major manship.") Back home, when the system sounded problem. What he won't find is a high fidelity hardly any better than it had before, he called up service industry readily available in all areas. the service station. The owner of a sputtering stereo system may "There's nothing wrong with your components," locate one authorized service station for his amplifier he was told. "You probably need a better antenna." and another for his tuner of a different make. Unless Since the young man's house lease forbade a roof he lives in a metropolitan district he will hardly even antenna, and the building's master TV antenna did find one of these nearby. If he can, in fact, trace his no good, he bought, for another $30, a specially de- gremlin's habitat to a single component, he can mail signed indoor antenna which was being widely ad- it to the service station (has he saved the original vertised at the time. With this acquisition he could carton all these years ?) or to the factory repair shop; almost hear the music through the noise. It was but if the problem is due to the interaction of com- then that he tried "the last resort." ponents-an amplifier inducing hum in a cartridge, A few days later, I met Bohn, a tall slightly for instance -having a single unit overhauled will built figure looking ten years younger than his age, be of little help. What then to do? Dismantle his at a subway station and we made our way to the system and tote it piece by piece to a well- equipped student's apartment. Instead of the "little black bag" shop (most disparage home service, and some of favored by medical doctors, Bohn was carrying two the more aristocratic establishments flatly refuse to rather large satchels. He always travels by public do any) -or call in a service man with only as much transportation and has developed the amazing knack test equipment as he can carry but with a willingness of being able to calculate within minutes the time it to listen to a rig in its natural environment. will take to get to any place in the Metropolitan area via the New York transit system. Upon leaving the subway, he removed a set of plugs from his ears. ONE OF THE MORE VIRTUOSO of these peripatetic "I need to wear these when I have a long subway audio service men is a colorful character in New trip. Or even a short one if I have to travel between York City known across the FM band, and in ap- 59th and 86th Streets on the Lexington Avenue line. propriate local publications, as "William Bohn, the The tunnel narrows there and it's very noisy." Hi -Fi Doctor." While to many New Yorkers this He explained how too much noise can deaden has come to sound like an indivisible appellation, the his ears' sensitivity for up to an hour. "Turn the two parts were acquired separately: the first some motor off in a boat in the middle of a quiet lake and forty -odd years ago in Ithaca, New York, the second you won't be able to hear your hand in the water." only about seven years ago during a radio advertis- He went on to describe how this phenomenon affects ing campaign. The Hi -Fi Doctor has since been the purchase of high fidelity equipment. "A cus- ministering to the miseries of many of New York's tomer comes off a noisy street into an audio salon most exasperated component owners. "They come and, because his ears are insensitive to the high to me after they have tried everything else," he says. frequencies, he buys the most brilliant- sounding sys- "I'm generally the last resort." tern. When he turns it on at home, after an hour or Bohn recently allowed me to accompany him so of relative quiet, he discovers he doesn't like it. on several of his "house calls" and, as one of his Too blatant." As Bohn talked on, one noticed his

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www.americanradiohistory.com eyes. They are a penetrating pale blue and the distortion, which is good enough to pass most factory whites almost completely surround the irises, giving inspections, and it can tell the difference between them the look cartoonists choose to caricature the IM and harmonic distortion. Most of those scien- innocent, the saint, or the fanatic. tists" -he pronounces the word derisively -"can't tell what they're hearing unless they can see it on an oscilloscope." There is something almost heroic in WHEN WE ENTERED the student's apartment, Bohn Bohn's "heresy." Here is the cry of the artist against put down his two satchels. (Perhaps it is an indica- the encroachment of mechanization, of the humanist tion of his public image, or of the sophistication against impersonal standards... . New York's component owners achieve, that none Bohn began to stomp around the student's living of his clients seemed surprised to find him accom- room, and as he walked heavily, he spoke in a de- panied by an unannounced magazine writer.) The liberately loud voice. He was listening to the room's satchels, by the way, contained a portable tube acoustical characteristics. He would have asked the tester, a VOM, and such audio flotsam as resistors, student to turn on his set -he always requests the condensers, a soldering iron and other basic tools, owner to do that himself-had not the Brahms First bits and pieces of wire, a couple of recordings, and been audible on our arrival. "as many tubes as I can fit in." Bohn doesn't "First impressions first," Bohn announced. kowtow to equipment -after all, he can't carry a "There is no obvious problem of phasing. But...." great deal with him -and prefers to use that "most He then proceeded to suggest what could be done in sensitive audio tester, the well- trained ear." Here is the way of speaker placement (the speakers were a humanist among technicians. spaced widely apart along the long wall of a rela- Of course, there is just so much that a Hi -Fi tively narrow room) and room décor (there was little Doctor can accomplish, and Bohn is the first to drapery or carpeting) to improve the over -all quality acknowledge this. Essentially, he is limited to what of sound. The student countered that he had dif- he can do on the spot. The home is no hospital, and ficulty hearing any difference between mono and without the standard operating room a doctor is stereo on the system. better qualified to administer drugs and make his Bohn then began to talk about room acoustics, patient comfortable than to perform major surgery. studio acoustics, microphone placement, reverbera- But, whereas an MD's function is often confined to tion, the state of the record industry, and other getting out of the way -and keeping others out of subjects dear to his heart. Fortunately, he doesn't the way -while "nature takes its course," an HFD charge by the hour, for when he had finished his is never so lucky. In audio work, not only will discourse, it was fifty minutes later. Most service nature fail to repair a broken coil but it will not men in New York charge approximately $8.00 per even fill a vacuum. Aware of the limitations in- hour, some including transportation time. Bohn sets herent in his profession, Bohn will turn down the a flat fee, which he quotes at the time he accepts a servicing of any elaborate professional equipment a case, $45 being the minimum and average stereo job, client may have in his home. Again, if it seems likely $35 the minimum and average mono job. The for- that only one component is ailing, he will advise its mer usually takes him between four and five hours. owner to take it first to a well- equipped service the latter between three and four. He may spend station. If the component has never been satisfac- seven hours on a system, as he did on one that a tory, he will suggest that the owner use his warranty. teen -ager had made, complete with tape deck, dur- ( "You'd be surprised how many people are too lazy ing a three -day kit building spree. Or he may spend to take advantage of their warranty or even to mail only an hour, as he did on a system in prime condi- in the warranty card. ") He refuses to work on an tion which required simply the soldering of an am- incompatible system, such as one plagued with rum- plifier connection that had been overlooked on sev- ble from a cheap record changer hooked up to a eral trips both to service stations and to factory. If, as powerful, efficient amplifier; instead, he will advise occasionally happens, he accepts a job which for some changing the changer. reason he feels he cannot complete, he does what no Still, one man's major surgery is another's chiro- medical doctor would do-he charges half rate. practic, and it is on where he draws the line that The medical student's troubles were expected to the Hi -Fi Doctor has become a Bohn of contention. involve the average $45 overhaul. The student's set Others, for instance, may decline to align a tuner had one major problem which Bohn wanted to attack without a signal generator, but not Bohn. "They before he got to the multiplex unit. There was a just don't have the ears for it," he says. hum on the phono circuit. Whether the signal cables "With a good musical ear and a program source from the turntable were plugged in or not, switching with whose sound you are familiar -as I am, say, the selector to Phono produced a 60 -cycle tone. with WQXR or WNYC -it is perfectly possible to Bohn checked each tube in the system. Before align a tuner by ear. This is heresy, I know, but I've replacing any he would spray both its pins and its been doing it for twenty -five years and have brought socket with what looked like an insecticide bomb. many a tuner back to life. The trained ear is more "Getting the bugs out ?" he was asked. sensitive than an oscilloscope. It can hear 1 % IM "Just cleaning the connections."

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www.americanradiohistory.com Dirty connections are Bohn's particular anathema hama run. The next time he got out, he stayed out. and he once wrote an article on the subject. Al- After a year as an engineer with the American though a little corrosion on a connection may pro- Broadcasting Company, Bohn set up his own custom duce only 0.1% distortion, he maintains, rightly, that installation business, renting a telephone complete if you clean up thirty of them, you have a quite with a Fifth Avenue address. Today he is still in audible 3% improvement. "I never leave a repair the same building but now has an office as well as job without the whole set sounding noticeably better a telephone. Here Bohn has established himself than it did before anything went wrong." Now he as the counselor of "people who have been told, was using a can of TV tuner cleaner for the tubes `All you have to do is plug it in.' " Among the cases and sockets and he eventually sprayed it on every brought to him was that of the tuner which would metal link of the audio chain. It is his "miracle play all right upside down, but would shut off after drug" and has the advantage over its medical coun- half an hour if it were played right side up. (Heat terparts in that when it is used indiscriminately, it from the tubes gradually wilted some rosin core still produces only beneficial results. And corrosion which held a slug of solder over the tuning plates.) has developed no strains resistant to it. After squirt- There was the call from Greenwich, Connecticut, for ing the set, Bohn reversed plugs, twisted cables, re- minor repairs: Bohn discovered a completely dead positioned AC wires, and wiggled leads until little speaker. (Reverberation from the live speaker by little the hum receded. echoed in such a way as to mask this inactivity with "It's just a matter of trial and error," he admit- a pseudo- stereo effect.) There was the client af- ted, "of eliminating possibilities. Of course, you flicted with the sound of a girl's voice sending mes- have to know the possibilities." sages to tugboats in New York Harbor, interfering with the AM, FM, and Phono circuits of his installation. After Bohn had eliminated this intrusion, BOHN LEARNED ABOUT "the possibilities" almost he had to find it again at a subharmonic on the AM before he was born. His mother met his father, an dial because the owner decided he felt deprived with- electrical engineer, when she enrolled in a radio out the girl's voice. course he was teaching in New York during World To tackle the problem of the student's multiplex War I days. Young William Chanler Bohn grew up adapter, Bohn used the same method that eliminated in Millburn, New Jersey, a commuter town for em- the phono hum. He squirted, twisted, and wiggled ployees of Bell Laboratories, where his father wires while WQXR tried to break into music. He worked. Their house was always filled with Bell also experimented with the alignment and decided audio equipment, and Bohn began "fooling around" that the recent "marriage" was not consummate. As with it when he was ten. a matter of fact, he was able to get a noticeable In prep school, he already knew that he would improvement by working the IF, RF, and oscillator make sound reproduction his career and he became coils against each other. He greatly impressed his a member of both the radio and the glee club. After audience when he pulled up some metal venetian graduating, he took a course in Radio Communica- blinds with the aplomb of a virtuoso and the tuner tion at a YMCA trade school. Pearl Harbor was needle flickered. For an encore, he let the blinds attacked two months later, and Bohn spent the war drop, getting a second flicker. But, most signif- as a radio operator in the Merchant Marine, once icantly, he noted that the adapter was the cheapest adrift in mid -Atlantic. He still treasures two front - model put out by the manufacturer and had, in fact, page newspaper clippings from 1943. One was a only two tubes. While the rest of the student's equip- banner headline in the Boston Post: CITY OF ment was of high quality and carefully matched, FLINT IS TORPEDOED -17 Men Lost in Sinking the adapter could not-considering the antenna of Famed Ship, Others Saved by Alertness of Oper- problem and the location of the apartment house - ator in Taking Transmitter to Lifeboat "; the other, be expected to give perfect performance. Bohn gave from his former home town paper. noted: "HIS some advice to the student about antenna placement SOS SAVED 48 ADRIFT- Former Millburn 'Ham' and packed up. Was 'Sparks' When City of Flint Was Torpedoed." Some day somebody is going to figure out a fool- Bohn got out of the Merchant Marine in 1946, proof method of audio servicing, one that combines staying with his Grace Line ship for a year after the the advantages of home servicing with the efficiency war. Then, although he still intended to remain an of sophisticated, and presently nonportable, test audio man, he entered Harvard (where his father equipment. Until that time, not only will professional had both studied and taught electronics) to major "Hi -Fi Doctors" of Bohn's persuasion be needed to not in science but in foreign languages. Two years take up the slack -and there are not a great many later he rejoined the Merchant Marine. Then ensued with his qualifications around -but every music lis- a period of bouncing back and forth from the Grace tener in search of qualified service will have to Line to Harvard, a year here, three months there, breach the rift between science and the humanities until the Korean War broke out. Unfortunately, by himself. Success may not be guaranteed but at Bohn was in a Merchant Marine period at the time least he will be forced to broaden his horizons. and he soon found himself on the Pusan to Yoko- I hope this makes C. P. Snow very happy.

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www.americanradiohistory.com BY PHILIP HART

QJZî'tZlr Schnabel A Legend Reëmergent

Artur Schnabel's Beethoven is available once more to remind us anew of "the indefinable element of genius."

ON January 21, 1932, in one of the Gramophone When Schnabel began his Beethoven recordings Company (HMV) studios in Abbey Road, London, in London in 1932, he was already something of a Artur Schnabel sat before his four- string Bechstein legend in England and on the Continent, though less piano to begin a recording project that was, in its so in America, where his greatest renown followed own time, almost foolhardy in its artistic ambition, the release of these records and his actual residence and is still, three decades later, regarded with highest here during and after the War. A leading symbol respect. In the intervening years, Schnabel's monu- of a reaction against the excesses both of Russian - mental series of all the Concertos and virtually all Polish virtuosity and of German romantic senti- of the important solo piano music of Beethoven has mentality, his reputation was based, then as now, on occupied a unique place in the recorded repertory. his dedication to the performance of a limited reper- In an industry that seems almost compulsively in- tory of great music. Even so, his concert repertory clined towards planned obsolescence, the Schnabel and his recorded legacy bulk quantitatively larger recordings of Beethoven have an almost magic du- than that of most pianists who play fewer works of rability: since the pianist's death in 1951, there have more composers. His performances cast new in- been in this country alone two separate microgroove terpretative light on the more familiar works of reissues of the five Beethoven Concertos and three Beethoven, Mozart, Schubert, Brahms, and Schu- of the thirty -two Sonatas. The latest of these, in mann, and revealed the unknown beauties of music Angel's series of "Great Recordings of the Century," that was virtually unprogrammed by other artists. have appeared in recent months not only to remind Schnabel's reputation as a Beethoven "specialist" us of the impact these performances made thirty did not, in fact, always do justice to the range of his years ago but also to demonstrate their enduring repertory and of his musical interests. In his early place in the musical life of this generation. years as a performer, Schnabel played an extraor-

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www.americanradiohistory.com dinarily wide repertory, including music by Chopin his villa at Tremezzo on Lake Como. In 1939 and Liszt. Throughout his career as a performer, Schnabel moved to this country and became an he maintained a strong interest in chamber music, American citizen. Here he continued to play, teach, and his Berlin years from 1900 to 1932 were notable and compose, and his apartment overlooking New for regular ensemble appearances with such col- York's Central Park was the scene of much musical leagues as Bronislaw Huberman, Pablo Casals, Paul and intellectual activity. For Schnabel was not only a Hindemith, and Carl Flesch: among his recordings complete all -round musician, but also a citizen of are works of Schumann. Dvoák, Schubert, and Mo- the world with a lively and frequently impassioned zart, played with members of the Pro Arte Quartet, concern for human welfare. and four of the five cello sonatas of Beethoven per- A great talker, Schnabel could be outspoken and formed with Pierre Fournier (once available on an rather dogmatic on a variety of topics, musical and RCA Victor LCT disc) or Gregor Piatigorsky. nonmusical: the recently published volume of the Schnabel was also very close to Arnold Schoenberg, University of Chicago lectures he gave in 1945, en- whom he first met in their student days in Vienna titled My Life in Music, captures something of the and with whom he enjoyed a warm friendship until flavor of the man and of his way of talking. No one the latter's death, a little more than a month before his who heard him in conversation can forget the au- own. As a composer, he was strongly influenced by thority with which he spoke, the logic of his argu- Schoenberg's theories, and, though he did not strictly ment, or the outrageousness of his puns. There was pursue the twelve -tone system. his own music was great charm in this stocky little man, who looked often strongly inclined towards serialism (his more like a Central European businessman than an Duodecimet of 1950 was. until recently, available artist, and the magnetism of his personality blended on a Columbia recording, ML 5447). well with his autocratic manner. I have heard him When Schnabel was still in his teens, his teacher. instruct a very conservative symphony -board presi- the renowned Theodor Leschetizky, remarked on dent on the virtues of government subsidy of the several occasions. " Artur, you will never be a pianist. arts, and I have heard him shock an equally con- You are a musician." It was this perception of his servative musician with a glowing account of a week- pupil's individuality that made Leschetizky call to his long visit in Los Angeles with Arnold Schoenberg: attention the then virtually unknown sonatas of both conversations were animated with a keen sense Schubert, and it is reported that Schnabel was the of irony as well as crusading ardor. only one of Leschetizky's pupils not required to learn at least one Liszt Hungarian Rhapsody. In the 1920s Schnabel himself enjoyed an inter- SCHNABEL LIKED TO SAY that he was interested in national reputation as a teacher, and a number of playing only great music -"music which I consider American pianists studied with him in Berlin and, to be better than it can be performed" -and possibly after he was forced to leave Germany in 1933, at his salient quality was this fierce artistic honesty, blended with a genuine humility. Other pianists in his generation approached the austerity of Schnabel's programming when they played in important musical centers. but Schnabel almost alone insisted upon such standards wherever he played. (Once when asked by a manager to submit a program not constituted exclusively of Beethoven sonatas, he complied with a list consisting of a Schubert posthumous sonata and Beethoven's Diabelli Variations. This attitude led to his doing without an American manager for the last ten years of his life.) His edition of the Beethoven Sonatas bristles with annoyance at other editors who corrected Beethoven to make him more playable: Von Billow's edition for Cotta was a special target for Schnabel's footnote sallies. Schnabel preferred the most authentic score possible, not merely through arbitrary reverence for the composer's text but out of conviction that the composer was the best judge of the most musical reading of a work. Schnabel was a thorough master of piano technique, despite a frequent undervaluation of him in this respect -an undervaluation en- couraged in part by his "antivirtuoso" reputation and partly by his humorous references to his own laziness. The occasionally awkward moments in result inade- Angel Records /Vogelsang Schnabel's playing are seldom the of In 1927, in Berlin, where students flocked to him. quate technique, but rather of his insistence on re-

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www.americanradiohistory.com producing as authentically as he could the special repertory, Schnabel brought a musical integrity that mannerisms of a specific composer's intentions. revealed new beauties in detail and in over -all But artistic integrity and scrupulous fidelity to a grandeur. His adherence to Beethoven's rarely ob- score can produce some of the dullest performances served pedal indications in the slow movement of the imaginable, unless they are combined with a sense C minor Concerto and in the Rondo of the Waldstein of style and a perception of the composer's expres- Sonata gives an effect quite different musically from sion. Typical of this is Schnabel's illuminating way the "modern" manner of pedaling. As we listen with early Beethoven, where his phrasing -of accom- again to Schnabel's recorded performances of paniment as well as melody -is supple. expressive, Beethoven, it is hard to remember what Beethoven and full of the sort of tensions and relaxations that sounded like before we first heard them a gener- make music meaningful. Schnabel's early Beethoven ation ago. is far removed from the nineteenth- century notion Schnabel's extraordinary sense of tension and re- that, before the Eroica Symphony, Beethoven was lease, of the right way and time to vary a tempo, simply working in the idiom of Mozart and Haydn. is the antithesis both of a rigid "scholarly" ap- This notion, as Tovey so cogently and voluminously proach and of sentimental "expressive" phrasing. demonstrated, does scant justice either to young Some of the greatest moments in his performances Beethoven or to his predecessors. of both the concertos and the sonatas are the begin- nings of the recapitulations and the passages that prepare for them: the G major Concerto and the Op. IT HAS BEEN SAID that every generation must re- 110 Sonata are instances that come readily to mind write for itself the history of the past. By the same as illustrations of how Schnabel recognized and token, our experience of the great art of the past projected the salient features of the dramatic clas- must also be subjected to periodic reappraisal, both sical forms. The ornate involutions of the slow move- critical and historical, and, especially with music, in ment of the rarely played Op. 31, No. 1, in G major, terms of performance. In the case of Beethoven, could degenerate into sheer formlessness without the the first half of this century witnessed an important sense of rhythm and form that underlies Beethoven's change in our appreciation, due both to trail -blazing decorative conception. performers and to the work of several perceptive In his playing of the lesser -known sonatas, writers. Among the latter are Alexander Wheelock Schnabel revealed a variety in Beethoven's expression Thayer's ruthlessly factual biography of Beethoven, that cannot be found in either the symphonies or the J. W. N. Sullivan's uniquely intuitive definition of string quartets. The mellow lyricism of Op. 90, in the composer's expression, and Donald Francis E minor, the infinite variety of the three sonatas in Tovey's keen understanding of the dramatic nature Op. 31, and the simpler but by no means unsubtle of classical sonata forms. Among performers, for beauties of such early sonatas as Op. 22. in B flat, the American audience at least, the crucial inter- are pleasures for which we have been indebted to preters of Beethoven have been Arturo Toscanini, the Schnabel for years. But our greatest debt in this Budapest String Quartet, and Artur Schnabel, and it respect is for his revelation of the many- faceted pro- is no reflection on the others' greatness to observe fundities and heights of the last five sonatas. For it that Schnabel's contribution was more pervasive sim- is largely owing to Schnabel that these works are ply because he performed on the instrument to which today established in the repertory to such an extent Beethoven confided the greatest variety and pro- that at least four of them figure frequently not only foundest sentiment of his musical experience. on recital programs but even in the entrance ex- What Schnabel did -as Toscanni did in his own aminations at our conservatories. Schnabel's ap- quite different way -was to see all of Beethoven, proach to these sonatas combined logical scholarship not just early Beethoven, in the larger context of the with sheer musical intuition. We can explain in part relationship with Mozart and Haydn, and to see all the miraculous effect of the variation movements of three as representatives of a unique classical idiom Op. 109, in E major, and Op. I 1 1, in C minor, by in instrumental music. In Haydn and Mozart they noting the steadiness of Schnabel's basic rhythm and recognized much more than formalistic and decora- his magnificent control of tempo, but, once we are tive composers in powdered wigs, and they viewed finished with such analysis, there remains the in- Beethoven most significantly, not as a revolutionary definable element of genius. who overthrew tradition, but rather as a highly orig- There are those who feel that Schnabel's dogged inal adapter of tradition. Schnabel's playing of fidelity to the exact letter of Beethoven's scores pro- Beethoven is a superb illustration of the interplay duced unfortunate results at times, especially in the of "freedom and normality" described by Tovey in Hammerklavier Sonata. Yet the pianistic awkward- his great essay "Some Aspects of Beethoven's Art - ness of Schnabel's performance of the first and last Forms," wherein he demonstrates how "free" the movements of this work arises from the same fidelity early Op. 22 Sonata is and how traditionally "clas- to Beethoven's metronome indications that contrib- sical" the Op. 131 String Quartet. utes so much to the extraordinary beauty of the slow Has anyone phrased the syncopated rhythm of movement. All things considered, I do not think the Rondo theme of the E flat Concerto so subtly or that the fast tempos here, for all their awkwardness, so rightly as Schnabel? To the standard concert are unmusical as such, and they certainly convey

NOVEMBER 1963 67

www.americanradiohistory.com something of Beethoven's musical intention that no Sonatas were pressed in chronological order in auto- "playable" tempos, with all the notes audible, can matic sequence; a copy of Schnabel's edition of the ever transmit. Sonatas was included in this bulky package, which The piano music of Beethoven constitutes as a was sold at premium prices as a limited edition. whole what is possibly the greatest single monument Both of these RCA Victor editions have long been of music for the instrument, and the solo pianist has out of print, nor have any European reissues of the a special advantage over his colleagues on the podium Sonatas been released so far. or in the string quartet in that he alone can com- The original HMV recordings of the Beethoven mune, in the best sense of the word, directly with Sonatas had been of exceptional quality, capturing the music itself, without compromise or dependence the sound of Schnabel's Bechstein with remarkable on the frailties of other musicians. In the music of warmth and richness, though lacking the full treble Beethoven such a pianist is in touch with music that brilliance and bass transients of modern recording. confronts the solo performer nowhere else in the The LM- LCT -LVT reissue by RCA Victor con- repertory. Schnahel's mastery of this great body of veyed this sound admirably but with some loss of music was one of the glories of the past generation, treble quality due to an effort to reduce surface and future generations may be thankful that it has noise in the transfer from disc to tape. The de luxe been so admirably preserved in recordings. There edition, however, had a slightly thinner sound, pos- should never he a time when these performances sibly resulting from doctoring the final tape to LP cannot be heard, and we are greatly in Angel's debt disc transfer in order to restore the treble. for once again making this legacy available to us. The new Angel issue of the complete Beethoven sonatas is also in chronological order on thirteen LP records, but it is pressed in manual sequence, SCHNAREL'S ATTITUDE towards the phonograph was a decided advantage in locating a specific sonata. typical of his whole approach to music. Just as he Like RCA Victor, Angel found it necessary to di- disclaimed infallibility in his editing of the Beethoven vide some of the sonatas over more than one LP Sonatas, he never pretended that his recordings were surface, but chose the less onerous expedient of definitive. The changes in his recorded perform- breaking up early sonatas (Op. 14, No. 1, and Op. ances of the Concertos over a period of fifteen years 54) rather than the late ones, as RCA Victor did. are evidence of a restless probing into the music that Thus Angel has the Hammerklavier on two sides (in- really challenged him. He was inclined to minimize stead of RCA Victor's three), and none of the other the musical value of recording and granted the late sonatas, which depend so much on unbroken phonograph little more than a documentary value. continuity, is divided. Actually the Angel set is Though he had accompanied his wife, the Lieder therefore much more satisfactory in this respect than singer Therese Behr Schnabel, in a series of records the old 78 -rpm Society records, which were issued made in Berlin during the 1920s, he refused for some in rather arbitrary grouping and required a great time to record by himself. But when he was invited deal of record changing. to record all of the Beethoven Sonatas and Con- Sonically, the new Angel processing produces a certos, and was assured of the best possible working warmer and fuller tone than either of the RCA conditions, he undertook his task with great con- Victor editions did: the latter's sound tended to be scientiousness. In little more than three years from brittle on top and tubby on the bottom, whereas the beginning of the project in 1932, he recorded the new release is better balanced in this respect more than two hundred 78 -rpm "sides" of Bee- and has greater substance in the midrange, possibly thoven, maintaining an extraordinarily high standard due to the judicious use of echo in the processing. of performance (and this, of course, before the era To transfer the special characteristic of pre -War of tape editing). HMV recording to modern LP required some sub- Schnabel recorded the thirty -two sonatas but jective technology on the part of the engineers in once, and they were released in twelve volumes, at charge of the taping of the original records and the intervals of twice a year in groupings of six or seven mastering of LP discs from the tape, and the Angel 78 -rpm records each under the aegis of the Beethoven technicians here and abroad have produced a sound Sonata Society; three additional volumes were de- very close to the original HMV, and in certain re- voted to the Variations, Bagatelles, and other miscel- spects (notably the bass) a better -balanced one. The laneous piano solos. Except for the volume de- result lacks modern brilliance of the highs and bite voted to the Hammerklavier Sonata, none of these of the bass, but is an extraordinarily satisfying pi- records was released in the United States during ano tone, with very little original surface noise. Schnabel's lifetime, though he repeatedly urged For the sake of the record, it should be noted that RCA Victor to do so. Between 1955 and 1957, the dubbing from 78 -rpm originals to tape for this however, RCA Victor brought out microgroove re- Angel release was done in Europe and that the discs issues of the Sonatas in two distinct editions. The were mastered from tape in this country by Capitol - first was in the regular LM and LCT -LVT series, Angel technicians. This is of significance because where the contents of each Society volume was these same Sonatas are to receive their first LP re- generally offered on one LP disc. The other was a lease abroad at this time, probably with the sanie de luxe edition of thirteen records, in which the COLH serial numbers, Continued on page 127

68 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com There is no such thing as a typical Marantz owner -unless one can say they are firmly devoted. Some may have determined at the outset that they would have only Marantz. For still others it may have been a matter of budgeting, with planned growth to a full Marantz system.

We have, however, been receiving an ever increasing number of letters from recent Marantz "converts", indicating surprise at the extent of the improvement obtained. They are now convinced of the difference, and are Marantz owners forever.

Whether one is buying soap or automobiles, it is difficult to evaluate conflicting ah claims and counterclaims of superiority. Yet, when it comes to stereo amplifiers and preamplifiers, rt almost anyone will acknowledge that Marantz is outstanding from any point - to`port esgage whether performance, precision, quality of construction, reliability, or sound quality.

Hear for yourself what the finest music reproduction sounds like -and you too will be a confirmed Marantz owner- forever!

Most of you who visited the recent New York High Fidelity Music Show saw and heard the first production examples of our Model

10 Stereo FM Tuner. I was pleased to personally demonstrate the highly advanced features of this superb tuner to thousands of interested people. In addition we sprung a little surprise -the display of prototypes of our forthcoming indoor antennas, Models

I I A and I I B. They are compact, directional, easily rotated, and have at least the gain of a good dipole. There are no electronic boosters to add noise or distortion. This is not intended to be a substitute for a good outdoor antenna, but is designed for use where such installations are prohibited. Drop us a card and we will be happy to send you a data sheet on this interesting product.

President Superb American Craftsmanship M.1011. ir y7 ZZ I 25.14 BROADWAY, LONG ISLAND CITY 6, NEW YORK

Model 7 Stereo Console IM distortion @ l0V eq. Model 81 Stereo Amplifier 35 watts per channel Model 9 Amplifier -70 watt bask amplifie, Re pk. RMS, within 0.15%, 0.1% typical Hum and noise, (70 watts peak) Harmonic distortion, less than 0.1% sponse at 70W, ± 0.1 db, 20 cps to 20 kc Harmonic 80 db below 10 mvphono input Sensitivity, 400 micro- in most of ronge, less than 0.5% at 20 cps and 20 kc distortion, less than 0.1% in most of range, 0.3% at volts (0.4 millivolts) for I volt output Equalizer and Hum and noise, better than 90 db below 35 watts 20 cps and 20 kc. Hum L noise, better than -90 db tone curves matched to better than 0.5 db Beautiful Exceptional stability assures superb clarity with all Completely stable for smooth response Built -,n precision construction Price $264 (Cabinet extra) types of loudspeakers Price $264. metered tests and adjustments Price $384 each. (higher in West)

CIRCLE 62 ON READER -SERVICE CARD NOVEMBER 1963 69

www.americanradiohistory.com DEPENDS ON WHAT GOES THROUGH HERE

"SKIMPING "ON THE CARTRIDGE Dyne`.ic cartridge for their personal sys- JEOPARDIZES THE SOUND tems. It was, from its inception, and is (AND SATISFACTION) OF THE today the finest stereo cartridge your WHOLE SYSTEM The hundreds, money can buy. And not much money, at even thousands of dollars you put into that. The $36.50 spent on a Shure M33 -5 (if speakers, pre -amps, amplifiers, turntables you have a fine tone arm that tracks be- and recordings can be virtually nu;lified by an off- tween 3 and 1.5 grams) or Shure M33 -7 (for track- hand selection of the phono cartridge. For even ing pressures from 1.5 to 3 grams) will audibly though it is the lowest -cost single component in the improve even fine quality stereo systems. Com- typical system, it is charged with the frighteningly pliance is an astounding 22 x 10 -6 for the M33 -5 complex task of getting the music out of the grooves (20 x 10 -6 for the M33 -7). Response is transparent and translating it into precise electrical impulses and smooth not only at the top and bottom but in ... without addition, subtraction, the critical middle range (where or distortion. And without damag- most music happens -and where IF YOU INSIST ON A SHURE DYNETIC CARTRIDGE, most other cartridges garble the ing the record grooves. Leading YOU CAN EXPECT MORE FROM YOUR SYSTEM critics and noted audiophiles rec- sound). No "peaks," no "shatter- ognize this and (with due care ing." Et cetera, et cetera. Better and study) select a Shure Stereo listen to it, and judge for yourself.

Patented and other patents pending

M33 SERIES HIGH FIDELITY PHONO CARTRIDGES SHURE BROTHERS, INC. 222 HARTREY AVE., EVANSTON, ILLINOIS CIRCLE 80 ON READER- SERVICE CARD 70 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com The consumer's guide to new and important 1 11111111111 I 1111111111111111111111111 high fidelity equipment IÚÏ Ìi uÌ Äú ÌÏÌliiIÚlliiÌillÌ lli 1 M111111 111 1111I1111111 III 111111111 IlU N1 IIINI II 1111 1111111 IIU iII 1N 11 NIIIIMME MI 1 111111 111111 1111 111111I 1111111 In1N iiiillunuu Illnlllll11111111111Ìi 11111111 1111 MIM 1111r 1111 `Illf 'or 11111 n111111111111 NMI 11111. Illlhóllllly llllh.ll1 !II o 1111111 1111111 MM usonilluulnnnuuiannutnu n 11111 111 11111111 ..11 I""11111["'t IIU""' 11111111111l11111111 ¡Ili 11W1I N,. 1111,_ . 1pp,. . 1111 NpINÍ11111111111NIN M 11I 1"`ellllr'1llll " MIME II high fideli UI,. .IIII, e IIN,.. MME 11 1N11I IU N; MIN 11 11 11 ,li! ___.. MIS 11111 ' MI 1111 EQUIPMENT REPORTS

United Audio Dual 1009 "Auto /Professional" Turntable

THE EQUIPMENT: Dual 1009, a four -speed turntable The platter -well balanced, 105/a inches in diameter, and arm ensemble for use manually (single play) or weighing seven pounds, five ounces, and covered by a automatically as a changer. Dimensions: chassis is 13 thick rubber pad -is rim -driven via a rubber idler wheel inches by 107/s inches; mechanism extends 3 inches be- from a four -pole induction motor. The motor itself low chassis plate; automatic spindle extends about 4 is a fairly husky unit, and an examination of the under- inches above platter. Price: $94.75 (includes manual and pinnings of the 1009 indicated sturdiness combined with automatic spindles. 45 -rpm adapter, cartridge -mounting precision craftsmanship. The motor shaft drive pulley hardware, strobe disc, signal cables, power cord). Op- is graduated in four steps. for the four speeds of 16, tional oiled walnut base, $9.95; additional cartridge 33, 45, and 78 rpm. Speed change, controlled from the holder, $3.00. Manufactured in West Germany and top of the player, is accomplished by raising or lowering distributed in the U.S.A. by United Audio Products, the idler wheel to the appropriate step on the motor 12 -14 West 18th St., New York 11, N.Y. shaft. While this method is standard in most players. it has an interesting and useful variation as employed in the COMMENT: The term "changer" has had, of course, Dual 1009: each of the four steps on the shaft has a some stigma attached to it from the standpoint of ulti- slight taper so that the idler wheel may be raised or mate performance, and units such as the Dual have been lowered along any step on the motor shaft to provide a called "automatic turntables" to distinguish them from variable speed adustment for any of the four speeds the older breed. The new players, as a class, employ selected. The control for the vernier adjustment is next smoother -running motors, quieter transmissions. care- to the speed selector; when adjusted, using a strobe disc, fully machined platters, and -very important- better- the turntable ran at the exact speed selected. Variations balanced tone arms that meet the more demanding ;n line voltage. as well as in the number of records requirements of stereo playback when using modern, placed on the turntable. had very little effect on the high compliance pickups at fairly low tracking forces. To speed, so that both speed accuracy and speed constancy highlight these features, United Audio has chosen the (under a wide range of operating conditions) were term "Auto /Professional" to describe the Model 1009. truly excellent. But by whatever name you call it, the new Dual 1009 The record -changing mechanism is driven by the is, in many ways, an outstanding example of the pre - rotation of the platter, and for automatic use, records assembled. automated record player, offering the com- may be stacked on a long spindle that operates very bination of convenience and fine performance. smoothly and without the aid of additional parts or

Equipment reports are based on laboratory measurements and listening tests. Data for the reports on equipment other than loudspeakers. is obtained by the United States Testing Company, Inc., of Hoboken, New Jersey, a completely independent organization not affiliated with the United States Government which, since 1880, has been a leader in product evaluation. Speaker reports are based on controlled listening tests. Occasionally, a supplementary agency may be invited to contribute REPORT POLICY to the testing program. The choice of equipment to be tested rests with the editors of HIGH FIDELITY. No report, or portion thereof, may be reproduced for any purpose or in any form without written permission of the publisher. No reference to the United States Testing Company, Inc., to its seals or insignia, or to the results of its tests, including material published in HIGH FIDELITY based on such tests, may be made without written permission of United States Testing Company, Inc.

NOVLMI Ill R I )ñ 71

www.americanradiohistory.com over -arms. A lever is used for selecting the size of the was found to track quite well at less than one gram records to be stacked -seven -, ten -, or twelve -inch tracking force, and indeed, in its automatic mode, the diameter. (The Dual will not intermix different -size tripping mechanism worked perfectly at a mere one - records in the same stack, but up to ten discs of the half -gram tracking force, which is outstanding. Too, the same size and speed can be stacked at once.) Another tone arm bearing friction was very low, and there were lever serves as the start and stop control, which operates no detectable lateral forces on the arm as it moved very smoothly in either the automatic or manual play across the disc. The arm's own resonance, which is positions. For manual play, a shorter spindle is inserted fairly well damped and minimized by the shock -mounted in the center of the platter and the tone arm may be counterweight, was estimated to occur at about 15 cps. lifted and cued in to any spot on the record. At the While this could cause momentary mistracking when an end of play. the arm returns automatically to rest. older, low compliance cartridge is attempting to track a The arm itself is a metal tubular type, balanced by strong bass passage, it is of no consequence when using a rear counterweight. free -moving on its pivot, and em- one of today's high compliance cartridges with which ploying an off -set head which has a removable carriage the Dual 1009 will track flawlessly at the very low onto which the cartridge is fastened. There are four forces recommended by the cartridge manufacturers. leads, with fitted sleeves. for connecting to the cartridge. Installing the Dual 1009 -either in the base avail- These terminate in metal contacts that slip against cor- able from United Audio or in a cut -out fashioned for responding metal strips in the arm's head to make posi- it -is extremely easy because of a new type of "hold - tive contact. Each strip is marked for correct channel down" lug used on the player that obviates the need to and ground connection. After the cartridge is installed. grope beneath the chassis while installing it. the rear counterweight is adjusted to bring the arm into Wow and flutter, as measured by USTC. were in- static equilibrium. Stylus force then is set by a spring significant. registering 0.04% and 0.03% respectively. adjustment at the pivot. This control is scaled from Unweighted rumble, by the NAB standard (see explana- zero to seven grams and was found by United States tion in May 1963 issue), was -30 db, and inasmuch as Testing Company. Inc.. to be accurate to within less it was confined largely to subsonic frequencies, was in- than 0.1 gram at tracking forces below three grams. audible. All things considered, the Dual 1009 is clearly Additional adjustments may be made for the set - an improvement over the former Dual changer; in some down spot of the stylus on a record, as well as for the ways it represents a new high in record player engineer- height of the arm. When correctly balanced and ad- ing, and as a high fidelity performer it is one of the justed, the Dual 1009 -using a high quality cartridge- best "automatic turntables" yet encountered.

EICO Model ST -97

FM /Stereo Tuner Kit

THE EQUIPMENT: EICO ST -97. a mono /stereo tuner set's distortion was low. and its capture ratio -which available as a kit or factory -wired. Dimensions: 51/2 measures the tuner's ability to reject a distant inter- inches high. 157/8 inches wide, 113/4 inches deep. Prices: fering station that is on the same frequency as the local kit version. $99.95; wired version, $149.95. Manufac- one being received -was excellent, indeed one of the turer: EICO Electronic Instrument Co., Inc., 33 -00 best ever measured. The automatic frequency circuit, Northern Blvd., Long Island City 1, N.Y. which helps the tuner to hold onto a station once it is tuned in. worked well and did not increase the distor- COMMENT: The appearance of the ST-97 is neat and tion by more than 0.1%, which is insignificant. The simple. Its ample -sized tuning dial is divided into two set's frequency response was essentially uniform over sections: to the right is the main frequency scale the FM audio band. covering the 88- to 108- megacycle band, while on the On stereo operation, total distortion rose somewhat left is a station -logging scale numbered from zero to (as expected), but not excessively. Response on both left ten. Behind the pointer for the main scale is a tuning and right channels remained good, and channel separa- indicator. and behind the logging -scale pointer is a tion was adequate for good stereo listening. Off -the -air stereo signal indicator. To the left of the tuning dial FM stereo recording. using the ST -97, would be helped is a stereo /mono switch. and at the extreme right is by the fact that both the 19 -kc pilot and the 38 -kc an AFC /defeat switch. Below the dial, from left to subcarrier signals were suppressed by more than 60 db. right. are located the AC power off /on switch, a which is well below any level that might cause whistles channel separation control, and the main tuning knob. to interfere with the tape recording. All told, the ST -97 The ST -97 has no volume control, and signal level represents very good value for the cost. therefore must be regulated in the preamp or integrated amplifier to which the ST -97 would be connected. The How It Went Together antenna input is the standard 300 -ohm (twin -lead) type. Measurements made at United States Testing Com- The EICO ST -97 iras built by a relatively inexperienced pany, Inc., of a kit -built version, following alignment kit builder who had previously assembled one amplifier of the set, indicated very satisfactory performance on kit. He reports that the work went smoothly. He found both stereo and monophonic FM broadcasts. With an the separate packages of parts for each stage of the IHF rating of 3 microvolts, the ST-97 is sensitive enough construction, as well as the prewired front end and IF to be used in suburban areas, or other locations some- sections. very helpful. Total working time was about what removed from close proximity to FM stations. The twenty hours.

72 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com EICO ST -97 Tuner (kit) Lab Test Data IHF USABLE SENSITIVITY CURVE"'

Performance 3.Ors. characteristic Measurement = -40 1... Frequency response, mono +0.5, -2.5 db, 20 cps to 14 kc; down to -3 db at 15 kc - IHF sensitivity 3 uy at 98 me; 3 uy at 90 mc; NMI pmeamiam 2.5 uy at 106 mc ® 10' 1 10 10' 10' 10'

THD, mono 0.46% at 400 cps; 0.5% at 40 RF INPUT LEVEL IN MICROVOLTS cps; 0.66% at 1 kc

IM distortion, IHF method 0.14% Capture ratio 2.5 db + 52 db 4111111111111111111111111111111111111 5/N ratio 5 1111111110111r Z 4 1 1 Maximum output level left ch., 0.95 v; right ch., mom 0.78 y i 0 ° 5 THD, stereo left ch.: 1.4% at 400 cps; FM- MONOPHONIC FREQUENCY RESPONSE 2.6% at 40 cps; 10 - 20 50 100 300 500 1K 3K 51( 10K 20K 1.3% at 1 kc FREQUENCY, (PS right ch.: 2.8% at 400 cps; 2.4% at 40 cps; 2.4% at 1 kc

Frequency response, stereo left ch.: y 2 db, 20 cps to 8 kc; down to -3.3 db at 15 kc +5

right ch.: 1 db, 20 cps to 13 kc; down to -1.5 db at 15 kc 5 FM- STEREO FREQUENCY RESPONSE AND CHANNEL SEPARATION 10 Channel separation better than 14 db, 100 cps to 15 kc 15 .__ better than 20 db, 250 cps to 10 kc 20 iÏliw i 25 19 -kc pilot suppression -61 db Left Channel 30 - Right Channel - - - 38 -kc subcarrier -62 db -35 suppression 20 50 100 300 500 1K 3K 5K 10K 23K FREQUENCY, (PS mama di /Mt tisses Fisher Model X -101 -C

111113113111131131111, , Control Amplifier

THE EQUIPMENT: Fisher X- 10I-C. a combination ster- channel speaker and headphones only), dual concentric eo preamp /power amp. Chassis dimensions: 15 1 /8 inches bass and treble controls. channel balance control. tape wide, 12 1/2 inches deep, and 4 13/16 inches high. monitor switch, and loudness contour off /on switch. The Price: $199.50. Optional metal case, finished in simulated upper (exposed) part of the front plate includes the con- leather: $15.95; wood (mahogany or walnut) case: trols most often used: five push buttons for program $24.95. Manufacturer: Fisher Radio Corp., 21 -21 44th selection (tape head. phono, tuner, auxiliary, and tape Drive. Long Island City 1, N.Y. play), a stereo mode selector (mono, stereo. reverse), and a combination volume control and power off /on COMMENT: The most striking visual aspect of the switch. In the center of the panel is a stereo headphone X -101 -C is the hinged panel that extends across the jack. The number and variety of controls -with their bottom of the front dress plate. When opened, it reveals associated input and output connections-lend the X -IOI- an array of eight controls deemed essential but not the C a very high degree of versatility, while the plan of most often handled during use. These include, left to "hiding" most of the controls keeps the amplifier from right, an equalization switch for tape or records. a scratch looking cluttered. The unit thus seems to have been de- filter switch. an output selector switch (headphones only, signed to appeal to the hobby- minded stereophile as all speakers. left and right speakers only, or center well as to the décor -minded music lover. Combining this

NOVEMBER 1963 73

www.americanradiohistory.com double appeal with most creditable performance -judging from the results of tests run at United States Testing Company, Inc. -the X -10I -C shapes up as a very worthy integrated amplifier. The circuit uses 12AX7 tubes in the preamplifier, voltage amplifier, phase inverter, and driver stages, while two type 7591s serve as the push; pull output stage in each channel. Negative feedback is applied from the secondary of the output transformer to the cathode of the driver stage. 50 -cps, left. and 10 -kc square ware response. Measurements of the amplifier indicate fine performance in the medium power class with low distortion, Zero DB -- 27 Watts a clean power bandwidth over the audio range, and wide, + 2 uniform frequency response. The RIAA phono equaliza- 2 0 tion characteristic was especially noteworthy, deviating 2 Power Bandwidth @ 0.5% THD 22' no more than 0.5 db from 30 cps to 20 kc. The NAB 4 equalization characteristic, for direct playback from a 6 THD ä' 24.8 Wotts Output tape head, fell off at the very low end, but was accurate ii 8 down to 60 cps; this feature, in any case. would concern 10 only those who play tapes from a deck with no pre- 12 ° HD .@ 12.4 Watt Output amplifiers of its own. Tape decks with their own preamps 14 Frequency Response would be played through another input on the X- 101 -C. n 16 â 1.0 Watt Output x ,. 3.7 The tone control and loudness characteristics, shown on °` 18 411111111111111111111111 Z the accompanying chart, were found to be effective for - 20 100K purposes. The scratch filter had a very 1.0 10 100 1K 10K their intended off at the rate of 12 db per octave FREQUENCY, CPS good "shape," falling

+ 5 0 Fisher Model X -101 -C Control Amplifier -5 RIAA Lab Test Data -t-5 0 NAB Performance 5 characteristic Measurement 10 -15 EQUALIZATION ERROR 20 50 100 300 500 1K 3K 5K 10K 20K Power output at 1 kc clipping point, individual left, 24.8 watts with 0.14 °ó THD FREQUENCY, (PS channels right, 23.1 watts with 0.05 °c THD with 0.72% both channels operating each ch., 21.1 watts 3.5 THD simultaneously 3.0 INTERMODULATION DISTORTION 2.5 Power bandwidth, 2.0 to 20 kc for constant 0.5% THD 23 cps 1.5 -®IlIII>Il 1.0 am MINIMUM IIMIR141 Harmonic distortion, under 0.5% from 30 cps to 16 kc; 0.5 24.8 watts, left ch. 0.75% at 20 kc 0

12.4 watts, left ch. 0.86% at 20 cps; 0.5% at 20 kc 1 2 4 7 10 20 30 40

POWER OUTPUT, WATTS IM distortion less than 0.25% up to 10 watts; less than 0.5% up to 22.5 watts; 1°0 at 24 watts 15 Loudness Contour ± 1 12 to kc; down to 10 Frequency response db, cps 34 ó Bass Boost Treble Boost -3 db at 10 cps and 46 kc z S 'sr Scratch RIAA equalization ± 0.5 db, 30 cps to 20 kc; down 5 ó Bass Cut Treble Cut , Filter to -3 db at 20 cps 10 15 ± 20 kc; down FILTER AND TONE CONTROL CHARACTERISTICS NAB (tape head) equali- 0.5 db, 60 cps to 20 zation to -3 db at 41 cps; down to 20 50 100 300 500 1K 3K 5K 10k 20K - 10.5 db at 20 cps FREQUENCY, (PS -r Damping factor 13

Sensitivity for full output aux and tuner inputs 300.0 mv tape play input 670.0 mv REPORTS IN PROGRESS high level phono 16.4 mv low level phono 3.4 mv tape head 3.4 mv New Klipschorn Speakers

S/N ratio aux and tuner inputs 83 db Leak Preamp and Power tape play input 78 db tape head input 65 db Amplifier phono inputs 62 db

74 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com above 6,000 cps. This characteristic will remove the amount of low frequency phase distortion (which is scratchiness from old records, and since the filter is fairly typical of a control amplifier), and good high located before the tape output jack, it will be effective frequency transient characteristics with no "ringing." when recording these records on tape. The amplifier had When checked for stability with capacitive loading (such the fairly high damping factor of 13 (good for con- as electrostatic speakers), the amplifier had no tendency trolling wide- excursion speaker cones). Its sensitivity, for toward oscillation. full output, is suited to all present -day high fidelity pro- For a compact control amplifier that can serve as gram sources. The signal -to -noise ratio of the amplifier the center of a medium -power installation, the Fisher was excellent on all inputs, which means that it will in- X -101 -C merits serious consideration. It is pleasingly troduce no noise into the reproduced signals. The square - styled, and its over -all design combines simplicity of op- wave response of the Fisher X -10I -C showed a certain eration with high quality and reliable performance.

Audio Dynamics Corporation

Model ADC -12 Speaker System

THE EQUIPMENT: ADC -12, a full -range speaker sys- about 40 cps. Doubling could be introduced if the speak- tem with integral enclosure. Dimensions: 13 by 12 by er was driven abnormally "hard," but was not apparent 233A inches. Walnut finish. Price: $139.50. Manu- at normal listening levels. From the bass region up- facturer: Audio Dynamics Corp., Pickett District Rd., ward, we noticed a slight dip at about 260 cps, another New Milford, Conn. just below 5 kc. and an apparent rise toward 8 kc which appeared to slope off past 11 kc, with response continu- COMMENT: The ADC -12 is generally similar in design ing to beyond audibility. The over -all characteristic to the ADC -18 which was reviewed here in April 1963. seems representative, or better, for this class of speaker. The Model 12 employs a somewhat smaller, oblong - The sound of the ADC -12 on white noise was smooth shaped woofer made of expanded polystyrene foam, the and subdued, indicating very little acoustical "colora- outer edge of which is suspended via a soft cloth "sur- tion." Transient response was tight and crisp, with no round" directly from the front baffle of the enclosure. audible effects of ringing, hangover, or muddiness. The The speaker thus has no frame in the conventional sense speaker's high- frequency directional pattern seemed very and is physically integral with the enclosure. This wide in all planes throughout the treble region. woofer is electrically crossed over to a tweeter, itself Reproducing program material, the ADC -12 im- a small driver employing a Mylar diaphragm. Both pressed us as having an over -all balance similar to that woofer and tweeter "look out" from behind a neutral - of its larger brother, the ADC -l8, though with less im- tint grille cloth and the system is thus a direct radiator. pact at the deep bass end and with possibly a bit The very solid cabinet is completely sealed except for a more "forwardness" in the highs. The treble response small aperture that applies some resistive loading to the can be adjusted to a degree by the switches on the rear; rear of the woofer. Two switches are provided on the we found that in a large room (19 by 30 feet) we pre- rear: one for treble "normal" and "decrease "; the other ferred both midrange and treble on "normal"; in a for midrange "normal" and "increase." Connections are smaller room (13 by 12 feet) we moved the treble con- made by screw -on terminals, color -coded for polarity to trol to "decrease." For those who may like more bass, assist in correctly phasing a pair of speakers. The ADC- it is worth noting that the clean lower register of the 12 may be positioned vertically or horizontally, and is ADC -12 permits the speaker to respond cleanly to rea- supplied with four rubber feet that may be attached sonable amounts of bass boost from the amplifier. to its "bottom" when a final position is chosen for in- In both rooms, handling program material that stallation. The impedance of the ADC -12 is from 8 to varied from full orchestral music to solo instrument 16 ohms, and its efficiency is moderately high, which is and vocal selections. the ADC -12 produced very listen - to say, it can be driven by amplifiers as low as 10 watts able, "natural" sound with neither boom nor boxiness. output, although the manufacturer recommends 20 to A specially pleasing quality was noticeable on complex 45 watts as the optimum power amplifier range. Ampli- orchestral passages, where a sudden percussive burst fiers higher than 45 watts (up to 65) may be used, "al- would seem to be placed in the room at some distance though it is not recommended that they be operated from the speaker itself. lending a sense of "space" to the at full power output for extended periods." (Our tests over -all presentation. This characteristic enhanced both were run with amplifiers in the 30- to 40- watts -per- mono and stereo reproduction and doubtless is respon- channel class.) sible for the fact that a pair of ADC -12s are not overly The response of the ADC -12 was found to be gen- critical of relative placement in order to furnish a sound erally smooth and clean throughout its range. The bass front that has ample depth and breadth with no "hole -in- rolled off a bit from 50 cps, but held up cleanly to the- middle."

NOVEMBER 1963 75

www.americanradiohistory.com If these have helped you develop an ear for high fidelity

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The ADC Series I loudspeakers represent the finest in the state balanced that one experiences smooth and effortless reproduc- of the art. You'll immediately detect a finer and fuller bass tion throughout the entire frequency range." High Fidelity says response, a response that no other speaker can compare with, "... very easy to listen to and live with ..." Electronics World size for size; high frequency dispersion and transient response comments "... in the top echelon of high quality bass that are unsurpassed. You'll hear the result of the engineering reproducers." achievement of a decade. Visit your high fidelity dealer and insist on an audition of the

A distinctive feature of these ADC Series I speaker systems, ADC Series I speaker systems. The sound you hear will come which sets them apart and helps produce such remarkable provocatively close to the real thing. sound, is the rigidly molded rectangular woofer diaphragm. It has a radiating surface twice that of a normal 12" woofer, enabling it to reproduce the extreme bass frequencies at very moderate diaphragm excursions. The rigid feather -like expanded styrene construction allows the woofer to radiate as a piston throughout its range.

A few other fine speakers cover this same bass range, but none approaches the ADC for natural effortless reproduction. The editors of Audio make the point rather well ... "It (the

ADC -18) has one of the fullest 'bottom ends' we have experi- ADC -18 $250. ADC -16 $220. ADC -14 $175. ADC -12 $139.50 enced ... the high and low frequencies have been so well ZAUDIO DYNAMICS CORPORATION Manufacturer's of the World Famous ADC I Cartridge PICKETT DISTRICT ROAD. NEW MILFORD, CONN. CIRCLE 15 ON READER -SERVICE CARD 76 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com PAUL AFFELDER NATHAN BRODER O. B. BRUMMELL R. D. DARRELL ALFRED FRANKENSTEIN reviewed by HARRIS GOLDSMITH JOHN F. INDCOX Records ROBERT C. MARSH CONRAD L. OSBORNE in ERIC SALZMAN JOHN S. WILSON Review

by Harris Goldsmith

From the Legacy of Clara Haskil- Chopin and Falla as Rarely Perceived

A frail lady, of great artistry.

APOSTHUMOUS ADDITION to the dis- was given adequate orchestral support? thur Quartet, of the Brahms F minor cography of a great artist invariably Let us. however, take solace in the fact Quintet. Her series for Westminster in- evokes ambivalent feelings: this cherish - that she left us as many fine recordings cludes two Mozart Concertos (K. 459 able release is no exception to that truth. as she did. and 466) and the Beethoven C minor - While Clara Haskil was still living. it was Born 1895 in Rumania, Mme. Haskil all three, unfortunately, suffering from always a joy to hear her dedicated and moved to Vienna in early childhood. puny orchestral accompaniments -and a characterful playing. and so it is today. There she studied with Richard Robert far more successful solo disc of Scarlatti But now, as the final legacy from this (who also taught piano to Serkin and I Sonatas. Her realignment with European frail, stooped. white -haired lady all too George Szell) and made her first public Philips -Epic here, until just recently - rapidly unfolds. jubilation changes to appearance at the age of nine. After had a rather inauspicious start with a melancholy at the realization that there further study with Alfred Cortot in less than superb version of the Schumann is, indeed. one less example of her art Paris, the pianist dedicated much of her Concerto. but matters improved consid- to anticipate. time to chamber music. She gave fre- erably thereafter. Excepting a pair of Some people could well feel pangs of quent concert performances with Enesco outstanding Deutsche Grammophon discs guilt. Mme. Haskil performed in this and Casals, and she played all of the and, of course, the Scarlatti collection on country in 1922. She was recognized as Beethoven Violin -Piano Sonatas with Westminster. all of Mme. Haskil's best a supreme interpreter by such authorities Ysaye (a feat she repeated for posterity recordings bear the Philips imprimatur. as Eugène Ysaye and Pablo Casals. Why later, with Arthur Grumiaux). Her first Clara Haskil made many fine record- did more than thirty years have to elapse recording. so far as I can ascertain, was ings, but I doubt if she ever gave us one before she was asked to return to our of the G major Beethoven Concerto, more fascinating than the work at hand. concert halls? And, beset as she was with made in London with Carlo Zecchi con- We think of her as primarily a classical manifold physical ailments (including, at ducting. A few years later (in 1950) player. but her range of sympathies ap- one time, partial paralysis of her fingers), she appeared at the first Casals Festival parently was far more extensive than it was difficult for her to muster the in Prades. playing the Bach F minor most of us realized. She takes the tech- needed energy for recording sessions: Concerto. a performance immortalized nical hurdles of both the Chopin and why did she have to record Mozart's D on an early Columbia LP. There was Falla comfortably in her stride, playing minor Concerto three times before she once also a recording, with the Winter- all of the notes not only accurately but

NOVEMBER 1963 77

www.americanradiohistory.com brilliantly. Much more important. how- If the Falla score is played more free- pil of Cortot, it might seem understand- ever. is the rare perception and tempera- ly than usual. just the opposite holds true able that she would utilize his edition, mental individuality of her conceptions. for the Chopin rendition override. There but- unless memory plays false -Cor- It is strange. knowing as we do of her is considerable rubato in Mme. Haskil's tot's own recording of the music adhered shyness and modesty, to find Mme. Has - rhythmic pattern, and full play is given to Chopin's original. Some of the cello kil allowing herself such prominence in to the romanticism inherent in the mu- parts are altered to double the bassoon the Nights in the Gardens of Spain. This sic; but this Chopin playing is far re- accompaniments here, and in the tuttis lovely score is commonly looked upon as moved from the "norm" for the simple the distribution of parts is changed. In a symphony with piano obbligato. but reason that this pianist's license is never quite a few places I feel that Cortot's Mme. Haskil's bold rendition forces us utilized merely for display of her own ingenuity transcends its rightful limits. to remember that the composer, after all, virtuosity. Firm phrasing and structural His woodwind interpretations, for exam- originally conceived the work as a series cohesion such as one rarely encounters ple. tend to clutter the texture and dis- of piano solos. It is a gratifying experi- are the hallmarks of this splendid inter- tract from the progress of the music. It ence to hear her dry but atmospheric pretation. Indeed, every prospective ex- is. however an enlightening experience tone. and the intense freedom of her ponent of the Concerto should study to hear what Cortot did to the music: tempos. This is not a percussive reading Mme. Haskil's treatment of filigree pas- I hope that all of us will then return to such as Edouardo del Pueyo gave on an sages, which for once assume their prop- the score -as Chopin wrote it -with re- earlier Epic disc. nor is it lushly romantic er role as decoration. Admirable too is newed appreciation of its clarity and in the style of Rubinstein's fine RCA the bouncing resiliency in the execution economy. Victor set. Mme. Haskil's delivery has of display sections -which are kept Many projected documentations were the freedom of vocalization: the musical abreast of the orchestration because of left unfulfilled by Mme. Haskil's death, line seems to impel itself along effort- the clarity given their accompanying bass but happily the present coupling is not lessly. and what could easily sound like notes (most players tend to submerge the last representation of her art on discs. anarchy in less skilled hands emerges details such as these in a haze of exces- The Mozart C major Sonata, K. 330. and here with simple cogency. sive pedal). In this work too Markevitch Schubert's great posthumous B flat So- Markevitch also has strong views provides lively support. and the sound nata. for example, are still reposing in about the music. Resisting the temptation throughout the disc, while a bit short of Philips' vaults. These, at least, we may to revel in the exotic beauty of Falla's bass. is clear and attractive. hope will be made available to us. orchestra, the conductor obtains from his Another interesting feature of the per- very capable players a sharply defined, formance here is the use of Cortot's re- almost gaunt tonal characteristic which vision of the orchestra part in the Cho- CHOPIN: Concerto for Piano and Or- emphasizes the terseness of the writing. pin. At one time, it was thought that chestra, No. 2, in F minor, Op. 21 One in search of tranquility had better Chopin "didn't know how" to score his tFalla: Noches en los jardines de Es- go elsewhere. The plangent, brightly music (unfortunately, that misconception paiia "French" quality of the trumpets in the lingers today in the minds of many peo- Clara Haskil, piano; Orchestre des Con- be suavest ple who a host present recording may not the should know better!), and certs Lamoureux, Igor Markevitch, cond. sound imaginable. but the emotional mes- of wholesale reorchestrations summarily PHILIPS PHM 500034. LP. $4.98. sage it transmits is inescapable. appeared. Since Mme. Haskil was a pu- PHILIPS PHS 900034. SD. $5.98.

by Robert C. Marsh

The Haydn Renascence Continues

Antonio Janigro

OR MANY RECORD COLLECTORS. last au- years -that Haydn wrote not only the list of great distinction and the leader tumn held no brighter hope than the six or seven symphonies everybody plays of one of the finest of today's chamber prospect of getting the Haydn sym- but 107 such scores, at least half of ensembles, I Solisti di Zagreb. It has phonies complete from Max Goberman which are masterpieces of baroque music. been no secret in recent years that Jani- and the Vienna State Opera Orchestra. This year the Goberman series continues, gro has wanted to extend his conducting That project came to a tragic end when, for he left us a legacy of master tapes into the main line of symphonic music, in the final hours of the year, Goberman which will not be expended for some and he now takes command of the larger met a premature death in Vienna. He months, and there are now others step- ensemble from which I Solisti are drawn cannot be credited with bringing about ping forward to give us more of the -the Symphony Orchestra of the Za- a Haydn renascence singlehanded, but unfamiliar Haydn. Among the new greb Radio. The present set can be re- there is every sign that one is under way champions is Antonio Janigro, whose garded as his recorded debut in the larger and that he had a role in its making. editions of Haydn's Sturm und Drang context of symphonic conducting, and it Through the Goberman recordings the symphonies come to us this month. is not a debut to be taken casually: we public is becoming aware of the cir- A major figure in the baroque re- find that the artistic force and command- cumstance known to musicologists for vival, Janigro has been known as a cel- ing musicianship long familiar to us

78 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Scherchen's version of the Trauer Sym- phony has an elegiac cast throughout. Janigro reserves this for the central move- CLASSICAL ment (Adagio), which is here in its proper, unorthodox, place as the third of the series. I have the greatest respect for the Scherchen, although its age BACH: English Suite, No. 2, is A shows, but there is a strong artistic de- minor, S. 807 fense for Janigro's approach. since it Mandel: Suite for Harpsichord, N. introduces a welcome element of con- 3, in D minor trast. There is no doubt at all, for me, fRameau: Suite for Harpsichord, N. that his version of the finale is stronger 2, in E minor for its light. briskly accented pulse. Fernando Valenti, harpsichord. In three of the symphonies Janigro Music GUILD M 37. LP. $5.Sß. seems to have the field pretty much to Music GUILD S 37. SD. $6.50. himself. No competing edition of the Farewell Symphony is so effectively It is good to find Mr. Valenti back in paced and beautifully recorded. Gen- the recording studios again. For those not erally, the final movement, where the acquainted with his work, it should per- members of the orchestra leave one by haps be said that he is one of the better one, turns out to be droopy or cute. but American harpsichordists, a sound musician thoroughly at home in the keeps the line to baroque Max Goberman Janigro animated right styles. In the Bach he shows a fresh the end and brings forth some lovely approach in each movement, and his dominate Janigro's work with a baton playing in the process. And because ideas here are almost always convincing: as much as they did that with a bow. Janigro's supremacy in Nos. 46 and 47 the Sarabande, for example, seems unu- The works selected here impose the comes by default, it should not be as- sually majestic and has tragic connota- most severe interpretative demands. No. sumed that he could not hold his own tions; the second Bourrée is more 44, the symphony of mourning, was re- against competition. I was particularly strongly registered than usual, an effect that begins portedly Haydn's favorite among his happy to hear No. 47 from him, for by surprising and ends by persuading. Only in the vigorous Prelude early works, and he asked that it be the opening pages are some of Haydn's most writing from this period, does the vigor seem overdone in one or played at his own funeral. The Farewell effective two spots. Mr. Valenti's occasional tend- Symphony, No. 45, is one of the least and here the interchanges between horns ency towards heaviness is not otherwise orthodox and most imaginative in the and strings are particularly nicely han- too noticeable here: the Allemande of Haydn canon. The Forty -sixth is a dled. the Handel Suite flows gently and song- lovely, much neglected score, here in- Vanguard transported its Vienna re- fully, and its Sarabande is played in no- troduced to the domestic catalogue, and cording crew to Zagreb for the sessions ble style. Particularly good is the per- Janigro's version of No. 47 restores this and reports that forty -eight hours' re- formance of the Rameau collection, work to availability after years of unde- cording time were required to meet which includes the familiar Tambourin Janigro's standards, even though the and Le Rappel des oiseaux. served absence. The Forty -eighth Sym- The sound is very good. works had been played in concert prior The only phony is one of the grandest of the fes- criticism I have of the mechanical aspect tive series, while No. 49. La Pa.cdone, to the sessions. It seems to me the time of the recording is the absence of visi- although chronologically earlier than its was well spent. In both mono and ble bands in the Rameau, which was number suggests, is one of the most in- stereo the sound is clean and spacious never intended to be played with hardly tense expressions of the Sturm und Drang and nicely balanced with a good hall. a pause from beginning to end. N.B. spirit. In short, this is an important The two -channel version is naturally superior in its projection of a large body of music which has hitherto had BACH: Suites for Unaccompanied only limited recorded representation. ensemble quality. In both forms, how- Cello: No. 3, in C, S. 1009; No. 4, La Passione appears simultaneously in ever. there is a strong sense of presence ' in E flat, S. 1010 the Goberman version and the Janigro combined with admirable tonal refine- series. The former couples the work with ment. Pierre Fournier, cello. two historically interesting examples from ARCHIVE ARC 3187. LP. $5.98. Haydn's earliest years, and the whole ARCHIVE ARC 73187. SD. $6.98. is beautifully packaged with scores. For HAYDN: Symphonies: No. 4, in D; the Haydn collector, this is most wel- No. 48, in C ( "Maria Theresia"). M. Fournier continues his traversal of the Cello Suites, begun on but La Passione ought to be h Overture L'Infedeltà delusa an Archive come, gen- disc made available here last year. As erally available in a stereo edition at the was the case then, we are treated to no- conventional price, and this need Jani- I HAYDN: Symphonies: No. 2, in C; ble playing, expressive and musically gro fills very satisfactorily. The recorded V( No. "B," in B flat; No. 49, in F penetrating. Technically there seem to sound is just as fine as Goberman's, and minor ( "La Passione ") be no weaknesses: the full -bodied tone the orchestra is equally skilled. My is capable of many gradations of weight and color; rapid passages standard in the work has been the old Vienna State Opera Orchestra, Max Go- are played Scherchen version, the musical integrity cleanly and double stops smoothly. The berman, cond. sound too is first -rate. N.B. of which remains unsurpassed. Gober- or LIBRARY OF RECORDED MAS- man's approach, like Scherchen's, is TERPIECES HS 10/11. Two LP or Two slower and more meditative than Jani- SD. $8.50 each on subscription; $10 BACH, JOHANN CHRISTIAN: Con- gro's (the title refers to the Passion of each nonsubscription. certo for Bassoon and Orchestra, in Our Lord, and the Symphony may have B flat tHaydn, Michael: Concerto been written for performance in the HAYDN: Symphonies: No. 44, in E for Easter season), but Janigro is never less Trumpet and Orchestra, in D minor ( "Trauer "): No. 45, in F tMozart, than a sensitive musician. sharp minor ( "Farewell Leopold: Concerto for is Maria "); No. 46, Where Goberman excels the in B; No. Trumpet and Orchestra, in D Theresia, for here trumpets and C alto 47, in G; No. 48, in C ( "Maria horns sing out in the opening bars, Theresia"); No. 49, in F Fritz Henker, bassoon (in the Bach); must ( "La and the Janigro version, lacking this bril- minor Passione ") Adolf Scherbaum, trumpet (in the Haydn liant high register, seems tame in com- and Mozart); Saarbrücken Radio Cham- ber Orchestra, Karl parison. The Adagio, however. asks for Symphony Orchestra of Radio Zagreb, Ristenpart, cond. Antonio Janigro, ARCHIVE ARC 3199. LP. $5.98. a wind band of F horns and oboes, and cond. VANGUARD VRS 1106/08. Three LP. ARCHIVE ARC 73199. SD. $6.98. here Janigro shapes one of Haydn's most $4.98 each. beautiful slow movements into a per- VANGUARD VSD 2145/47. Three SD. Here is a recording of music by Bach, formance of exceptional impact. $5.98 each. Haydn, and Mozart which represents the

NOVEMBER 1963 79

www.americanradiohistory.com THE lesser -known composers of those sur- remain to be released, but this disc docu- SOUND names -and a delightful disc it is. ments the conductor's final recording Scherbaum, who navigates the strato- session in Chicago and, indeed, the last OF spheric range of the baroque trumpet as time he led the Chicago Symphony spectacularly as you please, toured this during the ten seasons in which he was GENIUS country last winter with the Hamburg primarily responsible for its artistic Orchestra. If you heard him then, you'll direction. (The Chicago ensemble is now want this example of his talents; if you the only one of the "Big Five" orches- SCRIM: THE TROUT QQBrtAT 0rST00Rf RATIO IN MAT NAM - didn't. it's time you made his acquaint- tras to be without a recording contract.) 003.11R ance. Both the trumpet concertos are When this work was performed in con- interesting works not otherwise found in cert last April 18, I wrote that the or- the catalogue. The bassoon concerto is chestral playing "was a perfect illustra- less exciting, simply because the bassoon tion of the sound we have known in is a less exciting instrument, but Johann the Reiner decade," with warm alto and Christian's work is a lovely one and gives bass voices supporting a well -balanced upper register. (Note in the recorded the solo instrument a chance to sing as 101131110111/11. Mil uOR. nUOu Ha11SI00 version how Frank Miller's cello sings well as cut capers. Here again the solo oril/ BUDAPEST STIUtIG QUARTE performance is exceptional, and the ac- out in the solos of the final movement.) IRETaTnarROeG09131,mnnJ000S =In umn on occasion companiment is sympathetic. Cliburn was the soloist that ML 5873/MS 6473' On the technical level this set is up to and seemed to nie nervous and rather his the usual high Archive standard. R.C.M. unsure of himself. I find performance on this disc. made only a few days after the public concert, much superior. BARBER: Knox: ill', Summer of There are still some bland, beautiful 1915 Berlioz: Les Nuits d'été. sounds which reveal little awareness of -See the inner life of the phrase or the deeper significance of the whole. and. BECAUD: Opéra d'Aran as in his Emperor, the slow movement is the least well served. The performance Rosanna Carteri (s), Maureen; Agnès thus is not as probing as Schnabel's nor 1 Disney (ms), Mara; Alvino Misciano (t), '.. as fully seasoned as Fleisher's. but it is Angelo; Peter Gottlieb (b), Mickey; La fine one -often polished and elegant Louis Maurin (b), MacJorry; Michel and with a basically valid interpretative Llado (b), Harp Player; Frank Schooten approach. SL 22E (bs), Sean: Roger Soyer (bs), Mac - The sound is much more faithful Creagh; Henri Médus (bs), The Priest. to life than that provided in either the 4. r o> Choeurs du Conservatoire and Orchestre Reiner -Cliburn Emperor or the Rach- Beethoven: The Middle Quartets de la Société des Concerts du Conserva- maninoff Second, which is another way ap. 59. No, 1 3 Op. 74 Op. 95 toire de Paris, Georges Prêtre, cond. of saying that it is first -class in all The Budapest String Quartet ANGEL 3637 C /L. Three LP. $14.94. respects. Alas. my two review copies 'A ANGEL S 3637 C /L. Three SD. are off-center on both sides. which makes $17.94. for a good deal of uneven pitch in a work such as this with many sustained Roy McMullen recounted in these pages notes. R.C.M. some time ago ( "Notes from Paris," April 1963) the unhappy story of Gilbert Bécaud. popular French singer and song writer. who wanted to turn his hand to BEETHOVEN: Symphony No. 4, in more ambitious things and produced the B flat, Op. 611; Leonore Overture, M4L 254/M4S 616' opera here under review. While the re- No. 3, Op. 72 1e1:==1 _=.=NI cording is said to he selling extremely I can under- well in France, l'in afraid ., Cleveland Orchestra, George Szell, cond. Beethoven: The Early Quartets stand only too well why Mr. McMullen EPIC LC 3864. LP. $4.98. had to report that Opéra d'Aran was the topa, 18, Nos. l41 EPIC BC 1264. SD. $5.98. The Budapest Quartet most resounding flop of the season." Aran is a bleak little island off the Irish coast, and it is the setting of a Since this disc duplicates the coupling on sad story involving a poetical Italian a recent Steinberg album for Command, castaway who woos one of the local girls it is instructive to compare the two. with his colorful Mediterranean blarney. Both are excellent performances and. by Unfortunately, the girl's fiancé, Sean, the going standards, excellent recordings, long thought lost at sea. turns up at the yet each has its distinctive marks of superiority. The particular merits of wrong moment and the expected tragical M3L 262/M3S 606 results follow. This little compound of Szell's edition are musical. He makes Enoch Arden, Tristan, The Flying Dutch- more of the off -stage trumpet effects in man, and Peter Grimes is set in a musical the Overture, keeps just a little tighter style that might be described as "Ecole control over the Symphony, with a more de Charpentier" (Gustav, not Marc - spacious and effective statement of the Antoine ). Opportunities are conveniently opening movement resulting. left open for show -stopping pops num- Technically. the advantages fall the hers, musical comedy tunes, and film other way. Steinberg was given far more music. The libretto dutifully goes through beautiful sound than Epic provides for all of the prescribed motions of a kind the Clevelanders -and beautiful is the of pasteboard verismo, but the music lags word I mean. Epic's sound is not un- far behind even this and fails to rise pleasant in any sense, but it does not even to the trite dramatic situations. The ravish the ear. It seems to me that the performers can be commended for doing advantages of Command's 35 -mm film what they can with what they have. but are obviously very real, and I find it SL 228 it isn't enough. E.S. surprising that they are not being more widely recognized. ON COLUMBIA Meanwhile, whichever set the consum- BEETHOVEN: Concerto for Piano er chooses here, he will not lose. If you MASTERWORKS and Orchestra, No. 4, in G, Op. 58 have top quality playback equipment and want to show it off. however. Steinberg's piano; Chicago Symphony Van Cliburn, version is the recording that will provide Orchestra. Fritz Reiner. cond. you with ample opportunity to do so. RCA VICTOR LM 2680. LP. $4.98. R.C.M. RCA VICTOR LSC 2680. SD. $5.98. A couple of earlier Reiner recordings Continued on page 82

80 'Stereo O' = OLUMBIA MARCAS REG PRINTED IN U S A.

www.americanradiohistory.com BEETHOVEN AND THE BUDAPEST

To most critics, musicians and concert - goers, there are two E-0127110-4. 7,he BEETHOVEN ultimates in chamber music - late quartets of Beethoven © THE LATE QUARTETS ipuiuvilo 111/132/innv, and The Budapest String Quar,et. To blend them together is THE BUDAPEST STRING QUARTET to fashion one of the supreme musical experiences of all time. This new album marks the completion of the Budapest's third recording of the entire 16 - quartet cycle. Their second recording was considered superb by critics and cognoscenti. So was their first. "They were the best we knew at the time," wrote High Fidelity. "But it is wonderful to sense how much their performances have gained through the years." Their technique M5L 277 M5S E77 has always been flawless. But there is a depth of understanding BUDAPEST in their current reading that was not there before. Heightened THE insights gleam through the music like dark jewels. And im- STRING QUARTET proved recording techniques convey every nuance, every ON COLUMBIA sha_ing, with a fullness and fidelity never before possible. MASTERWORKS

_OMONACO

www.americanradiohistory.com the German spelling, this comes out as D. Sch. which is, of course, the Roman form of the original Cyrillic spelling of the composer's monogram! But, if this single- minded motivic material leads the composer to a basically severe and limited organization on one level. it also apparently led him to think that he could insert -in the interstices so to speak -a variety of other, extraneous materials. Thus we get generous quotes from earlier works of the composer, a bit of a revolutionary song. and even some sheer. assertive programmatic sounds. Shostakovich has said that the work is dedicated to the victims of Fascism. We can perhaps recognize in that statement a high intent and we can even grant that it led the composer to achieve a unity of purpose and a con- centration of expression which are often genuinely powerful. But. ultimately, it seems to me that the work suffers from New York Woodwind Quintet: with contemporaries, a creative collaboration. its great inability to resolve the very artistic and expressive problems that it proposes. The BEETHOVEN: Trios for Piano and later performance released by St /And. Borodin. of course. presents no such problems. Strings: No. 8, in B flat; 9, Miss Steber's soprano here sounds fresh. This charming. graceful No. in work belongs with B flat; No. 10, Op. 44 (Fourteen sweet, and full. with some floated high that limited company tones reminiscent of her Sophie days of string quartets -the Verdi is another Variations); No. 11, Op. 121 ( "Ka- - example -which kadu" and it is well balanced against the or- remain outside the great Variations) chestra by the 1950 Columbia engineer- contrapuntal -developmental tradition of quartet writing Hungarian Trio. ing (still excellent today, by the way). and which yet find a grateful and convincing way using LES DISCOPHILES FRANCAIS DF 730033. Actually, I would prefer a less cultured, of the medium for a flowing LP. $5.98. more "American " -sounding approach to and lyric expres- the Agee text -I don't think rolled rs sion. LES DISCOPHILES FRANCAIS DF The work of both 740007. SD. $6.98. really have any place here -hut Steher composers is much was, after all, the creator of the solo enhanced by the excellent performance. This is a first -class ensemble. Beethoven, it can safely be surmised. was part. and these In the Berlioz, singer's exceptional chamber players not overly fond of the piano trio as a the voice is at are as ca- its best -a pure, lovely sound, with re- pable of intensity, drama, and thrust in form. Admittedly his Opus 1 consists of the Shostakovich three such works; admitted, too. that in markably steady tone in the long sus- as they are of warmth, tained phrases. grace, and expressive elegance the two trios of Opus 70 and the great I would like more tem- in Boro- perament, more impetus the din. The recorded sound is Archduke (Op. 97) he wrote with his in first and excellent. E.S. last songs (the Villanelle genius fully evident. These works must and L'Ile in- Valletti's have be regarded, however, in the light of his connue- renditions much more charm and and a more nat- BRAHMS: Symphony No. 2, in other efforts with the combination. music flow), D, ural handling of the text; musically and op. 73; Academic Festival Over- which reveals craftsmanship rather than vocally, flaming inspiration. though, the renditions are quite ture, Op. 80 fine, thoroughly competitive with De los The four "trios" here recorded are all Angeles'. Again, the sound is more than London Symphony Orchestra, Pierre pleasing enough as music. in achieved listenable. Complete texts, translations, Monteux, cond. performances with polish and perception, PHILIPS PHM 500035. LP. nicely and notes, including some perceptive $4.98. and recorded once you become comment from the singer. C.L.O. PHILIPS PHS 900035. SD. $5.98. accustomed to the cello being on the left. bothers you, (If it reach for the This pair of performances represents an reverse stereo numbers have BORODIN: Quartet for Strings, No. switch.) The ideal synthesis of the traditional and the slight relation to chronology. No. 8 2, in D freshly creative. The attention to detail (sometimes known as Wo.O. 39) dates f Shostakovich: Quartet for Strings, is particularly commendable. Some of it from 1812. It is a fragmentary work with No. 8, in C minor, Op 110 is unconventional in treatment: in the a single movement. No. 9 is very early, first movement of the Symphony, for ex- a Bonn composition of 1790 -91. with Borodin String Quartet. ample. I can call attention to the delicate few traces of the mature Beethoven. LONDON CM 9338. LP. $4.98. pointing of the staccato oboe -horn Neither of the sets of variations is com- LONDON CS 6338. SD. $5.98. phrases at meas. 66. the easing of monly numbered as trios in this country rhythmic flow for the second subject, (presumably by reason of the absence This is the second recording of the and the splendid articulation Shostakovich Eighth Quartet by this from the of sonata form) and both are presently staccato first and second violins at meas. Soviet ensemble to be issued here in a available on other recorded editions fly- 131. And, along with Klemperer. Mon- matter of weeks, an ex- ing alternate colors. This set is quite extraordinary teux is one of the few conductors to equal to the competition, however, and ample of duplication in the record busi- observe Brahms's parenthetical "quasi ness. Mercury recorded its performances the indefatigable Beethoven collector will ritenente" at Letter E and again at meas. of the Shostakovich Fourth and Eighth want to add it to his treasures. R.C.M. 386. If you are accustomed to a stricter Quartets in the Soviet Union; the current tempo approach such as Toscanini's, release is a kind souvenir of of the 1962 Munch's. or Steinberg's, you may have BERLIOZ: Les Nuits d'été Edinburgh Festival, on which occasion to adjust to some of Monteux's slight tBarber: Knoxville, Summer of 1915 the Russian musicians made a great im- modifications. For myself. I was brought pression with the music at hand. up on Monteux's old San Francisco Eleanor Steber, soprano; Columbia Sym- I have previously expressed my reser- album of the Symphony (RCA Victor phony Orchestra. Dimitri Mitropoulos, vations about Shostakovich as a chamber DM 1065) and have grown increasingly cond. (in the Berlioz); Dumbarton Oaks composer. A careful rehearing of the familiar with his basic conception from Chamber Orchestra, William Strickland, recent Eighth Quartet strengthens my concert performances and rehearsals with cond. (in the Barber). opinion that the work, although probably the NBC Symphony, the Philadelphia COLUMBIA ML 5843. LP. $4.98. the composer's best in the medium, is Orchestra, the New York Stadium curiously hobbled by a strange combina- Symphony. and the Boston Symphony. This coupling of two early LP recordings tion of musical obsessiveness and irrele- Throughout the years. M. Monteux has recently absent from the catalogue makes vancy. The work is built monothematical- definitely moved away from the headlong for a very attractive disc. Both vocally ly (one almost said monomaniacally) drive and lusty accentuation of his ear- and orchestrally, this version of the Bar- on an endlessly repeated motive which lier reading towards something more ber piece is far more appealing than the reads D/ E flat /C /B; translated through rarefied and expansive. Recently, he has

82 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com even been lengthening the work by ob- sacred text, and this Mass has moments interesting example. Certainly, it would serving the seldom heard repeat of the of spiritual glory hardly to be surpassed be hard to find a superior group of musi- first movement exposition: this was one except in the Missa Solemnis of Bee- cians-Ralph Froelich, French horn (a of the striking features of his 1960 thoven. Jochum directs it with reverence recent replacement for John Barrows); Vienna Philharmonic version (as well and sympathy, making the most of the Samuel Baron, flute; Ronald Roseman, as of an inexplicably unreleased Boston triumphant moments, and he has good oboe; David Glazer, clarinet; and Arthur recording of approximately the same vocal and orchestral forces at his com- Weisberg. bassoon -and their perform- vintage) and it is good to have it again mand. The sound is that of a big studio ances suggest why American wind play- on the edition under review. with "presence" microphones on the solo- ing is the best in the world, combining With fine versions of the Symphony ists and an over -all pickup from some the rich beauty of the French school with 7 available from Steinberg, Klemperer, distance back. Quiet passages tend to the strength and róbustness of the Ger- Weingartner, Mengelberg, and Toscanini lose focus but the force of the work man. These men are virtuosos who know -not to mention the bygone ones of shines through. how to subordinate technique to musical Munch and Van Beinum-it would be Contrasted with the recent Angel edi- ends in such matters as phrasing, articu- dogmatic indeed to pronounce Monteux's tion, it is apparent that both perform- lation, musical shape, ensemble, bal- the "best." Suffice it to say that his lead- ances are musically of high quality and ance, clarity, expressivity, poetry. ership, however unorthodox it may seem, that the significant difference between One reason why a group like this always tells us something valid and the sets is in recording technique. My has remained alive and vital and has authoritative about Brahms's scores. preference here goes to the lower rever- continued to expand its technical and Furthermore, the inclusion of the splen- beration (and hence clearer definition) musical horizons can be found in its didly played Overture is most welcome. of the DGG set. close identification with the creative Philips' recording is unusually distinct, Incidentally, although both recordings aspects of the art. Any wind ensemble and beautifully spacious. The two - are identified as the original text of the has to be a friend of contemporary music channel version benefits from some of Mass, there seem to be differences in the -there is simply not enough traditional the most tasteful and intelligent use of instrumentation. Note, for example, the repertory. But. in any case, the New separation that I can remember hearing. trumpet part at the close of the Credo, York Woodwind Quintet has had an The antiphony between first and second which is considerably more effective in especially admirable record of close col- violins, and between woodwinds and the Jochum performance. R.C.M. laboration with some of the best creative brass, is revealed with stunning effect. musicians. The ensemble gave the world It is a pleasure to have a complex score BRUNSWICK: Septet in Seven Move- premieres of both the Carter and the captured so vividly on a record. H.G. ments Newlin: Trio for Pi- Schuller works and they proved to be -See litera- 2. major contributions to a growing ano, Op. ture for the combination. BRAHMS: Symphony No. 4, in E mi- The Carter uses only the woodwinds nor, Op. 98 CARTER: Eight Etudes and a Fantasy proper (i.e., without the horn). The for Woodwind Quartet work, written in 1950, consists of eight New York Philharmonic, Leonard Bern- (Schuller: Quintet for Woodwind striking statements or inventions essen- stein. cond. tFine: Partita for Wind Quintet tially without development; these are COLUMBIA ML 5879. LP. $4.98. followed by a fugal Fantasy which, as COLUMBIA MS 6479. SD. $5.98. New York Woodwind Quintet. Samuel Baron suggests in his informative CONCERTDISC CM 229. LP. $4.98. program notes, welds the entire sequence With this release Columbia adds to its CONCERTDISC CS 229. SD. $5.98. together with a coherent summation current list of available Brahms Fourths statement. The études themselves are a third version, and we are thus led Ours is an age of superlative wind play- fascinating studies in texture, sonority, to measure Mr. Bernstein against his ing. and the present disc is a particularly and ensemble. The most famous of them illustrious predecessor Bruno Walter, who consists of but a single tone on which recorded the work with this same or- is worked a whole gamut of color and chestra in prestereo days and. later, with dynamic changes. Another study does the Columbia Symphony. Walter's edi- something similar with a D major triad. tions are slower than Bernstein's in three A third is built entirely on a little two - out of four movements. The difference NEXT MONTH IN note figure. Others are more complex is more than just a stop watch phenome- in their basic material but no less re- non. With Walter there is a feeling of markable in their imaginative expansion natural melodic flow, a sense of serenity of simple and obstinate ideas. Only in and nobility which is established in the the Fantasy are new dimensions added: gently persuasive pulse of the opening short- and long -range contrapuntal mo- bar and grows. Bernstein, on the other high fidelity tion, a rich rhythmic and metrical inter- hand. seems unwilling to relax and let the play, developmental construction. This music go by itself. There is a constant movement uses elements from the pre- striving for effect. which results in some ceding études as part of a kind of fussy manipulation of thematic outlines. leinsdorf in Boston fugue -chaconne, with the result that This is heard in an obvious form in what were isolated inventions become the opening pages, where the successive woven into an on -going contrapuntal - statements seem to end on dead center The BSO has a new conductor, variational movement. The effect is mas- without providing a rhythmic and har- terly. is fine. monic thrust into the new bar. and the prognosis The Schuller work is based on a fas- From my own experiences of hearing cinating and characteristic interplay be- the Philharmonic in concert. I can corn - by John M. Conly tween the fixed and the free. Like other mend Columbia for its skill in capturing works of this talented composer, his the distinctive qualities which the en- Wind Quintet is informed by twelve -tone semble has taken on in its five seasons technique and by jazz, by the thinking under Bernstein's direction. It is a very A Short Guide of a composer working with precise taut. brilliant. hi -fi orchestra both on and concepts and by the mentality of a prac- off the record. R.C.M. To Test Records ticing performer working with real performance and improvisatory situations. by R. D. Darrell This duality is the very basis of the BRUCKNER: Mass No. 3, in F minor piece and it expresses itself on many Maria Stader, soprano; Claudia Hell- levels. Fixed, carefully notated sections alternate with free and even semi - mann. contralto; Ernst Häfliger, tenor; The Man with a Mask Kim Borg. bass; Chorus and Symphony improvised passages. The first movement Orchestra of the Bavarian Radio, Eugen -perhaps the most impressive of the a of firm, held Jochum, cond. Unraveling the riddle three -is built on chain LPM 18829. notes which are artfully passed around DEUTSCHE GRAMMOPHON while LP. $5.98. of composer Erik Satie. from one instrument to another DEUTSCHE GRAMMOPHON SLPM they are surrounded by little jabs of 138829. SD. $6.98. by Everitt Helm sound and interrupted by fast, tumbling, rushing virtuoso music. This contrast There is no quicker way to Bruckner's between sustained tones and short sounds heart than through his setting of a (isolated or in galloping groups) is

NOVEMBER 1963 83

www.americanradiohistory.com maintained throughout the work and is in the Fifties and have been previously closely related to the dualism of fixed released in other couplings. Although and free. Mind you, there is nothing there are many newer distinguished ver- theoretical or even abstract about this; sions of all these what compositions, there is I am describing as a "concept" always a place in the catalogue for Mme. really grows right out of the very nature Novaes' warm, singing, and affectionate of the instruments themselves and pro- renditions. Her treatment of the Sonata, vides a fascinating web of sound and especially, is extremely free, but the invention. lyricism is completely convincing and, The Partita by the late Irving Fine is technically, the sound is an attractive, still entirely sat- all -out neoclassic effort, isfactory. Recordings such as this one a smooth and clever suite of light move- are truly durable. H.G. ments put together with elegant wit and charm. It makes a delightful foil for the Carter and the Schuller and helps to CHOPIN: Sonatas for Piano: No. 2, round out a very impressive and well - in B flat minor, Op. 35; No. 3, in recorded disc. E.S. B minor, Op. 58 Witold Malcuzynski, piano. CHOPIN: Ballade No. 4, in F minor, ANGEL 36122. LP. $4.98. ANGEL S 36122. Op. 52; Polonaise No. 7, in A SD. $5.98. flat, 61 ( Op. "Polonaise-fantaisie "); Malcuzynski plays these Sonatas with Etudes: No. 1, in C, Op. 10, No. 1; considerable sensitivity and style. Eschew- No. 12, in C minor, Op. 10, No. 12 ing headstrong bravura, he prefers to ( "Revolutionary ") keep the music on a rather intimate tDebussy: Estampes scale. The performances of both the tScriabin: Sonata for Piano, No. 5, in works are slightly old -fashioned in approach, F sharp, Op. 53 Malcuzynski: Chopin sans bravura. with gentle exaggeration, caress- ing tone color, and interesting inner Sviatoslav Richter, piano. voice detail. The B DEUTSCHE GRAMMOPHON LPM 18849. minor Sonata fares particularly rable interpretation. The shifting colora- well here. The reading LP. $5.98. tion of Pagodes, the accentuated swagger has a firm sense of continuity, flexibility of line, and DEUTSCHE GRAMMOPHON SLPM of Soirée dans Granade, and the intoxi- great 138849. SD. $6.98. cating fleetness of clarity. The lyricism of the music Jardins sous la pluie is fully realized. Not so are all realized with vivid imagination, the drama of the stormy B flat minor opus, however. Richter's tone has a bright, translucent delicacy, and a staggering virtuosity. The Detail final piece, is again notable, but the big line characteristic that is immediately recog- in particular, moves with the is missing from the interpretation. nizable. It is not a particularly warm effortlessness of a shadow. One is never Though conscious of individual notes or often performed, this Sonata sound, but it has an exquisite, prismatic percus- is notoriously difficult to put across shimmer and hypnotic legato. One thinks siveness. Scriabin's rather successfully. and there is much to ap- of it in conjunction with the classics, zany Fifth Sonata preciate in Malcuzynski's far from pedes- with Debussy, with Schumann, even with is also hauntingly performed here. trian reading. Richter's gaunt introspection and febrile Prokofiev and Scriabin -but not with The sound on both versions is good, Chopin. It is, therefore, a rather strange lyricism are ideally matched to the re- but not quirements of this schizophrenic outstanding. Both pressings, most experience to hear the present accounts opus. notably the stereo, tended to the This disc is a sequel to the Schumann constrict of Ballade and Polonaise- fantaisie. on the inner grooves. Even so, there is a Two qualities -plasticity and momentum recording which Angel issued a few fine months ago, and was made pinpointing of sonority, and plenty -are the most striking features of those during of space around the piano tone. performances. The emotional climate, Richter's tour of Italy earlier this year. All told, The sound is this disc can be considered while intensely subjective, is rather cool, extremely vivid. at times alongside the identical a shade uncomfortably suggestive of a couplings by and one feels that Richter is primarily Rubinstein (RCA Victor) and Kedra concerned with imparting an unfailing live and unwieldy auditorium. but always compelling. Audience noise (Westminster -offering added induce- continuity to the music. The Polonaise- is ment to the buyer by including the rarely fantaisie, in particular, moves along with more prominent than on the Angel collec- played First tion, and I would have liked bit Sonata). Also worthy of arrow -straight swiftness although its a more investigation are the Block lyrical bass in the Chopin selections. (The (DGG) and portions are exquisitely realized. Horowitz (Columbia) discs of the B In the great Ballade No. 4, Richter's Scriabin and Debussy. which were prob- flat made in minor Sonata and the Lipatti (Co- languorous and distended tempo at the ably a different city during lumbia) and Novaes another concert. are better in that re- (Vox) of the B outset led me to expect that this was minor. H.G. to be one more of those sectionalized spect.) All told, however, the sense of and episodic readings which so many direct contact with the performer is pianists bestow on the piece. Happily, rather amazing, and the disc is highly DEBUSSY: Estampes Chopin: recommended. H.G. -See my apprehensions proved groundless. Ballade No. 4, in F minor, Op. 52. The Soviet artist. quite miraculously, manages to avoid both stagnation and fragmentation: slow as his opening CHOPIN: Concerto for Piano and DEBUSSY: Nocturnes: No. 1, Nu- tempo is. and despite the tremendous Orchestra, No. 2, in F minor, Op. ages; No. 2, Fêtes -See Ravel: Ma rhythmic freedom with which he states 21 Mère l'Oye. the recurrent melody, the performance tFalla: Noches en los jardines de Es- manages to suggest impending develop- paña ment and drama. The end of the work DEBUSSY: Preludes, Book 1 (com- is brilliantly played, and it seems a logi- Clara Haskil, piano; Orchestre des Con- plete) cal culmination of all that preceded it. certs Lamoureux, Igor Markevitch, cond. Richter is also very careful to respect Monique Haas. piano. the composer's markings: for example, For a feature review of these recordings, DEUTSCHE GRAMMOPHON LPM 18831. he is one of the few artists who lifts see page 77. V LP. $5.98. the pedal -as directed -at the end of the DEUTSCHE GRAMMOPHON SLPM D flat section on meas. 202. The two 138831. SD. $6.98. Etudes are given crisply, powerful. and CHOPIN: Piano Works a bit prosaically. Richter's mechanical These are impeccable performances, and Sonata for Piano, No. 3, in B minor, certainly equipment is formidable, of course. but Op. 58. Scherzos: No. 1, in B minor, authoritative ones. Mme. Haas other pianists have greater affinity and Op. 20; No. 3, in C sharp minor, Op. emphasizes the classicism of the music stylistic subtlety for Chopin's miniature 39. Trois nouvelles études, Op. posth. rather than its programmatic content. writing. The C major Etude played here, She takes great care to keep the textures incidentally, is the first one from Op. 10, Guiomar Novaes, piano. transparent, and her rhythmic pulse is and not No. 7 as indicated on the record Vox PL 15000. LP. $4.98. unusually cogent. One senses, much more jacket. The Debussy Estampes get a memo- All of these performances were recorded Continued on page 88

84 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com craftsmanship that can match his own ALFRED ROBERTA exciting and brilliant musical concep- AND PETERS tions. Here is Magnante's miracle of NEW COMMAND 1 DRAKE sound recorded with every brilliant nu- Sing The Popular Music Of ance and captured so completely by Com- SAMPLER OFFER! mand, the sheer magnificence dazzles the Now, a brand new Popular Command LEONARD BERNSTEIN ear. Sampler. Another in the fantastically suc- with THE RAY CHARLES SINGERS Selections: GUAGLIONE; PUCCINI OPERA MED- cessful Sampler Series that introduces you LEY; TARANTELLA ALLEGRIA; O MARIE; NON to the incredibly exciting music recorded by and ENOCH LIGHT and his orchestra DIMENTICAR; CIRIBIRIBIN; MAMA; TANGO Command, The new Command Popular DELLA ROSA; THE JOLLY BARBER TARAN- Sampler Album contains 12 complete selec- The most exciting album ever made! TELLA; RUSELLA 'E MAGGIO; UNO PER TUTTE; Here are some of the most compelling ARRIVEDERCI ROMA. #852 tions from 10 different Command Popular songs heard on Broadway in the past 20 Albums. The Command Classic Sampler by most over- Album contains 8 complete selections from years. All composed the ELECTRODYNAMICS 8 different Command Classical Albums. whelming talent in modern American Unlike many sampler albums, there is no music, Leonard Bernstein. His superb 5 Dick Hyman at the organ sales message ... no talk! These sampler compositions sung by two of the most and his orchestra albums were created to give you full, unin- dynamic vocalists on theatre or opera terrupted musical pleasure - music raised stages, Alfred Drake and Roberta Peters. Here is the most exciting NEW MUSI- to astounding reality through Command's Supported by the amazingly versatile CAL SOUND since the invention of technique of master recording originals on Ray Charles Singers. This stunning al- stereophonic records. With the brilliant tape and on 35 mm magnetic film. bum conducted and produced in fresh, Dick Hyman playing the amazing new revealing interpretations by the un- Lowrey organ, here is your introduction rivaled master of modern musical record- to an experience in listening you will POPULAR ings, Enoch Light, with a 50 -piece or- never forget. Once again Command Rec- SAMPLER chestra. Recorded on 35 mm magnetic ords broadens and extends the vast pos- film. sibilities of musical excitement and including beauty by integrating the talents of Dick 12 Complete Selections Selections from WEST SIDE STORY, ON THE TOWN, WONDERFUL TOWN, CANDIDE include: Hyman, the remarkable new Lowrey Or- PUT ON A HAPPY FACE (1963 The Year's Most TOWN; MARIA; GEE, OFFI- tech- Popular Themes) TONIGHT; LONELY gan and the superb engineering Music Leonard CER KRUPKE; BEST OF ALL POSSIBLE WORLDS; niques possessed only by Command. TONIGHT (The Popular of LUCKY TO BE ME; NEW YORK, NEW YORK; IT'S Bernstein) Selections: STOMPIN' AT THE SAVOY; THE LUCKY TO BE ME (The Popular Music of Leonard LOVE; 1 FEEL PRETTY; GLITTER AND BE GAY; FINALE (From West Side Story). 855 SWEETEST SOUNDS; I LEFT MY HEART IN SAN Bernstein) FRANCISCO; FLY ME TO THE MOON; PARADISE; ISTANBUL (Far Away Places, Vol. II) SIDE BY SIDE; MACK THE KNIFE; SATIN DOLL; MITZI (Romantic Guitar) 1963 SHADOWLAND; BIG BEN BOSSA NOVA; THIS DANCE, BOATMAN, DANCE (The Robert DeCormier IS ALL I ASK; TILL WE MEET AGAIN. :856 Folk Singers) GEE, OFFICER KRUPKE (The Popular Music of 2 THE YEAR'S MOST Leonard Bernstein) THE URBIE GREEN ALONE TOGETHER (Delicado) POPULAR THEMES BIG BEN BOSSA NOVA (Let's Dance the Bossa e 6 -TET Nova) ENOCH LIGHT and his orchestra BEYOND THE REEF (Paradise Island) America's greatest Trombonist STOMPIN' AT THE SAVOY (Electrodynamics) Until you listen to this fantastic record, GUAGLIONE (Roman Accordion) you haven't really heard movie music. and his sextet This album will give you an entirely new Share in the excitement of on- the -spot conception of motion picture music . . . creation by one of the great master mu- CLASSIC never displayed more brilliantly or in sicians of our time, Urbie Green, as this more powerfully exciting musical terms. superb trombone virtuoso is joined by SAMPLER Incredibly exciting, with daring emo- five other magnificent jazz musicians. Includes 8 Complete tional power. Recorded on 35 mm mag- Here is one of the most brilliant small Selections From: netic film. jazz groups ever assembled and it pro- BRAHMS - Symphony No. 2 in D Op 73, 3rd Movement. Steinberg . . . Pittsburgh Symph. Selections: CLEOPATRA; LAWRENCE OF duces unique excitement, amazing Orch. ARABIA; MUTINY ON THE BOUNTY; DAYS OF finesse, dynamic solos, breathtaking en- BEETHOVEN - Symphony No. 4 in B Flat Op. 60, WINE AND ROSES; HOW THE WEST WAS WON; sembles in a jazz sound totally different 4th Movement. Steinberg ... Pittsburgh Symph. HUD; PUT ON A HAPPY FACE (Bye Bye Birdie); from you have heard Orch. SPEAK NOT A WORD (Island of Love); I COULD anything ever MUSSORGSKY -RAVEL - Pictures At An Exhi- GO ON SINGING; MORE (Mondo Cane); SPEN- before. bition - The Great Gate at Kiev. Vandernoot CER'S MOUNTAIN. #854 Selections: SLIDEWORK IN A FLAT; DJANGO; . Conservatoire Symph. Orch. (Paris). BODY AND SOUL; WALKIN'; FOUR BROTHERS; RAVEL - Rapsodie Espagnole - II- Malagueña. SLEEP; BIJOU; TANGERINE; ROYAL GARDEN Dervaux . , . Colonne Symph. Orch. (Paris). 3 THE ROBERT DE CORMIER BLUES; THE BAD AND THE BEAUTIFUL. ,7857 WAGNER - DER RING DES NIBELUNGEN - The Ride of the Valkyries. Steinberg , .. Pittsburgh FOLK SINGERS Symph. Orch. BEETHOVEN, SCHUBERT - Symphony No. 3 in D, 4th Move- A significant milestone in folk music his- ment. Steinberg - Pittsburgh Symph. Orch. SYMPHONY No. 3 RAVEL - Alborado Del Gracioso. Dervaux . . . tory! Here are 25 exciting voices re- 1 Colonne Symph. Orch. (Paris). corded by the incomparable Command in E FLAT BERLIOZ - Symphonie Fantastique Op. 14 - technique. Full blooded vitality returns March to the Gallows, Vandernoot -.. National to folk singing in these fascinating per- WILLIAM STEINBERG Symph. Orch. (Paris). formances. Every colorful nuance, the AND THE PITTSBURGH r - MAIL COUPON TODAY --1 finest and most delicate shading as well -- - as the tremendous ensemble power of SYMPHONY ORCHESTRA COMMAND RECORDS, Dept. 11-HF this 25 -voice group is recorded and re- This is one of the world's most magnificent 1501 Broadway, New York 36, N. Y. produced by Command with astonishing masterpieces conducted by the maestro who realism. is acknowledged by all critics as one of the Gentlemen: Please send me the Command Sampler greatest conductors of all times. A most ex- Albums I have checked below. I understand Com- Selections: IF 1 HAD A HAMMER; WHERE HAVE citing addition to the world of recorded mand pays all postage and handling charges. ALL THE FLOWERS GONE; AMEN; THE VIRGIN masterpieces. 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All Command Recordings Are Available In Stereo, Please check ROMAN ACCORDION Monaural, And 4 -Track Tape Wherever Records STEREO MONAURAL Enclosed is 4 CHARLES MAGNANTE Are Sold 0 o s and his orchestra Write for FREE full color brochure of all Command releases NAMF The amazing panoply of sound that Charles Magnante creates on his accor- World leader in recorded sound dion is one of the wonders of contempo- ADDRESS rary music. And now, in his first recording for Command Records, the RECORDS CITY ONF STATF great Magnante has found engineering 1501 Broadway, New York 36, N. Y. - J CIRCLE 30 ON READER -SERVICE CARD NOVEMBER 1963 87

www.americanradiohistory.com RECORDS IN REVIEW nas provides. In a case such as this, a NOT touch of "black magic" is not only per- Continued frone page 84 missible: it is necessary. On the other hand the player's earnest style is very well suited to the work by Nicola An- FOR SALE strongly than is customarily the case, tonio Porpora (1686- 1766). the architecture the of twelve preludes Bernard Ringeissen (Fourth Prize Win- as a cycle. That cumulative quality and ner in the 1955 Warsaw Chopin the strong personal Contest) profile of the pianism is an admirable partner throughout. His are the chief strength these of readings. playing is unusually forthright, There and at are certain individual preludes times almost too prominent. I would which may be given more evocatively or gladly sacrifice some of the percussive sensuously elsewhere (Des pas sur la intensity of his tone in the last movement neige, for example, is a shade too fast of the Shostakovich for a little more and bleak here to the lilt fully exploit and reticence; but, all told, the frame- poignancy of the piece), but there can work he provides is highly appropriate be no questioning Haas's formidable for the type of interpretation Parnas technical equipment and supreme of- affinity fers. The engineering and processing are for this music. This edition of the absolutely flawless. Preludes, it seems to me, is on the H.G. interpretative level of the Gieseking ver- Sion, and sonically it is far superior to DVORAK: Quintet for Piano and that disc. H.G. Strings, in A, O. 81 tSchubert: Quartet for Strings, No. DEBUSSY: Sonata for Cello and Pi- 12, in C minor ( "Satz ") ano, No. 1, in D minor Clifford Curzon, piano (in the Dvofák); 1-Porpora: Sonata for Cello and Pi- Vienna Philharmonic String Quartet. ano, in F LONDON CM 9357. LP. $4.98. j-Shostakovich: Sonata for Cello and LONDON CS 6357. SD. $5.98. Piano, in D minor, Op. 40 This performance of the Quintet is Leslie Parnas, cello; Bernard Ringeissen, patently one to be evaluated on the piano. very highest level, and it is perhaps its PATHE DTX 309. LP. $5.98. misfortune to have to compete with the PATHE ASTX 123. SD. $6.98. beautiful reading that Curzon recorded [with the Budapest Quartet ten years Leslie Parnas -American cellist, winner go: it does not quite meet the challenge. of the Grand Prix Pablo Casals 1957, The pianist plays with even greater finalist at last year's Tchaikovsky compe- warmth, charm, and flexibility here, but tition in Moscow, and onetime first cel- while the Boskovsky- Strasser -Streng- No matter what superlatives, testimo- list of the St. Louis Symphony -is a pas- Scheiwein foursome contributes its share nials and /or curves a manufacturer of sionate rather than an elegant player. He of sympathetic, idiomatic music making, loudspeaker systems employs in his ads is apparently much more concerned with it is a far cry, both technically and in- - no one knows better than yourself rhythmic vitality and impetuous phrasing terpretatively, from its illustrious coun- what sound is best for YOU! That's why than with tonal beauty or instrumental terpart on the Columbia disc. Further- this ad doesn't try to SELL you on the refinement. Obviously a strong techni- more, the older version has better sound cian. Parnas is not incandescent dynamic new LEAK Piston -Action Sand- in that than this new one. London's stereophony respect: he is apt to lunge at phrases. and is minimal, the strings have that resinous, wich Speaker System. in moments of stress his sound tends to slightly veiled characteristic which makes Certainly! we have dramatic evidence get a shade muddy and forced. the players sound as if they were using of its superiority... its absolute smooth- No matter. this. Parnas does not seem mutes throughout, and the pickup is ness of transient response ... its total inclined to impress his audience by be- more distant than I would prefer. The absence of cone breakup ... and other dazzlement. Obviously, his genus of cello piano is perhaps a bit brighter on the pertinent characteristics BUT we playing is of the regal Casals variety new disc, but that could merely be a ... than only want to impart the idea that this rather of the "tuck-it- under -your- difference in performance: Curzon tends chin" fluency on the instrument charac- to dominate the Viennese musicians, New LEAK Speaker System is THE system teristic of the late Emanuel Feuermann, whereas he was more the "silent partner" you must listen to before you select any. Janos Starker, Frank Miller, and other when he played with the Budapest. Whether you expect to invest in a such "classical" exponents of the art. The Quarteu.catz is a remarkable system now or sometime soon, you owe One can forgive Parnas' occasional un- product of Schubert's twenty -third year. it to yourself to visit your nearest tidinesses just as one can appreciate Van It marks a radical departure from the Authorized Leak Franchised Specialist Gogh even though that painter lacked the sweet melodiousness of the composer's slick brush technique of Dali. earlier works. Already to be found (per- and HEAR why Leak has received such Parnas' account of the Debussy Sonata haps for the first time) are the stormy superb commendations for revolu- its is on an unusually large framework. His tremolando figurations and terse har- tionary principles, smooth performance interpretation is highly contrasted, both monic progressions which were to reach and "grand sound." ... in the meantime, in terms of tempo and of dynamics. His their fruition in the great C major if you want to satisfy your "technical is a grandiose reading, impassioned and Symphony. the B flat Piano Sonata, the eye" ... TEST REPORTS are available at fierce. Rostropovich is more rarefied, Cello Quintet. Op. 163, and. most all Leak Franchised Specialists, or write: whimsical, and volatile; Piatigorsky, particularly, the G major Quartet. Op. warmer and less austere. I myself prefer 161. The present performance. a docile the Rostropovich, although all three and innocuous one, kept me on the edge readings are extremely valid. of my chair -but only because the The Shostakovich is an uneven work leader's intonation was frequently just a which excels in its even -numbered move- fraction "under" the note. Both the ments (especially the Scherzo) but mean- Juilliard (RCA Victor) and Amadeus ders unmercifully in a typically Shosta- I- (DGG) versions have more bite. and my kovian manner in the other two. (Per- recommendation goes to the latter. H.G. haps I should say mercifully, since neither the Moderato nor the Largo is as long as some of the composer's symphonic FALLA: Noches en los jardines de ENGINEERING I RESEARCH I YANUE ACTURINr essays.) Parnas gives a good account of Espaiïa -For a feature review in- Exclusive U.S. Representatives: the piece, although the flamboyant tem- cluding this recording, see page 77. perament of Shafran in the competing ERCONA CORPORATION RCA Victor edition, plus that player's 432 Park Ave., South instrumental revisions (the harmonics FINE: Partita for Wind Quintet -See New York 16, N. Y. in the Scherzo. for example), makes for Carter: Eight Etudes and a Fantasy a more stimulating experience than Par- for IVoodwind Quartet. CIRCLE 42 ON READER -SERVICE CARD 88 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com FRANCK: Variations symphoniques John Reed. Kenneth Sandford's Grosve- tRachmaninof f: Rhapsody on a nor was one of the stronger characteriza- Theme of Paganini, Op. 43 tions in the London album, and excellent tLitolf f: Concerto symphonique, Op. though John Cameron is for Angel, he 102: Scherzo is slightly outclassed. John Shaw's Colonel Calverly, however, is vastly su- portable perior to the bumptious-sounding Donald Leonard Pennario, piano; Boston Pops Adams for London. The Murgatroyd Orchestra, Arthur Fiedler, cond. and The Duke are about evenly balanced. RCA VICTOR LM 2678. LP. $4.98. In the chorus work and VICTOR LSC $5.98. ensemble num- RCA 2678. SD. bers, particularly in the sextet I Hear the Soft Note, the honors most definitely perfection These are crisp, highly competent, but belong to Angel. not very subtle. performances. Pennario's As far as orchestral performances are tone tends towards percussiveness, while concerned, choice is something of a toss- Fiedler's orchestra (or the reproduction up. Those on Angel have more distinc- of it, at any rate) is inclined to sound tion and finesse, although some of Sar- beefy and dynamically monotonous. I gent's tempos are less brisk than I would for suspect that Victor's engineering is prob- like. On the whole, the orchestral work r. ably the real culprit here: the mike under London's Isidore Godfrey seems placement is uncomfortably close-ruling more effective. Where the London issue out true pianissimos in the dynamic scores most decisively, however, is in scheme -and the middle frequencies the matter of style. It is curious that hi -fi fans sound as though they were artificially Sargent. a specialist in Gilbert and Sulli- thickened. Perhaps this type of reproduc- van, working with a company whose tion yields superior results at low vol- roster has been reasonably constant since ume levels and on inexpensive machines; their initial recording venture, has been on my setup, however, the effect was unable to inculcate a greater appreciation two -dimensional and raw- toned. H.G. for the subtleties of style so essential to these operas. There are times when some of the women in the Angel recording GIDEON: Lyric Piece for String Or- seem to think they are singing in Elijah chestra -See Newlin: Trio for Pi- or St. Paul. Angel uses stereo discreetly, ano, Op. 2. the London with greater exploitation of its potentialities. In general, the sound on the earlier set is more open, rich, and GILBERT and SULLIVAN: Patience convincing. J.F.I. Elizabeth Harwood (s), The Lady Saph- GOTTSCHALK: Symphony, A Night ir; Heather Harper (s), The Lady El- in la; Elsie Morison (s), Patience; Marjorie the Tropics; Grande Tarentelle, Thomas (c), The Lady Angela; Monica tutti d'Orchestra (orch. Kay) Sinclair (c), The Lady Jane; Alexander (Gould: Latin- American Symphonette Young (t), The Duke of Dunstable; John Shaw (b), Colonel Calverly; Reid Nibley. piano (in the Tarentelle); Baker Reginald Bunthorne; Utah Symphony Orchestra, Maurice Ab- From Denmark comes this George (b), ravanel, cond. aristocrat of portables. Su- John Cameron (b), Archibald Grosve- nor; Trevor Anthony (bs), Major Mur - VANGUARD VRS 1103. LP. $4.98. perb AM- FM- Shortwave per- VANGUARD VSD 2141. SD. $5.95. formance with all the fea- gatroyd. Glyndebourne Festival Chorus; tures you can imagine in Pro Arte Orchestra, Sir Malcolm Sargent, cond. A Night in the Tropics is the sort of a high quality portable: one work that ANGEL 3635 B /L. Two LP. $9.96. simply disarms criticism. full watt push -pull output J Written in in ANGEL S 3635 B /L. Two SD. $11.96. Guadeloupe 1859, the and a 5" x 7" speaker, piece is evocative, romantic music by a flywheel tuning with slide - most romantic of musical figures. Among rule dial, full range inde- This is the second recording of Gilbert composers, only Berlioz seems quite as pendent tone controls, and Sullivan's trenchant lampoon of Vic- purely romantic and, in fact. there are pushbutton band selection, torian aestheticism to be released in less many musical similarities between the tuning meter and battery than a year, and some comparison of expressive style of the great Frenchman with indicator, loudspeaker-ear- the new release its London prede- and the warm. naïve southern symphonic phone output and separate cessor seems in order. rhapsody of his American contemporary. tuner output, plus plug -in London included, for the first time on The first movement of the Gottschalk is connection for an auto an- records, all of the Gilbertian dialogue; a most remarkably lush and sustained tenna and accessory Angel omits it. Much as I personally outpouring of gorgeous, sensuous mel- in mounting bracket for over - enjoy Gilbert's amusing sallies the ody, the counterpart of which I cannot the -road hi -fi. theatre, I am quite content, as I have recall. Its aim is to gush, to envelop, to had to be for thirty -five years, to dis- seduce -and it must be a hard ear and pense with them on disc. From a purely heart which can resist. Write for detailed specifi- vocal point of view, it seems to me that cations and test reports. The second movement with its explo- the Angel recording has a slight edge, sion of Latin -American dance rhythms particularly on the distaff side. The Pa- seems less extraordinary, probably be- tience of London's Mary Sansom simply cause these rhythms have since been does not belong in the same league as beaten to death a thousand times. The Elsie Morison's handsomely sung per- movement is, nonetheless, clever and B0 formance for the new set, and Gillian well worked out, and it provides a kind Knight's Lady Jane, which I thought of relief after the unrelieved richness of wan, seems even more pallid beside Mon- the first section. What is most excep- ica Sinclair's almost statuesque portrait. tional about the whole piece is that By appointment The other Ladies -Angela, Ella, and to the Royal Danish Court without the aid of any significant tra- Saphir -are more evenly matched, al- ditional symphonic techniques at all it though in the ensemble numbers the holds and sustains an ecstatic musical Angel representatives produce a happier moment, touching in its romantic breadth blending of voices. There is not a great and simplicity. deal to choose between the male singers The Tarentelle is somewhat less no- on either recording. George Baker (at table although it is an amusing and YEM seventy -six, an age which his voice oc- bouncy piece of cleverness. Both works casionally betrays) gives a fastidiously have been adroitly reconstructed and are DYNACO, INC. sung performance of Gilbert's idyllic po- excellently performed and recorded. The one which carries a little more Powelton Ave., Phila. 4, Pa. et, and 3912 weight than that of his London rival, Continued on page 94 CIRCLE 61 ON READER- SERVICE CARD 90 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com HARMONIA Mundi's new version of Tecum principium and the short motet Bach's The Art of Fugue (HM 306 Aeterne !midis !ilium, both set in five 24/25, manual sequence) represents a parts. Mr. Stevens gathered the voice very cogent attempt at solving the con- parts from various library sources in tinuing enigma of how actually to pro- England, wrote the jacket notes, and duce this giant work. Bach clearly conducts the fine Ambrosian singers meant his last composition to be a sum- (using seventeen voices in all as Fayrfax mary of all that he (or anyone else) himself did in his royal post at St. could teach about the fugue. We are not Albans). sure, however, in what order he in- I suspect that Mr. Stevens also had a tended the fourteen fugues and four hand in the microphone placement in canons to be played -or for that mat- the Church of St. George- the -Martyr in ter whether he wrote all of them for London. The stereo effect is suggestive performance as well as for instruction. rather than blatant, with the natural res- Furthermore, the manuscript is in open onance of the building providing the re- score, outlining the voices but specify- quired "presence," while part relation- ing no instrumentation. The simple t ships and enunciation remain clear. evidence that, with the exception of the Though contemporary with Josquin des two mirror fugues, the music fits the Prez, the music of Fayrfax is more con- hands on the keyboard would seem to trapuntal, harking back to Ockeghem. favor the harpsichord; but Bach refused, There is a grandness to the total sound in true baroque tradition, to limit the and an occasional harmonic solidity and sonority to one instrument, and there sweetness of triad which marks this mu- have been many attempts transcrip- i sic as peculiarly English. Musica Sacra at Dame Nellie: accent doesn't matter. tions for string quartet and even or- also has a set of pieces by John Taver- chestra. a fine selection of pieces by Schumann, ner (1495 -1545) scheduled for early re- Since a conventional quartet cannot Wolf, Rubinstein, and August Bungert. lease, by the way. encompass the range at all points, Har- Delta provides texts and translations monia Mundi's version uses a unique of the songs but unfortunately does not t string body in various combinations for supply original record and matrix num- THE MAJOR WORK on a two- record the i.rst thirteen uugues: violin, cello, bers. J Pathé album of Villa Lobos (FCX 602/ alto viola (with a fifth string), tenor "Melba in French Song" (TQD 3005) 3) is the set of four symphonic suites en- viola (held like a cello), and violone presents Dame Nellie in her best years titled The Discovery of Brazil. Written (precursor of the bass). Bach himself as a recording artist (1904-10). The for a 1937 film about the voyage of the transcribed the second mirror fugue for pleasant little recital contains songs by Portuguese fleet and the landing of the two harpsichords, and this is played, Hahn. Bizet, Debussy, Lalo, and Her- first settlers in Brazil in 1500, the music following the string version, by Lilly man Bernberg, and the famous Hamlet is skillfully constructed from Villa Lo- Berger and Fritz Neumeyer. The ex- "distance test." Melba's accent may not bos' well -known materials: Spanish and cellent Neumeyer then plays the four have been perfect but, as Desmond Afro -Brazilian rhythms; Indian incanta- canons alone, followed by the final, un- Shawe -Taylor has pointed out, she was tions and Iberian folk songs; the jungle finished fugue for strings. The string good enough in French repertoire to sound of a percussion battery. These are players eschew Romantic expressiveness have earned praise from Gounod, Mas- synthesized with a first -rate choral and and let the powerful motor force carry senet, and Delibes. At any rate, in string technique. One movement, First the music, all the while maintaining im- these simple songs we can delight in Mass in Brazil, combines a Gregorian peccable, resonant tones. So large a Melba's great voice and flawless tech- chant for men's voices with a primitive number of string fugues heard one after nique. The surfaces are fair and not Indian chant sung by women! For a mo- another can be monotonous, no matter too bothersome against the full voice. ment it makes Britten's juxtapositions in how fine the playing. But certainly The "distance test," by the way, was the War Requiem seem bloodless; on the Bach never envisioned continuous per- made in London in 1910 in preparation other hand the irreverent might expect formance; each fugue should be studied for a recording of the Mad Scene from Hope, Crosby, and Lamour to appear at -and enjoyed -on its own. Thomas's opera. We hear Melba's voice any moment. growing fainter as she repeats the same Also included in the album are Chôros phrase while backing away from the No 10, a deeply atmospheric piece about THE FIRST TWO releases in Delta's horn. Amazing how she could repro- "the reaction of a civilized man face -to- "Connoisseur Series" have arrived in duce the same phrase perfectly each time. face with the valleys of the Amazon and the United States, and they are worth the huge interiors," and Invocation for their weight in collector's gold. While the Defense of the Motherland, composed "Elena Gerhardt and Arthur Nikisch" R()BERT Fayrfax (1464- 1521), who in 1943 to celebrate the sailing of Bra- (TQD 3024) duplicates some of the se- during the reigns of Henry VII and Hen- zilian warships and first sung by a chorus lections on Vol. 2 of Rococo's recent ry VIII was considered the "greatest mu- of no fewer than 15,000 schoolchildren. Gerhardt recital album, the disc also of- sician in England," is known to most of Choral forces are naturally less grandiose fers material that to my knowledge has us today merely by reputation. In fact, in this recording, but an orchestra has not previously appeared on LP. Surface it is only since the end of World War II been added. All three works are per- crackle is low, considering the dates of that this period of English music has re- formed by the French National Radio the originals (1907 -11); Gerhardt's ceived any extensive research, and none Orchestra and Chorus, with the late corn- fresh, sensitive voice and superbly con- of Fayrfax's music was published until poser himself conducting. Recorded some trolled phrasing come across well, as just a few years ago. Now, thanks to years ago, they appear in monophonic does the bold playing of Nikisch at the the efforts of Denis Stevens, we have format only, but the bright conics do piano. Brahms's Der Schmied and Schu- the first major Fayrfax recording. a justice to Villa Lobos' exotic sonorities. bert's An die Musik stand out among J Musica Sacra disc (AMS 38) of the Mass GENE BRUCK 92 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com TUNER SEC -ION: Ii he kit, th two most critical secti:rns AMPLIF ER SECTION: H )i qualit- Baxarcall bass end -the front erd anc be IF strip are supplied prewired aic treble controls do not int-ract or affect laudr ess, per rit Dre- aligned and a iigi qualiti c cuit boa -d and pre- alignec boost or cut at extremes range without atfecting mid- .oils are provided hr the siere demodilator circuit The range. Balance control is infinitely variable. Fernitting ocm- F strip has 4 ampl fie- -limiter s -ges and a wideband ra:ic plete fade of eiihe- chann :l. Blend control is variable Ir:m detector fo- perfect im ting an ' flat fregjency response switch -out, for maximum separaior, I blend. Tape -Sensitive bar -t.pe electron --ay tuning indicator pinpoints Monitor switch permits cf- the -tape monitb-i -g wi :h he :he center 3f ea :h bnadcas: c annel for lowest d stortion, Eico RP100 Stereo Tape Recorde-. and also servez as the sterec p-. gram indicator. Power: 36 watts IHFM mue c, 28 wat :s coniuo.is (tcta ) Antenra inpu : 3C0 ohms balarce. IHFM usable sensitiviy: IM distortion (each channe r: 2r /o at 14 watts. 17-clo at E vrat :s, 3 Iry (30 db qpistin3,, 1.5 uv for 0 db quiet ng Sensitivity 0.2 °/o at 1 watt Harmoni: distortioi (each cFannel;: 'or phase lock ng (synchronáat .n) in stereo: 3 µi Full at 10 watts, 40 cps :o 10 kc C.2' /0 at 1 watt, { cps to Z) I. imiting sens tiiity: -C µv IF oandwidth 280 kc at 6 db IHFM power bandwidth at -eted con-inuou_ o er, 1'/o Far - ooints Rat o cetr.ior bandwidth: 1 me peak -to -peak sap - monic distortion: 30 cps to 2.) kc Frequercy -esporse =1 aratior ALd o banc width at FTv1 detector: flat to 53 kc db, 15 cos to 40 kc El Spe=ker output: 8, 1E onus npu :s: IHFM signal-to-nose ratio: 55 do IHFM harmon c cistor- Magnetic phono cr adap ad ce-arric phone, tuner, :ape tion: 0.6 °/o Eterec - armón c c stortion: lass thar 1.5 °a auxiliary Sensitivity: 2.3 sm phono, 250 mv ot-sers D Norte: IHFM capture -atic: 3 db Channel separation: 3) db. -65 db at 10 mv mag phor 3 -80 db ethers. New Eico Classic 2536 Stereo FM Receiver

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www.americanradiohistory.com RECORDS IN REVIEW HAYDN: Symphonies Continued from page 90 For a feature review of various Haydn symphonies as recorded by the Vienna State Opera Orchestra under Max same kind of performing skill is also ap- Goberman and by the Symphony Or- plied to the Gould, which provides, of chestra of Radio Zagreb under Antonio course, a very different vision of Latin Janigro, see page 78. H America, one with its own qualities of ow cleverness and slick appeal. E.S. HAYDN: Trio for Piano and Strings, GOULD: Latin- American Sympho- No. 4, in E nette -See Gottschalk: Symphony, eyev: Trio for Strings, in D, Op. A Night in the Tropics. íT21 can you make (Khachaturian: Trio for Clarinet, Violin, and Piano HANDEL: Musick for the Royal Fireworks; Concerti a due cori: No. Lev Oborin, piano (in the Haydn); Ar- 2, in F; No. 3, in F nold Kaplan, piano (in the Khachaturi- an); David Oistrakh, violin (in the a priceless Archive Orchestra of Ancient Instru- Haydn); Peter Bondarenko, violin (in ments (in the Fireworks), Concert the Taneyev); Eduard Grach, violin (in Ensemble of the Schola Cantorum Basi- the Khachaturian) ; Mikhael Terian, vi- liensis (in the Concertos), August Wen - ola (in the Taneyev); Sviatoslav Knush- zinger, cond. evitzky, cello (in the Haydn); Vladimir ARCHIVE ARC 3146. LP. $5.98. Sorokin, clarinet (in the Khachaturian). family heirloom ARCHIVE ARC 73146. SD. $6.98. MONITOR MC 2059. LP. $4.98. The neglect of the Haydn Trios is one HANDEL: Royal Fireworks Suite; of the more puzzling (arr. aspects of our col- Water Music Suite Harty) lective musical tastes. The piano trio is hardly a rare combination, Haydn is a Amsterdam Concertgebouw Orchestra (in well -regarded the Fireworks), London Philharmonic composer, and the period itself has proved for $2.1O? Orchestra (in the Water Music), Eduard popular enough to pro- van Beinum, cond. mote a whole series of obscure resurrec- tions RICHMOND B 19101. LP. $1.98. and excavations. What then is the This question, and many others matter with the Haydn Trios? For my taste, about tape quality, tape use, and The Fireworks Music may now be had they contain some of the finest to suit practically any taste. Would you music of their century. tape recording for fun, education, In any case, let us be like to hear it played by a band of pretty grateful for a good and profit, are answered in Tarzian much the same size and constitution as recording of an excellent example. at the premiere in Green Park (26 oboes, The work is almost lost on this triple Tape's new booklet, "Lower bill recording, the 14 bassoons, etc.)? If so, the Vanguard monophonic -only the Cost of Fun With Tape Re- sound is only moderately recording is for you. If you want a band impressive. and cording." of about that size plus lots of strings, I have reservations about the perform- plus actual fireworks, there is Stokow- ance; but the surprise and pleasure is It's free when you mail the coupon ski's version on RCA Victor. If it is the nonetheless great. Basically this is a very rich below. original version you hanker for, but and beautiful performance. but with natural (not valve) horns and there are some interpretative misunder- trumpets, and oboes and bassoons using standings: these Soviet musicians do not the thick reeds thought to have been em- seem to grasp, for example. that the slow ployed in Handel's time, the Vox record- movement is an example of Haydn's ing is your dish. garnished with some "neobaroque" manner and should be played with something of the feeling of Sarkes Tarzian, Inc. sour notes (can't help it, says Vox; that's the way it was). Do you require still a Bach arioso. But for all that. their Dept. HF -4 more historical verisimilitude -say cla- playing conveys a great deal of essential Magnetic Tape Division rini and narrow -bore horns and wood- musical communication. The rest of the disc is of much less East Hillside Drive winds (but no clinkers)? Well, here it is, in the new Archive recording. consequence. The Khachaturian is a Bloomington, Indiana The sound of this latest version is in- sample of a sort of Oriental impression- teresting, but the horns are a bit tenta- ism that seems utterly contrived. The Taneyev has Please send a free copy of "Lower the tive in some spots, the Bourrée and Si- two characteristic and idiomatic movements of no great import Cost of Fun With Tape Recording" to: ciliana lack grace. and there is a thinness in the bass in those movements. For the but, at any rate, some integrity; the first wind band version I prefer the Vanguard, two sections, however, consist of a large even though it's done with modern in- misunderstanding -a mistaken imitation Name struments: but more than any of these I of eighteenth- century galanterie. All the like the arrangement made by Handel performances are good; the recorded himself for an ordinary orchestra of sound is somewhat variable but always Address winds and strings, as recorded by Fritz adequate or better. E.S. Lehmann and the Berlin Philharmonic on an older Archive disc. Wenzinger State City does considerably better with the two HAYDN, MICHAEL: Concerto for rconcertos for double wind groups with Trumpet and Orchestra, in D- I Have Have Not used Tarzian Tape strings than he does with the Fireworks. See Bach, Johann Christian: Con- Although both of these concertos have I Own Plan to Buy D A Tape Recorder certo for Bassoon and Orchestra, in been recorded. it has not been in livelier I Recording Tape From: B flat. Buy Blank or better -sounding performances than they are given here. Van Beinum's performances of the KHACHATURIAN: Trio for Clari- Nanie Harty arrangements are still admirable. net, Violin, and Piano -See Haydn: but the sound in this low- priced reissue Trio for Piano and Strings, is not as good as we are now accustomed No. 4, Address to. particularly in the Fireworks. N.B. in E. Tarzian He Does D Does Not Stock HANDEL: Suite for Harpsichord, No. LITOLFF: Concerto symphonique, Tape 3, in D minor-See Bach: English Op. 102: Scherzo -See Franck: L J Suite, No. 2, in A minor, S. 807. Variations symphoniques. CIRCLE 75 ON READER -SERVICE CARD 94 HIGH FIDELITY MAGAZINE

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CIRCLE 89 ON READER -SERVICE CARD NOVEMBER 1963 95

www.americanradiohistory.com LORTZING: Zar tend Zimmermann one shared by many recent sets, and I (excerpts); Der Waffenschmied (ex- cannot help thinking that the blame cerpts) must be laid to the circumstances of the recording itself. In the release at hand Hilde Gueden, soprano; Waldemar we have a prime example of those sets Kmentt. tenor: Eberhard Wächter. bari- that have all the ingredients for success tone; Oskar Czerwenka, bass. Chorus and which on a detail -by- detail basis and Orchestra of the Vienna Volksoper, can be termed well executed, but which Peter Ronnefeld, cond. do not constitute listening experiences LONDON 5768. LP. $4.98. as interesting as those afforded by one LONDON OS 25768. SD. $5.98. of those badly sung, early Fifties Cetra performances. The domestic catalogue once included To report on the individual interpre- a musically complete recording of Zar tations: De los Angeles sounds a little and Zimmermann (a light opera in tired here and there, failing to fill out which Peter the Great poses as a car- all the climaxes convincingly. (She is penter); I do not believe that Der not. I think, well suited to this part Waffenschmied (a light opera in which temperamentally, and when she suddenly a count poses as an armorer) has ever drops her usual restraint to scream "A to been committed whole to discs, and la mala Pasqua!" it sounds unnatural, as London's new release of excerpts from if she were gritting her teeth to get it these two durable Lortzing works now out.) But she is, as always, sensitive and constitutes the only significant represen- intelligent in her phrasing, and in the in tation of that composer available here. nondeclamatory passages her tone is as Tapes Lortzing's music is pleasing, clever, full and lovely as ever. "Inneggiamo, it and forgettable. All the excerpts re- Signor" is especially beautiful. Corelli corded here are what one would describe is slightly disappointing. I had not ex- as "effective" or "serviceable," the only pected a really suave rendition of the Review: exceptions being the truly inventive Siciliana. but I had hoped for some real 1963 EDITION buffo bass songs from Zar and Zimmer - mettle in the confrontation with San - mann. The singing is all perfectly com- tuzza, and Corelli seems content to let petent: Gueden, despite the hint of a his voice do all the work. The voice is by R. D. Darrell slow waver on some sustained tones, the genuine article, though, and is mal- shows her customary vocal class and per- leable enough for a fairly smooth Addio Brings you in one convenient book sonal charm; Czerwenka does a good, and a secure Brindisi, full of open, ring- standard job with pieces; the pre- recorded tape reviews -about 500 his and Wäch- ing tone. ter is. as usual. a highly efficient vocalist, Sereni, except for some unnecessary appeared in -which HIGH FIDELITY if not a very winning personality. Kmentt ranting and an occasional vagueness as during 1962 and 1961. All were written is lacking in any true warmth or vocal to pitch, is a much better than average by R. D. Darrell. contributing editor plush. and here sounds quite ordinary. Alfio. and is actually warmer and stead- of HIGH FIDELITY. pioneer in the The stereo sound is fine, and the orches- ier than MacNeil on the London stereo art of discography, author of The High tral and choral work thoroughly accept- set. The remaining ladies are quite ade- Road to Musical Enjoyment and Good able. C.L.O. quate. though Lazzarini is a rather heavy Listening and many, many articles. and mature -sounding Lola. Santini is too LUKE: Symphony gradual and not dynamic enough for my If you buy pre- recorded tapes. this No. 2 -See Roch- taste, but the lyric sections (the opening book will help you build a fine library berg: Symphony No. 1. of the Prelude, for instance) are affec- of the music you enjoy. Mr. Darrell's tionately rendered, and the bottom never interests range from Beethoven to ro- MASCAGNI: Cavalleria rusticana falls out entirely. The Rome chorus is mantic Italian songs. As a sample of satisfactory, the women sounding weak- the contents turn Victoria de los Angeles (s), Santuzza; ish but the men-especially the basses - to The Tape Deck in Corinna Vozza (ms), Mamma Lucia; solid. this issue of HIGH FIDELITY. Multi- Adriana Lazzarini (c), Lola; Franco The inclusion on Side 4 of Mascagni's ply that contribution by 24, add a piece Corelli (t), Turiddu; Mario Sereni (b), Overture to Le Maschere, Intermezzo on The Basic Tape Library, and an Alfio. Chorus and Orchestra of the from Guglielmo Ratcliffe, and Introduc- index. And that's it! Rome Opera, Gabriele Santini, cond. tion and Hymn to the Sun from Iris is ANGEL 3632 B /L. Two most welcome. The Overture Inter- you yet LP. $9.96. and If are not one of the HIGH ANGEL S 3632 B /L. Two SD. $11.96. mezzo (both already available) are en- FIDELITY readers who buys pre- joyable pieces -the former a light, inven- recorded tapes, you will find Tapes in Here is a recording that would seem to tive piece, the latter a somber, slightly Review: 1963 Edition helpful as a guide offer every promise of being outstand- lugubrious one. I believe that the Iris to discs for performances on tapes are ing, and yet something seems to have music is available for the first time on available, also, on discs. And the book gone wrong -this in spite of the fact this release; it is quite beautiful. and will enlighten and entertain every musi- that none of the illustrious principals even imposing -if much of the opera is cally minded reader. seems in poor voice, that there is noth- on this plane, we should have a chance ing disastrous about the pacing or the to hear it. C.L.O. It measures 61/2" x 91/4 ". Soft cover. choral /orchestral execution, and that the sound is in keeping with the high norm Payment with order. Satisfaction guar- customary these days. MENDELSSOHN: Midsummer anteed or your money back. Use the The trouble is that the performance as Night's Dream, Op. 21, Op. 61 handy order form below. a whole never catches fire -it does not give us the elemental shock, the crude Arlene Saunders, soprano; Helen Vanni, sort of theatrical excitement which a mezzo; Inga Swenson, narrator; Boston 1 1 -63 really good rendition of Cav can project. Symphony Orchestra, Erich Leinsdorf, Wyeth Press, a Division of High Fidelity My guess is that it has been perfected cond. Publishing House, Great Barrington, Mass., 01230 and spliced to death, though of course RCA VICTOR LM 2673. LP. $4.98. Send me a copy of Tapes in Review: 1963 Edition this is only a guess. In relistening to the RCA VICTOR LMD 2673. LP. $6.98. Santuzza /Turiddu scene to confirm some RCA VICTOR LSC 2673. SD. $5.98. for the $2.50 I enclose. of my impressions. I was struck rather RCA VICTOR LSCD 2673. SD. Send to forcefully by the sense that it wasn't a $7.98. "scene" at all. that it simply didn't sound Name like a dramatic situation being played. The midsummer night suggested here is There seems to be no shape or point one of those humid, smog-ridden affairs here. no sense, even, despite the fact all too well known to urban dwellers. Address that the singers are making good and Leinsdorf's overemphatic (and at times sometimes exciting sound. As a whole, downright funereal) leadership, plus the the set suffers in this way -everyone is unenthusiastic precision and monochro- doing well and sounding good, but the matic ensemble tone of his orchestra, re- total doesn't say anything. The failing is sults in one of the most prosaic accounts

96 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com of this magical score ever recorded. Nor true. the triplets in "Conte scoglio" are - is the conductor's adaptation for concert not immaculate, but when did anybody performance as advantageous as it might last hear them sung cleanly, evenly, and appear: what benefit do we gain from yet with the proper bravura? The only +niajor the inclusion of some of Shakespeare's thing wrong with Miss Seefried's perform- lines if they are to be spoken so archly, ance. it seems to me, is a certain bland- and with such stilted exaggeration, by ness; there is more to Fiordiligi than stew Inga Swenson? Her flaccid incantation, this. There is nothing whatever wrong, indeed, is the verbal equivalent of Leins- that I could hear, with Miss Merriman's dorf's conductorial way with the music performance. It is the equal of any Dora - forward" itself, and will come as a particular dis- bella on discs. Miss Köth is an excellent appointment to those who happened to Despina, pert, charming, and amusing. hear Patricia Peardon's sparkling narra- Häfliger sings admirably. The voice has tion at the conductor's Tanglewood per- a marked admixture of falsetto. but its formance of the score last summer. Also components are well blended, and Häf- I feel that it was a miscalculation to liger employs it with notable skill. Prey omit in the present version the usual con- occasionally gets a little explosive, or de- cert ending from the Wedding March: clamatory, but at other times, as in one misses the sense of culmination that "Non siate ritrosi." he sings with polish it provides and which is so necessary to and refinement. Fischer-Dieskau, surpris- the festive nature of that piece. ingly. shares with Miss Seefried a lack And what could have gotten into of personality. If one did not see his RCA's merchandising department in con- name listed, one would think the per- cocting its "Limited De Luxe Edition" former a competent baritone of no spe- (LMD and LSCD 2673) -a grossly im- cial distinction. Don Alfonso, apparently, practical 13" by 18" portfolio replete is not a role for this artist. The weak- with gaudy Boydell engravings? Any nesses that have been mentioned are no- collector who has storage problems will ticeable only in the arias and recitatives. almost automatically gravitate to the These latter, by the way, are not sung much more sensible standard package as quickly as usual; the result is a cer- also provided. tain loss in animation and frothiness. In Rounding out a rather gloomy picture the ensembles, however -and they are, is RCA's soggy, two- dimensional, and after all, the major constituents of this dynamically restricted engineering. H.G. opera -everyone performs beautifully and the balances are perfect. The sound is effectively separated. with an occasion- MOZART: Così fan tutte al illusion of movement, and in quality it is gorgeous. ACOUSTECH SOLID Irmgard Seefried (s), Fiordiligi; Nan All in all, I would be inclined to rate Merriman (ms), Dorabella; Erika Ktith - the recent Böhm version on Angel as (s), Despina; Ernst Häfliger (t), Ferran - slightly superior, even though its Despina STATE AMPLIFYING do; Dietrich Fischer -Dieskau (b), Don is not the equal of this one. N.B. Alfonso; Hermann Prey (bs), Guglielmo; RIAS Chamber Choir; Berlin Philhar- SYSTEM monic Orchestra, Eugen Jochum, cond. MOZART: Sonatas and Variations DEUTSCHE GRAMMOPHON LPM 18861/ for Violin and Piano " .. better than the best ** " 63. Three LP. $17.94. . seems to 'grab hold of' and DEUTSCHE GRAMMOPHON SLPM György Pauk, violin; Peter Frankl, piano. control a speaker to a degree that 138861/63. Three SD. $20.94. Vox VBX 46/47. Three LP each set. has led many listeners to remark $9.95 each set. that the speaker itself 'never sounded Vox 546/47. Three SD each Given a skillful performance. well re- SVBX better." " "... the finest square wave set. corded, of Così, the critical sense is apt set. $9.95 each response I have ever observed** ..." to be lulled into quiescence by the sheer These are examples of the acclaim enchantment of the music. In the face On six discs Vox presents all of Mo- those he accorded the Acoustech I Solid State of all those ravishing ensemble numbers, zart's violin sonatas except Stereo Power Amplifier since its in- what difference does it make if this or wrote as a child, as well as the two sets troduction at the 1962 New York High that aria could have been done slightly of variations for violin and piano. This is Fidelity Show. Now the first "all -out" better? It is only after the final chord a rare feast, never before, I believe, avail- solid state amplifying system is made has sounded, only in the penetrating light able on records in such completeness. As possible with the new Acoustech II of real life, that the critic remembers with every other category of music that Stereo Decade Control Center. These that a complete opera recording repre- Mozart essayed, he left that of the violin two units afford the listener a new sents a relatively considerable investment, sonata richer than it was. There are standard in music reproduction and that any defects it may have will be several masterpieces among these seven- reliability possible only with solid magnified by many playings over a peri- teen sonatas and not a single trivial state circuitry throughout. od of years. Details that are of little or movement. Sometimes Mozart's aims are For full information on these remarkable no importance in a live pertormance modest, as in K. 547, the "little sonata instruments, send coupon below. have a way of standing out in the repe- for beginners "; sometimes, as in the Acoustech I $395, Acoustech II $348 titions on the turntable. The present set opening of K. 377 or the short develop- (slightly higher west Rockies) of has ment section of the first movement of K. 'High Fidelity Magazine, no serious faults that I could hear. August, 1962 302, he achieves a boldness, a dramatic `HIFi /Stereo Review, February, 1963 Anything I have to say against it will sound like hairsplitting. For the reason sweep, that is Beethovenian. Almost al- given. however, let us split a few hairs. ways there is the astounding fecundity of First, it should be emphasized that invention, the superb workmanship, the there are many splendid things here. sheer beauty of the materials and what Jochum is one of the best Mozart con- is done with them -in short, everything ductors around nowadays. and every- we mean by the term Mozartean. thing he does here is first -class. I have I do not recall hearing either of the seldom heard the overture sound so light, artists before. The notes say nothing ACOUSTECH, Inc., 139 Main St. and despite its speed. so sure -footed. If about them. They play together with pre- Cambridge, Mass. 02142 Dept. H -I1 in the course of the opera the violas have cision. Their tempos seem plausible most an expressive inner line, Jochum makes of the time: only in the first movement Name_ sure it is heard; in fact. he does not miss of K. 526 did I feel that the pace was a a single orchestral point. ( Does he even bit slow. and in the Adagio of K. 481 Address_ "improve" on Mozart a bit. in "Un' aura a bit fast. The balance between the two amorosa." by switching bassoon and horn players couldn't be better. This is espe- parts in one spot ?) Miss Seefried sings cially important in these works. where City State with a lovely quality that retains its the piano often dominates. (Readers may character below as well as above the recall recordings of Mozart sonatas by staff. She does both of her arias well; celebrated violinists in which those art- CIRCLE 2 ON READER -SERVICE CARD 98 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com SEASON 1963 -64 ' /nusicul O//erin, of xfruorclinure Jnfere INTERNATIONAL FESTIVAL OF VISITING ORCHESTRAS

WEDNESDAY, NOVEMBER 13, 1963 THURSDAY, NOVEMBER 14, 1963 PITTSBURGH SYMPHONY ORCHESTRA PITTSBURGH SYMPHONY ORCHESTRA WILLIAM STEINBERG, Conducting WILLIAM STEINBERG, Conducting Sa'cme ancr a,d Don Q., ii,te ,Strauss), Faust Overture, h Schubert Program: Rosamunde Overture. Wanderer Fan. Preludes to Tristen und Isolde" and "Meistersinger'. (Wag- tasy (trans. Liszt), Symphony No, 9. Soloist: GRANT ner) Soloist: ZARA NELSOVA. 'Cello. JOHANNESEN, Piano.

SATURDAY, DECEMBER 7, 1963 WEDNESDAY, DECEMBER 4, 1963 BOSTON SYMPHONY ORCHESTRA TORONTO SYMPHONY ORCHESTRA ERICH LEINSDORF, Conducting WALTER SUSSKIND, Conducting Nobi';. demith). Movement for Orchestre Cure from Pr merk..s. (Beethoven), Symphony No. S (Somers(, four Last Sargs (Strauss). Symphony No. 2 (Dvor- I Mahler), ak), Soloist: LOIS MARSHALL. Soprano.

SUNDAY, JANUARY 12, 1964 SATURDAY, JANUARY 25, 1964 PHILHARMONIA HUNGARICA BOSTON SYMPHONY ORCHESTRA MILTIADES CARIDIS, Conducting ERICH LEINSDORF, Conducting Hebrides Overture (Mende'ssohn), Symphony No. 4 (Dvor- Heffner Serenade (Mozart), Symphony No. 4 (Piston). Ex- ak), Concerto for Viola and Orchestre ( Bartok), Variations cerpts from -Siegfried- (Wagner). on a Hungarian Folksong (Kodaly). Soloist to be announced.

SUNDAY, FEBRUARY 9, 1964 TUESDAY, FEBRUARY 11, 1964 VIENNA SYMPHONY ORCHESTRA PHILADELPHIA ORCHESTRA WOLFGANG SAWALLISCH, Conducting EUGENE ORMANDY, Conducting Ballet Sute. 'Grrrd tl,,mored Ladies (Scariatti), Jupiter Linz Symphony ¡Mozart), Symphony No. 3 in D minor (Bruckner). Symphony (Mozart). lilt Eulenspiegel (Strauss). Symphony in D Minor (Franck).

TUESDAY, APRIL 7, 1964 SUNDAY, MARCH 15, 1964 PHILADELPHIA ORCHESTRA VIENNA SYMPHONY ORCHESTRA* STANISLAW SKROWACZEWSKI, Conducting WOLFGANG SAWALLISCH, Conducting

Prague Symphony (Mozart), Sute No. 1 from Romeo and Don Juan (Strauss), Piono Concerto in E -flat (Mozart). Mocbeth Juliet" ( Prokofiev), Symphony No. 4 (Schumann), Firebird (Strauss), Final number to be announced. Soloist: PHILIPPE Suite (Stravinsky: :. ENTREMONT, Piano.

FRIDAY, APRIL 17, 1964 THURSDAY, APRIL 16, 1964 CHICAGO SYMPHONY ORCHESTRA CHICAGO SYMPHONY ORCHESTRA JEAN MARTINON, Conducting JEAN MARTINON, Conducting

Symph,,ny, Nc 4 H -. .. Baccn A- .. ,,,rr).hory No. S iPrckofev), Symphcny No. 4 (Brahms'. 2 (Rasse ), Symphor, N . 7 (Ber,rh,-en).

PRICES FOR EACH CONCERT: $6.50, 5.50, 4.50, 3.50, 2.50. *VIENNA SYMPHONY FEB. 9 & MARCH 15, 1964: $7.00, 6.00, 5.00, 4.00, 3.00. Please state name of orchestra and date of concert when ordering tickets. Make check or money order payable and mail to Carnegie Hall Box Office, 154 West 57th Street, New York, N. Y. 10019. Enclose a stamped, self- addressed envelope.

-tuepicei: Jha C arneie Jdall Corporation and Jhe . ///, ..Xuplan ...tunal, nc. 0.76 NOVEMBER 1963 99

www.americanradiohistory.com ists were perm t._.i to hog the micro- Mark Brunswick was also associated ALTEC phone.) Here e.rry shift of interest from with "The Viennese School" through a one instrument to the other is reflected in long residence in Vienna; he is at present the relative weight given their sound. In the chairman of the music department SOUND TALK matters of style one could wish that the at City College in New York. Six of the performers were less insensitive to big seven movements of his Septet (1957) structural joins, and they have not yet consist of brief, angular, aphoristic state- WHY ALTEC DROPPED "HI Fl" learned the proper way to begin Mozart's ments contrasting strikingly with the IN FAVOR OF " PLAYBACK." trills. Frank! plays with an attractive longer fifth movement, a kind of dis- tone. his rapid passages flow cleanly and sonant There was a time when the term "hi fi" chorale -prelude based on Christ evenly, and in the finale of K. 526 he lag in Todesbanden. The whole does not commanded an awed respect; but today turns in a bravura performance. Pauk quite seem to hang together, but the its application can he virtually mean- phrases nicely and stays on pitch; his separate statements have character. ingless. So misleading, in fact, that the tone has a singing quality but it sounds Miriam Gideon's more recent work Federal Trade Commission is attempt- slightly silvery here, a fault I think at- would show a closer relationship with binding tributable to the Vox engineers. There the other music on this record than does ing to establish a definition of are better performances of individual so- "high fidclit" -one on which the FTC the early piece ( 1942) represented here; natas on discs-for example, the Morini- but even this work has a certain unified can issue a ruling that will protect the J Firkusny reading of K. 481 on Decca- intensity that suggests an affinity. if not buying public against the increasing but for a relatively inexpensive collection so much with the Viennese. then with the horde of inferior products that are of all of them, this has much in its fa- work of her teacher Roger Sessions (who vor. being advertised as "hi 1E' N.B. was also one of Miss Newlin's mentors). But a simple, workable definition that This Lyric Piece is a minor, expressive work with would adequately classify truly dedi- MOZART, LEOPOLD: Concerto for many weaknesses, but it has Trumpet and Orchestra, enough individuality to make it worth cated high fidelity components is in D -See not Bach, Johann Christian: Concerto hearing. easy to come by. On request, the EIA The for Bassoon and Orchestra, in B chamber performances, recorded composed a definition which was so flat. in New York and London, are first -rate loose that we understand the FTC found and well recorded. The news from Tokyo it entirely unacceptable and have now is not quite as good, and Miss Gideon's NEWLIN: Trio for Piano, Op. 2 work suffers somewhat bodies with respect both turned to other industry for sug- . 1Brunswick: Septet in Seven Move- to performance and sound. E.S. gestions in the hopes that someone can ments come up with an industry solution that tGideon: Lyric Piece for String Or- PORPORA: Sonata for can be used to clearly identify those chestra Cello and Pi- products that are capable of music ano, in F -See Debussy: Sonata for reproduction above the London Czech Trio (in the Newlin); Cello und Piano, No. 1, in D mi- ordinary. Julius Baker, flute, Melvin Kaplan, oboe, nor. Robert Listokan, clarinet, Ralph Froe- WHAT'S THE ANSWER? lich, horn, Morris Newman, bassoon, For Altec, the solution was so obvious Ynez Lynch, viola, Alexander Kougell, PROKOFIEV: Sonata for Violin and we're rather embarrassed that we hadn't cello, Fritz Jahoda, cond. (in the Bruns- Piano, No. 2, in D, Op. 94a -See thought of it before. We simply dropped wick); Imperial Philharmonic Orchestra Stravinsky: Concerto for Violin of Tokyo, William Strickland, cond. (in and Orchestra, in D. "hi fi" and replaced it with the original the Gideon). generic term for all Altec recording COMPOSERS RECORDINGS CRI 170. LP. studio equipment ... 'PLAYBACK . $5.95. RACHMANINOFF: Rhapsody on a PLAYBACK, is the one definition that Theme of Paganini, Op. 43 -See cannot be compromised or falsely ex- Although none of the three composers on this disc has Franck: Variations symphoniques. ploited. For PLAYBACK, is the term used been very widely performed, they are all of interest as being among the in the recording industry to designate first Americans to have become involved RAMEAU: Pygmalion; Les Indes ga- the studio sound reproducing equip- with certain chromatic, "expressionist." lantes: Troisième concert ment relied on by conductors, perform- and twelve-tone ideas. Dika Newlin, ing artists and recording engineers to whose Trio (1948) is the major work on Andrée Esposito, Claudine Collart, Edith accurately compare the realism of a the record, not only studied with Schoen- Selig, sopranos; Eric Marion, tenor; berg but is well live known for her extensive Choeur Raymond Saint -Paul; Orchestre recording with the rendition. writings and translations dealing with the Only genuine PLAYBACK, compo- de Chambre des Concerts Lamoureux, modern Viennese tradition and the Marcel Couraud, cond. nents have been able to meet or surpass twelve -tone master himself. As might be ARCHIVE ARC 3202. LP. $5.98. these critical demands. expected. the music at hand is full of ARCHIVE ARC 73202. SD. $6.98. the Vienna of Schoenberg and Berg; THE ASSURANCE OF but, for all that, it has its own decided Rameau's version of My Fair Lady, first PROFESSIONAL ACCEPTANCE character and expression. The work con- performed in 1748, is a one -act opera - sists of a single long sonata movement ballet. What there is of plot can be Since the beginning of modern sound which breaks down into a traditional quickly told. Pygmalion bemoans his reproduction, PLAYBACK. has been four -movement pattern: an Introduction passion for the statue he has created, directly associated with Altec Lansing. and first movement (the sonata -form ex- and rejects the love proffered by Céphise. For Altec, and only Altec, sells 80% of position), a Scherzo with Trios and an Suddenly the god of love causes the its products to the professional usage Adagio (corresponding together to the statue to come to life, she adores development), and a finale (recapitula- market. This is your assurance that any her creator, and the happy sculptor ex- tion). The music is beautifully written presses his gratitude to the god. The Altec component you choose for your with skillful, even elegant detail coin- vocal airs are graceful and varied; even home is of genuine studio PLAYBACK. ing together within an over -all unity of the recitatives are melodious. A high quality. You need only ask yourself conception. In spite of the fact that the point in the work is the scene in which treatment is chromatic and twelve this : Who should be better -tone, the statue becomes human, where judge of the audio components than the user whose piece has a rather light and lyrical Rameau by simple means manages to quality perhaps more characteristic of a express something of the wonder of the living depends on them? Suite or Divertimento than of a somber event. Another is the scene where the The more you think about it, the or elaborate Sonata. The basic material Graces teach the statue various dances: more you'll appreciate why Altec is transformed successively into a waltz, here Rameau writes a delightful string dropped the term "high fidelity" and a song, a march, a scherzo, and a noc- of short dances of different types. has returned to its original genre. "Hi turne before the final section which re- All four of the soloists here do justice capitulates and convincingly sums up. to their rather difficult, high -lying parts. fi" is a matter of personal interpreta- The final punctuation is, logically enough, The ease with which Marion negotiates tion.'PLAYBACK, is a matter of fact. a chord consisting of all the twelve tones. very long phrases and some high B flats Altec Lansing Corporation All in all, this is a remarkably successful is especially impressive. Couraud plays work and, within its chosen limits, a sig- the dances with elegance and vigor. The o.,A« Anaheim, California nificant musical statement. short suite from Les Indes galantes CIRCLE 7 ON READER- SERVICE CARD 100 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Dream a little . . . dream of exchanging winter's dreariest month for a relaxing vacation in balmy, romantic HAWAII . . .

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In the shadow of Diamond Head along famed Waikiki Beach. Hilton's Act now to make sure you are in on this exclusive trip. The number of Hawaiian Village will be your "home" for this never- to -be- forgotten fort- accommodations is limited! Get the coupon and your deposit into the night on Oahu. Within a few miles of Honolulu, the Hawaiian Village mail immediately to insure your reservation. with its air -conditioned rooms, five swimming pools, shops. restaurants, floor shows, and dancing is the ideal place for an exciting mid -winter holiday. During the second week in Hawaii you will have the opportunity of taking the interesting Outer Island Tour to eight of the islands including Maui, Kauai and the Orchid Island Hawaii. high - ,r.fldel,it v And best of all, your entire vacation accommodations are included in the Great Barrington, Mass. Dept.: CE -11 $569 price of High Fidelity's special offer, arranged with Transport and I want in on your Hawaiian Vacation, enclosed find a check Travel Contractors, Inc. for the enjoyment of its readers, their families for $50 deposit (per person) to insure my reservation. Send more details and descriptive literature on High Fidelity's and friends. high in New (or Start this adventure York join up in Chicago Hawaiian Vacation. or San Francisco) on Thursday, March 5th, to be whisked, TWA style, across the country and across the Pacific to Hawaii by giant Pan Amer- NAME ican or United Jet. Your holiday will with end arrival back in New York ADDRESS: sixteen glorious days later, on Friday, March 20th. CITY: STATE- PHONE: Because the readers of High Fidelity share common interests, you will I will join the Hawaiian Vacation group im travel with congenial, interesting And way, people. by the don't forget New York Chicago San Francisco to take along your tape recorder. Just think of making your own tapes of authentic native and modern Hawaiian sounds to accompany your photos and films. Camera enthusiasts will be especially interested in . the Kodak Show at Kapiolani Park where they will have the opportunity Via Chicago $509, via San Francisco ;349. Air connections from your Imme to see, hear and photograph Hawaiian and Tahitian performers in a town arranged on request. All travel arrangements and accommodations are beautiful tropical setting. being made by Transport and Travel Contractors, Inc., New York City.

NOVEMBER 1963 101

www.americanradiohistory.com includes a lively Tempest, with a vocal sion, and depth of his later works but it solo by Miss Esposito. Very good sound. nonetheless reveals much scope and mer- ANTEED The text of Pygmalion is provided in the it. The work combines a kind of neoclas- original and in English translation. N.B. sic, Stravinskyan phrase and rhythmic F s STEREO shape with a pitch content that tends towards RAMEAU: Suite for Harpsichord, a freer, more expressively dis- Up ' " 0 Miles! sonant melodic and harmonic style; the No. 2, in E minor -See Bach: Eng- result is not unlike certain of the big - lish Suite, No. 2, in A minor, S. scale works that Roger Sessions was 807. writing a number of years ago. The Rochberg Symphony at hand has great drive and intensity. the ideas are incisive RAVEL: Ma Mère l'Oye; Bolero; La and, for two movements at least, they Valse are worked out with great skill; the last fDebussy: Nocturnes: No. 1, Nuages; movement seems to me much less suc- No. 2, Fates cessful. In any case. the music has character and is fascinating both in its own Arthur Ferrante, piano; Louis Teicher, right and for its suggestive qualities, piano. characteristics that were to be much bet- ABC PARAMOUNT ABC 454. LP. $3.98. ter realized in the more mature Sym- ABC PARAMOUNT ABCS 454. SD. phony No. 2 (also recently recorded and $4.98. reviewed here). Ray Luke's Symphony No. 2 is a thoroughgoing "American School" The Mother Suite Sym- Goose and the two phony, partly modal, partly neoclassic, Debussy Nocturnes arranged by Ravel a hit jaunty. occasionally engaging, but have a certain validity in their present generally undistinguished. The orchestra two -piano form; the remaining pieces do performs well in this piece; they have not. Ferrante and Teicher play well a and little more trouble with the difficult -quite remarkably-even succeed in Rochberg. The monophonic sound is suggesting orchestral tone color in the acceptable. E.S. Bolero. There is, however, another ex- NEW Winegdrd cellent version of the Ravel Suite by Robert and Gaby Casadesus for Colum- bia, and a superlative account of Fêtes by SCHUBERT: Octet for Strings and STEREOTRON Josef and Rosina Lhevinne (a Juilliard Winds, in F, Op. 166 reissue of an Camden RCA disc) which Fine surpasses the present rendition. Arts Quartet: New York Woodwind FM ANTENNA Only the monophonic disc reached me Quintet. with Twin Nuvistor Amplifier for review, and I was therefore unable EVEREST LPBR 6082. LP. $4.98. to sample ABC Paramount's "Techni- EVEREST SDBR 3082. SD. $4.98. cally Augmented" stereo. The recordings originally appeared on a Westminster This is not my favorite among Schubert's disc entitled "Ferrante and Teicher, Duo contributions to chamber music, but un- Pianists." H.G. doubtedly it's fun to play. It was written The reception ability of even the most expensive for domestic use by amateurs and the FM or FM stereo outfit is restricted by the intention was to make participation en- performance of the antenna to which it is con- RESPIGHI: Fontane di Roma; Pini joyable. But like rugger. it's less appeal- nected. If you want to see what your equipment di Roma ing as a spectator sport. The performance can really do, you need a new Winegard here is sympathetic and craftsmanlike, Stereotron. Orchestre de la Suisse Romande, Ernest the product of appearances at the Mil- The Stereotron antenna and twin nuvistor Ansermet, cond. waukee branch of the University of is the antenna combi- amplifier only amplifier LONDON CM 9345. LP. $4.98. Wisconsin. Its principal rival is by the nation that can be used anywhere -responds. LONDON CS 6345. SD. $5.98. Vienna Octet. If you contrast them, the to 1 microvolt of signal, yet takes up to 200,000 \ differences between the Milwaukee way microvolts of signal without overloading. An- and the Viennese manner quickly become tenna is GOLD ANODIZED, amplifier com- Ansermet has never recorded these over- clear: and although each has its justifica- pletely weather -sealed. Exceptionally high front - played tone poems before, to my knowl- tion, the latter excels in charm. to -back ratio to prevent multi -path distortion. edge, and he restores to them a wholly R.C.M. Antenna and amplifier are available separately. unfamiliar vitality and grace. While any- We firmly believe that the Stereotron FM one who knows the Swiss maestro might antenna is in a league by itself and therefore we well have forecast the lucidity and sub- SCHUBERT: Quartet for Strings, No. make the following written guarantee: tlety he brings to the scores, even his 12, in C minor ( "Satz ")-See 1. We guarantee the Winegard Stereotron to be admirers will be amazed by the relaxed Dvoiák: Quintet for Piano and the most effective, sensitive, finest con- yet formidable power and the persuasive Strings, in A, Op. 81. structed antenna available. eloquence he displays here. Add London's 2. We guarantee the Stereotron with Stereotron finest wide- range, smooth -spread, and gleamingly pure stereoism -and you have amplifier will pull in 85% of all FM stations SCHULLER: Quintet for Woodwind in a 200 mile radius over average terrain. a dazzling revelation of what Respighi was no doubt trying to achieve. The pres- -See Carter: Eight Etudes and a 3. We guarantee you will be 100% satisfied ent re- creations of these pieces are not Fantasy for with a Woodwind Quartet. Stereotron or your money back. merely the "best" recorded performances STEREOTRON ANTENNA Model SF- 8- $23.65 to date but. with the possible exception STEREOTRON NUVISTOR AMPLIFIER Model AP- of Toscanini's sui generis readings (and SCRIABIN: Sonata for Piano, No. 5, 320 input 300 ohms, output 300 ohms -can be for my money Ansermet's are more in F sharp, Op. 5 3-See used with any FM antenna -$38.65 magical than even those ), they are the Chopin: Ballade No. 4, in F minor, Op. 52. Amplifier Model AP -375 for use with coax first completely satisfactory ones. R.D.D. cable. Input 300 ohms, output 75 ohms -$44.85 Write for technical spec's, gain charts, polar ROCHBERG: Symphony No. 1 patterns, VSWR, etc., plus Free FM Station SHOSTAKOVICH: Quartet for Log and Map. tLuke: Symphony No. 2 Strings, No. 8, in C, Op. 110 -See Borodin: Quartet for Strings, No. Louisville Symphony Orchestra, Robert 2, in D. World's Most Complete Line of FM and TV Whitney, cond. antennas, FM-TV Couplers and Amplifiers LOUISVILLE LOU 634. LP. $7.95. (Available on special order only, from 830 S. Fourth St., Louisville, Ky.) SHOSTAKOVICH: Sonata for Cello Ihn and Piano, in D minor, Op. 40- George Rochberg's First Symphony lacks See Debussy: Sonata for Cello and 3014 -11 Kirkwood Blvd. Burlington. Iowa sometning of the striking power, expres- Piano, No. 1, in D minor. CIRCLE 94 ON READER- SERVICE CARD 102 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com STRAUSS, JOHANN II: Waltzes great recordings of this music, each representing a different artistic approach: On the Beautiful Blue Danube, Op. 314; first is the old Mengelberg version, made Roses from the South, Op. 388; Wine, with the New York Philharmonic more Women, and Song, Op. 333; Emperor, than thirty years ago and documenting Op. 437; Artist's Life, Op. 316; Voices of the skill of the conductor to whom the Spring, Op. 410. score was dedicated; next comes the Vienna Symphony Orchestra, Wolfgang Reiner -Chicago edition, a landmark in Sawallisch, cond. early stereo recording; and finally, there .lis the Beecham memorial album. The PHILIPS PHM 500018. LP. $4.98. two PHILIPS PHS 900018. SD. $5.98. , former sets were once available on RCA Victor; the latter remains in the catalogue on the Capitol label. STRAUSS FAMILY: "Tales of Old In this company the present release is Vienna" a disappointment. I think this is largely due to the sound, for the set has been . Strauss, J. II: Spanischer Marsch, Op. heavily "Dynagrooved" and the effect is 433; Demolirer Polka -Française, Op. 269; rather like hearing it with extreme Fletch- Waltzes: Roses from the South, Op. 388; er- Munson compensation. If you're not Du and Du, Op. 367; Tales from the Vi- going to play it very loud, this is not enna Woods, Op. 325. Strauss, J.: Ra- serious, but Heldenleben is music to be detzky Marsch, Op. 228. Strauss, Eduard: played loud or not at all. To do so with Bahn frei Schnell- Polka, Op. 45. Strauss, normal frequency emphasis demands that Josef: Eingesendet Schnell- Polka, Op. you eliminate the high degree of loudness 240; Brennende Liebe Polka- Mazurka, compensation at the extremes of the high Op. 129. and low frequencies. Even with the control flexibility of first -rate equipment, I Vienna Philharmonic Orchestra, Willi was unable Boskovsky, cond. to do this to my complete i satisfaction, and the resultant gave LONDON CM 9340. LP. $4.98. sound a high- gloss, superficial character to the LONDON CS 6340. SD. $5.98. performance. SPEAKER I was further disturbed Sawallisch plays safe in his first by faulty bal- Johann ances, occasions when the main thematic SYSTEM Straussian disc venture, choosing six of line would drop the best -known waltzes and taking great below the level of the accompaniments, and by the muddied h armonlous blend of pains to maintain authentic Viennese per- quality formance idioms and precisely of the Battle sequence. My re- ling and sound... delineated spect for Leinsdorf is too high rhythmic details. It is a pleasure to hear to lead me to conclude that he Utah's three speaker Hunting - these magnificent scores played so ac- was responsible curately, for all this. This leaves us with a Held - Ion has fresh, unue styling... and that pleasure is enhanced enleben that has with Ma front panel appearing by gleamingly bright and clean stereo re- many merits, but one which I am reluctant to judge artistically to ''floa :" ii t le attractive cording. Probably only Straussian con- tans- rubbed noisseurs will until I can hear it from tape or a non - 1Vatnut Cabinet. be aware of a slight over - Dynagroove But seeing the new Huntington carefulness, a tendency to up flow- disc version. R.C.M. break is only part of :he sensation... ing melodic lines, and the lack of a more relaxed except onally fine sound from and sensuously rhythmic lilt. STRAUSS, RICHARD: Salome tie new :twee speaker system Others will be wholly captivated by the I adds a new diversion in listen- ingratiating aural appeals here, not the ingpleasure The electronic least of which are the glitter and ring of Christel Goltz (s), Salome; Margareta Kenny (ms), Herodias; Else Schurhoff iegenu ty, wh tdti produces big, the Vienna Symphony's percussion sec- 1 distortion has tion. (ms). Page of Herodias; Julius Patzak -tres live sound, become a Utah tademark. Boskovsky's more experienced way (t), Herod; Anton Dermota (t), Narra- with familiar waltzes and jeux d'esprit both; Rudolf Christ (t), First Jew; Hu- by various members of the Strauss fam- go Meyer -Welfing (t), Second Jew; Kurt ily is already famous from his earlier Preger (bs), Third Jew; Murray Dickie programs ("1001 Nights in Vienna," (t). Fourth Jew; Hermann Gallos (t), "Philharmonic Ball," etc.) in London's Slave; Hans Braun (b), Jokanaan; Franz orchestral series, as well as in his Bierbach (bs), Fifth Jew; Ludwig Weber chamber -ensemble releases under the Van- (bs), First Nazarene; Ljubomir Pant - guard label. I like him best in the latter, scheff (bs), Second Nazarene; Walter but he is in fine form here too, more Berry (bs), First Soldier; Herbert Alsen spirited than ever, if sometimes almost (bs), Second Soldier. Vienna Philhar- too robustly enthusiastic-perhaps bent monic Orchestra, Clemens Krauss, cond. on making the most of the uncommonly RICHMOND RS 62007. Two LP. $4.98. full -blooded stereo recording. Yet he is truly seductive in the intoxicating waltzes This is one of the finest bargains in the (and his Tales from the Vienna Woods growing catalogue of complete operas on boasts gleaming zither solos by the in- the low -priced Richmond label. It has comparable Anton Karas) and in an en- forceful, authoritative conducting, two Styling -fits ani room decor chanting, hitherto unrecorded Brennende really outstanding tenors for the roles of Conponsnts-T wee Utah Speakers: Liebe Polka by Josef Strauss; while the Herod and Narraboth, and an interesting 8" woofer 6' rnii- range, 5" tweeter livelier pieces-including the seldom Salome. Cab net- Hand -lobbed, oiled walnut heard Spanish March and Demolirer Christel Goltz, in fact, must be ranked Veneer apoliad b 1,2" plywood~ Polka by Johann II, and the prancing with Inge Borkh as the most satisfactory a standard flr f ne furniture Eingesendet Polka by Josef -are done singer of the title role since Welitch. She Versatile -use cur bookshelf, f oor, with irresistible verve. No Straussian cannot call on the resources of vocal tabletop brilliance and thrust specialist can afford to miss this many - that Welitch had at Dimen;ions -22" long, 131/2 " tigh, faceted program, and nonspecialists will her command; by comparison, Goltz's 6" cee3 find a whole world of delights. R.D.D. singing is earthbound, and somewhat in- Paver rating-13 watts secure in the lower register. Yet her Uses -Hi Fi )r Stereo. Extension speak- voice is large and bright, and opens up ers for recors players, radio and TV. STRAUSS, RICHARD: convincingly in the high Ein Helden- range -there is 339. ?6 Net leben, Op. 40 plenty of impact in the score's "big" moments. It adds up to what one would Boston Symphony Orchestra, Erich Leins - call a solid, satisfying performance, not dorf, cond. vocally thrilling or interpretatively bril- RCA VICTOR LM 2641. LP. $4.98. liant, but mostly "right." RCA VICTOR LSC 2641. SD. $5.98. Patzak was well past his peak when this recording was made (1954), but still By my reckoning there have been three brought a good deal more voice to bear

NOVEMBER 1963

H U N T I N 3 T O N; INDIANA www.americanradiohistory.com than most singers of the role (they are ings of a cultivated and witty man on usually heroic tenors on their last legs his own artistic experiences. or character tenors with little vocal au- This immensely vital and imaginative What's New thority). He doesn't neglect the char- piece gets an excellent reading from acterization, which is in fact quite spe- Schneiderhan who might be described as cifically drawn and refreshingly un -fussy DGG's dependable house violinist. The and Exciting at -but more importantly, he sings well. orchestra and Anì`.erl are good too. In Dermota is a young and brilliant -sounding fact the performance is close to impec- Narraboth, and the delegation of Jews cable; Schneiderhan not only plays the goes through its difficult scene in good notes accurately but his phrasing and LYRICHORD? order. articulation are always musically to the seria) On the debit side, unfortunately. is the point. One almost hates to suggest short- 11115 Handel RODELINDA (opera Jokanaan LL116 Zen, Goeika and Shomya Chants of Hans Braun. who turns in comings in a performance like this but, a competent but utterly colorless piece of apart from a run or two that one might LL117 Japanese Temple Music singing, a re- altogether lacking in the fervor fault. the main problem is a lack of LL118 (2 -12 ") Buddhist Chant, and proclamatory ring that should invest stylish corded survey of actual temple elegance and lightness. One the role-rather a shame that Schoeffler trouble here is that these performers rituals (with detailed explanatory was not enlisted for the The have booklet) part. Hero- competitors. particularly in the per- dias of Margareta Kenny is also uninter- {sons of Isaac Stern and 11119 Haydn CONCERTO IN F MAJOR Stravinsky him- esting. self on a Columbia C. P. E. Bach CONCERTO IN c J recording which also The Vienna Philharmonic has certainly -has the LL120 Haydn THE MAN IN THE MOON advantage of the wonderful Sym- sounded lusher and warmer on other phony in Three Movements to back it up. -(I1 Mondo deNa ,Luna), comic London recordings. but the late Clemens opera in two acts The Prokofiev Sonata is hardly in the Krauss elicited wonderful execution from same class although the work. originally LL121 Reger Played by Noehren the orchestra. His reading plen- Robert Noehren, organ here has written for flute and later arranged by ty of polish and propulsiveness, I LL122 Exotic Music of Ancient China though the composer for Oistrakh. has its own do miss the degrees of mystery and ten- "neoclassic" charm. On the technical Lui Tsun -Yuen plays the Pipa sion that others (not on records) have and Chin side. the record is a model of sound found in this music. German acoustical craftsmanship. E.S. on Experiences Anonymes: The production as a whole is probably EA71 Thomas Roseingrave. Early Key- not preferable to the recent Solti /Nilsson edition, especially if one is intrigued by TANEYEV: Trio for Strings, in D, board lastrumens of the Fletcher Op. 21 Collection by Leonard Raver the brilliantly defined detail of London's -See Haydn: Trio for Pi- approach to stereo opera. '-For its-price, ano and Strings, No. 4, in E. however. it is decidedly a good buy. and Send a very adequate way of filling a Salome for gap in any collection. TCHAIKOVSKY: Concerto for Pi- Nit C.L.O. LYitICiiO D FREE ano and Orchestra, No. 1, in B flat minor, Op. 23 Catalogs! STRAVINSKY: Concerto for Violin Vibf Artur Rubinstein, piano; Inc. and Orchestra, in D Boston Sym- Lyrichord Discs, tProkofiev: phony Orchestra, Erich Leinsdorf, cond. 141 Perry New York 14, N. Sonata for Violin and Street, Y. 2, RCA VICTOR LM 2681. LP. $4.98. Piano, No. in D, Op. 94a V RCA VICTOR LSC 2681. SD. $5.98. CIRCLE 60 ON READER -SERVICE CARD Carl Seemann. piano (in the Prokofiev); Passion rather than frenzy predominates Wolfgang Schneiderhan. violin; Berlin in this splendid performance. Rubin - Philharmonic, Karel Anilerl, cond. (in stein's pianism potentially generates tre- the Stravinsky). mendous fire. but he admirably resists DEUTSCHE GRAMMOPHON LPM 18794. the temptation to blow the spark into a LP. $5.98. conflagration. There is a strength and DEUTSCHE GRAMMOPHON SLPM nobility in the way the artist projects 138794. SD. $6.98. the outline of the music. and never a seeking of mere flashy More- L. excitement. on P. Records "Neoclassicism" is one of those con- over. a luscious singing tone is always in venient labels that has long since stopped evidence. There are many ways of play- ANGOLA PRISONERS' BLUES- Recordings designating anything in particular. A ing this piece. of course, but Rubinstein's of three old -time country blues singers, nice handy tag is always useful since it approach seems to capture its essence Hogman Mazey, Guitar Welch and Robert saves the trouble of thinking -"There. more completely than any other I have Pete Williams; recorded in Louisiana State that's taken care of, nicely packaged, heard since the one of the most disturb- memorable Horowitz- Penitentiary. "... marked, and inserted in its proper pigeon -('. - Toscanini collaboration. ingly autobiographical statements in hole." Leinsdorf's contribution is also far from recorded folk music. ". NY Times . . $3.99 But then one listens to a work like the negligible. He supports the soloist with THOSE PRISON BLUES: Robert Pete Wil- Stravinsky Violin Concerto and suddenly poised muscularity, and the orchestral liams -Y.. Williams has ... the 'tremen- a term like "neoclassicism" really seems players seem to have been inspired by dous drive and anguish' that characterized to mean something again: a free diatonic Rubinstein's remarkable radiance. The the fabled Leadbelly." Time. $3.99 style which establishes its basic tonal cen- sound is not always as superior as one ters by assertion rather than by motion, would Plus a wide selection of other Folk -Lyric wish: it seems rather airtight by levels and planes rather than by a in records (LP) and lacking presence despite the good structure of developmental harmonies and balance and vivid detail. The stereo CONTEMPOR:RI :AFFAIRS phrases. The content, the ideas. the "ges- pressing is definitely preferable to the SOCIETY tures" are those of the great tradition monophonic one, for it adds a certain but purified, abstracted. and resynthe- sparkle and intensity. But in any case, sized way. The - -- --send ,evpon today- - - - -1 in a new and modern the playing is so fine here that one ICONTEMPORAR\ 4FF4IR, -tx.iIT\ Stravinsky Violin Concerto grows out of readily makes allowance for engineering I National Pre.. Bldg. the "idea" of VIOLIN CONCERTO shortcomings. H.G. I - 'Washington 4. D.C. almost in Plato's sense of ideal forms. IPlease send me: In a way. every violin concerto ever

( ) ANGOLA PRISONERS' BLUES Cg $3.991 written is invoked -or. at least. every concerto from Bach to Mendelssohn and I ( ) THOSE PRISON BLUES 4 53.99 Wieniawski. Stravinsky even comes full !Enebeed find: S (Add 25 p., record Io' I bonding chores; include calte to, wh..e oppl robN cycle around to the violin solos from

I (outride U.S. add 75, handling charges. r his own L'Histoire, which are invoked at II I near tend catalogo. el Folk-tync Record, and I the final coda. Every allusion. every tell ho. 1 ian C.A.S. I gesture seems familiar-if only one could I Nome I quite catch it. Strange how hard it is I I to catch the allusions in Stravinsky. The Ader." reason. of course. is that everything seems borrowed but also made quite new zoStoleStole L°" - _ - _ - _ _ _ and recaptured; the very original mus- CIRCLE 32 ON READER- SERVICE CARD 104 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com to the correct specifications in order to poser's deeper values of imagination and begin to hear it properly -at least until coherence are missing. Bress's music RECITALS AND string players can train themselves to sometimes meanders and is occasionally produce much finer and more precise electronically silly; yet it is not without MISCELLANY pitch distinctions than they now generally genuine effect and promise. E.S. make. Like his fellow countryman Glenn DELLER CONSORT: "Madrigal Mas- HYMAN BRESS: "The Violin" Gould, Bress is a young man of parts - terpieces," 2 performer, composer, analyst, critic, pro- Vol. Sessions: Sonata for Solo Violin. Webern: gram annotator -and here he functions Deller Consort. Four Pieces for Violin and Piano, Op. 7. in all these roles. Unhappily, his pro- VANGUARD BG 639. LP. $4.98. Haba: Fantaisie for Violin Solo. Op. 9A. gram notes for this disc are pretentious VANGUARD BGS 5051. SD. $5.95. Bress: Fantasy (Electronic). and inaccurate. As a soloist, his playing is generally good; and his dedication to J -Volume I, issued two years ago, struck Hyman Bress, violin; Charles Reiner, contemporary music is certainly com- me as one of the finest single discs de- mendable. His own composition is a fair- voted to madrigals and chansons that I piano. violin FOLKWAYS FM 3355. LP. $5.95. ly extended work for and piano had ever heard. Volume 2 is in some re- with what might be described as elec- spects a worthy successor. There is the tronic interpolations. Schoenberg is an same excellent taste in the selections: This disc, the fifth volume in the young obvious model for the style sound survey of and here chansons by Costeley and Pas- Canadian violinist's capsule of the piece, although the Viennese com- sereau, madrigals by Monteverdi (includ- violin literature, is most notable for the fact that it contains the first recording of the Sessions, a really major work of noble proportions and the highest expressive and intellectual character. With- I I in the bare resources of the single violin W. movalkc = -021101C. r is concentrated a big, intense, almost symphonic conception. The scope and singular intensity of this music does not make for a relaxed, merely sensuous musical experience: but anyone who is willing to come halfway to meet the challenge of an uncompromising and profound mind and imagination will be rewarded by an exceptional musical experience. Like the Sessions. the Webern is intensely chromatic but aesthetically it is worlds apart; where the Sessions is long, highly developed, twelve -tone, full of the widest range of expression and poetic architecture. the Webern pieces are brief, terse, and freely chromatic in the composer's most attractive, typical, and precise miniature style. i Alois Haba is one of those curiosities of music history: an I.H.P. (Important Historical Personage) whose music everybody (well. almost everybody) has heard of but almost no one has actually heard. This Czech modern has earned himself a fat footnote in Music History -114J L as "The Quarter -Tone Composer "; here then is a rare example of an actual piece of Haba "Quarter -Tone Music." It JENS OLSEN ASTRONOMICAL WORLD CLOCK AS EXHIBITED AT COPENHAGEN CITY HALL. is. in fact. a disappointment. HANDCRAFTED TO ACCURACY OF 4 10 OF 1 SECOND TIME LOSS WITHIN 300 YEARS. In general. there is little question that the human ear is capable of making much finer pitch discriminations than are normally called for in our Western music. rr:G_i3! Not much artistic use has been made of this fact as yet, although the music and the new instruments created by a composer like Harry Partch and certain re- small and compact in size . . cent electronic developments can serve to suggest a whole new world of pos- but ... Outstanding in Quality and Performance.. sibilities. The Haba work at hand, however, is a puzzler; it seems almost impossible-in this recording at any rate -to Tandberg Tape Recorders determine exactly what is supposed to be going on. The work seems to be written Tandberg is world famous as the ultimate in a free chromatic style (of some force in tape recorders. For example, the Model #74 is a but no great distinction); within this. the completely self- contained stereo tape system for to function prima- "quarter- tones" seem the home. It a built -in multiplex power amplifiers, rily as inflections of certain notes which features filter, are thus lifted out of their sockets just a loud speakers, a synchronous motor and instantaneous pause, little expressive bit. The trouble is that start -stop control. Frequency response is superb, crow and violinists more or less do this anyway; flutter virtually non- existent and signal -to -noise ratio with their big vibratos and tendency to- excellent. Yet, with these and many new the wards some kind of "natural" tuning, features, they are constantly wreaking havoc with Model #71 is lightweight and fully guaranteed for 12 months. equal temperament. In the composition, List Price $449.50 idiom, and performance style at hand, one is hard put to tell the quarter tones if1andbeflJ from the tones that are being drawn and of America, Inc., quartered. One would really, I should P. O. Box 171, 8 Third Avenue, Pelham, New York think, have to hear such music played on a keyboard instrument carefully tuned CIRCLE 86 ON READER -SERVICE CARD NOVEMBER 1963 105

www.americanradiohistory.com ing the sestina Lagrime d'amante al porary piano literature. Incidentally, the FFLS' from sepolcro dell' anlata), Marenzio, Gesu- work is dedicated to Clifford Odets; the Baroque aldo, Robert Jones, Cipriano de Rore release was on its way at the time of (the famous Ancor the c'o! partire), and the playwright's death. (the 1 Arcadelt equally famous Il bianco As the jacket notes point out, Roger e do/ce cigno). There is the same vitality Sessions' From My Diary was really in- t in the performances: considerable dy- tended to be named "Pages from a namic and rhythmic nuance within a Diary " -in other words, "AIbumblätter." frame that seems to be stylistically cor- These are actually quite highly devel- rect. And there is the same realism in oped, rich, and thoughtful pieces of great the recording. Two of the pieces - beauty; in spite of their short duration, Costeley's Mignonne and Monteverdi's one hardly thinks of them as miniatures. Ditelo, o fiumi -seem to me rather fast, Sessions, who is fundamentally a sym- but this is a matter of opinion. In one phonist, does not think aphoristically. important respect, however, Vol. 2 ap- His piano sketches are like short, con- pears to me not the equal of its densed, intense notations for larger ideas predecessor. Only half of the present except that they are perfectly complete Consort were members of the previous in themselves. In other words they are one; the new ensemble does not blend superb, worked -out "symphonic" con- together as beautifully as the old one ceptions in miniature with all the driv- did, and its intonation FIRST RECORDINGS is at times less ing invention, the rich chromatic tex- secure. N.B. tures, and the careful, impressive de- ton lber velopments and resolutions that charac- 8 Sonatas for Violin and Continuo (1681). terize all of this composer's work. Sonya Monosoll, violin; Melville Smith, Janos LEON FLEISHER: "Contemporary Leon Kirchner's Piano Sonata of Scholz, continuo. (Cambridge recording of 15 Piano Music" 1948 was one of his Biblical Sonatas for Scordatura Violin, com- first works to at- tract wide attention. It has vigor and posed and performed by same, Saturday Copland: Sonata for Piano. Sessions: Ret icn'(' 8/31/63. ) drive in a highly figured, virtuoso My free Sonatas I 4: CRM 812 /CRS 1812 From Diary. Kirchner: Sonata for idiom derived - Piano. from Sessions (Kirchner's Sonatas 5 - 8: CRM 813 /CRS 1813 Rorem: Three Barcarolles. teacher) and Bartók, yet with its own ZgLENr4 Leon Fleisher, piano. definite style and character. This is per- Sonatas IV, V, VI for 2 Oboes, Bassoon and EPIC LC 3862. LP. $4.98. former's music par excellence, and the Continuo (1732). Ray Toubman, Wilfred EPIC BC 1262. SD. $5.98. one Leon makes the most of the music Buckle. oboes; John Miller, bassoon. Continuo: of the other. Daniel Pinkham, harpsichord, with Olivia Toub- Fleisher is equally at home in the mild, man, cello; David Carroll, bassoon. This is quite a gathering of American pleasant French atmosphere of Ned 3 Sonatas: CRM 814 /CRS 1814 composers and of important piano music Rorem's pieces (minor efforts, a little frivolo . furious. b.l

www.americanradiohistory.com evocative "Rio Flamenco" program, DL 74156, of last spring, they will find his artistic stature properly revealed. R.D.D.

NEW YORK WOODWIND QUIN- TET: "Woodwind Encores" Reicha: Quintet for Winds, in E flat, DIRECT FROM ITALY ...OVER 30 YEARS OF QUALITY Op. 88, No. 2: Finale. Barrows: March. Wilder: Woodwind Quintet No. l: Up Tempo. Van Vactor: Scherzo. Sweelinck: Variations on a Folk Song. Ibert: Trois pièces brèves. Milhaud: Le Cheminée du Roi René. New York Woodwind Quintet. EVEREST LPBR. 6092. LP. $4.98. EVEREST SDBR 3092. SD. $4.98.

The high point of this record is the delightful Reicha movement. Anton Reicha, the friend of Beethoven, professor at the Paris Conservatoire, teacher of Gounod and Liszt, and prolific composer of wind music, was one of the most fascinating characters of the late eighteenth, early nineteenth century and not at all the meanest composer of the age; his wind music is captivating. A good word should be added for the charming and popular Milhaud piece and for the Sweelinck, which is performed in a tasteful arrangement by Ernest Lubin using the wind instruments in the manner of organ stops. The rest are trifles and hardly meant to be more. The playing is excellent and the sound is good. E.S. The LesaMatic CD3 31 is a superb unit. It plays manually or automatically and has a jam-proof arm, aside from many other features. EUGENE ORMANDY: "Ports of See and hear it for yourself. Write for free brochures to Lesa of Call" America Corp., 32.17 61 Street, Woodside 77, New York, Dept. C NOTE: LESA ANNOUNCES A ONE-YEAR GUARANTEE ON ALL PRODUCTS Chabrier: España. Debussy: de ! Clair CIRCLE ON READER -SERVICE lune (orch. Cailliet). Ibert: Escales. 58 CARD Ravel: Bolero; Pavane pour une infante défunte; La Valse.

Philadelphia Orchestra, Eugene Orman - dy, cond. IMPORTANT COLUMBIA ML 5878. LP. $4.98. COLUMBIA MS 6478. SD. $5.98. Both the program title and the contents Please fill here echo those of a 1955 LP (ML 4983), and the new performances are FOLKWAYS characterized by the same Philadelphian tonal opulence and somewhat methodical in this Ormandy readings, with one notable exception-an exceptionally high- powered first in and fast España rhapsody in which the coupon and conductor displays an uncharacteristic but decidedly thrilling verve. It is in olk Music recording qualities that the present disc is particularly noteworthy. In most of mail before the pieces here the technology provides SPOKEN WORD & LANGUAGES not only the robust sonics of recent The world's largest collection of authentic folk NOVEMBER 30, 1963 Columbia practice but a markedly added music records is on the Folkways label. Superb vividness which apparently comes from on ethnic recordings horn every area of the world, BE SURE TO GET a greater solo -instrument spotlighting plus outstanding American folksrngers: and an intensification of the extreme YOUR FREE COPY high frequencies. The result is some of Jean Ritchie New Lost City Ramblers Aloe the most fierily sizzling highs to be Mills Sam Hinton Pete Seeger Ewan OF THE DAVID CLARK heard on records today-if at the cost Mac(oll Bill McAdoo Karen tomes others. of back -in -the -hall aural authenticity. STORY ABOUT Curiously, though, this superbrilliant Write for complete free catalogue of more than BOO records. (Ask for our special PERSONAL LISTENING sizzle is not apparent in the steady -paced, long-playing beautifully controlled and colored (if not folk music films catalogue ) very exciting) Bolero, which sounds to me as though it well may be the same FOLKWAYS RECORDS Name recording released in January 1961 as 12I West 47th St. - NYC 36 part of an all -Ravel program. Certain- Adds ess ly the reading itself is closely similar. City Zone perhaps identical, and although the -- sonics here are undeniably less sensa- State tional, I'm inclined to believe that they Mail to Department H 13 will wear better than the obviously gim- DAVID CLARK Company, Inc. micked ones in the rest of this program. Worcester 2, Mass. R.D.D. CIRCLE 23 ON READER -SERVICE CARD CIRCLE 52 ON READER -SERVICE CARD NOVEMBER 1963 107

www.americanradiohistory.com rpt_ LES TROUBADOURS DU ROI corded for posterity. Thus the words BAUDOIN: " Missa Luba" that shaped destiny have been preserved JACK LA FORCE as they were tittered, with all the emo- I Les Troubadours du Roi Baudoin, Guido tional import of the historical moment. Haazen, cond. In this new anthology, Colpix has ' PHILIPS PCC 206. LP. $4.98. reproduced excerpts from the speeches PHILIPS PCC 606. SD. $5.98. of Sir Winston Churchill to re- create not only the darkling pageant of World When initially released under the Epic War II but also to underline the fan- label some years ago. this dramatic tastic and decisive part Churchill played Mass for our time failed to gain the in crushing "a monstrous tyranny never attention it merited. Soon it slipped out surpassed in the dark, lamentable cata- of the catalogues and into oblivion. Now, logue of human crime." To place thanks to Philips, the Missa Luba is Churchill's role in context and to height- "I REMEMBER YOU JACK LA FORGE available in an opulent album and in en the drama of his words, Producer Bud His Piano and Orchestra Mono & Stereo R-282 striking stereo, as well as in carefully re- Greenspan presents them against a skill- engineered monophonic sound. fully interwoven backdrop: key addresses Some sixty young male singers re- of other wartime figures; a crisply ef- CHARLIE MARIANO cruited from the Baluba tribe of the fective narration by David Perry; music Congo provinces of Kasai and Katanga that runs strongly to muted fanfares and (augmented by a battery of indigenous muffled drums. Thus, setting the stage African percussion instruments). the for Churchill's rise to power, we hear Troubadours of King Baudoin have been the voice of Neville Chamberlain, smug molded into a unique vocal instrument in its total gullibility, informing his by Father Guido Haazen, a missionary countrymen that, at Munich, Hitler has priest. While imposing the tight discipline made his last demand. Then Hitler him - necessary to a chorale of this dimension. self-a strong. harsh. arrogant, indeed Father Haazen has also managed to pre- a brilliant orator- pronounces the doom serve the freedom and spontaneity which of Poland as the rafters ring with Ger- is the essence of African music. Much man cheers. Again comes Chamberlain, of the Missa Luba, a Mass sung in weary now and bewildered, reluctantly A JAll PORTRAIT OF CHARLIE MARIANO Latin to traditional Congolese musical to declare war. Mono and Stereo R 286 forms, is improvised and, as a result, The Third Reich racks up victory Watch for the New Great varies from performance to performance. after victory; France totters; England's By turns savage, tender. wildly rhythmic. armies are routed on the Continent; JACK LA FORGE L.P. - UNCHAIN MY HEART and poignantly soft, this Mass can. to nation after nation capitulates supinely my mind, take a rightful place among the to the German juggernaut. England RECORD finest ever composed. It is devout and stands all but alone, and defeat scents different and deeply moving. the nation as the new Prime Minister 799 Broadway The swinging ka.sala of Kasai provides addresses Parliament: "You New ask what is York City 10003 the Kyrie, Gloria, and Credo; a haunting our policy. I will say it is to wage war OR 4 -4545 Baluba "Song of Farewell" underlies the by sea. land, and air with all our might Sanctus; and the Agnus Dei derives and with all the strength that God CIRCLE 74 ON READER -SERVICE CARD can from a Lulua melody. There is nothing give us. ... You ask what is our aim. primitive here: the work is sung in a I can answer in one word- victory! very rich. sophisticated. and thoroughly Victory at all costs, victory in spite of COLLABORATE WITH exotic idiom. To my mind it is among all terror. Victory, however long and the most exciting contributions to liturgi- hard the road might be. For without RUDOLPH FRIML cal music that our century has yet af- victory there is no survival." In an age forded. The stereo edition is awesomely of Lavals and Quislings, an age of uni- Write the lyrics to one or two themes in pellucid. O.B.B. versal political arbitrage, Churchill com- Friml's Golden Jubilee L.P. in which he mitted himself utterly. conducts his beautiful new music. Official The brave words roll on. And in every cadence, one entry form in each album. Lyrics approved becomes increasingly aware SPOKEN WORD of Churchill's pervading sense of history by publisher will share equal royalty -a weighing of this moment against with Friml. Great Britain's long past and probable future: "Let us . so bear ourselves Golden Jubilee L.P. high fidelity only $3.00, "Sir that if the British Empire and its Com- check or money order. CHURCHILL: Winston Church- monwealth last for a thousand years, ill: First Honorary Citizen of the men will still say, 'This was their finest HISTORICAL RECORDS United States" hour.' " Box 2181 There are other collections of Church- Sir Winston Churchill, Neville Chamber- ill's speeches available on records, but Los Angeles 53, Calif. lain, Adolph Hitler, et al.; David Perry, I believe that none is so effectively pre- narrator. sented as this. Here is a great man CIRCLE 98 ON READER -SERVICE CARD CoLP[x PS 2000. Two LP. $11.96. caught up in great events, and the phonograph has captured all his majesty, It opens another dimension of depression his command, his daunting prescience. RETRACTABLE to reflect that World War III, if it conies, For anyone who loves the English lan- Oluicic-See will doubtless be joined to the glare GLIDES IN ANO OUI OF CABINET OR WALL Album guage. the unfurling of history. or the FOR FRONT-VIEW FLIP -THROUGH SELECTION of video. In sounding the File call to arms, cause of freedom. this album is indis- statesmen will rely not upon the mighty pensable. O.B.B. line but upon the unwhiskered jowl. the neat blue shirt, and the gleaming denti-

tion. A fitting epitaph, perhaps, for the , SHAKESPEARE: The Rape of Lu- human race. . World War II, however, was another Lcrece matter. The brief age of radio had Tony Church, Peggy Ashcroft, Peter reached its efflorescence, and the great Holmes; Marlowe Society; George Ry- ideological battles of that war were lands, dir. '1 fought on the airwaves. Words. not LONDON A 4251. Two LP. $9.96. Storage cabinets available or do- it- yourself "images," helped to determine victory. LONDON OSA 1251. Two SD. Elino mates 'isibiGly problem of MReeetacked album.. slops fa'ket.ta,ttom wear. Install, Fortunately for posterity, all sides in $11.96. anywhere in fire minutes with /screwe.Sturdy . that long and bloody struggle had an welded steel construction. tall- bearing track balanced suspension. 9 models for LP's A: tap. eye directed towards history: most of This is "the" recording of The Rape of hold to 1.25 albums: Brass Finish. 7.951i T Write for brochure Dealre inquiries in the significant addresses -from the ful- Lucrece; actually, it has no real com- minations of Hitler before the Reichstag petition, for the Caedmon Lucrece (SRS KERSTING MFG. CO., 504-M DATE, S. ALHAMBRA, CALIF. to Roosevelt's Fireside Chats -were re- 239) is a much truncated version on a CIRCLE 53 ON READER -SERVICE CARD 108 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com single disc, with the other record in the album devoted to various minor poems. Heaven knows, two sides of Lucrece will be enough for most listeners, and Richard Burton's reading is good as far GREAT NEW as it goes. But such a presentation necessarily lacks the drama of the Marlowe Society production, where a separate voice is assigned to each speaking charac- ARTISTS ter and still another to the narrator. The new recording also has a decided asset in the presence of Dame Peggy Ashcroft, who reads the speeches of Lucrece. These sections are heavily version -sensibly REGINE CRESPIN cut in the Caedmon OPERATIC RECITAL enough, in view of a single male reader's Arias from II Trovatore, Un Balk in being employed, but actually they are the Maschera, Otello, La Gioconda, only moving passages inf the entire pEdithoem. Cavalleria Rusticana, Madama Eit- terfly, Mefistofele. Orchestra of Caedmon's album offers Dame the Royal Opera House, Cov_nt Evans reading some of the shorter Garden - Edward Downes. F poems, and it's hard to forego her work; Stereo OS -25799 Mono 5:39 but for Lucrece, London's set is the choice. It's an imperfect world at EDWARD WAGENKNECHT best. . . . Nit011 GHIAUROV SHAKESPEARE: Sonnets tISS YUS INN n3nu r nues Sir John Gielgud. Schubert SCHWANENGESANG LP. VMS i CAEDMON SRS M 241. Two Hermann Prey (baritone) with Peter $11.96. Klien (piano). "J CAEDMON SRS S 241. Two SD. Stereo OS -25797 Mono 5797 $11.96. Shakespeare's Sonnets have had a check- ered critical history. The eighteenth century in general did not care for them, NICOLAI GHAIUROV. BASS ARIAS Steevens said it would re- FROM RUSSIAN 8 ITALIAN OPERAS and George Arias from Sadko. Boris Godunov. quire an act of Parliament to cause men Eugene Onegin, Aleko. Don Carlos, to read them. The nineteenth century Nabucco, Don Giovanni. London Sym- ,..e.-..,, a u t ,.. o+ was ecstatic about them and produced phony Orchestra - Edward Downes. more nonsense in the way of "interpre- Stereo OS -25769 Mono 5769 ffrrY tation" than has been called forth by /!/l! /i/OU/.C, RANG, F/COOMMG any other Shakespearean topic with the possible exception of Hamlet. At present we like to think that we have learned to discriminate between the great sonnets, which stand with the supreme lyrics of our literature, and the considerably larg- merely r er number in which Shakespeare plays variations on Elizabethan lyric conventions. C sizeciat 971e4Augi2..to At present the catalogue lists two complete recordings of the Sonnets, each on three discs: London A 4341 (which I lJkaimrtgah. imiluaiaeta. regret I have not heard) and Spoken Word A 18. The present Caedmon re- We have received a flood of inquiries from record collectors cording omits thirty -three sonnets out who have been unable to obtain records included in our new of the total 154, and is thus not competi- Collectors Series (advertised fully in September High Fidelity) tive in the sense of completeness. As far as beautiful reading and intelligent in- and in our new group of Fall Releases (advertised fully in terpretation are concerned, however, October High Fidelity). Gielgud's work here is on par with that of Anew McMaster for Spoken Word. you, Gielgud's reading, I would say, is the If too, are in the predicament Simply tell us which rec- more conspicuously dramatic. For my- of being unable to find adequate ords you are interested in, self, I must confess that I think any classical dealer service in your local and we shall see to it that artist who is asked to hold the listener's area, we now invite your direct your needs are satisfied. interest steady through a reading of this number of sonnets is attempting the inquiry. impossible, and there are times when I catch myself echoing Sly's "Tis a most Incidentally, thousands of collectors have already written and excellent piece of work, madam lady; would it were done." If I were the man telephoned us expressing their joy upon discovering the extra- in charge, I should employ more than ordinary quality of our records, all of which are now processed one voice. Yet it is only fair to Gielgud by a new super-quality method. to add that he gains rather than loses power as he proceeds, and many collec- I that his tors will feel, as myself do, WESTMINSTER RECORDING CO., INC. interpretation is essential to a Shake- speare record library. 1501 BROADWAY NEW YORK, N. Y. 10036 to call here Please send me your NEW COLLECTORS SERIES cat- I should also like attention alog, together with the complete Fall 1963 Release. to Dame Edith Evans' interpretations of on Angel selected sonnets (once available Name (please print) 35220, with scenes from As You Like It) and the really beautiful readings of Address City by a much smaller number of sonnets Nearest classical dealer Claire Bloom and John Neville (in Caedmon's selections from Palgrave's Address HF-1163 I Golden Treasury, 2011). E.W. J CIRCLE 97 ON READER -SERVICE CARD NOVEMBER 1963

www.americanradiohistory.com gide .

POPULAR THEATRE FOLK

"Alfred Drake and Roberta Peters Sing the Popular Music of Leonard Bernstein." Alfred Drake, Roberta Peters; Ray Charles Singers; Enoch Light and His Orchestra. Command RS 855, $4.98 (LP); RS 855SD, $5.98 (SD). AID Teamwork: Miss Peters, Mr. Light, Mr. Drake.

A Miscellany from Bernstein's Broadway Show Scores

FOR THIS RECORDING, Command has gone to the Gershwin is -you will still hear Tea for Two or Broadway show scores Leonard Bernstein has 01' Man River whistled in the streets, while the written over the past nineteen years, and the re- chances of thus encountering a Bernstein ballad sult may be regarded as a well- deserved tribute to are pretty slight -but his kind of music is wonder- one of the most brilliant of today's composers fully effective within the confines of the theatre. of theatre music. Bernstein's contributions to this Particularly impressive are the fusion of musical art form are not, of course, "popular" in the sense ideas with the story line (such numbers as Swing, that the work of Kern, Rodgers, Youmans, or Conga, and the inspired Conversation Piece from

110 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Wonderful Town are good examples) and the sheer is pitched too high, and I Feel Pretty perhaps needs tension and excitement of some of his songs (notably the girlish charm and winsomeness which Julie those in West Side Story). Andrews brought to it). Other songs are decidedly About the performances here, I would say in her cup of tea -for instance, Glitter and Be Gay, general that they are somewhat lacking in the youth- also from Bernstein's masterly score for Candide: ful esprit which distinguishes the singing on the the roulades and vocal embellishments of this almost original cast recordings of the Bernstein shows. Offenbachian number are brilliantly handled, and the There are marvelously successful moments, though. performance is delightfully roguish. I would especially call attention to Alfred Drake's The Ray Charles Singers back the soloists in a wonderful, if slightly hammy, performance of The rousing account of New York, New York, surely Best of All Possible Worlds, from Candide; Drake's one of the best opening numbers in any musical, dark voice, with its tone of amused benevolence, and on their own they come up with a robust and his studied delivery of the lyrics in a sort of performance (extremely effective in stereo) of the Gilbert and Sullivan style are perfect for the song. rowdy Gee, Officer Krupke. Enoch Light's arranger - As for Roberta Peters, she is always an attractive in- residence, Lew Davis, has contributed a series of singer even if some of the numbers here are not brightly inventive orchestral scorings, and Com- particularly well suited to her (Tonight, for example, mand's sound is dazzling. J.F.I.

"Ramblin' ." The New Christy Minstrels, shows its age, yet this very feature Paris oui oui. The composer directs his Randy Sparks, cond. Columbia CL lends a haunting quality to these great musical offspring with obvious affection, 2055, $3.98 (LP); CS 8855, $4.98 (SD). songs, still echoing in every café from and M -G -M's engineers have cooperated Randy Sparks's minstrels scored spectacu- Montmartre to Montparnasse. O.B.B. in providing him with excellent sound, lar successes with their first appearances, particularly in stereo. J.F.I. and it is a pleasure to find that in their "Four Strong Winds." Ian and Sylvia. fourth release they are not content to Vanguard VRS 9133, $4.98 (LP); VSD "Good Night, Sweetheart." Morton Gould relax on their laurels. They continue to 2149, $5.95 (SD). and His Orchestra. RCA Victor LM explore new materials and to sing them Splendidly fulfilling the high promise of 2682, $4.98 (LP); LSC 2682, $5.98 as infectiously as ever. The theme of their debut recording of several months (SD.) the present program is that of the ram- back (VRS 9109; VSD 2113), the young Morton Gould's reputation as a conduc- bling protagonists of many folk ballads Canadian duo of Ian Tyson and Sylvia tor, arranger, and pianist is far too wel -as some of the titles themselves would Flicker offer a zestful, driving recital. established to call for additional com- indicate: The Drinking Gourd, Hi Jolly, Their program runs strongly to country, ment here, although it is not amiss to Down the Ohio, Rorin' Gambler, Wag - gospel, and spiritual selections (Katy point out that this multitalented musician oner's Song, etc. These are done with Dear, Jesus Met the Woman at the Well, has seldom appeared on records in all immense gusto in the familiar but ever Ella Speed) but includes also a bitter- three roles, as he does here. He has se- fresh variety of Sparks's arrangements, sweet version of Spanish Is a Loving lected a number of fine tunes, chiefly featuring various soloists and small en- Tongue and the French -Canadian V'ld from show or film scores, and decked sembles as well as the full chorus. But l'bon rent. The two singers adapt them- them out in arrangements as imaginative in addition to such generally high -spirited selves with an almost startling rightness as they are striking. Into three pieces - ballads, there are also three selections to the stylistic demands of this varie- Make Believe, I Can't Get Started, and displaying the group's gift for sheer po- gated repertory; in fact I can think of My Ship -he has interpolated some glit- etic enchantment: the nostalgic A Trav- no other folk team that quite matches tering piano solos, which he plays with elin' Man, Last Farewell, and My Dear them, either in versatility or in the sub- zest and sophistication. The two num- Mary Ann -all of which are real heart - tlety of vocal shading. It is no mean bers that stem from neither Broadway twisters. Recorded in New York City feat, for example. to swing from a South- nor Hollywood have a lesser appeal: during the Christy Minstrels' sensational ern white blues to a British prison song, the ambitious and elaborate setting for appearance at The Latin Quarter, this imparting to each the ring of authen- Trent's La Mer turns that little miniature disc is just as effectively panoramic and ticity. Tyson's own composition Four into an overblown seascape, while the old sonically full- blooded as the earlier re- Strong Winds -a moody, lyrical evoca- Ray Noble song which gives the album leases. R.D.D. tion of the migrant workers who cross its title is played in a rather stodgy ar- Canada with the seasons -is the finest rangement. As conductor, Gould draws "Aristide Bruant dans Son Cabaret." band on the disc. A superb recording some virtuoso playing out of his mu- Pathé 1 1 15. $4.98 (10 -inch LP). both in mono and stereo editions. with sicians. and this has been happily cap- A brilliant fin de siècle poet of the the latter preferred. O.B.B. tured by RCA Victor's engineers in a cabarets of Montmartre. Aristide Bruant Dynagroove recording that is character- occupies an eminent niche in the devel- "The Very Best of David Rose." David ized by transparent and vividly realistic opment of French popular song. His Rose and His Orchestra. M -G -M 4155, sound. J.F.I. racy, slangy lyrics tell of pimps and $3.98 (LP); SE 4155, $4.98 (SD). prostitutes and small -time cons: their This feast of melodious and witty or- "The Student Prince." Roberta Peters. world. as drawn by Bruant. who knew chestral cameos can obviously be counted Jan Peerce, Giorgio Tozzi, et al. it well, is comical rather than bitter - as a definitive representation of . David Merrill Staton Choir; Orchestra, Franz a wildly engaging world of wildly in- Rose's music. The better -known works J Allers, cond. Columbia OL 5980, verted morality. Typical is Nini Peau are present-the scampering Holiday for $4.98 (LP); OS 2380, $5.98 (SD). d'Chien (Nini Dog Skin), a swinging Strings, the whimsical Dance of the Columbia's flair for revivifying musicals anthem to the finest whore on the Spanish Onion, Our Waltz, and the frisky of the past is once more brilliantly Place de la Bastille; here is a bright echo Manhattan Square Dance -along with demonstrated in this scintillating pres- of François Villon's best ballades. some newer pieces which more than sus- entation of Romberg's tale of blighted Bruant's formidable gift for melody il- tain Rose's reputation as one of the romance in Old Heidelberg. The origi- luminates ten of his compositions rep- leading American writers of light music. nal melody- drenched score has been resented on this import. More im- A brief but wonderfully effective orches- presented here almost entire (as it was in portantly, the voice of the master him- tral interlude. Meet the Orchestra, seems the Kirsten /Rounseville version on Co- self, reprocessed from vintage record- to me the most striking of these. though lumbia CL 826), though this time a dis- ings, sounds hollowly but lustily across others may prefer the dark -hued, brood- creet amount of dialogue has been in- the gulf of half a century. The sound ing 4:20 A.M. or the Gallic charm of cluded, to the great benefit of the listener

NOVEMBER 1963 111

www.americanradiohistory.com unfamiliar with the ramifications of the Stars and Stripes Forever, Pomp and THIS COMPLETE libretto. While opera stars are some- Circumstance No. 1, Aida Grand March, times not particularly happy in the the Coronation March from Le Prophète, lighter musical milieu of operetta, the Marche militaire, Funeral March of a INDOOR trio of Metropolitan luminaries here has Marionette, the March of the Toreadors adjusted to the style with complete from Carmen, Radetzky, Beethoven success. Indeed, Roberta Peters is the Turkish March, and Herbert March of freshest. most youthful, and most vocally the Toys. In addition, there are three ELECTRONIC impressive Kathie in many years. There less familiar numbers: Gould's Ameri- are some operatic roulades that I do can Salute, Prokofiev's Lore for Three not recall in Romberg's score. but Oranges March. and a thrilling patrol - ANTENNA SYSTEM they add spice to a charming perform- styled Russian Meadowlands. And what ance. Although some of the early sheen a pleasure it is to hear these done by a has vanished from Jan Peerce's voice. it truly great orchestra, in the most robust IS ALL THE retains enough charm and ardor to en- and broadspread recording. with authen- able him to give a convincing perform- tically big -hall acoustics. The sonic sat- ance as Karl Franz. Giorgio Tozzi's Dr. isfactions here are so rich that one can RECEPTOR Engel is robust, and he gives this rather afford to overlook the self- consciousness colorless role greater dimension than of the conductor himself -who for all most singers who essay the part. The his talents just can't emulate the spon- supporting cast is exceptionally strong taneity of a Fiedler, a Fennell, or a YOU NEED FOR vocally (even if Anita Darian's once Lane in symphonic -pops entertainment sweet soprano voice sounds slightly of this kind. R.D.D. shrill and shrewish in the duet Just We FM STEREO Two). The Romberg tunes have been "Dreamy Serenades." Sammy Kaye and decked out in some admirable new or- His Orchestra. Decca DL 4424, $3.98 no outside wires chestrations by Hershy Kay, and these. (LP); DL 74424, $4.98 (SD). plus Franz Allers' perceptive direction. Sammy Kaye's orchestral stylings were no masts no rotors greatly enhance the pleasure to be had once as recognizable as those of Lom- from this splendid performance. I have bardo, Kay Kayser. or Eddy Duchin. no installation costs heard only the stereo version. which is Over the years. however, they have slow- warmer in sound than many current ly changed. and the change is particularly no repairs Columbia discs. The splendid disposition apparent in this collection of slumber- of voices in two speakers clt ates the ous serenades. The Kaye sway is now realistic ambience of a stage presenta- more languorous and . sinuous than._ of tion. J.F.I. old. and the swing veers into the field of discreet jazz, thanks to some fine Bob "Around the Samovar." Andreyev Bala- Brookmeyer trombone solos over the laika Ensemble. Monitor MF 401, rich background of velvet sound gener- $3.98 (LP); MFS 401. $4.98 (SD). atçd by the strings. With twelve num- The seven members of the Andreyev bers cast 'from the same musical mold Ensemble provide dazzling proof of the (all of them have the word "dream" in virtuosity and appeal of the balalaika their titles) there is the obvious possibil- and its stepbrother. the domra. There is ity of monotony. For myself. I did not nothing simple about the Andreyev ar- find this to be so. I found the perform- rangements. and the sounds the musicians ances restrained. elegant. and conducive coax from their instruments run an as- to a pleasant sense of relaxation. J.F.I. tonishing spectrum. Selections range The MULTITRON by ANTRONICS from Glière's Russian Sailors' Dance "Broadway Show Stoppers." Band of several Specifically engineered to solve the problems of through folk melodies to a America, Paul Lavalle, cond. M -G -M FM /FM Stereo reception, the Antronics Antenna transcription of Tchaikovsky's At Church. \ E 4148, $3.98 (LP); SE 4148, $4.98 can be unconditionally guaranteed to do the The folk song Bending Branch is as melt- (SD). job - with you as the sole judge - or your ingly lovely as anything I have heard. Here. at last. the onetime maestro of the money will be refunded. Here are some of the Admirers of Mercury's sparkling record- Chamber Music Society of Lower Basin reasons for this unusual offer: ing of the Osipov Folk Orchestra Street sounds far more like his old imp- CONVENIENCE: Compact, low- silhouette de- (90310). as well as anyone with a taste ish self than he did in several nonde- sign fits anywhere, works anywhere, in view or for exciting musicianship. should investi- script preceding discs. He snaps his out of sight. Combat reception problems with- gate this cleanly recorded disc. O.B.B. bandsmen into spirited performances of out a rotator or other accessories. No retuning Gee Officer Krupke, Consider Yourself, or readjustment. Measures only 9" x 5" x 11/2'. "Rhythms of the Bull Ring." Banda de I Ain't Down Yet, and The New Ash- SENSITIVITY: Unique, multi -coupled antenna Lla Plaza de Toros (Madrid), Ricardo molean Marching Society and Students' (Pat. Pend.) integrated with multi -stage, stabi- Dorado. cond. Decca DL 4372, $3.98 Conservatory Band apt materials lized, transistorized amplifier provides full FM -all for bandwidth with high gain. Response from 88 to (LP); 74372, $4.98 (SD). martial treatment. Some of George 108 me ± 11/2 db; gain at least 20 db (100x This program of music from the bull Siravo's arrangements (that of Blow, signal power) over reference dipole at any FM ring is confined exclusively to lively Gabriel, Blow in particular) are perhaps frequency. pasodoble entertainment interludes: the overelaborate. but at their best they are RELIABILITY: Glass -epoxy circuit board has often heard El Gam Montes and Espa- piquantly audacious -and impressively special physical & high- frequency electrical ña Cañi, conductor Dorado's original El stereogenic too. in antiphonal scorings properties. Printed, distributed constants, in- Tio Can,yitas, the strikingly atmospheric which eschew the rather silly motional cluding coupling transformers, replace conven- Serrana Mia and Sospiros de España. effects featured in an earlier Hollywood/ tional components for greater precision. Noth- the fanfarish Gran Tarde, and a half Broadway program. But be sure to pick ing to wear out. No effects from wind, rain or dozen others. And unlike the usual the stereo version: the more heavily mod- snow. brash and slapdash performances. these ulated mono edition sounds sharp -edged VERSATILITY: Can be positioned for multi- direc- by Dorado's sixty -piece band are notable and harsh. R.D.D. reception rejection tional or of unwanted sig- for their taut control and precision as nals. Accommodates all tuner antenna inputs. well a vi- "Twelve- Install it in two minutes. as for high -stepping rhythmic String Guitar." Glen Campbell tality. The recording is perhaps a bit and Ensemble. World Pacific WP 1812, ECONOMY: No installation labor, no costly re- sharp and closely mitred. but in unex- $3.98 (LP); S 1812, $4.98 (SD). pairs, no rotators, etc. Your first investment is your last. aggerated stereoism it is impressively At last. here's a program of "folk blues clean and brilliant, and does full justice and bluegrass" that foregoes electronic 10 -DAY MONEY -BACK GUARANTEE to the varicolored performances-the guitars and organs, plugging rock -and- In white or black @ $29.95 best of their kind I've ever heard on roll rhythms. and all the rest of the cur- See your Hi -Fi dealer or write for details records. R.D.D. rent Nashville clichés. Campbell, one of the few real masters of the twelve- string "A Festival of Marches." Philadelphia guitar. needs only another guitar (regu- h Orchestra. Eugene Ormandy, cond. Co- lar) and string bass for support in most L- lumbia ML 5874, $4.98 (LP); MS of the selections; in four of the best of 111'101E them banjoist Doug Dillard is costarred, 6474, 309 Queen Anne Road, Teaneck, New Jersey $5.98 (SD). A generous program indeed, including but even without him the trio is notable CIRCLE 12 ON READER -SERVICE CARD II2 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com for the vibrant sonorities and closely woven intricacies of its sonic textures. Stylistically too, the performances are free from any commercial slickness: listen particularly to the captivating Black Mountain Rag, Columbus Stock- ade Blues, and Campbell's original, propulsively swinging Bull Durham Blues. And if you've enjoyed Bob Dy- lan's The Answer Is Blowing in the Wind, you can't fail to relish the present exhilaratingly strummed instrumental version. The recording does remarkable justice to the biting transients and THE BIG 3 resonant twangs in exceptionally expansive monophony, but I'd be willing to bet that the stereo edition (which I haven't yet heard) will even better dif- FOR '63 ferentiate the complex tonal weavings. R.D.D. "The Freewheelin' Bob Dylan." Columbia CL 1986, $3.98 (LP); CS 8786, $4.98 (SD). Bob Dylan's gifts lie not in an attractive vocalism but rather in his ability to pen folklike songs of social protest, somewhat in the style of Woody Guthrie. While Dylan (not long out of his teens) has a long way to travel before he scales Guthrie's heights, he does pinpoint the stresses and outrages of our tortured era. THE Blowin' in the Wind is a bitter indict- ment of war; Masters of War excoriates NUMBER 1 CLEOPATRA the fanatics who bedevil all mankind; in another vein, Oxford Town memorial- izes James Meredith's shameful ordeal ALBUM at the University of Mississippi. Dylan's vocal style strikes me as fifty per cent TODAY! true hillbilliness and fifty per cent un- mitigated phoniness, but it is worth enduring for the songs which so unerringly crystallize the fears and failures of a world that, increasingly, is too much MONO FXG 5008 with all of us. Columbia's stereo sound, STEREO SXG; 5008 marvelously clear, captures every sylla- ble. O.B.B. A "All Time Latin Favorites." Leroy Holmes and His " Vochestra." United CONSISTENT Artists UAL 3272, $3.98 (LP); UAS 6272, $4.98 (SD). The interesting feature of this somewhat BEST belated entrant in the sing -along parade is its novel presentation of material. Taking ten South American songs, among SELLER! them such hits as Bèsante nu cho, Quizti.c quizás quizás, Noche de ronda, and Amor, the Vochestra [sic] first sings them in English, then in Spanish. There MONO FXG; 5007 is little breathing space between the two STEREO SXG/ 5007 versions, and though United Artists has provided both English and Spanish lyrics, they do not appear in the liner A BRAND notes in the same order as on the record. The vocal arrangements. neat and un- complicated, are well handled, and I NEW MOTION would imagine that those whose linguistic talents run to a knowledge of Spanish PICTURE will find it very hard to resist participating in this bilingual community song fest. 1.F.I. HIT!

"Choir- Sing!" Paul Mickelson Choir, Paul Mickelson, cond. Supreme SM 1018. $3.98 (LP): SS 2018. $4.98 MONO FXG' 5000 (SD). STEREO SXG,' 5000 "Tite Glory of God." Al Carr, tenor; Paul Mickelson Orchestra and Male Choir, Paul Mickelson. cond. Supreme PRESENTED BY THE ULTIMATE IN SM 1019. $3.98, (LP); SS 2019, $4.98 (SD). ENTERTAINMENT "The Lord Is My Light." Howard Cor- rell. ba- baritone: Paul M ickelson Orchestra and Male Choir. Paul Mick - elson. cond. Supreme SM 1017. $3.98 (LP): SS 2017. $4.98 (SD). The series produced by Supreme Record- ings (Box 352, Glendale, California) is CIRCLE S7 ON READER- SERVICE CARD

NOVEMHER 1963 1 I 3

www.americanradiohistory.com often exceptional in musical and techni- in the sang -along program) are drawn He is much less comfortable when tack- cal quality among currently available from the generally familiar older reper- ling the hackneyed Became of You or "religious, hymn. and sacred" discs. tory. while present -day evangelical fa- Cole Porter's dirgelike True Love. (I "Choir- Sing!" is one of the best sing - vorites are somewhat disproportionately could find. in the latter, no evidence of along albums to date. and includes a represented. R.D.D. the duet mentioned in the liner notes.) thirty -six -page booklet of music and Piquant orchestral backgrounds enhance texts. It features a not overly profes- "The Exciting Voice of Charles K. L. several of the songs, though they do not sional- sounding chorus. accompanied by Davis." Charles K. L. Davis; Orches- always provide the singer with much Lorin Whitney on pipe organ and Charles tra. O. B. Masingill. cond. Colpix CP support. Agreeable sound on both ver- Magnuson at the piano. The other two 449, $3.98 (LP); SCP 449, $4.98 (SD). sions, with the stereo marred slightly by discs star exceptionally resonant and Most of these songs are inconsequen- ultraclosc miking. J.F.I. steady -voiced soloists with rich orchestral tial little things from the pop catalogue, ( and, in Carr's case, occasional organ which the Hawaiian singer handles pleas- "Sounds Unlimited." Marty Gold and or piano) accompaniments and frequent antly, with good musical taste and vocal His Orchestra. RCA Victor LPM 2714, male choir support. All of these are un- finesse. But to call the voice "exciting" $3.98 (LP); LSP 2714, $4.98 (SD). commonly well recorded: even the one is to create an altogether false impres- "Dynagroove Unlimited" would be an monophonic disc sent me is remarkably sion. Mr. Davis. who now sings with a apter title for this disc. The orchestra is open and expansive, although in all like- timbre somewhere between that of a apparently the same ensemble of vir- lihood it is even more impressive in tenor and a baritone, is happiest in a tuosos as appears in the earlier "Sound - stereo. My only adverse criticism is that ballad like Ida Firestone's If I Could Tell power!" program (except that Phil too few of the hymns chosen (especially You. performed charmingly and simply. Bodner on alto sax and Joe Wilder on flugelhorn now share starring roles with the incomparable tuba player Don But- terfield). But most of the arrangements VANGUARD are even more synthetically fancy than before, and the heavily modulated re- Current and Choice Recordings for the Connoisseur cording strives even more desperately for maximum sensationalism. While the FOLK Choice car -splitting conics of the mono edition are a little easier to take in stereo -which Recent Releases is essential anyway for these elaborate scorings-1 found the whole program fat more tolerably listenable in the 4- track tape version (FTP 1207, 33 min., $7.95), in which the exaggerated italici- zation of the extreme highs has been either deliberately curbed or tempered by inevitable processing restrictions. It's too had that both Gold and the engineers have felt it necessary to strain so hard and so often, for the novel arrangements of 01' Alan River and Sky- HANDEL: Samson - lark demonstrate how effective more Complete Oratorio PURCELL: Come Ye tasteful scorings can be. and the more relaxed performances of Aloonlis.lir in Jan Peerce, Phyllis Curtin, Sons of Art, and 2 An- Vermont and When I in Lore dis- and other soloists; Utah Sym- thems. Deller Consort. Fall phony Orchestra and Chorus; BG -635 play notably richer and more atmos- "A stunning new ver- pheric tonal attractions. R.D.D. Maurice Abravanel, con- sion." Satuhday Review ductor. A Bach Guild Special Release -3 discs boxed for SONGS OF THE AU- "Irma la Douce." Recording from the price of 2. Text and notes. VERGNE, arr. Cante- sound track of the film. United Artists BG-648/50 loube (NETANIA UAL 4109, $4.98 (LP); UAS 5109, DAVRATH, soprano) $5.98 (SD). HAYDN: The Sturm Vol. 1 -VRS -9085 Although the score for the film version Vol. 2 -VRS-9120 und Drang "Enchanting ... voice of Irma la Douce is credited to André and orchestra forni a Previn, it contains occasional snatches Symphonies JOAN BAEZ bewitching and irresist- of Margaret Monnot's music from the IN Broadway production. It is the latter that No. 44, Trauersymphonie & CONCERT, ible blend ... record- 2 best capture the unsavory atmosphere of No. 45, Farewell. VRS -1106 PART ing is flawless." Vks -9111 Parisian most of Previn's con- No. 46 in B major & No. 47 Hi Fi /Stereo low life: tributions have a synthetic air about in G major. VRS -1107 JAN PEERCE HONEGGER: King them. He has written a racy little de- No. 48, Maria Theresia & No. David, - SINGS YIDDISH with MIL scriptive theme for Nestor, the honest 49, La Passione. VRS -1108 HAUD: Creation FOLK SONGS of but bewildered gendarme. but the rest Antonio Janigro conducting the World. Utah Sym- VRS -9122 no more than run -of- the -mill film mu- the Symphony Orchestra of phony Orchestra and is Radio Zagreb. THE WEAVERS: Chorus; Abravanel, sic. Exceptionally clean and open sound sound track recording. REUNION AT conductor. VRS -1090/1 for an original MAHLER: Des CARNEGIE "Resounding perform- J.F.I. Knaben Wunderhorn HALL, 1963 ance of a masterpiece." V RS- 91.11) N. Y. Herald, Tribune "September Song." Jimmy Durante: John Maureen Forrester, contralto; THE VIRTUOSO Rarig Singers: Orchestra. Roy Bargy, Heinz Rehfuss, bass- baritone; IAN & SYLVIA cond. Warner Brothers W 1506, $3.98, Symphony Orchestra con- "FOUR TRUMPET, Vol. 2. STRONG Haydn's Trumpet Con- (LP); WS 1506, $4.98 (SD). ducted by Felix Prohaska. who cherish memories of the VRS -1113 WINDS" certo & Concertos for Those VR.S -9133 original piano -demolishing act of Clay- 1 to 6 trumpets. Wo- GOTTSCHALK: JOHN bisch & I Solisti di ton. Jackson. and Durante. and of Jim- HAMMOND Zagreb; Janigro, con- my's own rowdy songs. may recall a Symphony Night the that ran. "So I -A VF.S -9132 ductor. BG -641 line in one of latter went my way and he went the way of all in the Tropics CLARA WARD "Finest of its kind . . . GOTTSCHALK -KAY: sonically thrilling." flesh!" Now, it's something of a shock AT THE perhaps it won't be to Grand Tarentelle for piano High Fidelity on Vol. 1 to me. though and orch. GOULD: Latin VILLAGE GATE today's TV audiences. to find that the VKS -9133 RICHTER IN PARIS. comedian. in his metamorphosis from AmericanSymphonette. Mau- VRS -1102 rice Abravanel conducting had boy to elder statesman of the en- miraculous." tertainment world. has gone the way of the Utah Symphony Orches- St. Louis Post-Dispatch tra; Reid Nibley, piano. all flesh himself: he has been seduced VRS -1103 Also on stereo into essaying a whole program of romantic and even unabashedly sentimental CIRCLE 91 ON READER -SERVICE CARD 114 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com torch songs, not excluding some of his the Trail from Grofé's Grand Canyon lilt to Portrait of Aly Lore, My Heart own composition. And, alas, they are Suite, but it is revealed at its best in his Reminds Me, This Is Sly Beloved, and done "straight," with not even a sugges- poetic arrangement of Across the Wide the soloist's own reworking of Chopin'a tion of irony or burlesque! Only in the Missouri and an impressionistic Open Etude in E. The major point of interest repetitive patter of A One -Room Home Skies. Most of the other pieces are less here is the superbly recorded piano is there a faint echo of the old Durante: distinctive, but always well above the itself-a Bösendorfer Imperial Concert the new one, for all the familiar husky usual mood music level. and the glowing Grand with an extended keyboard which. tones, is a stranger dressed up with plush performances of Farnon's fine orchestra going down nine extra semitones in the orchestrations and choral backings. are spaciously recorded. R.D.D. deep bass, covers a full eight octaves. Everything is well done, in its saccharine Its sonic solidity and power (and its fashion, and richly recorded (although "Grand Style." Bud Herrmann, piano. mid- and upper -range warmth and bril- the soloist is oversibilant in too close World Pacific WP 1809, $3.98 (LP); liance) are so magnificent that one can miking). But some of us, at least, can S 1809, $3.98 (SD). forgive Herrmann for attempting to ex- only protest bitterly, "Say it isn't so, Herrmann, who made his record debut ploit them as spectacularly as he often Jimmy!" R.D.D. a little over a year ago. again demon- does. On this score alone the present strates a notably assured and fluent stereo disc is a must for every piano hour together with connoisseur (the mono is some- "Waltz with Me, Della." Della Reese; cocktail technique- edition a weakness for noisy virtuosity that what harder and drier). but I hope soon Orchestra, Glenn Osser, cond. RCA smacks of sheer pretentiousness. In the to hear the instrument itself explored Victor LPM 2711, $3.98 (LP); LSP less inflated moments. however. he and in a more serious and substantial man- 2711, $4.98 (SD). his rhythm sidemen bring a delightful ner. R.D.D. These artificial, capricious, and often downright exasperating performances of a dozen tunes in three- quarter time are tr,h, prime examples of musical mayhem. It is a pity that this singer wastes such RECORDS AT COST Piani basically good vocal equipment on tricks BUILD YOUR RECORD LIBRARY INEXPENSIVELY, QUICKLY, CONVENIENTLY - of phrasing and coloration, and that she tortures a melodic line almost beyond NO "AGREE TO PURCHASE" OBLIGATION - CHOOSE THE RECORDS YOU WANT recognition. Almost every vocal phrase The Citadel Record Club is a membership All are available and at prices that never is treated as an individual production, having little if any relation to its im- club that entitles its members to purchase vary from our published price list. There mediate neighbors. If the vocalism is singles, hi -fi and stereo albums at cost; are never any "list price" purchases overmannered, one hardly knows what classical, popular, jazz, show hits, folk. through Citadel. to call her enunciation of the lyrics, with which she shows little involvement. In CITADEL MEMBERSHIP - THE PROVEN METHOD OF RECORD BUYING Bart Howard's Fly Me to the Moon, USED BY THOUSANDS OF SATISFIED CLUB MEMBERS BECAUSE . . , Miss Reese sings: "With music and words I've been playing." Nothing could *YOU DECIDE ON YOUR PURCHASES - You are not obligated to purchase any particular quan- more succinctly describe her work here. tity of records. Buy as few or as many records as you want ... the choice is yours. Citadel J.F.I. has no "agree to purchase" requirement. * YOU HAVE COMPLETE FREEDOM OF SELECTION - Virtually any record or album, by any artist "Trumpet and Strings." Al Hirt with Or- on any label is available including all major labels plus hundreds of smaller labels as well as chestra, Marty Paich, cond. RCA most imports. Again, the choice is completely up to you. Citadel has no "pre- selected" list of Victor LPM 2584, $3.98 (LP); LSP recordings for you to choose from. 2584. $4.98 (SD). * PROMPT SERVICE - Many orders are shipped the same day received, rarely later than the next Al ( "The King ") Hirt's sensational rise several days. In the event of a delay, partial shipments are made and your order completed as from a somewhat eccentric Dixieland soon as the record is available and, of course without any additional cost to you. sideman to a starred trumpet soloist has PERIODIC SPECIALS music left me unimpressed so far. but I mug * - Periodically you receive a list of hit albums from all categories of coarsely at prices up to 55% off list. The selections depend on those special purchases we have been concede that his fat (if often make. you are under no obligation purchase clarion) tonal qualities are shown off to able to Again, to any of these selections. better advantage in this recording than * FREE! SCHWANN RECORD CATALOG - With your membership you receive this quick reference in any of his earlier releases. And here to over 25,000 albums. This easy-to-use catalog contains separate sections for classical, popu- the florid clichés to which he is prone lar, ballet, opera, musical shows, folk music, jazz, etc., and lists a separate section for all new are at least somewhat more restrained. releases. You are not restricted to this catalog, it is simply a handy guide. I'd guess the conductor is partially re- * 100% GUARANTEE - citadel completely guarantees their records against defects or damages sponsible for the improvement: certainly of any sort. If a damaged or defective record does get through our inspection, we shall imme- his string- dominated accompaniments are diately replace with a perfect copy. excellently controlled and colored. as well as rhythmically animated. And de- Membership dues is $3.00 a year ... a nomi- complete record source ... may we suggest spite the constant succession of featured nal amount if you reflect for a moment on the that you give Citadel Record Club an oppor- trumpet solos. Paich brings a consider- record purchases you have made within the tunity of proving its value to you. You enter able degree of variety and contrast to this past year and the prices you have paid. AS A no obligations, take no risks ... simply corn- pops -ballad program, topped by Fools CITADEL MEMBER BUYING RECORDS AT COST, plete the coupon below, include your $3.00 Rush In and How Deep Is the Ocean. YOUR DUES WILL BE PAID FOR WITH VIRTU- yearly membership dues and upon receipt we The recording is brilliantly clean, but ALLY THE FIRST PURCHASE YOU MAKE THROUGH shall immediately forward all club membership rather sharp and hard in monophony; THE CLUB. Additional savings quickly mount material to you. We cordially invite you to join smoothly spread and more expansive in up, permitting you to buy many more albums thousands of other satisfied Citadel members stereo -both in the present disc edition on your record budget. who are purchasing their records at cost price and in an identical- sounding 4 -track tape If you have been faced with the problem of a through their Citadel Club membership. (FTP 1156, 33 min., $7.95). R.D.D. ya!tste,gx ! t.kycw. !cycak>!o*o!o!c.!xgx.te ** ***x!c r Mal .SATISFACTION GUARANTEED Try member - CITADEL RECORD CLUB `Portrait of the West." Robert Farnon '. ship in the Citadel Record Club for 30 days. If at the end you are 17, N. Y. H -113 and His Orchestra. M -G -M SE 4107, of that time :: 545 Fifth Avenue, New York not completely satisfied, simply request I obli- $4.98 (SD). y. Enroll me in Citadel for one year. am under no Although Farnon's earlier recordings still your membership dues back, and it will * gation to purchase any particular quantity of records, T be immediately refunded. but those that I do purchase will be at member prices seem to be a staple on the mood music .., NEVER more. I am to receive a current Schwann broadcasts of most FM stations. this is >ic>¡c>is>icnc71171Cc>¡e>ieIV7070* eTe;icAc>¡Vhi catalog immediately and subsequent periodic lists of specially priced hit albums. I understand that if, after the first new disc from him I've en- trying membership in Citadel for 30 days, I am not countered in a long time. (I missed his FREE! completely satisfied I can get my fill membership dues back immediately. Also. include the free quality ,ecord "Sensuous Strings" from Philips last No- Act now. Fill out the d cleaning cloth as a gift. $3.00 dues enclosed. vember.) Here he brings his deft talents coupon. enclose your Record to traditional and pop "Western" pieces dues and we will include a free quality Cleaning FULL NAME in a program "inspired by" (read: cash- record cleaning dolt, ing in on the popularity of) the Cine- as a gift. This is our Cloth STREET rama epic How the West Was Won. Even way of thanking you for your confidence in us. Farnon's skill as an orchestrator is CITY ZONE STATE stretched in rescoring an abbreviated On CIRCLE 27 ON READER -SERVICE CARD NOVEMBER 1963 115

www.americanradiohistory.com NEW Record Entertainment!

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Ever had fun in front of your TV set spoofing the com- Arranged and conducted by Lalo Schifrin, one of today's With a imaginative they can be mercials? little push often most notable blenders of the best of both Latin and parodied into complete absurdity. Hear how talented pro- American jazz styles and rhythms. Instrumental greats fessionals have done it in this rich harvest of humor play: Mambo Jazz Opus 7, Harlem Nocturne, Caravan, album. Some of the 34 skits are: The Typist, Punjab Ciga- Poinciana. What Kind Of Fool Am I? others. rettes, Greasy Kid Stuff, The Bicycle, Biblical Spectacular.

Vibrant! ORGAN Witchcraft! Talent! JAll SAMBA BOSSA _ PERCUSSION ORGAN JAZZ SAMBA AFRICAN. LATINO BOSSA NOVA at PERCUSSION NOVA -: CARNEGIE HALL Andre Penazzi VOODOO DRUMS CARNEGIE k4' 11111 AFLP 2101 DFM 3020 Soper A AFLP 2102 PNDNE MN4ZIi 6101 ,,:W. DFS 7020 Scud AFSD 6102 AFSD HAIL * Brilliantly applied percussive expression of primitive All the great Brazilian talent gathered at Carnegie Hall to Current hit album in Brazil now released in the U.S ! An exciting blend of jazz organ (Hammond) virtuosity against African rhythms, savage West Indian beats and syncopated treat the U.S. to the first live performance of authentic latin percussion creating a new and original jazz sound! Latin dance rhythms. An expert recital of ritual and fes. bossa nova, the sensational new Brazilian jazz form. In- Some tunes are Samba Da Madrugada, Castiguei, Voce, tive drum beats out of the past enchant and bewitch with cluded were: Joao Gilberto, Luiz Bonfa, Oscar Neves Mulata Assanhada, etc. savage yet technically masterful rhythmic figurations. Quartet. Agostino Dos Santos, and many more.

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From the world's greatest collection of sound effects to Melodious magic as Cleopatra used it to enrapture Walt Dickerson is one of the best and most exciting lend realism to home movies and slides. Will enliven the Caesar and Mark Antony! Provocative! Historic! of modern jazz vibe artists. He expresses some of the wild. desolate beauty of the desert in this fine adapta- viewing pleasure of one and all. Love songs and of the queen re- dances fabulous tion from the film score. Includes: Lawrence Of Arabia created. Theme, Arrival At Auda's Camp, The Voice Of The Guns, others.

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I 1 6 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Cannonball Adderley with The Bossa Joe Burton: "Subtle Sound." Joday 1000, ords have all previously been issued in Rio Sextet: "Cannonball's Bossa $3.98 (LP). this country on ten -inch Contemporary Nova." Riverside 455, $4.98 (LP); Burton's nonchalant, after -hours piano and Blue Note LPs that have been avail- 9455, $5.98 (SD). playing makes admirable listening for able for many years. This is a welcome The Bossa Rio Sextet. a Brazilian group relaxed, reflective moments. The tunes reissue, for these are gorgeous Gillespie led by pianist Sergio Mendes. turned up arc. for the most part. familiar -The performances. Most of them are ballads at Birdland in New York during the Best Thing for You Is Me, /'m Glad in moderate tempo which expose the full height of the bossa nova fever last win- There Is You-and Burton treats them luster of his open horn. And, although ter. and it was there that they encoun- thoughtfully, unpretentiously, and with he is probably best known for his skill- tered Adderley. The sextet serves pri- commendable avoidance of the routine. fully organized fast phrases. Gillespie is marily as a background for Adderley's His accompanists-Jay Cave, bass, and a superb performer of ballads. His alto saxophone, although guitarist Durval Ronnie King, drums-are quite sensitive feeling for the melodic, the romantic. Ferreira provides several good tunes. On to his ideas. Cave, in particular, con- and the dramatic is far stronger than one of these, Clouds, Adderley develois tributes a great deal to the pleasant tone that of most jazzmen of his generation. one of the most beautifully lyrical solos of this set. This set also includes a glimpse of an- he has ever recorded. While the pieces other side of Gillespie: in Dizzy's Blues. are generally in the bossa nova mode, Al Cajola and the Nile River Boys: besides getting off a brilliant virtuoso Adderley's solos -even on the slower "Cleopatra and All That Jazz." trumpet solo. he sings in a lusty. open selections -are improvised completely in United Artists 3299, $3.98 (LP): 6299, style that puts most full -time blues sing- jazz terms. He has rarely been so con- $4.98 (SD). ers in the shade. The tunes include / sistently effective. Ferreira's guitar backs Don't be misled by the "Cleopatra" Corer the Waterfront. This Is the Way. him particularly well and Mendes con- nonsense in the title. Only two of the Mv Man, 'S Wonderful, and Wrap Your tributes several gentle, inviting piano twelve selections are taken from the Troubles in Dreams. passages. These performances are out of score of the Elizabeth Taylor opus. The the usual bossa nova routine, and out of rest are sturdy standards (Temptation, Benny Colson: "Turning Point." Mer- Adderley's as well. Lover Man, Love for Sale, Mad About cury 20801. $3.98 (LP): 60801. $4.98 the Boy. etc.), played with grace and (SD). Count Basie and His Orchestra: "Li'l humor by a group containing an un- Precisely what turning point in Golson's usual front 01' Groovemaker . . Basie!" Verve line: trumpet or flugelhorn career is supposedly involved in these (Clark Terry), bass trombone (Tony 1 8549, $4.98 (LP); 6 -8549, $5.98 (SD). performances is not made clear. Pos- kt Quincy Jones, who likes to write for Studd). flute or alto or baritone saxo- sibly the title should he taken to indi- Basie's band and knows how to do it. phone (Phil Bodner), and Caiola's guitar. cate that the Jazztet. which Golson led composed and arranged all the pieces in The significant member is Terry. who is with Art Farmer. is definitely a thing of this set. And because this is a meeting a pure delight as he wanders in and out the past and he is now out on his own of highly compatible and talented minds. of Caiola's neatly constructed arrange- again. Whatever the intent. Golson, usu- there are some resoundingly good per- ments, contributing an occasional airy ally presented with as much emphasis on formances here: a pair of slow blues solo or creating complementary fills be- his compositions as on his tenor saxo- (on one of which Marshall Royal makes hind the guitar. This is a refreshingly phone, appears here primarily as saxo- a rare appearance on clarinet, playing unpretentious set that stays out of the phonist. He is accompanied by an ex- remarkably like Barney Bigard), several well -worn ruts of small -group jazz. It cellent rhythm section -Wynton Kelly. beautifully written and executed pas- even creates some sort of precedent with Paul Chambers, and Jimmy Cobb. He sages for Basie's lustrous saxophone a bright and swinging treatment of the has developed a clean. lean. strongly ensemble. a typically walloping up -tempo usually lugubrious Lover Alan. projected manner on fast pieces. much piece, and a brawling. swaggering treat- like that of Sonny Rollins in phrasing ment of Quincy's signature theme, here Dizzy Gillespie: "Dateline: Europe." and tone. On slow ballads he still leans identified as Belly Roll. Yet for all its Reprise 6072, $3.98 (LP); 9 -6072, primarily on Ben Webster. He is at his merits, the set gives rise to the feeling $4.98 (SD). best here on brisk. up -tempo selections. that one has heard all this before. Such Gillespie made the recordings on this Two of his own compositions are played; is an inevitable consequence of writing J set in Paris in 1952 and 1953, with three the rest are familiar standards. to formula: the best work is the most small groups of American and French familiar because it hits the bullseye most musicians. (Saxophonist Don Byas was Coleman Hawkins Quartet; "Today and squarely. This. it seems to me. underlines a member of two of the ensembles, but Now." Impulse 34, $4.98 (LP); S 34, the essential difference between the bands played only a secondary role.) The rec- $5.98 (SD). of Basie and Ellington. Ellington is the The talent of Coleman Hawkins, still creative focus of his hand and whither growing after forty years of playing. is he goes, it goes. Basie's material, on the astonishing in a field so draining to the other hand, is the work of outside ar- participants as jazz. When most of his rangers writing to the Basie stereotype, contemporaries (with the notable excep- and the very best that can be hoped for tion of Duke Ellington) have settled into -when the arranger happens to be Jones comfortably familiar routines. and when or Neal Hefti, for instance -is a well - others half his age who follow the same shaped repetition of something done be- nomadic career as unattached "singles" fore. Under the circumstances, a disc are content to play largely in self - such as this apparently represents about established clichés. Hawkins' freshness as much as one can expect from Basie. and vigor are absolutely amazing. This

NOVEMBER 1963 117

www.americanradiohistory.com is not to suggest that he is consistently young jazz trumpeter in the Forties, brilliant: unfortunately, he is often Howard McGhee virtually disappeared trapped in surroundings that dampen during the Fifties. Although he has been even his resources. But given a viable heard occasionally in the past few years, setting, he does respond with stimulating it was only last summer at the Newport performances. On this disc, the setting Festival that he staged an impressive could scarcely be better. He has a warmly return to the jazz world. He appeared responsive rhythm section in Tommy frequently as leader of the Festival house Flanagan. piano: Major Holley, bass; band, and made an extremely favorable and Eddie Locke. drums. The atmos- impression. This disc furthers that im- phere is extremely relaxed. and the ma- pression. Accompanied by two different terial is fresh enough to be pleasurable rhythm sections, McGhee plays with an even to so experienced a musician as open lyricism and rhythmic bite that Hawkins. There are three rich. warm should quickly reestablish him in the ballads. and three folkish songs, two top ranks of jazz. There are occasional done as rugged romps, and Put on Your reflections of both Dizzy Gillespie (some Old Grey Bonnet played in a provoca- characteristic runs) and Miles Davis (the tively slow and groovy mood. Hawkins closely muted passages), but these are is magnificent. The variety of the tech- incorporated into a whole and matured niques at his command when he devel- style of his own. His open horn work ops a driving, dancing. strutting rhythm, is lustrous, particularly in a haunting or conveys the lyricism and gentleness projection of Lonely Town-as lovely a of a slow ballad (never allowing it to performance as you're likely to hear. bog down) seems to reduce the efforts And he fuses the mute with subtle skill of other tenor saxophonists to the bor- and shading. Very effective backing is ders of futility. We hear on this record supplied by Phil Porter, an organist who a true master at his best. makes use of the best his instrument has to offer. Woody Herman and His Orchestra: "En- core. Philips 200092, $3.98 (LP); Charlie Mingus: "The Charles Mingus 600092. $4.98 (SD). Quintet Plus Max Roach," Fantasy The second record by Herman's brilliant 6009, $4.98 (LP). "Town Hall Con- new band is an excellent follow -up to the cert," United Artists 14024, $4.98 group's impressive debut disc. The value (LP); 15024. $5.98 (SD). "The Black of pianist Nat Pierce is emphasized by Saint and the Sinner Lady," Impulse the five arrangements he contributes to 35, $4.98 (LP); S 35, $5.98 (SD). the collection. They express the hand's These discs offer three revealing views characteristic feeling and at the same of the very evident but very erratic time cover a wide range of material. genius of Mingus. The Fantasy set was A solid and swinging piece in the Basie recorded in 1955 by the Café Bohemia manner gives Pierce a rare opportunity group -possibly the first setting in which to play a full -dress solo. In addition, his personal musical approach achieved there are two ballad settings for Her- full expression. The United Artists disc man's lovely Hodges- tinged alto saxo- is a transcription of a fiasco in which phone (Body and Soul and Days of Wine Mingus was involved with a large band and Roses): an interesting attempt to at Town Hall in New York in the fall adapt an old Dixieland favorite, Jazz of 1962. while the Impulse set shows Me Blues. to the virile Herman style; what he may have been trying to do at and an imaginative treatment of Water- Town Hall. The performances on the melon Alan. Tenor saxophonist Sal Nis - first of the three are relatively uncom- tico. a helpful contributor to the first plicated versions of the churning. singing disc. has some good moments. but over- ensemble and solo style that has become extends himself and wears thin through characteristic of his work, and they in- repeated appearances. But Phil Wilson. clude notable solos by pianist Mal Herman's sly new trombonist. is heard Waldron. There are. in addition. two to good advantage. and Herman's clari- pieces featuring Max Roach on drums - net sounds much more at home in this particularly effective not only because of band than in most of his postwar big his tremendous rhythmic impetus but groups. There are some letdowns -a (on Drums) for the manner in which he blatant. overfast treatment of a onetime becomes a valid part of the front -line Herman classic, Caldolan, and a long, ensemble. The Town Hall concert was dreary Nistico solo showcase -hut other- actually a recording session for which Now you can add famous Sony 4 track wise this is a fine representation of the Mingus had gathered thirty top musi- best big band playing today. cians (flying some in stereo tape playback to your present hi fi from California) but had neglected to get his material system. Handsomely styled in gold and Stan Kenton: "Artistry in Bossa Nova." prepared in time. Two copyists sat on- grey, with 3 heads, 2 speeds, vertical or Capitol 1931, $3.98 (LP); ST 1931, stage trying to supply needed music. But horizontal mounting, automatic shut -off, $4.98 (SD). the performances bogged down in false tape counter and pause control, the new Forgoing its long established policy of starts and repeats, and the evening fell blowing everybody out of the room. the into a shambles. In releasing some of the Sony 263 -D is a remarkable value. Kenton orchestra returns to a considera- music played that night, United Artists Less than $119.50 tion of the values of shading and dynam- has added an appropriate touch of conics in these bossa- nova -like treatments of fusion by completely mixing up the titles For stereo recording, add the new Sony tunes on which Kenton built his early on both the label and the liner. Although SRA -2L recording amplifier that instantly success -Artistry in Rhythm interlude. there are times when individual per- connects to the 263 -D. Its matching gold Eager Beaver. Opus in Pastels. There formers rise above the proceedings in and grey decor makes a handsome com- are also a few new selections in a Latin - magnificent style-Clark Terry, Quentin American vein. It is a very welcome re- Jackson, Charles McPherson, and Charlie panion for your 263 -D. All new from Sony! turn to listenable style. and the old Mariano. in particular -one might ques- Less than $99.50 pieces, in most cases, adapt very well tion the logic of releasing such an undi- All Sony Sterecorders are Multi /Ilex Ready! In to a bossa nova foundation. And the gested mishmash. It does. however. New York visit the Sony Salon, 585 Fifth Avenue arrangements are easily the best Kenton serve as a sort of documentation of the For literature or name of nearest dealer write has had in years. struggle that goes into the creation of a Superscope, Inc., Dept 1, Sun (alley, California. Mingus performance. The Impulse rec- Howard McGhee: "Nobody Knows You ord provides evidence of the power and When You're Down and Out." United validity of such a performance when it Artists 14028, $4.98 (LP); 15028, reaches finished form. It was made two $5.98 (SD). months after the Town Hall set -to. with The Tapeway to Stereo After establishing himself as a leading an eleven -piece group, and interestingly CIRCLE 82 ON READER -SERVICE CARD 118 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com enough. Impulse lists it not as jazz but 2 of the season's great Landmarks as "Ethnic Folk -Dance Music." What- ever it is. it is pure Mingus with his El- lington roots strongly in view. On the three tracks of Side I. Mingus' themes 41E1Wff. r,)) are developed through a mixture of full f#FOUFACY RANG( RFCORD/.G rasping. moaning. shouting sounds. ac- celerations, and strong. vibrant solos by Charlie Mariano (alto saxophone) and a liar studded pet /o nuinee Benjamin Britten Jerome Richardson (soprano and baritone saxophones). along with viciously Verdi brilliant growl trombone accents by Quentin Jackson. The best and most representative piece is Duet Solo Dancers, which opens with warm Ellingtonian lyricism (plus very Duke -ish piano by Jackie Byard and an incredibly rich, firm alto saxophone attack by Mariano) WAR and builds to a roaring peak of Min - gusian neuroticism. The second side is (cmlateittia a of themes used on long reworking Bergonzi, Side l: it goes over the same ground Joan Sutherland, Carlo ' tóö often to be effective. The original Robert Merrill and other soloists presentations, however. are provocative expositions of the creativity of one of -Chorus and Orchestra of the at work in REQUIEM the really unique minds jazz Musicale today. And who but Mingus would in- Maggio Fiorentino- clude liner commentary by a clinical John Pritchard. psychologist? Vishnevskaya, Peter Pears, Stereo: OSA 1366 (3 records) Mono: A 4366 Galina Dudley Moore: The Theme from `Be- Dietrich Fischer -Dieskau, The Bach yond the Fringe' and All That Jazz." Choir, The Highgate School Boys' Atlantic 1403, $4.98 (LP); S 1403, London Symphony $5.98 (SD). Choir, The Moore is the short. nasal -voiced pianist Orchestra and the Melos Ensemble - whose contributions to the satirical revue Benjamin Britten. Beyond the Fringe include the entrap- ment of the Colonel Bogey March in a pompous concerto version and a rowdy Stereo OSA 1255 (2 records) Mono: A 4255 impersonation of Dame Myra Hess. He is also, as he does not reveal in the revue, a very engaging jazz pianist who believes implicitly in the values of both melody and rhythm. who feels that a jazz solo should have structure. development. and direction. and who brings a strong sense of color and shading to his performances. Moore came into jazz WRITE FOR QUOTATION strongly influenced by Erroll Garner, and vestiges of that influence are still evident in the performances on this disc (which was recorded in England in the ON ANY HI-FI COMPONENTS summer of 1962 just before the four Fringe -ices came to the States). His play- Quick Shipment ing is amiable and lighthearted -and Factory Sealed Cartons full of enjoyment, presumably on the part of the performer and certainly for DISCOUNTS Franchised Distributor the listener.

Randy Weston: "Highlife." Colpix 456, $3.98 (LP); S 456. $5.98 (SD). SOUND REPRODUCTION, INC. The highlife, the popular African rhythm 34 New Street, Newark, N. J. (07102) that borders to some extent on the calypso and the samba. is the basis for (201) Mitchell 2 -6816 Randy Weston's interesting explorations CIRCLE 83 ON READER -SERVICE CARD of the use of African themes and methods placed in American jazz surround- Outperforms speakers costing and I ings. With stimulating solidly or- five times more ganized arrangements by Melba Liston. Weston and a medium -sized ensemble Three year warranty against (including Quentin Jackson on trombone manufacturing defects and Budd Johnson on soprano saxo- Complete satisfaction or your money back phone) have created a set of ruggedly vital performances that are melodically haunting. The ensembles in general have the KENT a heavy, lumbering quality that is quite all new... all wood 195 appropriate. This mood is easily carried by a strong percussion section, and 1964 model only brightened by solo glimpses of Weston's piano, Ray Copeland's sparkling trumpet Anglo American Acoustics 18F-1163 129 Maryland Ave., Freepo,rtLtd. New York (sounding remarkably like Clark Terry), Gentlemen: Enclosed is my check for $ Please and by the emphatic contributions of FEATURES ship me "Kent" natural wood cabinet speaker(s) at each. Jackson and Johnson. Yet for all its AND SPECIFICATIONS $19.95 I UNDERSTAND THAT THESE SPEAKER SYSTEMS ARE 24" wide, 10" high, high rhythmic strength, the high point of the 9" deep 8" compliance woofer; 3" hardened GUARANTEED AND IF I AM NOT COMPLETELY SATISFIED cone; tweeter coaxial wound I" voice cal; silicone treated edge allows I MAY RETURN FOR A FULL REFUND WITHIN TEN DAYS set is not one of the potent rhythmic for " cone displacement; Aromas Ill 1 -lb. 5 -oz. magnet; 10.000 gauss AFTER RECEIPT. flux density: 8 ohm impedance; zero external magnetic held; 40. 18.000 numbers, but an evocative funeral song cps; up to 30 watts power capacity; 1450 cubic inch volume; Fibreglass NAME beautifully developed by Weston from acoustic dampening; matched for stereo. Solid wood -not a composite. ADDRESS NOW to insure prompt delivery! This remarkable speaker is a relatively simple minor riff. probably the best investment you'll ever make in hifi equipment! Price CITY ZONE STATE JOHN S. WILSON -$19.95 F.O.B. factory. Shipping weight 18 pounds. L CIRCLE 11 ON READER -SERVICE CARD NOVEMBER 1963 119

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www.americanradiohistory.com The following reviews are of 4 -track the full choir with an orchestra strongly stein's Mussorgsky -Ravel Pictures en- 7.5 -ips stereo tapes in normal reel form. augmented by extra brass and percussion. joyed a certain réclame as a demonstra- The present recording. made under the tion record in the fall and winter of BRITTEN: War Requiem, Op. 66 composer's own direction, is well -nigh 1959. But although the full -blooded re- ideal, with English Decca /London en- cording still stands up pretty well (dated Galina Vishnevskaya, soprano; Peter gineers inspired to create the finest of only by some heaviness in the bass and Pears, tenor: Dietrich Fischer -Dieskau. their many technicological triumphs. As excessive solo instrument spotlighting), baritone: Highgate School Choir; Bach an example of the ultimate in stereo - the performance. and that of the coupled Choir: London Symphony Chorus: Melos genies this reel is unsurpassed; and a Rimsky showpiece, now seem cum- Ensemble: London Symphony Orchestra, special word of praise must go to the bersomely labored. Except for slight Benjamin Britten. cond. UST processors, who have also tri- preëchoes. the tape transfer is satisfac- LONDON LOH 90067 (twin-pack). 81 umphed in capturing the frequency and tory, but only Bernstein devotees are now min. $12.95. dynamic extremes here without noise, likely to prefer these versions to the preëcho, or spill -over. Ansermet /London Pictures and Kon- Apart from Stravinsky's Symphony of drashin /RCA Victor Capriccio. Psalms. I know of no contemporary work of this kind which stands a better chance CANTELOUBE: Chants d'Auvergne of achieving immortality. At the very (15), Vol. 2 PUCCINI: Manon Lescaut (high- least Britten's War Requiem strikes me lights) con- Netania Davrath, soprano; Orchestra, as a daring and grandly imaginative Manon Lescaut; ception in its fusion of medieval and Pierre de la Roche, cond. Renata Tebaldi (s). modern techniques, its balancing and VANGUARD VTC 1666. 38 min. $7.95. Mario del Monaco (t). Des Grieux: et contrasting of liturgical texts with the al.: Chorus and Orchestra of Accademia di Santa Cecilia (Rome), Francesco Mo- World War I poems of Wilfred Owen, It is quite impossible to convey in words and its exploration of multidimensional the uniquely spicy and poignant appeal Iinari- Pradelli, cond. structural designs. Britten might have of Canteloube's sophisticated yet evoca- LONDON LOL 90061. 51 min. $7.95. tive settings of Auvergne folk songs. and had stereo as well as cathedral presenta- Although London's is the only complete tions in mind. in his distribution of per- fortunately it is almost unnecessary to fact that make that futile attempt: one has only Manor: Lescaut in stereo, the formers and in his stylistic differentia- it dates hack to 1955 (when the mono tions of the passages assigned to each to play the ancient Madeleine Grey or might ex- the recent Netania Davrath recorded disc edition first appeared) group. Tenor and baritone soloists are plain why it has been passed over for heard with chamber orchestra (on the performances. If you already know the Yet since the pres- set of the latter (Vanguard taping in its entirety. right. in a fairly dry acoustical am- first tape ent excerpts sound absolutely first -rate bience) for the English poems: a boys' VTC 1636 of April 1962), you won't but luminous stereo- on my to add the in unexaggerated choir (in the far distance on the left) need any urging part ism. a more plausible reason might be sing in Latin to chamber organ accom- present sequel to your most cherished the relative lack of popularity of the paniment; soprano soloist, full choir. and reel collection. It is no less well per- music itself. If such is the case, this orchestra are spread panoramically across formed, recorded. and processed -and highlight reel may well provoke a de- the center. for the main sections of the has the added attraction of featuring mand for more. for it is one of the best in com- liturgical text and the grand dramatic mostly unfamiliar materials of its kind both in the glowing warmth climaxes. Even Berlioz never planned pleting the Canteloube Auvergne series, of the performances and in the adroit more ambitiously -or better reconciled originally published in five volumes, selection (in proper sequence) of the his apocalyptic demands with those of 1923 -55. Only one of these fifteen songs a couple of duets, was six outstanding arias. strict practicality. (the Pastorale "Bail?ro, lèro, Ièro ") and three finales. Tebaldi is at her ef- Obviously, the War Requiem is not included in Madeleine Grey's disc set; fulgent best. and so is Del Monaco. as an easy work to grasp. despite the im- most of the new ones are just as provoca- boldly robust as ever, but straightfor- mediate attractions of many of its pas- tively lilting. and several rank among wardly dramatic. And the tape proc- sages. I strongly recommend that in the most haunting of the entire series. essing is flawless. first hearings it be followed carefully with the excellent booklet (available on postcard request to tape purchasers) that MUSSORGSKY: Pictures at an Ex- RAVEL: Orchestral Works (complete) provides the full text and helpful de- hibition (orch. Ravel) scriptions of the forces involved at any tRimsky- Korsakov: Capriccio espa- Choeur René Duclos (in Daphnis et given moment. Yet even on preliminary gnol, Op. 34 Chloe): Orchestre de la Société des Con- acquaintance it is impossible not to be certs du Conservatoire de Paris, André deeply moved by many pages (perhaps New York Philharmonic, Leonard Bern- Cluytens. cond. especially those sung by the boys' choir. stein. cond. ANGEL ZS 36108/11. Four reels: Fischer -Dieskau. and Pears) and shaken COLUMBIA MQ 538. 49 min. $7.95. 43. 55. 45, 46 min. $7.98 each. by the heaven -storming climactic moments sung by Miss Vishnevskaya and The original stereo disc edition of Bern- My memories, dating from the late

NOVEMBER 1963 121

www.americanradiohistory.com GET THE TAPE DECK side -which suggests that there are no plans to release the other eight pieces OUR Continued front preceding page on tape. A pity, for -judging by these QUOTE samples -Entremont plays them with relish Twenties, of Ravel conducting his own and they are recorded much more ROCH works -impishly deft and fastidiously transparently than the Concerto. exact in gesture -are much more vivid Bernstein is also surprisingly deliber- visually than But ate in the Fourth Symphony, at least aurally. my musical up to the recollection is fresh enough to prompt whirlwind ending, but he plays the opinion that it with remarkable restraint and care as Cluytens' performances, well while they strike me as being less tautly as romantic fervor. This recording controlled than the composer's, seem dates back to 1959, as might be guessed nevertheless to come closer to Ravel's from its relatively distant miking and OITOM rather dense, reverberant sonic qualities. in transparency and elasticity than do STEREO HIGH FIDELITY those of most conductors today. And I still prefer the more glittering Monteux I'm certain /taping of February 1961- generally that these versions are the much most purely Gallic I've heard -in in- brisker and more incisive. But terpretative elegance as well as in the most Tchaikovskyans will probably vote inimitable timbres of the French or- for Bernstein's more passionate reading. chestral players. This is not to say, unfortunately, that these are necessarily the best all -round PuCESPLUS THESE RABSONS EXTRAS choices: stronger dramatic impacts and Established 1905 58 Years of Reliability more opulent sonorities are to be found Franchised Protection Plus But these versions Rabsons Special Two Year Guarantee elsewhere. many of MARIA CALLAS: "Maria Callas Easy Payment Plan Up to 24 Months to Fay will be of special interest to Ravel Sings French Each Component Double Packed to Insure specialists (perhaps particularly the Opera Arias" Safe Arrival ... At ro extra charge Rabsons Sells ONLY Factory Fresh Merchan- Bolero, exceptionally quiet, delicate, and Maria Callas, soprano: Orchestre Na- dise in Original Factory Sealed Cartons lyrical in its opening pages), and all of tional de la Radiodiffusion Française. SO WRITE RABSONS them will be a sheer aural delight to Georges Prêtre, Whatever your HI -FI requirements and rece ve cond. every sound connoisseur. The luminous ANGEL ZS 35882. 44 min. $7.98. A $1.00 genuine Miracle Rfc- and buoyant stereoism is ideally trans- ord Cleaning Cloth with ferred to tapes that are quiet -surfaced EVERY Ouotatton from Rab- and free of preëcho and spill -over. JOAN SUTHERLAND: "Command sons on a component or system of your choice. The four reels (available separately, Pert ornzance" FR but regrettably lacking detailed annota- tions) contain the Bolero, Rapsodie Joan Sutherland, soprano; London Sym- -57 ST. INC. J t espagnole, and La Valse (ZS 36108); phony Chorus and Orchestra, Richard RABSONS honynge. cond. 119 West 57th St., New York 19, N.Y the complete Daphnis et Chloe ballet (ZS 36109): the first tape edition of the LONDON LO.H 90063 (twin -pack). Area Code 212 Circle 7-0070 93 min. $12.95 Diogonally opposite Cornegle Holt Valses nobles et sentimentales and the CIRCLE 70 ON READER -SERVICE CARD first complete taping of Ma Mère l'Oye in its ballet form (ZS 36110); Pavane Of these two outstanding (yet very dif- pour tone infante defunte, Alborndo de! ferent) additions to the still sparse tape gracioso, and first tape editions of the repertory of vocal recitals, the first is Free early Menuet antique and the seldom the more exciting -partly because it is heard impressionistic transcription of Un the first reel appearance of Miss Callas. but principally because it contains sonie barque stir l'ocean (ZS 3611 I ). The cost valuable of the complete set may well frighten of the most convincing dramatic per- off all but the most admirers of formances one is likely to hear. The ardent familiar vocal Ravel. But while I can't conscientiously Callas limitations are very Handbook evident in her Side 2 coloratura and recommend everything here as first dramatic soprano roles (the Valse choice, I do most strongly advise that from "11 ways to really improve at least one or two of these reels be Gounod's Romeo et Juliette, Polonaise sampled for their provocative offerings from Thomas's Mignon, "Pleurez mes Hi -Fi yeux" from Massenet's Le Cid, and your listening" of the quintessence of uniquely French "Depuis music and musicianship. le four" from Charpentier's An authoritative study on Louise), yet even these are consistently the uses of earphones. gripping. It is on Side I. where Miss TCHAIKOVSKY: Concerto for Pi- Callas ventures for the first time into the mezzo For the first time a comprehensive ano and Orchestra, No. 1, in B flat repertory. that she is vocally compilation of data on one of the more secure and interpretatively simply newest and most efficient methods minor, Op. 23; Barcarolle, Op. sunerb. Included are the great arias of Hi -Fi listening issued by 37, No. 6: Chant sans paroles, in A "J'ai perdu neon Eurydice" and "Divini- NEW MODEL SCPEREX! minor, Op. 40, No. 6: Humoresque tees du Styx" from Gluck's Orphée et The only stereo/ in G, Op. 10, No. 2 Euridice and Alceste, the Habanera and phones containing Seguedille from Bizet's Carmen. "Prin- woofers, tweeters and Philippe Entremont, piano; New York temps qui commence" and "Amour, riens miniaturized crossover Philharmonic, Leonard Bernstein, cond. aider" from Saint- Saëns's Samson et Da- networks built in each (in the Concerto). lila. Prêtre matches the Callas artistry COLUMBIA MQ 553. 44 min. $7.95. with orchestral phone . . . full 20- accompaniments far more 20,000 cps range; 8-16 glowing and sensitive than one is likely ohms impedance. For to hear in live opera; the recording true stereo or mon- TCHAIKOVSKY: Symphony No. 4, boasts the purest and most airborne aural listening without in F minor, Op. 36 stereo qualities throughout: and the tape processing, while admitting a few slight muddling, interference New York Philharmonic, Leonard Bern- from room noises or preëchoes, is notable for its minimal stein, cond. surface noise. In short, this is one of conventional back- COLUMBIA MQ 545. 47 min. $7.95. ground sounds. St -M the most thrilling vocal reels available $29.95 today! Columbia might have achieved a notable Miss Sutherland's immensely long and twin -pack pairing by combining this diversified program has its 231733 wt. 3E: -stereo thrilling mo- a / phones rather deliberate. brusque. and heavy ments too, for she never has been in 1A Radford Place Yonkers, N.Y. (though impressively grandiloquent) per- better voice. But it will also have mo- Please send me "Your Free Handbook" formance of the familiar concerto with ments of near tedium for listeners who Name Entremont's more subtle and engaging have no special fondness for the colora- program of rarely heard solo piano tura favorites in the British and Italian Address City. State pieces. As it is, only three of the latter salon repertories. There are a lot of are used here to fill out the second reel these, too, by such worthies as Balfe,

122 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com SAVE MONEY ON THE TAPE DECK light classical favorites (dances by Al- béniz. Brahms, and Dvo`rák; the Chopin HI -FI COMPONENTS Continued from page 122 Etude in E; Handel Largo; Bach Air for the G String), mostly in luscious scorings TAPE RECORDERS Bishop. Flotow, Arditi. Tosti, Leonca- by Milder and the conductor vallo, himself. The other program represents TAPES, ACCESSORIES et al. But even the most trifling his first major invasion of them is redeemed by the soloist's own of Latin- Ameri- SLEEP LEARN KITS ciin territory (Perfida, Granada, Mala- evident relish, her sheer vocal appeal, gueda, La the deft accompaniments (including Polonia, Estrellita, not ex- MERITAPE a cluding a fancy Milner abridgment couple for which her husband leaves with accordion - Low cost, high quality recording the podium to play the piano), and the -of Chabrier's Espada). Here, although there is no real attempt tape, in boxes or cans. strong, clean, if sometimes slightly ex- at authenticity, cessively reverberant, recording. The more the skilled Mantovanian FREE CATALOG players produce, as usual, insidiously ambitious operatic excerpts tend to he sensuous uneven in and glowingly colored sounds. quality. The singer is at her 'The recording is 11717,17;,, 1 523 JERICHO TPKE. more expansively re- best in "Ocean, thou mighty monster" verberant and from Weber's Oberon, boldly ringing than the DRESSNER the seldom heard "Encores" disc, and as sonically ',1:111.117 NEW HYDE PARK 19, N.Y. "Tit del ',do Carlo" Verdi's impres- from / ,1las- sive as any in the technically outstanding nadieri, "Tu puniscimi, o Signore" from Mantovani series. the same composer's Luisa Miller, and CIRCLE 35 ON READER -SERVICE CARD the " Vorrei spiegarli" from Rossini's "Days of Wine and Roses." Andy C'ambiale di matrimonio. She is some- Wil- liams; Orchestra. Columbia CQ 555, what stilted in several others. Yet even 32 min., $7.95. when she sings most beautifully, Miss "I% ;liners!" Steve Lawrence; DIXIE Sutherland still chews both her Orchestra, English Marion Evans, cond. Columbia CQ and Italian texts. . If Miss Callas 536, 35 min., $7.95. might envy the clarity of the Australian After HIGH FIDELITY WHOLESALERS soprano's passing up for review several high tones, the latter has even pieasant but run -of-the -mill better cause to envy tapes by Wil- -and learn from liams, 1 am interested Largest discount High Fidelity component the Callas art - to discover that this of enunciation. one is surprisingly effective. The soloist, distributors in the South. Wholescale prices who sings well and with notable convic- on package or individual components. tion, is spiritedly accompanied by un- specified conductors in romantic yet Latest models in factory sealed cartons. never too sentimentalized versions of the title song, Falling in Love with Love, "Bossa Nova with Herbie Mann." Var- When You're Are prices too high ? -Write: Smiling, My Coloring ious Ensembles. Atlantic ALC 1921, Book, May Each Day, What Kind of 33 min., $7.95. Fool Am P, and other old and new Although the bossa nova vogue seems DIXIE HI -FI V torch song hits. never to have developed the full potential The versatile Lawrence ranges more 703 Horton Drive Silver Spring, Md. of its early promise, occasional late ex- widely in both stylings and materials, amples like the best performances in beautifully accompanied in conductor this program remind us again how en- Evans' often CIRCLE 34 ON READER -SERVICE exceptionally skillful ar- CARD chanting this genre can be. Mann is one rangements of Cotton Fields, Around the of the few North American jazzmen who World in Eighty Days, Moon River, etc. really understand the idiom. His jaunty Here, however, the even more full - fluting is deftly integrated with the blooded recording is handicapped -in my buoyant lyricism of the Rio de Janeiro copy, at least -by less satisfactory tape LAFAYETTE ensembles featuring guitarist-composer processing. Baden Powell (in the poetic Deve ser Amor and Consolaçäio) and pianist - "Ella Sings Broadway." Ella Fitzgerald; composer Antonio Carlos Jobim (in a Orchestra. Verve VSTC 291, 34 min., lovely Amor em Paz and a novel version $7.95. of the familiar One -Note Samba featur- "Follow the Boys." Connie Francis; ing Jobim's own English and scat vocals). Chorus and Orchestra, Leroy Holmes, Less successful are the rather chaotic cond. M -G -M STC 4123, 31 min., versions of !mina Fein and Bittes Walk $7.95. with the Sergio Mendes Jazz Group. And The two most active female singers on Mann's lively original Bossa Velha, with tape are represented this month with a seventeen -piece percussion group, is better than average programs (and tape more interesting sonically than musically. processings, too). Ella's selections repre- But the entire program. for that matter, is sent not ONLY 9950 only some of the finest show Mikes and Case a sonic delight in gleamingly pure stereo- tunes of recent years but those particu- OPTIONAL $5 Monthly ism and flawless tape processing. larly well suited to her distinctive treatment: 1 Could Have Danced All LAFAYETTE PROFESSIONAL "Brassy Piano." Joe "Fingers" Carr. pi- Night, Dites -moi, Guys and Dolls, What- ano. and His Men of Brass. Warner ever Lola Wants, Hernando's Hideaway, 4 -TRACK STEREO RECORD Brothers WSTC 1456. 27 min., $7.95. Warne All Over, etc.-all done to viva- A short tape, to be sure. but one burst- and PLAYBACK \ ciously swinging accompaniments and in TAPE DECK ing with joie de vivre. I praised the disc exceptionally ingenious arrangements. Complete with Built -in Transistorized version of this ragtime piano and brass Connie shout -sings more robustly and Record Playback Preamps choir program so highly last February sentimentally (and far less liltingly) Records Soundwith -Sound 2 Record. that I was apprehensive lest rehearing it through Waiting for Billy, Italian Lidla- ing Level Meters Records 4 -Track Stereo on tape might prove my first enthusiasm by, and other songs from her M -G -M & Mono Plays 4 & 2 Track Stereo, 4, 2 extravagant. It doesn't: indeed I relish film Follow the Boys; the second and Full Track Mono With Connecting everything here -the rollicking perform- side features a batch of miscellaneous Cables and 7" Take -up Reel ances, stereo antiphonies, and boldly torch songs topped by I Can't Reach LAFAYETTE Radio ELECTRONICS vivid recording -more than ever. This Your Heart and On a Little Street Iored Dept. WK -3, P.O. Box 10, reel is certainly a must for everyone who in Venice. Her big -band and choral ac- Syosset, L.I., N.Y. 11791 enjoys good rowdy musical fun. companiments are more conventionally Rush me FREE Giant 422 Page 1964 hard -driving and the recording is intense- Cat. 640 "Classical Encores" and "Latin Ren- ly sharp, but the soloist's personal G RK140 tape deck ; Enclosed. pro- Shipping Charges Collett dezvous." Mantovani and His Orches- jection is theatrically effective. tra. London LPM 70064 -65, 41 and Name 39 min., $6.95 each. "In Person." Peter Nero, piano, with Address Mantovani again dispenses tonal whipped Rhythm Section. RCA Victor FTP cream in this sequel to his famous "Con- 1204, 45 min., $7.95. L City Zone State___ - cert Encores" of some years ago: more For the first time, Nero abandons a large CIRCLE 56 ON READER -SERVICE CARD 124 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com back -up orchestra for rhythm support only (by Frank L. Sosten on bass and Joseph Cusatis on traps), shifts from PURCHASING TAPES RECORDS studio sessions to one before a vociferous live audience in New York's Webster A HI -FI Hall, and enlivens his performances with ALL AT COST informal and often quite amusing spoken SYSTEM? Virtually All Labels, All Artists PAYMENTS introductions and commentary. The ad- TRADE -INS OK -TIME Including Latest Releases some 2 years to pay ! vantages of all this are negated to Up to Lowest Prices Anywhere extent by the inclusion of far too much Jim Lansing' Alter Lansing audience applause and by a Dynagroove 100% GUARANTEED Electrovoice List recording so powerful and close that Send Us Jensen Ha llicraf ter For Complete Details, Price sonic ultrabrilliance is achieved only at Hartley' Gonset And Order Blanks, Write hardening of USL Citizen Band the cost of an unnatural Texas Crystals HOLIDAY ENTERPRISES warm piano tone. Yet List of Nero's normally Your Interrat'i Crystals P.O. Box 1601, DES MOINES 6, IOWA many of the performances here rank University the best the pianist has ever Acoustic Research among Janszen Viking NOVEMBER SPECIALS given us: besides the featured thirteen - Components Wharfedale Effective Until Dec. 15 minute showpiece divertissement on West Concert one Prices Plenty of Bell G E. Side Story tunes, his I've Got Weathers CONCERT -DISCS Button Up Your Overcoat. and For A Series Retail Sale Pr. Nuttin', HarmanKardon $4.98 $2.77 It's All Right with Me are notable both Eico Pilot Popular their clever Sherwood' Classical 5.98 3.23 for their sheer bravura and Tandberg' arrangements; and there are good con- Package ESL Frazier CONCERTAPES trasts in the more richly romantic Lore Super seo pe 3000 $6.95 $3.90 Dual Changer' Is a Many- splendored Thing and Nero's 4000 7.95 4.39 Bogen RCA 4.85 own Are My Dreams Real.?. Quotation Dynakit Fisher 5000 8.95 Leak' AIREX WON'T H. H. Scott ECI Roberts PAPERBACK "Latin Zither." Ruth Welcome, zither; BE UNDERSOLD De Wald National Orchestra, Earl Sheldon, cond. Cap- Sony Challenger egazioe CLASSICS All merchandise itol ZT 1863, 35 min., $7.98. Browning is brand new. Garrard Miss Welcome's previous attempt on Miracord Mono 36 Stereo 1.79 factory fresh & discs to extend the pops-zither repertory General Radio BRAND NEW, FACTORY SEALED was less suc- guaranteed. Rek -O -Kut into "Western" territory Polytronics POSTAGE PREPAID U.S.A. & A.P.O.s cessful than her present Latin -American Visit our N. Y. Showroom. Norelco Finco her first Free cabinet brochure. Fairchild For Complete List of All excursion -a fine choice for addressed envelope open record- Pickering Sonar Current Specials, send self- tape appearance. Ringingly Audio Tape ing captures every bright twang of the AIREX Magnecord' MELODY RECORDING TAPE solo instrument and its piquant accom- Rockford Cabinets 7" Spool, Splice -free 3 -11 12+ accordion, and KS( Speaker 1200 Acetate $1.19 $1.09 paniments by guitar, RADIO Systems Latin percussion. And the sheerly sonic CORPORATION Fuir Trudid 1800 Mylar 1.49 1.35 well matched by the Plus Postage -Satisfaction Guaranteed delights here are 85 -HF Cortland St., N. Y. 7, WO 4 -1820 catchy, expressive performances of La -O. etc., plus CIRCLE 33 ON READER -SERVICE CARD Andalucia, Amor, Maria CIRCLE 5 ON READER- SERVICE CARD six less familiar but charming tunes from Colombia.

"Vale of Dreams." Virgil Fox. organ. Capitol ZP 8557, 43 min., $7.98. If your taste runs to pipe -organ inflations of light classical mood music, you can to heart's delight here. throb -along your Through Our Special Membership Plan Fox sedulously coaxes the last full measure of yearning sentimentality out of his Citadel Membership - Proven by thousands of club members because immense ( I0,000 -pipe) Riverside Church satisfied ... Aeolian- Skinner instrument in well -nigh YOU DECIDE ON YOUR PURCHASES - Buy want . readings of Debussy's Clair as few or as many tapes as you "devotional" Virtually any Poème, the Meditation FREEDOM OF SELECTION - de pce, Fibich's label, by any artist is available. Rubinstein's Kammenoi Os- tape, on any from Thais, FREE! COMPLETE TAPE CATALOG - With tro%', Liszt's Liebestraum, and the like. membership you receive this current cata- Although the recording includes a good log of all 4 -track stereo tapes. deal of background wind noise, it is PROMPT SERVICE - Many orders are spaciously rich, and only aesthetic econo- shipped the day received ... rarely later mists are likely to be bothered by the than the next several days. are guar- discrepancy between means and purposes 100% GUARANTEE - All tapes anteed factory fresh and free of defects. a Bessemer furnace is used here -where (Special! All LP records also available under to toast marshmallows! your Citadel Tape membership.) Membership dues is $4.00 a year . . . a nominal amount "World's Great Love Songs." Mario when you consider that as a CITADEL MEMBER BUYING TAPES AT COST, YOUR DUES WILL BE del Monaco, tenor; Mantovani and Fill in coupon for a FREE. One Year Sub- FOR WITH VIRTUALLY THE FIRST PUR- His Orchestra. London LPM 70062, PAID scription to OLSON ELECTRONICS Fan. CHASE YOU MAKE THROUGH THE CLUB. Addi- tastic Bargain Packed Catalog Unheard 30 min.. $7.95. tional savings quickly mount up, permitting you of LOW, LOW. DISCOUNT PRICES- on Neither Del Monaco nor Mantovani fails buy many more tapes on your tape budget. Brand Name Speakers. Changers. Tubes. to Hi -Fi's. and not Tools. Stereo Amps, Tuners. CB, to milk the last drop of sentimentality Try membership for 30days.lf completely Thousands of other Electronic Bargains. from such popular Italian favorites as satisfied, your dues will be refunded immed- Credit plan available. .11usica Prohita, Parland d'ancure. Core iately. Complete the coupon below, include your $4.00 yearly dues and upon receipt we NAME 'ngrato, Cara mia, and Lolita 1 Buzzi- shall forward all membership material to you. Peccia's, not Hollywood's!). In the Eng- ADDRESS however, the singer is ex- lish selections, CITADEL TAPE CLUB CITY ZONLSTATF tremely self -conscious in his awkward division Citadel Record Club HT-1 I in electronics Prince Serenade, 545 Fifth Ave., New York 17, New York If you have a friend interested enunciations (Student send his name and address for a FREE sub- and he is often Tonight, Be My Love); Name scription also. vocally tighter than usual. The recording though rather Street is appropriately luscious, ELECTRONICS, INC. strangely lacking in the reverberance nor - City Zone State OLSON mally characteristic of discs emanating Forge Street, Akron, Ohio 44308 from sessions held in London's Kingsway 1001 Hall. CIRCLE 28 ON READER- SERVICE CARD CIRCLE 68 ON READER -SERVICE CARD NOVEMBER 1963

www.americanradiohistory.com ANIPLIFIER POWER SAVEOVERAn% HNFl Continued from page 57

USE OUR EASY- PAY-PLAN Up to 24 months to pay the doubt "). the continuous power rating DON'T BUY HI -FI- COMPONENTS is made with the amplifier's own Tape Recorders or Electronic Equipment until power you get return mail quotation from "your supply and thus more closely represents friend In the business." actual conditions of use. The music power To HIGH FIDELITY, mem- Trade -Ins - Highest Allowance -Send us your rating adds little to an understanding bership in the list. of Audit Bureau of 15 day money -back guarantee. power capability, and in the case of Circulations means the highest Full 2 -year warranty -parts & labor. poorly designed amplifiers can actually form of business practice. We are factory franchised all lines. We ship from stock. be somewhat deceptive. [Amplifier test 18th year of dependable & reliable service reports published in HIGH FIDELITY use It means HIGH FIDELITY throughout the world. the does We guarantee "We Will Not Be Undersold." continuous power rating method.' not expect anyone to ac- Call us at (212) EN 9-3700 from any part of A third kind of power rating -the cept unverified claims of circu- U.S.A. You may deduct 3- minute toll charge if your order is in excess of $100.00. "peak power" rating -is even less use- lation but is more than pleased ful. Peak power is the amount to submit to the rigid annual BEST BUY HI -Fl LIST FREE. Send 1Oc for stereo of power tape catalog -All labels save 331/2%. the amplifier is delivering at the instant audit of ABC. when each wave reaches its crest. It is ELECTRONIC WORLD HI -FI RECORDING TAPE very much larger than the usable power In fact, we're downright giddy 7' Spools Splice Free Freq. Resp 30 15KC delivered on a long -term basis. over about the whole thing ... since many waves taken together. Thus "peak each minutely detailed ABC re- 3-11 12 '- power" tells us precious little about the port continues year after year 60M 31 á" 600' Mylar $1 09 $ .99 to reiterate HIGH FIDELITY's I2A 7" 1200' Acetate 1 09 .99 true capability of an amplifier. What's 18M 7" 1800' Mylar 1 89 1.79 more. peak power values can be derived circulation gains- nearly 5,000 24M 7" 2400' Mylar 2.59 2.39 24MT 7" 2400' Mylar -Ten. 289 2.79 in so many ways that one never is really more paid circulation than a sure year ago. Any assortment permitted for 12} price. Add just what is being described. For 15c per reel postage 8. handling, continental this reason, a stereo amplifier billed as a U.S.A. Write for complete listing d 100+ For HIGH FIDELITY read- price "I28- watt" unit may. on analysis, be discovered to be an amplifier capable of de- ers, that quantity of paid sub- livering 25 watts per channel. scribers is substantial proof of HIGH FIDELITY's superiority HI-FIDELITY If we are looking for a "30- watt" amplifier, then, that 30 watts ought to be in quality of editorial content CENTER "continuous" or "sine- wave" power at . because people just don't "The Heise Of Low Low Prices" well less than 1% harmonic distortion lay out money for a magazine that does 1797 -A First Ave., New York 28, N. Y. over most of the audio spectrum (say not fill their needs. An from 30 cps to 15.000 cps) and with ABC' statement is a barometer CIRCLE 49 ON READER -SERVICE CARD excellent overload stability. of editorial excellence. Let the A final consideration is that a stereo quality of content slip, down SAXITONE RECORDING TAPE goes Saxitone Tape MoneSack Guarantee: "Shale" oil' system has two amplifiers pouring power readership, and ... well. to t111 mute oil. I ' ',weak." Compare with other "bar- he honest. ABC is not known for gain" tap..., 'r a relltahle c'.m1anY. Is the into the room. How does this fact affect I.II'a' reeisilei Pioncer. Saxitone oiler qual- its ity'original tapes at lowest preces. our calculations? If stereo records were soft voice ... the miserable _- \Ill \It. n" (In mailable Memel .39 truth will quickly become a ells' e IIlastici. : Mel. .75 made in such a way that each channel mat- 11111, \l11.1\It 5 Snell reel .85 ter printed iii i0, \I11.. \11 !Polyester,. 5 Ile-h.. .89 always produced as much sound as the of public knowledge. 1211(1' 5111.: 511, tu mil. 5 Inch reel._. 1.18 I211e' MI'I.: \It, len..ilised. 5 Inch 1.59 other channel. the total loudness would I nie(1' 7 ine 1. 1 15 arrlale Ipinsll.I. And for advertisers . I_"II' \I \I. \II. I1 j tail. e.1r.n1UI 1.29 simply be split between the two channels an lvini' . eelale (l'la -II,'. 7 in.h .. 1.39 ABC statement puts solid value r-ie. MI 511 I mil. Shirk. 7 hell 1.559 and we could split our power require- '_ ti111' NISI SR. nnlen-ilie.eel. 7 In.'h 2.59 behind every advertising -i I1111' \Ill.:\It. Ion- Rixe.l. 7 Inch 2.89 ment between the two amplifiers this dollar glover Users r:,,'.e ',nisi -in case. we by letting the advertisers know -SAVE 300/O PLUS would need 15 watts in each. POSTAGE in advance 4Irack stereo music on tape But in stereo reproduction the music can precisely how many STOCK) I (COMPLETE shift from one side the people his message will reach, NORELCO SPEAKERS to other, or be Famine, .\1138110 \1. twin .',.ne R. split between them and where they are. ABC fur- 77.1r,.III to ',Assai mlearahle in any way appro- Ir.t .95, 22 ' I,.I' :1.1111. priate the music. ther protects the advertiser's in- Liasse.¡».- ,:e. OTHER N..relvl to the instrumental lIule1- nt BIG DISCOUNTS. vestment with its rigid rulings as ,erihrinl..II- entre ... releo placement, the hall. etc. As a result the hue sana ,. 'cyan -t. major weight of a program may to just how these subscribers can SAXITONE TAPE SALES be obtained. Padding circulation 1 well concentrate on one side or the other die. (. unimmtuu Lie e tr unie a. err. with 1776 Columbia Rd., N.W., Wash 9, D.C. from time to time. Everything consid- wild offers and fancy pre- miums is strictly tabu . . . no CIRCLE 31 ON READER -SERVICE CARD ered. the most desirable setup would be to have each channel. by itself, produce mink coats. no acre on the moon the full loudness we want -in our ex- and no 4 -year subscription for ample. this would be 30 watts per chan- 34e. The amount paid by a sub- nel to produce 100 -db sound intensities. scriber must be sufficient to If economic considerations are very indicate that his interest lies in TO EXPEDITE delivery of strong, we might shave this a bit. letting the publication itself ... not in the "deal" or premium. your new or renewal subscrip- each channel he rated at. say. about half that value, or 15 watts per channel -re- In short. HIGH FIDELITY tion, when ordering please add membering of course that 15 watts is is thoroughly delighted with only 3 db less than 30 watts from the every aspect your ZIP CODE NUMBER standpoint of acoustic energy. On the of ABC control. after your state. Your letter other hand. if one can afford the no- holds- barred approach. the need for a carrier will give you this num- 30 -watt amplifier can be translated to ber if you do not know it one for a higher -power amplifier -again remembering that the higher wattage high fidelity already. gets you a few decibels closer to that ultimate 110 -db sound peak. of which Great Barrington. Mass. some perfectionists will settle for nothing less than.

HIGH FIDELITY MAGAZINE

www.americanradiohistory.com A LEGEND RE- EMERGENT Continued from page 68 Newest itr but obviously processed entirely in Eu- 1956 French "Gravures Illustres" series). ROCKFORD rope. By contemporary sonic standards, the The history of Schnabel's recordings Concerto recordings are inferior to the Acoustical Cabinetry of the Beethoven Concertos is consider- Sonatas, largely because the reproduction ably more extensive than that of the of orchestral sound, even as late as 1947, Sonatas: between 1932 and 1935 he was less well achieved than that of recorded all five Concertos, with Mal- the solo piano. This is especially true of colm Sargent conducting the London the First Concerto, which is further Philharmonic and London Symphony; hampered by Sargent's rather slack in 1942 he remade the Fourth and handling of the orchestra; the Philhar- Fifth, with the Chicago Symphony Or- monia sound of 1946-47 is appreciably chestra under Frederick Stock's direc- better, and both Dobrowen and Galliera tion; and in 1946-47 he embarked on are superior to Sargent. (The best con- what was to have been a re- recording ducting to be heard on the Schnabel rec- NEWT of all five Concertos with the Philhar- ords of the Beethoven Concertos is that Contemporary Console monia Orchestra conducted by Issay of Stock in 1942.) Angel's processing of Only 571/2" wide. Dobrowen and Alceo Galliera. The lat- these records has a brighter sound than Houses complete system, including ter project was halted by illness and his the European records I have heard: the tape deck, changer or turntable, death in 1951: he had completed the heavy bass, so characteristic of HMV amplifier, tuner and speakers. Second. Fourth. and Fifth Concertos; recording at the time, is reduced, and Record storage for over 100 12" LP's. the Third was being withheld for cor- the treble filtering to eliminate surface Speaker compartments are vented rection of a minor mistake in the finale; noise on the original discs has been less port type with 1" acoustical fibre glass recording of the First had not begun. drastically applied. lining. Each compartment houses up These concerto recordings, all original- Schnabel was especially fond of his to 12" speaker. ly made at 78 rpm, have been reissued first series of Concerto records, and FREE Illustrated brochure describing here and abroad on several occasions; felt that the resonance of the Chicago re- equipment cabinets, speaker en- closures in a wide variety of styles only the Fourth Concerto from the Chi- cording blurred some of the orchestral and finishes. Write to .. , cago session has never appeared on LP. detail. His preference in this respect In 1955, RCA Victor reissued all five was reflected by his widow's approval of FURNITURECRAFTED BY Concertos together with the Eroica Var- the RCA Victor reissue set which con- iations, in the 1932 -35 performances fined itself to the London versions of RCKFORDO with Sargent. Between 1956 and 1959, 1932 -35. There are a number of details I SPECIAL FURNITURE CO. the 1946 -47 versions of Concertos Nos. in which Schnabel's performance changed 2024 TWENTY -THIRD AVE ROCKFORD, ILL 2 -5 were issued in France, Germany, over the years: the later recordings are and England, together with the 1932 a bit faster in tempo and more expres- Dealer Inquiries Invited version of the First Concerto. Both the sively phrased at times. However-ex- CIRCLE 73 ON READER-SERVICE CARD 1946 version of the Fourth Concerto and cept possibly for the incomparable read - the Chicago recording of the Fifth were \I -sing of the Fourth Concerto in Chicago - at one time included in RCA Victor's the new Angel set represents the best SEND NOW LCT -LVT series. over -all account of Schnabel's playing FOR 41.- The recent Angel set of all five Con- of the Beethoven Concertos, and it is certos combines the four London re- a performance that, in detail and in cordings of 1946 -47 with the 1932 ver- totality, is a most impressive one. Lion of the First Concerto. Although It remains to note that these two this series may have been made from Angel releases of the Concertos and FREE the same dubbing to tape as the Euro- Sonatas do not by any means exhaust pean editions noted above, the processing Schnabel's Beethoven recordings. With from tape to LP disc differs in the new the exception of the Eroica Variations, set (this notwithstanding Angel's use of the other solo piano pieces have yet to the serial numbers carried by the be reissued on LP. PAGE HIGH FIDELITY NEWSFRONTS CA raiGG Continued from page 43

justed. Note to the budget -minded: the and décor, as well as descriptions of new new behemoth will not be available as products are found in the new edition a kit, although the video tape recorder of the lavish Fisher Handbook, mailed itself (the Model VR -1500, which can re- free on request from Fisher Radio Corp., cord ninety minutes of video on a single 2I -21 Forty- Fourth Drive, Long Island 8 -inch reel of tape, and play it back City 1, N Y An exhaustive tape seconds later through any TV set) may timing chart, which lists playing times be sold separately for a mere $12,000 for every conceivable footage, in one -, or so. two -, and tour- track, and in playing speeds from 15/16 inches per second up Don't miss the 100's Literature, All Free. Allied's 1964 cata- to 15 ips is available from Saxitone Tape of amazing SSS savings f7 ' on Complete Systems, logue (the consumer volume) is desig- Sales, 1776 Columbia Road, N.W., components and kits- nated as No. 230 and is available free on Washington, D C Another giant found ONLY at B-A! request from Allied Radio Corp., 100 N. general catalogue is Lafayette's 1964 / BURSTEIN-APPLEBEE CO. Western Ave., Chicago, Ill. 60680. . . . edition. No. 640, available on request Dt. HF, 1012 McGee St., Kansas City , M. A new line of Jerrold -TACO "Paralog" from Lafayette Radio Electronics, P.O. Rush me FREE 1964 11-A Catalog. antennas for FM and TV is described in Box 600. Syosset, L.I., N.Y.... A new Catalogue DS- CS- 518.1, issued by Jerrold offering from Scott is its Guide to Cus- Name Electronics Corp., 15th and Lehigh Ave., tom Stereo. For a copy, write to H. H. Address Philadelphia 32, . Hints on buy- Scott, Inc., 111 Powder Mill Rd., May- Pa... City State ing components, advice on installations nard, Mass. CIRCLE 24 ON READER -SERVICE CARD NOVEMBER 1963 127

www.americanradiohistory.com Why? ADVERTISING INDEX Key No Page No. Key No. Page No. DO THOUSANDS OF HI -FI ENTHUSIASTS BUY FROM 2 ... Acoustech, Inc. 98 98 .... Historical Records 108 3 . . Acoustic Research, Inc. 25, 27 33 .... Holiday Enterprises 125 AUDIO UNLIMITED 4 . Acoustical Manufacturing Co., Ltd. 31 50 .... Inter-Mark Corp. 36 5 .. Airex Radio Corp. 125 ! Its Obvious 6 . Allied Radio 29, 30 51 .... Jensen Mfg. 91 LOWEST PRICES 7 Altec Lansing Corp. 23, 100 8 American Concertone, FAST SERVICE Kersting Inc. 4 53... Mfg. Co. 108 FACTORY SEALED UNITS 55 .... KLH Research & 9 . Ampex Corp. ....28, 40, 41 FULLY INSURED SHIPMENTS 10 ... Angel Records 106 Development Corp. 39

UP TO 2 YEAR 11 . Anglo American 56 . Lafayette Radio MANUFACTURERS' WARRANTY Acoustics Ltd . 119 12 .. Antronics, Inc. 112 Electronics 124 TIME PAYMENT PLAN 42 Leak 88 13 . Ascot House 36 ... only 10% down 14 Audio Devices, Inc. 47 20 .. Lear Siegler, Inc. 89 Lesa of America up to 36 months to pay 15 Audio Dynamics Corp. 76 58.... Corp. 107 16 .. Audio London Records 109, 119 FRANCHISED DISTRIBUTORS Fidelity, Inc. 116 17.. Audio Originals 26 60 ... Lyrichord Discs, Inc. ... 104 Write for FREE Catalog Today 18.. Audio Unlimited, Inc. 128 Audit Bureau of 62 Marantz 69 SEND US YOUR LIST .... Circulations 126 63. . McIntosh Laboratory, FOR OUR AIR MAIL Inc. 97 65 Minnesota QUOTE TODAY 1 Benjamin Electronics .... 21 .... Mining & 19 Mfg. Co. 50 Visit Showroom Benjamin Electronics ... 37 Our and Warehouse 20 Bogen Communications 68 Olson Electronics im:. Division 89 ... 125 ®AUDIU 21 . Bozak, R. T., Mfg. Co. .. 85 40.... Ortofon 38 715-F Second Ave., (Nr. 38), New York 16, N.Y. 22 .... British Industries Corp. .. 52 3 blocks from the U. N. 24 ... Burstein -Applebee Co. .. 127 69.... Pickering & Co., Inc. .... 2 CIRCLE 18 ON READER- SERVICE CARD 25 .. Cambridge Records 106 70 .. Rabsons-57 St., Inc. ....122 Carnegie Hall 99 71... RCA Tape 120

WIULE 26 . Carston Studios 128 74 Regina Record 108 27 ... Citadel Record Club 115 96... Rek -O -Kut 19 LEARN SLEEP 28 .. Citadel Tape Club 125 72 . Roberts Electronics, Inc. 24

Headquarters 52. . Clark, David, Co., Inc. . 107 73... Rockford Special EXPERIMENT in this fasci- 29 ... Columbia Records 80, 81 Furniture Co. 127 nating. educational new field. Use your phono- 30 .. Command Records 86, 87 graph. recorder or amazing new Electronic Edu- cator endless tape recorder. We carry a full 31 .... Commissioned Electronics 126 75. Sarkes Tarzian, Inc. 94 repeating line of endless tape cartridges for all 32 .. . Contemporary Affairs 31 . . Saxitone Tape Sales 126 makes of standard tape recorders plus automat - is timers, pillow speakers Society 104 76 Schober 20 and complete outfits. Also 77 Scott, H. H., Inc- 14 -17 over 400 strange, un- 78 Shakespeare Recording usual educational. self - 34 .. Dixie Hi -Fi 124 help courses on tape and Society 5 . Dressner tia= record for sleep -learning 35 124 Ñ and hypnosis experiment- 36.. Dynaco, Inc. 48 79 ... Sherwood ers Includes Personality Improvement, Self -Con- Electronics . Cover IV fidence, & Memory courses. languages. sales. 61 .. Dynaco, Inc. 90 speech. Sex. Yoga. Hynotism. business. health 80. . Shure Bros., Inc. 70 improvement courses. etc. Write for free 500 81. .Sleep- Learning Research items cat aloe and full details. 37. Eastman Kodak Co. ..44, 45 Association Association 128 Sleep- Learning Research . . 38 Eico Electronic 82....Sony Corp. P.O. Box 24 -F, Olympia, Washington Instrument Co., Inc. 93 10 CIRCLE 81 ON READER -SERVICE CARD 83 .... Sound Reproduction, Inc. 119 39 . Electro- Voice, Inc. . Cover III Stereo 1964 40 .. Elpa Marketing Edition 22 Superex 122 Industries, Inc. 38 85 . Superscope FAST SHIPMENTS 41 .. Empire Scientific Corp. 42 118, 123

42 . Ercona 88 86.... Tandberg of America, COMPONENTS KITS Inc. 43 .. Finney Company, The .. 18 105 44 ... Fisher Radio 87....20th Century -Fox Records iii RECORDERS TAPES Corp. 1, 35, Cover II 23... Folkways Records 107 89 ... University Loudspeakers, Inc. 95 BEST -BY- COMPARISON PRICES 90 .... Utah Electronics Corp 103 FACTORY SEALED CARTONS 22 .... Garrard 52 45 .... Grado Laboratories, SEND FOR 'QUOTES" ON PACKAGE 91 .. Vanguard Records 114 DEALS AND SAVE MORE Inc. 8 Viking 46 .... Greentree Electronics 34 93 of Minneapolis, WRITE FOR MONTHLY SPECIALS Inc. 12 VISIT OUR STORE CA R S TO S1idÍts 47 .... Harman -Kardon, Inc. 32, 33 97 .. Westminster Records .... 109 125-F East 88 St., New York 28, N Y. 48 .... Heath Co... 6, 7, 9, 11, 49, 51 94.... Winegard 102 49 .... Hi- Fidelity Center 126 Wyeth Press 13, 96 CIRCLE 26 ON READER -SERVICE CARD 128 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com .,......

Just 21/2" larger all around than a "compact" ...yet it measures up to the design philosophy of the mighty Patrician!

The difference between full -sized sound and cone l2' speaker for bass and mid - compact compromise is measured in just a bass, we have added the outstanding few cubic inches ... inside the new Marquis performance of the E -V 5' cone mid- 300! This modest extra volume has allowed range speaker plus the brilliance of the re- E -V engineers to extend useful bass response nowned Super-Sonax VHF tweeter. These smoothly -up to an octave more than many popular and proved components have been popular "bookshelf" speaker systems! housed in an enclosure whose tuned acous- SPE]FICATIONS But the has more tical phase inverter permits highly efficient Size: 29- T12"H, irw. 15 -1 /8"D Marquis than bass ... it Weight: 57 Jbs. .shipping has balance! Balance that results from three performance within remarkably modest di- Corrclonenls: SP12B, TCS, T35 -type spealersr Combined 800 and 3600 r ps, precision component speakers exactly mensions. 1/2 section crossover; 2-AT.i7 Limes matched to each other and to the magni- F,eq -ency Response: 4019.900 cps The net result is a speaker system as attrac- Power HeMlina Capacity: a0 watts program I ficent Marquis enclosure. Impedance: 16 ohms tive to the eye as it is impressive to the ear. Finis?: Mahogany or Oiled 'Walnut Don't look for revolutionary or radical de- We invite you to yo:lr Pice: $195 00, net form own opinion of Marquis 63 enc osure only. le .s ccenponents, 570.00, ne' signs in the Marquis 300. For this system the Marquis 300 at your E -V high fidelity is the evolutionary product of over 11 years showroom soon. We're betting that you'll of specialized electro- acoustical research. be glad to make room -just 21/2' more all Starting with the famous E -V Radax dual- around -for the new Maiquis 300!

ELECTRO -VOICE, INC., Consumer Products Division, Dept. 1134H, Buchanan, Michigan Flecw3Olk CIRCLE 39 ON READER -SERVICE CARD 'SETTING NEW S- ANDARDS IN SOUND www.americanradiohistory.com Why did Sherwood ero -inn the problem of tuning accuracy?

5111 88 yv 92 94 96 98 100 102 104 106

WR OF

MONO _ill STEREO

S -3000 Y FM Stereo Multiplex Tuner with professional zero -centered tuning It takes wider bands to broadcast the multiple information for stereo FM multiplex, and the most precise

"dead -on- center" tuning to receive it .. , with maximum stereo separation and minimum distortion.

This is why in the new S -3000 5Z Tuner, Sherwood engineers incorporated a professional zero- centered tuning meter. Superior to tuning eyes, better than peak meters, it uses the same D'Arsonval meter needed to design, align and test FM tuner circuits. When the meter reads "zero "... you're right on. No guesswork. No maybe's.

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Added value features of the S -3000 Y Stereo Indicator Light: identifies stereo broadcasts. Superb sensitivity: 1.8µv (IHF) for -30db. noise and c=' ig`Sï° (t: äifïërétte"cäsi, öpf;öñá at 31)1 distortion. No background noise: pace- setting 2.4db. capture effect. FM Interchannel Hush: suppresses between -station noises. Flywheel tuning: smooth as silk. 20% longer dial scales: professional accuracy. HIGH FIDELITY Tuners Price: $165.00. (Leatherette case optional at $7.50.) Stereo Receivers \Amplifiers Stereo Indicator Lights Speaker Systems Contemporary Cabinetry

For complete information write Dept. H-11, Sherwood Electronic La orles, Inc., 4300 North California Ave., Chicago 18, III.

CIRCLE 79 ON READER -SERVICE CARD