High Fidelity Magazine July 1959

1 high60 CENTS THE MAGAZINE FOR MUSIC LISTENERS clJULY °

The Sightless Vision of Helmut Walcha IN THIS ISSUE by Fritz A. K2cttner

Opera Stars Off Duty

How American Composers Pay Their Rent by Nathan Broder

www.americanradiohistory.com the 9 seconds i

THE 9 SECONDS THAT ADD HOURS TO YOUR LISTENING PLEASURE

9 seconds - that's all it takes to put the Glaser -Steers GS-'77 Every GS -77 feature contributes towards your listening through one complete change- cycle. 9 seconds - and see what pleasure - inaudible wow, rumble and flutter; uniform stylus happens in that brief space of time. pressure from first to top record on a stack; resonance -free with minimum A record completes its play .. , the turntable pauses ... the arm tracking error; four leads to cartridge next record drops, gently - more gently than if you were for hum -free performance. handling it yourself ... the tone arm lowers into the lead -in The GS -77 combines traditional turntable quality with mod- groove. Only then does the turntable resume its motion. ern record changer convenience. See it at your dealer, today. Thus, the original brilliance of your records is preserved In just 9 seconds, you'll gain a fresh, new point -of -view on through hundreds of additional playings by eliminating the record changers. $59.50 less base and cartridge. Write to: grinding occurs when dropped on a action that records are GLASER- STEERS CORPORATION, 155 Oraton St., Newark 4, N. J. moving disc -a common drawback in conventional changers. In Can.d.: Alm. T. Clark Ltd . Toronto. Ont F,I,nct: If Slmonr & Son. Inc, N. Y. C-

GLASER- STEERS GS-77/SUPERB FOR STEREO...BETTER THAN EVER FOR MONOPHONIC RECORDS

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DF-1 2 -WAY Hl -Fl LOUDSPEAKER SYSTEM

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Here is Jensen's latest "bookshelf" size speak- in choice of Walnut. Tawny Ash or Mahogany er, an economically priced full two -way system finished on four sides for horizontal or vertical featuring wide frequency range and excep- placement. Genuine matching hardwood front tional, clean bass response down to 36 cycles frame with sculptured, curved lines and choice duc to the new FLEXAIR* woofer in tube - fabric grille cloth provide a graceful, distin- vented BASS- SUPERFLEX* enclosure. New guished appearance. Use a single DE -1 as an direct radiator tweeter with crossover at 2.000 excellent monophonic system or low cost cycles carries the response smoothly out to stereo add -on, or a pair for your stereo sys- 14,000 cycles. Enclosure is fine furniture tem. Speaker system also available in kit form. crafted of rigid )/" selected veneer plywood Wrire for Brochure KK TM I Ivr,reled .r in ST.071 Ae,rory hoer hate lordr reDoorely)

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JULY 1959 1

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FLUXVALVE AND TGUARD ARE TRADEMARKS USED TO DENOTE THE QUALITY OF PICKERING & COMPANY INVENTIONS. ?371 A

Truly the finest stereo pickup ever made... And ...because of this the STANTON the STANTON Stereo FLUXVALVE is Stereo FLUXVALVE reproduces music hermetically sealed in lifetime polystyrene with with magnificent sound quality...from both all of the precision that has made Pickering stereophonic and monophonic records...with a quality leader in the field of high fidelity negligible wear on record and stylus. for more than a dozen years. In plain truth...the STANTON For instance...only the Stereo FLUXVALVE is by far the finest stereo STANTON Stereo FLUXVALVE has the pickup made... backed by a Lifetime Warranty'', "T- GUARD" stylus assembly -so safe and easy assuring you a lifetime of uninterrupted, to handle...so obedient and responsive trouble -free performance -with a quality of to every musical nuance in the stereo groove. reproduction no other pickup can equal.

FLUXVALVE Only the STANTON Stereo has We suggest you visit your Pickering Dealer soon the parallel reproducing element contained in the -drop in and ask for a personal demonstration. "TGUARD "...assuring the proper angle of NEWLY REVISED -"IT TAKES TWO TO STEREO" -ADDRESS DEPT. A79 FOR YOUR FREE COPY. correspondence between recording and playback styli for maximum Vertical Tracking Accuracy. /of Mart whoetn Atar /AtW/eienet - ...... a.,...... w.... 'Excluding was and trar of the diamond stylus tip and part. of IM ..bled moving system In IN ..T.GUAPO" assembly. PICKERING 6 COMPANY, INC.. PIminvlew, N. Y.

2 lIicrl FIDELITY MAGAZINE

www.americanradiohistory.com high fidelity JULY 1959 It rliu AUDIOCRAFT aril HI -FI MUSIC AT HOME . ,r!ume 9 Humber i

The Sightless Vision of Helmut Walcha 34 Fritz A. Kuttner Roland Gelait Ediror 1 rilgrin:ogc lu Iris orgdnisr's Miriam D. Manning tisane TCVC7l,+ 111.177 as snnrr shirr¿ r f n m1CJif. Managing Editor Joan Griffith. Associate Editor How American Composers Pay Their Rent 37 Nathan Broder Philip C. Geraci Manager. They do. if on a modrsr errnrlurrr urr Audioerolr Section and by sonurinh., nnewer-ted rnrturs. Roy Lindstrom Art Director Opera Stars Off Duty 40 Fronces A. Newbury Manager, Book Division mu t'/ndr c1,.c. singer:: go on

holiday and hure dtrir riCIUTC+ 1 nke17 . !:i/imrial tintas/ John M. Conty The Splendid Infamies of Le Docteur Véron 42 S. J. london, M.D. Chinn in the Paris n% Linn; Platine. E. Power Biggs tutti ';Iseo! Naierl a jjbnukrrrprr.r for Me Opéra. Nathan Broder R. D. Darrell Music on Ice 45 Ralph Glaspol Alfred Frankenstein If purr go of/'ro AWil pins, sort Howard Hanson eerrs eyeer hr bear high /;deli y there-loo. Julian Hirsch Robert Charles Marsh Francis Robinson REPORTS Joseph Szigeli

Books in Review 24 R. D. Darrell Charle. Fowler Publisher Warren a. Sye Music Makers 47 Roland Gelait Assoeare Publish et Claire N. Eddings Advertising Saler Manager Records in Review 49 Andrew J. Laide Marketing and Tape Deck 79 Merchandising Manager Joseph W. Pace Circulation F ultillment Manager \ " l

A D V E R T I S I N G From the High -Fidelity Newsfronts 85 Main Office d u ord ,rhour arrt Claire N. Eddings, The Publishing Haute Great Barringlon, Mou. Telephone 1 300 Designed for Listening 86 New York Plcrorial rirsfrr do it mor.,tlfrrs 1564 Broadway, New York 36 Telephone: Pham 72800 Bert Covit, Sy Reynie', HF Equipment Reports 88 Chicago Electra -Voice Regal IA and Ill Speaker Systems - 188 W. Randolph St., Chicago I Harmon- Kordon Trio Stares' Amplifier - Telephone: Central 6-9818 Becker FM -AM Auto Radio- Electra -Voice Sleroon IA Andy Sponberger Speaker System -Sony Sterecorder -EICO HF -65 Los Angolas Preamplifier -Quad Electrostatic Loudspeaker- Gonsel FM 1520 No-th Gower, Hollywood 28 Mobile Converter -FSL Gyro /Jewel Cartridge and Telephone: Hollywood 9.6239 Gyrol Balance Tone Arm -Dynaco Storeodyne Cartridge George Kelley Audionews 96

AUTHORitatively Speaking 4 Letters 10 Notes from Abroad 18 As the Editors See It 33

Professionol Directory 109 Trader's Marketplace 111 Advertising Index 112

Published monthly by Audiocons, Inc.. Gres': Barrington, Mass. Copyright © 1959 by Audlocom, Inc. The design and contents of High Fidelity Magazine ore fully aroteeted bycoavrlghts and must not oe rearoduced in any manner. Second clans postage ooid at Grow Barrington and of additional aailha8 offices. Subscription tato in the U. S. 36.00 oar vaor.

www.americanradiohistory.com LAFAYETTE AUTHORitatively Speaking tozetet / STEREO TUNER KIT FLEXIBLE TUNER EVER DESIGNED 044 THE MOST Fritz A. Kuttncr is an cconcmnist, sociolo- Multiples Output for Nye Stereo FM gist, ethnologist, orientalist, and musi- 11 Tuber (including 4 duel- purpom) + Tuning Eye + Selenium ren10er Pro- cologist. He's also something of an mar) Tube Performer. vide 17 engineer. Result: he's a member of nu- Pre -aligned If's 108C Whistle Filter merous learned societies, contributor to Tuned Cascade FM 11 Tuned Circuits a Dual Cathode Follower Output various learned journals, and director Separately Tuned FM and AM Seoiens of \Iusurgia Records, a company he Armnrong Circuit with FM/AU and founded ill 1955 to make recordings AFC Defeat based on studies in areheo- and ethno- Duol Double -Tuned Transformer Coupled Limiter. musicology. Of Mr. Knttner's contribu- We 11o13e More than a year of research, planning and engineering wont into the moking of tions to HIGH FII3ELITV, feel that IN unique flexibility permits the reception of binaural Vee IL a 81 I- the Lafayette Stereo Tuner, has been more completely a labor of love a broadcasting (simultaneous transmission on both FM and AAA), the independent Stereophonie operation of both the FM and AIA sections at the some lime, and the ordinary than his present account (p. 34 ) of a visit FM AM Inner reception of either FM or AM. The AM and FM sections ore separately tuned, flywheel tuning and with the organist Helmut \\'aloha. Uee a Daal- each with a separate 3 -gang tuning condenser, separate lt a volume control for balancing when used for binaural programs. I toner separate proper M FM -AM Simplified accamte knife-edge tuning is provided by magic eye which operates Contributing editor to this publication (as floe II ou a lralght Independently on FM and AM. Aulomalic frequency control "locks in FM signal permanently. Aside from its unique flexibility, thus is above oil else, o quality well as associate editor of the Musical M 1 FM or AM features found exclusively In the highest priced tuner hIehfidellty tuner Incorporating Quarterly, among other activities), Na- tuners, Broder regularly reviews each FM specifications Include groundedarld triode low noise Iront end with triode than mixer, double -tuned duel limiter, with FoJarSeefey discriminator, less than I month recordings of Bach, Mozart, el al. harmonic distortion, frequency response 20. 20,000 cps ± I. db. full 200 kc bandwidth and sensitivity of 2 m sole far 30 db quieting with full limiting at In this issue he ;II.o ranges a considerable one microvolt. AM ¡pacificationcinclude'c 3 sla0es of AVC, 10 kc whistle filter, distance from the baroque. When we built-in ferrite loop antenna,, lass than 1% harmonic distortion, sensitivity of 5 microvolts, 8 kc bandwidth end flegponcy response 20.5000 cps 4- 3 db. heard that Mr. Broder was investigating The 5 controls of the KT -300 ore FM Volume, AM Volume, FM Tuning, AM Tuning the situation of the American composer. and 5- position Function Selector Switch. Tastefully styled with gold-bows escutcheon hovIng dark maroon background plus matching maroon knobs wllh gold we asked hint to share some of his find- Two Inserts. Tha Lafayette Stereo Tuner was dedgned with the builder in mind. ings with us. They appear, as "How KT- 500 separate printed circuit boards make construction and wiring simple, avers for IN KIT such a mplex unit. Complete kit includes all ports and metal cover, a slepby- American Composers Pay Their Rent,- FORM step instruction manual, schemolic end pi

UNIQUE STEREO 8 MONAURAL CONTROL FEATURES medical director and .'ice president of a AMAZING NEW BRIDGE CIRCUITRY FOR VARIABLE pharmaceutical company.) Eventually be plans a 1d CHANNEL OUTPUT B CROSS- CHANNEL FEED to bring out book on medicine PRECISE "NULL" BALANCING SYSTEM and music. In the meantime, he writes the nxlSic features and record reviews A REVOLUTIONARY DEVELOPMENT IN STEREO HIGH FI- for M1), The Medical Newsmagazine DELITY. Provides such unusual features a o Bridge Control, - for variable cross- channel signal teed for elimination of "ping. and this month, for us, a memoir (p. 42) Dona" (exaggerated separation) affects and for 3d channel of the impresario who, in 1831, saved the output volume control for 3- speaker stereo systems; 3d channel output also serves for mixing stereo to produce excellent mon- Paris Opxarl from financial debacle. aural recordings. Also has full input mixing of monaural program sources, speciol "null" stereo balancing and calibrating system When "Music on ice" came into our ONLY. 7.95 DOWN (better Than meters), 21 equalization positions, all.concentric we 8.00 MONTHLY controls, rumble and scratch filters, loudness switch. Clutch type hands, immediately thought what volume controls for balancing or os 1 Master Volume Control. pleasure it would be, in a sweltering July. Has channel reverse, electronic phasing, input level controls. to envision a nice, wasteland. Sensitivity 1.78 millivolts for I vole out. Dual low. impedance frozen That outputs (plate fellows.), 1300 ohms. Response 10.25,000 cps delight await.,': sec p. 45. The RESPONSE 10- 25,000 CPS 0.5 DB athor, - ± 0.5 db. Less thon .03% IM distortion. Uses 7 new 7025 low, a 6 CONCENTRIC FRONT PANEL CONTROLS noise dual triodes. Size Id" VW 10% ". Shpg. wt -, 16 lbs. Ralph Glasgal, did two -year stint in proluSely illustrated 4 CONCENTRIC REAR PANEL INPUT Complete wilt printed circuit board, cage, RCA's video tale- recording lab, then instructions, all necessary ports. LEVEL CONTROLS joined the. American International Geo- LAFAYETTE KT -600 - Stereo Preamplifier kit .. Net 79.50 180° ELECTRONIC PHASE REVERSAL LAFAYETTE LA- 600 -Stereo Preamplifier, Wired Net 134.50 physical Year expedition to the Antarctic as all auroral physicist ( which means he NEW! A. LAFA1'ETTESTEREO /MONAURAL BASIC:POWER a AMPLIFIER KIT collected data on the southern counter- CIRCUIT BOARDS FOR part of the Northern It sounds 11-WATTS EACH CHANNEL NEAT, SIMPLIFIED WIRING Lights). FOR OPTIONAL USE AS 36 -WATT RESPONSE BETTER THAN 35. 30,000 exotic, but the hi -fi was not unlike home MONAURAL AMPLIFIER (PS + 1/, DB AT 18 WATTS EMPLOYS I NEW PREMIUMTYPE LESS THAN 1 / HARMONIC OR 7169 OUTPUT TUBES I NTERMODULATION DISTORTION A r perbl ",performing banc rterto amplifier, in easy -to -build kit loin, t High Fidelity. Judy, 1059; Vol. 9, You lots of money and fol you gel Into stereo now or minimumm espensal Dual No. 7. Published n thly h- :\ndiexvun, the may be inpuls ore provided, each with individual volume control, and unit line.. Great Barrington, Slet..... n subsidiary used with e stereo preamplifier, for 2.18 watt stereo channels or, of the Hick of of Slur Billboard Publishing Co., publish-- o witch, a o 36 m ,al amplifier or. if dasfad, it may be uud as fine -won - ers of The Billboard. 'Vend, Funsput und 2 ',acacia sea ,ol 18.w molisard CONTROLS include 2 input volume controls, channel nReverse swisst, LAB -RA), Monaural -Sterna switch. DUAL OUTPUT The Billboard International. Telephone. IMPEDANCES ere A, 8, 16 and 32 ohms leermining petrified Imonaural) opera Great Barrington 1300, Ms other ,wilt Han of 2 speaker systems of op to 16 ohms. INPUT SENSITIVITY is OAS vents par Iisonarat of Circulation. channel for lull output. TUBES ore 2.CANO. 4.7189; GZ -3e rectifier. SIZE 9.3/16 "d ONLY 4.75 DOWN - (10.9/16" milk controls) e SI / "h x lit / "w. Supplied complete with perforated Editorial Correspondence shrndd be ad- 5.00 MONTHLY metal coge, all n ce ary parrs and detailed inSlructians. Shpg. wt., 22 lbs. drecacd to The Editor, Great Barrington, KT-310 Stereo Power Amplifier Kr Nat 47.50 dass. Editorial cwnlributinns will be wel- LA -310- Stereo Power Amplifier, Wiled Net 69.50 comed. Payment for articles accepted will he arranged prior to puhlicn . Unsolicit- P. O. BOX 511 ed manuscripts should be ace:nupaniad by / II c Apatio Dept. WG -9 return postage. JAMAICA 31, N. Y. Subscriptions, change of address notices, ( Send FREE LAFAYETTE Catalog 500 undeliverable copies, orders for subscrip- CUT OUT tions should he addressed to High Fidelity I;maxite, 2160 Patterson Street, I Name Cin- AND cinnati 22, Ohio. PASTE ON I Subscription rates: United States and Address POSTCARD Canada, 1 year, $6; a_ years, Si I; 3 years, $15. Single copies 60 cvnls. City Zone.... State

1-Iloti FIDELITY MAGAZINE

www.americanradiohistory.com THE COLUMBIA CD RECORD CLUB now enables ANYyou to acquire a STEREO RECORD SIX LIBRARY at a saving of 40% FOR ONLY STE REO RECORDS SgRETAIL VALUEs UP TO 535.09

if you join the Club now - and agree to purchase as few as 5 selections from the more than 100 to be made available during the coming 12 months

1 JOHNNY MATHIS DORIS DAY GRAND CANYON 4' WGE DRUM MARCHE SLAV Ella Fitzgerald 1 ,Rl, M SINGS SYIIL / WARM CAPRICCIO ITALIEN AUT koU RODGERS `l"j ' TNAT 1 ORIGINAL. R ^dr, NIGHT ON AND BROADWAY N HART ee. Ä, tir,íEROFSOU BALO MOUNTAIN CAST .1f.f.Ií HOORAY FOR M1IROPOUIOs HOLLYWOOD OM TORS fNILNiANINfC / PRILAINSMA ORCN- mon RODGERS L HAMMERSTEIN !1 1. Night and Day, 2. A beloved IS. Broadway's 8. What'll I Do, 7. Three brilliant SO. Where or When, plus 11 more hits American classic newest smash hit i Warm, 10 more hi-fi Showpieces Manhattan, 10 more THE FABULOUS BELOVED MV FAIR LADY NORMAN LUBOFF CHORUSES BENNYIN BRUSSELS CHOIRgeiov JOHNNY ,A IN STEREO CASH sArtov LAMP IS LOW , STRANGE t1 MUSIC MOPMON TACfRNACIE MV REVERIE BRLT TLC TOR 01610 TOWN I` M SILT, MLL MA CHOIR 9 more FIRS so OTHERS PHILADELPHIA ORCH. If you now own a stereophonic 19. No Other Love, 49. That's All Over, 40. "Hallelujah 6. Newly recorded 12. Let's Dance, 5, 16 favorites ", phonograph, or plan to purchase - Dur Love, 10 more One More Ride, etc. "Finlandia ", etc. for stereo sound Jubilee,: 7 more Sweet Violets, etc. one in the near future - here is BEETHOVEN: a unique opportunity to obtain GREG: LISTENING IN p,IR coma Tchaikoysky PASTORALE SYMPHONY SIX brand -new stereo records... RACRMANINOFT: DEPTH up a BRUNO WALTER to $35.88 retail value - RIReBRa rill /11PATHETIPUE ALL SIX for only $5.98! RamtelPatrra MINA MAW OIM. l'EK7SYMPHONY. We make this unusual offer to PHILIPPE ENTIEMONT,rIwr Milropoulos, AN INTROOtxTIüN demonstrate the money -saving ad- j Th tEnaNNI Now York 'IULOWRSIA vantages you H:rSiPIEOdKSL'UND will regularly enjoy amn ua Philharmonic as a member of the Columbia EewedmaRr 4 37. Lovely "musical 10. Be My Love, 24. 16 classical Record Club. 25. Two very Pop - 27. Granada, La 30. A "must" for portrait of nature" Where or When, etc and pop selections piano Paloma, 11 more any record library Read below how the Club op. uar works BERLIOL: erates ... then mail the coupon, NAPALM JACKSON MENDELSSOHN: .'AIF'l10`LE FANIASIIQUE without money, to receive the AT THE 1958 ITAUAN STMIMONT NEWPORT IOU FESTIVAL six stereo records of your choice HAYDN: - all six for only $5.98. LONDON SYMPHONY Bernstein eTPV?1 Stereo records Mw mOE rMRNMNORC I ALONG NEW YOLK PHILHARMONIC NOTE: must be played tgEONs er merOLI 05. WId ILIUM M ...gaol only on a stereo phonograph 9. Always, Please, 11. Berlioz' most 22. Organist Cote 3. Didn't It Rain, 29. High -spirited, 20. Come to Me, Speak Low, 9 more popular work plays 11 hit tunes God Is Real, etc. gay symphonies Long Ago, 10 more

F1LINßTON PINES OF ROME KOSTELANETZ A STRAUSS: DOH ILIAg BRAHMS: Re_MWe Mao N ;e. INDIGOS FOUNTAINS OF ROME CUM L -e 1RANSFIGOAATION '-'." SYMPHONY NO. titR TCHAIKOVOKV TILL EULENSPIEGEL SivuelvSAY (.`X 1 MBAR SUITE FRANKIr , f KRAI00V SILT ROAM AND JULIET I LAINE t(0NARO BERNSTEIN NEW TORN PHIINAAMONIC HIS GREATEST HITS S7ElldllYEIAND ORCH.

28. Brahms' most 31. Solitude, Au- 18. Two electrify- 42. Body and Soul, 33. 11 beautiful, 41. Strauss' love- 45. Tico -Tico, 16. Two colorful, beloved symphony tumn Leaves, etc. ing tone poems I Got It Bad, 10 more immortal melodies liest tone poems Brazil, 10 others exciting scores RO UMANIAN RHAPSODIES I A 2 HOW THE CLUB OPERATES: SEND NO MONEY - Mail coupon to receive 6 records for 35.98 HUNGARIAN RHAPSODIES I a 2 enroll in either one of the Club's two stereo * You COLUMBIA QP RECORD CLUB, Dept. 224 -1 CIRCLE 6 Divisions: Classical or Popular whichever one best - Stereophonic Section NUMBERS: suits your musical taste Terre Haute, Indiana 1 22 Each month the Club's staff of music experts selects at the right the numbers * T accept your offer and have circled 24 outstanding recordings that deserve a place in your of She six records I wish to receive for $5.96, plus small mail- 2 RILLefLMAL Deal. SISaR, of the Club: new stereo record library. These selections are ing charge. Enroll nee In the following Dlvislon 3 25 21. Four dashing, (check one boa only) described in the Club's entertaining Music Magazine, 5 27 fiery rhaosodles which you receive free each month Stereo Classical Stereo Popular from the more than 100 to 6 28 STRAVINSKY You may accept the selection for your Division ... 1 agree to purchase Ove selections RITE OF SPRING * be offered during the coning 12 months. at regular ILSE price 7 29 take any of the other records offered in both Divi- plus smell tnniling chcege. For every two additional selections sions or take NO record in any particular month I accept, I am to receive 12" Columbia or Epic stereo 8 30 Vt1P;2 ... Boosts record of my choice FREE. * Your only obligation as a member is to purchase five 9 31 selections from the more than 100 Columbia and Epic 33 fT Nome 10 to in the coming 12 months and records be offered ... (Please Print) 11 36 iw YMa RINAWM,t you may discontinue membership any time thereafter UOIIMa tR7BItla1 Adere,, 12 37 * After purchasing only five records you receive a 36. The ballet that 40 Columbia or Epic stereo Bonus record of your choice Store 15 "rocked the world" City ZONE.... free for every two additional selections you buy ALASKA and HA WAIT: write for Special membership plait 16 41 Toronto 2D The records you want are mailed and billed at the CANADA: addren 11 -13 Soho Street, 18 42 COLUMBIA * If you wkh to have this membership credited to an estab- regular list price of $4.98 (Classical Selections, lished Columbia or Epic record dealer, authorized to accept 19 45 Lp subscriptions, fill in below: $5.98), plus a small mailing charge 20 49 RECORD Here, indeed, is the mnst convenient method ever de- * Dealer's Neme 21 50 CLUB vised to build a superb stereo library, at great sav- Terre Houle, Ind. ings - so mail the coupon today! Dealer', Address 708 Fes afareas Reg, O ColumblS Records Sales Corp.. 1 050 e Columbth,' a. "Eplcf Q

JULY 1959 5

www.americanradiohistory.com A recording challenge! Ithe magnetic tape engineered to help you meet it best is

The low, round, billowing notes of the tuba flawless fidelity; 2) controlled uni- as a band swings out on "El Capitan. "Try formity for perfect response on every to capture them on tape without the inch of every reel; plus 3) dry silicone rhythm going muddy! At the same time lubrication to reduce recorder head hear. catch the shrill staccato of the piccolo! "SCOTCH" BRAND Magnetic Tapes are It's a challenge to your recording skill, products of 3M Research, the only your equipment and most of all to the pioneer of magnetic tape in all its appli- tape you use. It takes tapes that are cations: audio, video and instrumenta- engineered for professional require- tion. So whatever your recording chal- ments- "SCOTCH "BRAND Magnetic Tapes lenge, look to "SCOTCH" BRAND Magnetic available on acetate or polyester back- Tapes for the engineered fidelity that ings. These tapes protect you from can help you capture the "living" sound. dropouts and response variations. They And remember -stereo music sounds "SCOTCH" BRAND Magnetic Tape have: 1) precision oxide dispersion for best on tape! -the memory of tomorrow

"SCOTCH" and the Plaid Design are Regis tered Trademarks of 3M Co.. St. Paulo. MINNESOTA MINING AND MANUFACTURING COMPANY Minn. 99 Park Ave.. New York.Canada:London, Ontario. Co. Upon: ®19593M WHERE RESEARCH IS THE KEY TO TOMORROW

6 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com THIS IS THE YEAR OF THE NEW HARMAN -KARDON STEREO FESTIVAL

. tradableadable in three finishes: copper, bras and chrome satin

the new STEREO FESTIVAL, model TA230

Once again Harman -Kardon has made the creative leap which distinguishes engineering leadership. The new Stereo Festival represents the successful crystallization of all stereo know-how in a single superb instrument. Picture a complete stereophonic electronic center: dual preamplifiers with input facility and control for every stereo function including the awaited FM multiplex service. Separate sensitive AM and FM tuners for simulcast reception. A great new thirty watt power amplifier (60 watts peak). This is the new Stereo Festival. The many fine new Stereo Festival features include: new H -K Friction -Clutch tone controls to adjust bass and treble separately for each channel. Once used to correct system imbalance, they may be operated as conventionally ganged controls. Silicon power supply provides excellent regulation for improved transient response and stable tuner performance. D.C. heated preamplifier filaments insure freedom from hum. Speaker phasing switch corrects for improperly recorded program material. Four new 7408 output tubes deliver distortion -free power from two highly conservative power amplifier circuits. Additional Features: Separate electronic tuning bars for AM and FM; new swivel high Q ferrite loopstick for increased AM sensitivity; Automatic Frequency Control, Contour Selector, Rumble Filter, Scratch Filter, Mode Switch, Record -Tape Equalization Switch, two high gain magnetic inputs for each channel and dramatic new copper escutcheon. Ideal for limited space (only 1513'i6' wide, 61" high, 12M" deep- excluding enclosure) the TA230 is simplicity itself to operate. Five minutes with its exceptionally complete instruction booklet, and you will use the Festival to its full performance potential. The Stereo Festival, Model TA230, price is $259.95. Copper and black metal enclosure (Model AC30) price is $12.95. Handsome hardwood - walnut or fruit wood - enclosure, (Models WW30 and FW30) price is 529.95. For free attractive brochure on the complete H -K line, write to Harman -Kardon, Inc., Dept.HK7, Westbury, New York. (Prices slightly higher in the West) harman kardon fl-LV 1959 7

www.americanradiohistory.com the sign of gerb ound

TUNERS AMPLIFIERS PREAMPLIFIERS SPEAKERS SPEAKER SYSTEMS SPEAKER COMPONENTS ENCLOSURES

For the name of your nearest ALTEC dealer write to:

ALTEC LANSING HIGHì FiìíëLIn CORPORATION, Dept. 7H A Subsidiary of Ling Electronics, Inc. 1515 S. Manchester Avenue, Anaheim, Calif. 12.60 161 Sixth Avenue, New York 13, N.Y. s IIIGIt FIDELITY MAC,\'LI\E

www.americanradiohistory.com Win your next Rolls-Royce...

The superb $13,995.00 automobile illustrated will be awarded to the reader of this message who listens to a Shure high Fidelity Stereo Dynetic phonograph cartridge demonstration and best describes its singular sound recreation qualities (in 25 words or less). No purchase is required. If, however, you are the winner and have purchased a Shure cartridge (our thinly disguised motive for sponsoring this competition) you may accept your automobile at the Rolls -Royce factory. Travelling expenses for yourself and a friend to the British Isles and return will be defrayed by Shure Brothers, Inc.. 222 Hartrey Avenue, Evanston, Ill. Should you win (we don't expect an overabundance of entries, so your chances are rather good) you'll probably never have to buy another automobile as long as you live.

Details and contest blanks available only at high fidelity dealers' show rooms and salons. Contest ends August 31st, 1959.

SHURE high fidelity Stereo Dynetic phonograph cartridges .. Unanimous choice of the critics. Model M3D. $45.00 net Model M7D, $24.00 net.

JULY 1959 9

www.americanradiohistory.com 4..4iI14üpp,rAllüllu uietiinnnl "Picture on the Wallt' TELEVISION YOURS

WITH NEW Correction Stn: Credit is given to Paul W. Klipsch in your article "Adding the Third Chan- gP00d in nel" [April] for "plugging the hole the middle" xrith the 2 PH 3 circuit. da Vinci The circuit is referred to in the article as A -B. However, I would like to establish the fact that \lr. Klipsch introduced the 2 PH 3 circuit both A+B and A -B in his paper read at the AES meeting in New York in Sep- tember 1957, in the preprint of the ar- You've dreamed of "picture on the wall television ". It's yours now with ticle, and in the paper as published in the JAES in April 1958. the new Fleetwood da Vinci .. the set designed for custom installation in addition, in your publication ... designed to be framed, as a picture, in a frame just right for your Au »locnArr you published an article decor. Fleetwood's new slim design lets a bookcase give a perfect "built_ by Mr. Klipsch in October 1957, in in" appearance without actually building in. which he presented the A+B circuit; and three months later, in the January Revolutionary new 21 -inch* Fleetwood picture tube has non -glare 1958 issue of AuDCOCnnvT, a supple- safety glass laminated to tube face. Picture is brighter, viewing angle is mentary diagram was published show- wider, reflections are virtually eliminated. Wide band pass and excellent ing the A -B circuit. Donald Davis with no manufacturing gives circuitry ... shortcuts ... picture detail Vice President, Sales that allows you to see an individual eyelash on a pretty girl. Klipsch and Associates Hope.. Ark. The Fleetwood da Vinci is available in two models. Model 900 -a two chassis system that features the lazy luxury of full electronic remote control, and Model 910 -with self contained controls. On Multiplex, Act Now

'Diagonal measure. Stn: Well, I got tired of inaction and waiting for the FCC make up its mind THE JCEEL TOOCC nil to Vui.c. about the multiplex question. I bought BUILT -IN BEAUTY a Madison Fielding multiplex adapter and put myself into the position where THAT BELONGS l could: (1) do my own evaluating; (2) enjoy the extra reception benefits See it at your of stereo broadcasting; (3) send en- hi couraging notes to Station \VBAI in fi New York; and (4) send factual let- dealer .. . ters to the FCC. you'll After two weeks of experience I am want it in overjoyed with the results and can say without reservation that anyone your home. in receiving range of \\'BAI who has an FM tuner is not doing justice to himself or to a worthy cause if he doesn't get one of the available multiplex adapters right now. Then, after he has sampled the fruits of his rela- Write for name of dealer nearest you. tively small investment he should flood \VBAI and the FCC with letters. The former deserves. and should expect. TELEVISION all the help and encouragement it can JL2EEli,JOOcLCUSTOM get. The latter needs to be convinced Crafted by Conruc, Inc. Dept. A Glendora, California Continued on page 12

10 I'IICH FIDELITY MAGAZINE

www.americanradiohistory.com NEW STEREOPHONIC EQUIPMENT HF65: Stereo Dual Preamplifier Is a complete stereo con. trol system in "low silhouette" design adaptable to any type of Installation. Selects, preamplifles, controls any stereo source -tape, discs, broadcasts. Superb variable crossover, feedback tone controls driven by feedback amplifier pairs in each channel. Distortion borcers on unmeesurable even at high output levels. Separate le- level input in each channel for mag. phono, tape head, mike. Separate hi -level inputs for AM & FM tuners & FM Multiplex. One each auxiliary A & C input in each channel. Independent level. bass & treble controls In each channel the may be operated together with built-in clutch. Switched. in loudness compensator. Function Selector permits hear- STEREO ing each stereo channel individually and reversing them; also use of unit for stereo or monophonic play. Full-wave AND rectifier tube power supply. 5a2AX7 /ECC83, 1.6X4. Works experts with any high -quality stereo power amplifier sJch as EICO HF86. or any 2 high -quality mono power amplifiers M ONAURAL such as EICO HF14, HF22, HF30, 11F35, HE50. HF60. "Extreme flexibility ... a bargain" - HI -FI REVIEW. Kit $39.95. Wired $64.95. Includes cover. say... Hiller Stereo Dual Power Amplifier for use with 11F85 above or any good self -powered stereo preamp. Identical Williamson -type push -pull EL84 power amplifier!, con - serval vely rated at 14W, may be operated In parallel to deliver 26W for non -stereo use. Either input can be made in HI-FI common for both amplifiers by Service Selector switch. Voltage amplifier & split load phase inverter circuitry feature EICO- developed 12DW7 audio tube for significantly better performance. Kit $43.95. Wired $74.95. HFel: Stereo Dual Amplifier- Preamplifier selects, ampli- the best buys are fies & controls any stereo source - tape. discs. broadcasts-& feeds It Ihru setfconlained dual 14W amplifiers to a pair of speakers. Monophonically: 28 watts for your speakers: complete stereo preamp. Ganged level controls. separate focus (balance) control. independent fu1.range bass & treble controls for each channel. Identical William. son -type, push -pull EL84 power amplifiers, excellent out- World- EICOL7® put transformers. "Service Selector" switch permits one famous preamp -control section to drive the internal power amplifiers while other preamp.conlrol section Is left free to EICO advantages drive Your existing external amplifier. "Excellent" SATURDAY REVIEW; HI -FI MUSIC AT NOME. "Outstand- guarantee your complete satisfaction: ing quality , .. extremely tile" - RADIO & TV NEWS LAB- TESTED. Kit $69.95. Wired $109.95. Includes cover. Advanced engineering Finest MONO PREAMPLIFIERS (stack 2 for Stereo) HF -65: superb qua.ity components new design, Inputs for tape head, microphone, mag. "BeginnerTested," easy phono cartridge & hi -level sources. IM distortion 0.04% step -by -step instructions Q 2V out. Attractive "low silhouette" design. 14F65A Kit $29.95. Wired $44.95. NF65 (with power supply) Kit LIFETIME service & calibration guarantee 533.95. Wired $49.95. IN STOCK - Compare, then take home any EICO MONO POWER AMPLIFIERS (use 2 for STEREO) equipment -right "off the shelf" -from 1900 neighbor- HF60 (60W), HF50 (50W), HF35 (35W). HF30 130W). HF22 (22W). HF14 (14W): from Kit $23.50. Wired $41.50 hood EICO dealers. MONO INTEGRATED AMPLIFIERS (use 2 for STEREO) HF52 150W), HF32 (30W), HF20 (20W), HF12 (12W): from Kit $3495. Wired $57.95. SPEAKER SYSTEMS (use 2 for STEREO) HFS2: Natural bass 30.200 cps via slot- loaded 12Ií. split conical bass horn. Middles & lower highs: front raoiation from 81/4" edge -damped cone. Dlstortlonless spike -shaped super. tweeter radiates omni.directionally. Flat 45-20,000 cps, useful 30.40.000 cps. 16 ohms. NWD 36 ", 151/4", I Ilh ". "Eminently musical " -Holt, HIGH FIDELITY. "Fine for stereo " -MODERN HI -FI. Completely factory- bulltl Mahogany or Walnut. $139.95; Blonde. $144.95. Stereo Preamplifier HF65 HF51: If System. complete with factory - built cabinet. Jensen 8" woofer, matching Jensen corn pression. driver exponential horn Tweeter. Smooth clean bass; crisp extended highs. 70-12,000 cps range. FM Tuner HFT90 Capacity 25 w. 8 ohms. NWD: 11" x 23" x 9 ". Wiring AM Tuner HFT94 time 15 min. Price $39,95. FM TUNER HMO: For the first time, makes practical even for the novice the building of an FM tuner kit equal to really good factory -wired units. No Instruments needed. Pre -wired, pm- aligned temperature- compensated "front end" is drift free -eliminates need for AFC. Pre- Stereo cision "eye -Ironic" OM -70 traveling tuning Indicator, sup- -Pr Amplifier eamp plied pre- wired, contracts at exact center of each FM HF81 channel. Pre. aligned IF coils. Sensitivity 6X that of other kit tuners: 1.5 uy for 20 db quieting, 2.5 uy for 30 db quieting, full limiting from 25 uy. IF bandwidth 160 kc at 6 db points. Frequency response uniform 20. 20,000 cps ±1 db. Has 2 output jacks: cathode follower output ` to amplifier, plus Multiplex output for FM Mu boles ^ Stereo adapter; thus prevents obsolescence. Flywheel tuning. AGC, stabilized low limiting threshold for excel. lent performance from weaker signals, broadband ratio detector for improved capture ratio & easier tuning, full 1411111 wave rectifier 8 heavy filtering, very low distortion. B00kshelf "One of the best buys you can get in high fidelity kits" - AUD(OCRAFT. Kit $39.95'. Wired $65.95'. Cover $3.95. Monaural Integrated Speaker System Amplifiers: HFSI Less Cover, F.E.T. Incl. 50, 30, 20, and 12 -Watt NEW AM TUNER HFT94: Matches HFT90. Selects ' hi -fi" (use 2 for Stereo) '4111IV wide (20e - 9kc Gil -3 db) or weak-station narrow (20c - Site Q -3 db) bandpass. Tuned RF stage for high Omni. directional selectivity P. sensitivity; precision "eye -Ironic" tuning. Monaural Preamplifiers( Speaker System HFS2 Built -in ferrite loop, maligned RF & IF coils. Sensitivity HF65. HF65A 36" H x 151/4" W x 111/2" D 3 uy O 30% mod. for 1.0 V out, 20 db S /N. Very low (slack 2 for Stereo) noise 8 distortion. High-0 10 ire whistle filter, Kit $39.95. Wired $69.95, incl. Cover & F.E.T.

EICO. 33-00 Northern Blvd., L.I.C. 1. N.Y. 11F -7

SHOW ME HOW TO SAVE 50% on 65 I Monaural Power Amplifiers: models of top-quality: Gear 60, 50. 35. 30, 22 and 14 -Watt Hi -Fi Test Instruments D "Ham" (use 2 for Stereo) Send FREE catalog & name of neighbor. Stereo Power Amplifier HF86 hood EICO dealer NAME ADOACS$ I in Over MILLION EICO instruments use throughout the world. 1 -I_ JONC STA1L

JULY 1959 11

www.americanradiohistory.com LETTERS 'TRIMENSIONAL' TMS -2 Components: C -1211C dual voice coil woofer, two 8" mid -range speakers, two wide -angle tweeters. two networks with "presence" and "brilliance' controls. Continued from page 10 Dimensions: 90" wide, 25" high. 12y_" deep. User net: mahogany - 8258. blond or walnut - $269.00. in no uncertain terms of the need for action and the superiority of the Cros- CHANNEL B CHANNEL A ,_--aZV`tI.¡?i¡y by compatible system. Roger C. terKuile, M.D. i, ::i `. 1.` Fairfield, Conn. ' r Graded Reviews -Pro '* S11í: !A Balanced Stereo I was generally in favor of your combination with AUDIOC tAFr, and I feel in room 1114 that your acquisition of Hi -Fi Music anywhere the at Home may be a good thing in that 4 with the it will save money and eliminate a lot of duplication. . . . My greatest con- F cern is with the fate of the record reviews as presented in Hi -Fi Music. Or TMS-2 These reviews, in their very clear, con- cise, and almost tabular format, have presented me each month with the un- equivocally stated opinion of each reviewer as to the merits of the perform- New developments have proved that a single cabinet integrated speaker system ance and the sound of each record. The can provide stereo sound equalling or surpassing the performance of two method of presentation makes for easy separate units. Up to now, however, to achieve sufficient separation, such reading and ease of finding what you integrated systems have had to be large and often expensive. want. . I do not mean to criticize - in Thou FIDEL- Now, University, employing a new principle of obtaining stereo separation unfairly the reviews ITY. They are probably more valuable presents the TMS -2 ... containing two complete multi -speaker systems in one as performance. They duo handsome enclosure only 30" wide. comments on not, however, make a specific commit- The "Trimensional" TMS -2 projects frequencies of both channels to the ment, for each record reviewed, on the rear and side walls of your room. Thus, one large wall area becomes channel quality of the engineering. And they "A ", another becomes channel "B" exactly as if you had a series of widely ... are not presented in as clear a form. distributed speakers for each channel. This in a new standard of stereo results The loss of the Ili -Fi Music performance excellent separation, real depth and broad sound distribution...... type of record review would distress IMPORTANT me very much. ADVANTAGES OF TMS -2 'TRIMENSIONAL' STEREO Jack R. Staley Montclair, N. J.

Graded Reviews -Con

Your record reviews are the only ones 1 recommend to my friends, and it is with some trepidation that I look forward to the merger of Hi -Fi Music with HIGH FIDELITY. I sincerely hope TMS -2 STEREO CONVENTIONAL STEREO that HIGH FIDELITY lyill fortify itself I Smooth, full- bodied, balanced stereo sound throughout the room (rather than the against this coming infection. In par- 'two point source' effect with critical listening area of conventional systems). ticular, let us have no inane reviews of records with A -B -C grades that are A 'Hole- in -the- Fullcom- S t e r e o meaningless, since they vary from re- At middle' effect 3 4 plement spread can viewer reviewer; in general, eliminated by of controls, be controlled to and, let central position and adjustable doors allow easily by means of the adjust- us have no degradation of HIGH FIDEL- of the dual voice you to place the compact able doors - according to pro- ITY. coil woofer to- TMS -2 virtually anywhere gram material and personal Charles A. McCarthy gether with the along a wall, or in a corner, preference (e.g. wider spread New Haven, Conn. unique wall re- irrespective of existing for full orchestral works, less flection system. furniture or furnishings. spread for small groups).

Hear TMS -2 stereo at your dealer . .. now. But don't be fooled by its small size. Close your eyes and let your ears judge the quality of its musical and stereo performance.

For the complete TMS -2 story, write to Desk P -2, University Loudspeakers, Inc., White Plains, N.Y.

12 HIGII FIDELITY MAGAZINE

www.americanradiohistory.com 1 And designed for a long future! Neu) o FISHER DOES IT AGAIN! Year after year, tuner after tuner, there is only one best -THE FISHER. Today, the leader is the FM -100, latest in a series of FISHER FM tuners now used by radio stations, the Satellite Tracking Project of Ohio State University and by many government agencies. The reason is simple - these tuners meet the exacting standards of performance and reliability required by professional users. And where standards are concerned, the audio enthusiast is, in his own right, a professional. He desires maximum sensitivity for optimum reception of stations near and far. FM -100 SENSITIVITY is 0.8 microvolts for 20 db of quieting! The audio enthusiast wants an FM tuner that permits simple adaptation to stereo. THE FM -100 IS CUSTOM -DESIGNED FOR STEREO. It has space directly on its own chassis for installation of a multiplex adaptor. Moreover, it includes feed -through facilities for FM -FM and FM -AM stereo as well. The audio enthusiast expects maximum fidelity. THE FM-100 OFFERS FOUR WIDE -BAND IF STAGES, uniform frequency response (20 to 20,000 cps) and less than 0.5% harmonic distortion. The audio enthusiast wants an FM tuner that eliminates noise when tuning between stations. THE FM -100 EXCLUSIVE INTERSTATION NOISE SILENCER automatically eliminates noise, side -band response and unwanted weak and noisy signals. For the audio enthusiast who buys the best at the outset, there is only one truly logical choice -IT IS THE FISHER FM -100 TUNER. $159.50 Cabinet, $24.95 Slightly Higher in the Far Irert.

WRITE TODAY FOR COMPLETE DESCRIPTIVE LITERATURE

ISHER RADIO CORPORATION 21 -25 44th DRIVE LONG ISLAND CITY 1, N. Y.

Export: Morhon Exporting Corp., 458 Broadway, New York 13, N. Y.

JULY 1959 13

www.americanradiohistory.com A GRAY HYSTERESIS SYNCHRONOUS TURNTABLE KIT FOR ONLY 49.50 with outstanding features that are exclusive with GRAY at this low price.

Special hysteresis synchronous motor provides constant speed and lowest wow, flutter and rumble content. Heavy machine ground 121/2" turntable platter with micro polished '/s" shaft rotates in a super oilite bearing with noiseless nylon un- derfacing thereby guaranteeing freedom from vertical movement...a stereo prerequisite.

Customized slip - proof, stretch-limited composite belt offers vibrationless link between motor and platter edge.

Shock -proof motor mount is adjustable in GRAY 3SP HSK -33 TURNTABLE KIT L 3 planes to compen- Here's an exciting project for anybody who wants professional sate forlifefime move- performance at a low kit cost. Gray engineering and custom mass ment and wear. production techniques now make this wonderful value possible. You'll be pleasantly surprised at how easy it is to fully assemble Sturdy mounting plate offers maximum -and have ready for monaural or stereo operation -this studio shielding. Easy to designed turntable. level and center because it extends past the platter and motor The GRAY HSK -33 TURNTABLE KIT is shown structure. above with the: Micro precision parts GRAY SAK -12 PROFESSIONAL TONE ARM KIT no 23.95 pretested for accuracy GRAY TBA BASE (in Walnut, Mahogany or Blonde Formica Veneers) oct 17.95 in sub assemblies.

See and hear our 67th year in communications .. Gray high fidelity products at your favorite High Fidelity Division quality H dealer. GRAY DEPT, 16 ARBOR STREET, HARTFORD 1, CONN. 11 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Years Ahead New Bogen stereo receiver is years ahead in price and in performance

NO ONE BUT BOGEN, builder of over one 11w million high -fidelity and sound - { [s; Ìll distribution components, could have r= 1y000C engineered this new high- fidelity stereo receiver, the SRB 20. A superb all -in -one stereo instrument, it's a highly sensitive FM -A M stereo tuner, it's a versatile stereo audio control center, it's a magnificent 20 watt (10 per channel) stereo amplifier, and it's yours for only $199.50 -a price you'd expect to pay for a comparable tuner alone!

BOGEN'S ENGINEERING STAFF, largest of any sound -equipment maker, designed each circuit stage of the SRB 1L-__.. 20 as an individual unit. By concen- t O trat ing on each stage separately,y, they can pack more value, more clean performance in less space than is otherwise possible. The separate stages are then carefully, logically arranged in an overall circuit of proven superiority. This new Bogen concept eliminates wiring clutter, prevents hum and distortion, provides savings which are passed on to you. Bogen's engineering excellence, crystallized during 25 years of building specialized sound systems for schools, theatres, industrial plants and offices, is yours to enjoy in the new SRB 20. Put it in a cabinet or on your bookshelf (it fits easily). Ask your Bogen dealer to show it to you today.

tn i3,1 vo1 1 51 9k 91

CONTROLS: Selector, FM Tuning. AM Tuning. Separate Bass tV i-e, 4- Cl, l.l--. and Treble for each channel (lock for simultaneous control --{- of both). Volume for each channel (correct imbalance, then -to di-e,u.Nll., ,6teh,e,oU lock for simultaneous control). Separate On -Off Power. FM On -Off and AFC. AM On -Off. Multiplex. Send for illustrated booklet, "Understanding High Fidelity." 64 -page explanation of hi -fi and stereo. Enclose 25c please. mat nacu-r'

BvwEN- PRESTO co., Dept.. HF -79, P. O. Box 500, Paramus, N. J. A Division of the Siegler Corporation

JULY 1959 15

www.americanradiohistory.com hen the chips are down... tape is still king

SONY ... and the SONY STERECORDER Se recorder is your best bet! the finest complete STEREOPHONIC RECORDING Built -in stereo and PLAYBACK SYSTEM* in one low cost unit. pre -amplifiers and power amplifiers (can he used * All STERECORDER models are also available with an extra stereo ploy -back head with a frequency response of 30- 12,000 CPS to reproduce the new pre -recorded 4 -track stereo- for other components) phonic tapes (Model SSS -A4). Separate head for `IF 1 ° Ì.)) + rt 4 -track tapes

Two V. U. meters for professional level indication Stereo outputs for loud speakers and external amplifiers NATIONALLY ADVERTISED PRICE NOW Individual stereo tone and volume controls plus master volume Inputs for live stereo and "oft the air" stereo recording Automatic tape lifters (eliminates head. wear in fast forward and rewind)

Tape Speeds Instantaneous selection - 7yt, IPS or 314 IPS Frequency Response (per Channel) 30 -18000 CPS at 7% IPS SONY DK ± 2 DB 50 -15000 CPS at Tyr IPS 555 -A 30 -12000 CPS of 3s/., IPS Ideal for "built -in" installations Signal to Noise Ratio (per Channel) SUPERSCOPE 50 DB or more across line output Harmonic Distortion ® (measured by proposed NARTB Less than 2% at 3 DB below output s tandord s) rolec Sere cord er- Flutter and Wow Tube Complement less than 0.2% at 7'/= IPS 2 -EF86, 4.12AZ7, 3 -6A05 Finest components anti mush-mason less that at 3s/. IFS 1 -5V4 -G 0.3% assures years of trouble -free operation

For Free Descriptive Literature and Name of Nearest Franchised Dealer write SUPERSCOPE, INC., Audio Electronics Division / Sun Valley, California

16 HIM FIDELITY MAGAZINE

www.americanradiohistory.com 6OLOSSffl, 0000 GIGñWTIGO vwwwvM!wwwwwww wwwvV Vnrwwwwwwwwwwvrvwww%ArwwMrwwwtMVr PL BO J FE TI SPONSORED BY PLAYBOY MAGAZINE M AA Auto Auto AA AA AA AA AAAA AAAA AA AA AA M AA AA AAAAAAAA AA AA Auto AAA AAA AAAAAAAA AA AA AAAAAA AAA AAA. THE GREATEST JAZZ FESTIVAL ON EARTH See and hear more great jazz stars in one weekend than most people see in a lifetime friday, saturday, sunday- august 7, 8, 9 AFTERNOONS AT 2:00 PM AND EVENINGS AT 8:00 PM great O6rforll1dll665 HIGH FIDELITY SOUND SYSTEM SUPERVISED BY ALLIED RADIO CORP., CHICAGO 0000000000o0000000000006eo0000o00>oY000e400000000000e0o0eO0900000000000000000e090000000o0000o0000000000000o00000 GREAT COMBOS GREAT BANDS GREAT VOCALISTS LOUIS ARMSTRONG ALL -STARS STAN KENTON FOUR FRESHMEN DAVE BRUBECK QUARTET DUKE ELLINGTON SAMMY DAVIS, IR. o DIZZY GILLESPIE QUINTET AND MANY OTHERS 0000400O00O000000000000000000000000000040044ee00000000000000e00oo000O.000000oe.00OO4 0o000OO400000000000OO..oO

MAGNIFICENTLY STAGED IN THE AIR- CONDITIONED CHICAGO STADIUM

PLAYBOY JAZZ FESTIVAL NIGHT CLUB NIGHT August 6 Kicking Off the Festival Weekend,

a Tour of Chicago Jazz Clubs for

a Survey of razz Today.

444444w40 1ALL SEATS RESERVED FESTIVAL SERIES TICKETS [ALL 5 PERFORMANCES FOR THE PRICE OF 4] $22/ $13.20 /$4.40

Individual Performance tickets $5.50/0 . -. ,. -, /$3030/='> -.. .. .y$1.10 AA MAAAA AAAA AA AAtl1A AA AA M Au1AAAAAAAA AA AA AA AA AAAAAAAAAA AA AAAA AtAAV.1 AIAAAAA AAAAAAAJ. AA AAAA PLAYBOY JAZZ FESTIVAL MAIL PLAYBOY BUILDING 232 E. 01-110 STREET ORDERS CHICAGO 11, ILLINOIS NOW PLAYBOY WILL BE PLEASED. TO HELP YOU WITH HOTEL RESERVATIONS - .d. r._ J._ d_ 1_ J. w J. J. J

JULY 1959 17

www.americanradiohistory.com Awes

PROFESSIONAL IN EVERY WAY EXCEPT PRICE!

Stereo on a budget ! Ekotape stereo components are "soundly" Abroad engineered and matched for outstanding performance - at a price within your reach. Quality, design, ease of operation, professional results you get all with Ekotape! LONDON -Lucia di Lammermoor is ... the hit opera in Europe now. In Mu- nich last season it topped all others, New EKOTAPE TAPE DECK including The Magic Flute, for number of performances. House after house You can record and playback all tapes - bills it. London has just "rediscov- four-channel stereo, two -channel stereo and ered" it. A quarter -century ago at Cov- monaural. One precise control adjusts head ent Carden, with Toti dal Monte. Lucia for half-track or quarter - track. Horizontal fell fiat after a single performance. At or vertical mounting. 33/4 and 71/2 ips; in- this writing. it is now booming, in a line head with independent dual erase; shinning production directed by Fran- manual stop -start button. 123/4" wide x 9" co Zeffirelli, conducted by Seraftn, and MODEL HO deep x 71" high. Styled in gold and black. starring the Australian soprano Joan Sutherland. Anyone ivho heard her be- EKOTAPE STEREO RECORD -PLANBACK PREAMP fore could have predicted that Miss Sutherland would sing Lucy's music with high technical accomplishment: Dual -channel control center for playing the surprise was the dramatic power stereo discs, and for recording, erasing and she brought to the impersonation. From playing stereo tapes. Volume control, rec- the start, this Lucy had the stuff of vio- ord /playback switch, speed conpensating lent tragedy in her -no mere dropping switch, erase switch. on /off switch and VU of sweet notes, but powerful. meaning- ss694e meter for each channel. 6 inputs, 4 outputs. ful phrasing. Mme. Callas came in to the dress rehearsal. and apparently ap- CARRVING CASE FOR PORTABLE USE proved. recalling at the sane time that Sutherland had sung Clotilda to her For "on location" use ... designed to provide a first London Normas. convenient portable recording unit and playback A fortnight later Callas returned to control unit for monaural, two -channel and four - record, in Kingsway Hall, her version channel stereo tapes. Holds Ekotape tape deck of Lucia, because (1) the old Angel and record -playback preamp. Luggage type case set was pre -stereo, and (2) she thinks covered with Highlander Grey pyroxylin coated she can sing it better now. Serafin ss ;ca fabric. Size 121í2" deep. I51/2" wide, 143/4" high. conducted; Tagliavini was the Edgar - do: otherwise the names were new. EKOTAPE MICROPHONE MIXER For Enrico, Walter Legge engaged a young high baritone. Piero Cappuc- cilli; and for Raimondo, the Polish bass For recording from as many as four crystal, Bernard Ladysz. Three years ago dynamic or other high impedance micro- Ladysz won the Spoleto prize. causing phones, or two microphones and two radio so much stir that a special medal was tuners or record players. The sensitivity of struck for him. With Serafin he did ssrotA each one can be independently controlled. Barbiere and Vespri, but then he got stuck in bis Italian career, and went back bass in War- Electronics Division to become principal WEBSTER ELECTRIC Racine, Wis. saw. Legge has also recorded him in a Ekotape Please send me complete specifications and recital of Russian and Italian arias. prices on Ekotope Stereo Components. Meanwhile the record companies

ELECTRONICS D I V I S I O N were after Joan Sutherland. Sir Mal- Name WEBSTER ELECTRIC colm Sargent and Sir Thomas Beecham Address both wanted her for a Handel -year RACINE.WIS Messiah-and Beecham got her. This City and State was for RCA, linked with Decca -Lon- Phone Continued on page 21

1S HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Rockbar introduces a remarkable new 4 -speed Collaro transcription stereo changer- - The Constellation, Model TC -99. The TC -99 offers tested and proven professional turntable performance with the advantages of automatic operation - truly a complete record player for the connoisseur. Here are some of the features which make this the outstanding changer on the market today: Performance specifications exceed NARTB standards for wow, flutter and rumble Extra -heavy, die cast non -magnetic turntable weighs 61/4 lbs. Extra -heavy duty precision- balanced and shielded four pole motor New two -piece stereo transcription type tone arm .Detachable five terminal plug -in head shell Each model is laboratory checked and comes with its own lab specification sheet. Flutter is guaranteed not to exceed .04 %. Wow is guaranteed not to exceed .15 %. Rumble is guaranteed down -50 db (at 120 cps relative to 5 cm /sec at 1 KC). The extra -heavy weight turntable is a truly unique feature in a changer. This extra weight is carefully distributed for flywheel effect and smooth, constant rotation. The non- magnetic turntable provides a reduction in magnetic hum pick -up of 10 db compared with the usual steel turntable. The heavy duty four pole motor is precision -balanced and screened with triple interleaved shields to provide an additional 25 db reduction in magnetic hum pick -up. The rotor of the four pole motor is specially manufactured and after grinding, is dynamically balanced to zero. While this is basically a turntable for transcription performance, a fully automatic intermix changer, similar to the mechanism employed in the famous COLLARO CONTINEN- TAL, MODEL TSC -840, is an integral part of the unit. ADDITIONAL FEATURES: New two -piece stereo transcription type tone arm with detachable five terminal plug -in head shell. This new arm is spring clamped and dynamically counterbalanced to permit the last record to be played with the same low stylus pressure as the first. Between the top and bottom of a stack of records there is a difference of less than a gram in tracking pressure- compared with four to eight grams on conventional changers. Vertical and horizontal friction are reduced to the lowest possible level. These qualities -found .complete only in Collard transcription changers -insure better performance and longer life for your precious records and expensive styli. The TC -99 handles 7", 10" and 12" records -in any order. The changer is completely jam - proof and will change or play records at all four speeds. The manual switch converts the changer into a transcription type turntable providing transcription performance for the playing of a single long -play stereo or monophonic record. The two -piece arm can then be set down to play portions out of rotation or the entire record can be played singly and sequentially. The double muting switch provides absolute silence for both stereo channels during the change cycle and the R/C network helps to squelch "pop," "clicks" and other noises. The TC -99 comes complete with two audio cables ready to be plugged into your stereo system. It is pre -wired for easy installation; styled in a handsome two -tone ebony color scheme to fit any decor; tropicalized against adverse weather and humidity conditions. Long service life is assured by the automatic disengagement of the idler wheel preventing development of bumps and wow. Price of the TC -99 is $59.50, exclusive of the base. All prices are slightly higher in the West. For free colorful catalog on the complete line of Collaro Stereo Changers Write Rockbar Corporation, Dept. 100, Mamaroneck, N. Y. The last word in a Transcription Stereo Changer.. .

Collaro Constellation, TC -99

AC.. www.americanradiohistory.com RCA -7027 -A's offer...

UP TO 76 WATTS

POWER OUTPUT

and as he dips low, then soars high, the "HOT" SOLO... RCA -7027 -A beam power tube offers excitement mounts ! Capturing the realism of a thrilling musical experience new high -power capabilities in high - truly tests any high- quality audio amplifier you design. Meet the challenge quality audio omplifiers: Design -Maximum Ratings: with ease by designing around the RCA -7027 -A. Two of these "star Plole Volts 600 Grid No. 2 Volts S00 performers ", in Class AB, push -pull service, for example, can deliver up Plate Diuipalion (Wolle) ...... _ 15 to 76 watts of audio power with only 2% distortion! Grid -No. 2 I npul !Watts) 5 Typical Operation in Class AB, Structural features which make such performance possible include: heavy Push -Pull Service: Plot, Volts 540 copper -core stem leads, low -thermal -resistance plate material, metal -base Peak AF GridNo. I le Grid No. I Volts 76 sleeve, radiating fins on control grid, and double base -pin connections for Total Harmonic Distortion (°/,) 2 both control grid and screen grid. Max. Sig. Power Output (W0,),) 76

So for high power and low distortion in your quality audio -amplifier designs, FIELD OFFICES consider the RCA -7027 -A. Check the data at right, then, for further EAST 744 Brood Street information, ask your RCA Field Representative or write RCA Commercial Newark 2, New Jersey HUmboldt 5 -3900 Engineering, Section G74DE, Harrison, New Jersey. M: D\VEST Suite 1154, Merchandise Mart Plow, Chicago 54, Illinois WHitahall 4 -2900 6355 E. Washinplon Blvd. RADIO CORPORATION OF AMERICA Los Angeles 22, Calif. RAymond 3.8361 Ú Electron Tube Division Harrison, N. J.

www.americanradiohistory.com NOTES FROM ABROAD New H.H. Scott Continued from page IS

don, and it is the latter company .which has taken Miss Sutherland under its Stereo Amplifier has wing. Already she has worked for them twice: a stereo Beethoven Ninth Sym- phony, under Ansermet, recorded in Geneva (Norma Procter, Dermota, features never before Arnold van Mill are the other soloists); and an Italian recital disc made in Paris, with one side Lucia ( "Regnaoa" and the "Mad Scene "), and the other "O lace di quest' anima," "Emani, in- offered at $139.95* volami," and the Vespri Bolero. Con- ductor is Nello Santi, a new name, who The new H.H. Scott 24 watt stereophonic amplifier, Model 222, has recently scored a success with Lucia in Zurich (twenty sold -out perform- puts top quality within the reach of all. This new amplifier has many ances there too!). Miss Sutherland also plans to go on working for Oiseau -Lyre features never before available for less than $200. It is backed by (also associated with the Decca -Lon- clon group), and do for them an Ads H.H. Scott's fine reputation. Check the features below and you'll. and Galatea, also a program of eight- see why you should build your eenth- century airs that Mrs. Billington new stereo system around thy' once made famous: e.g. "The soldier H.H. Scott Model 222. tired" from Arne's Artaxerxes, the Prayer from Bianchi's lues de Castro, three airs from Shield's Rosina, The traveller benighted" from Arne's Love in a Village. Joan Sutherland is married to, and works with, the Australian pianist Richard Bonenge, who is an expert on ottocento style, airs and graces, and composes her cadenzas, variants, and decorations.

Pye in the Sky. Handel's death -day was commemorated in London by a party given in the Festival Pleasure Gardens at Battersea, specially opened for the occasion. Though not on the scale of Mike Todd's Around the World in 80 Darts party, in the swine gardens, Pye z iv i aimed high with a festive Equalization switch lets /Separate Bass and Effective scratch filter Channel balance con- Master volume control pyrotechnic you choose between Treble controls on Improves performance trol adjusts for dif- adjusts volume of both display, set off to the music of its new RJAA compensation for each channel let you on older worn records ferent speaker effi- channels simultane- monophonic and stereo adjust for differences and improves recep ciencies and brings ously. Also functions as recording of the Fireworks Music. and records; NARTB, for in room acoustics and lion on noisy radio channel volumes into automatic loudness the light English rain couldn't damp tape different speaker sys- broadcasts. balance quickly and control whenever de tems. / easily. sired. the fun. The recording had been made Special switch posi This position lets you Esclusive center - the night before, in a North London lions for accurate bal- play a monophonic channel output lets you church. The began at I1 p.m., ancing, for playing source such as an FM use your present amp- session stereo. reverse stereo tuner or a tape re- lifter for 3- channel when concerts were over and Charles and for using mono- corder through both stereo or for driving phonic records with power stages and extension speakers. Mackerras could assemble twenty -six your stereo pickup. speakers. Separate stereo tape - oboes, eighteen bassoons, two serpents, recorder outputs. etc. For an extra touch of realism, one SPECIFICATIONS: Dual 12 watt channels; 0.3% IM dis- of the tracks on the disc is repeated tortion: 0.8% harmonic distortion; frequency response 20 to 30,000 cps; extremely low hum level (- 80db); DC operated piedmplillers heaters, Inputs fur with dubbed -in firework sounds. stereo or monophonic recorders, tuners, phono cartridges and tape heads. Within days a speed usually Phono sensitivity 3 mv. Sub -sonic rumble filter prevents overload from noisy -with changers or turntables. Price $139.95 accorded only to pops records -the H.H. SCOTT INC. Dept. HF -7. Ill Powdermill Road. Maynard, Mass. Export : Telesco International Corp., 36 W. 40th St., N.Y.C. Fireworks Music disc was on sale to the public. In mono only: though Pye was Insist on genuine H. H. Scott components. by some months first on the United Kingdom market with stereo records, Ircuf of Rockies 5155.25. Accessory rase extra. the company was (with good reason) unhappy about the cutting, and pulled in its (twin) horns. Some pop items details on your new Model 222 and have lately appeared on Pye's stereo la- SEND NOW FOR Rush me complete your complete 1959 Hi Fi Guide and Catalog. bel, but stereo classical releases are be- FREE HI -FI GUIDE ing postponed until fall. AND CATALOG ANDREW PORTER Name 1.(1eJ r(aw+ r Pee. rC'S > Address City Slate

www.americanradiohistory.com Why documentary recordist Tony Schwartz prefers tough, long -lasting tapes of Du Pont MYLAR®

"Many of the sounds I record can never don't need any special storage care." he duplicated," says Tony Schwartz. Tony Schwartz, unique documentary "To capture and keep them through the recordist, has created numerous prize- years, I must have tape that is extra - winning records from thousands of tape - strong and unfailingly reliable. That's recorded sounds of everyday life and why I now record exclusively on tapes folk songs. of 'Mylar' *' polyester film. Before you buy your next reel of tape, "Tapes of ` Mylar' are the only ones compare the exclusive advantages of that give me the protection I need - tapes of "Mylar ". Then, like Tony with a 3OO safety margin against Schwartz, ask your dealer for a reel of stretching. I've never had one break on your favorite brand of tape made of me. What's more, these tough tapes "Mylar" polyester film.

."Mylar" is Du Pord's registered trademark for its brand of polyester film. Du Pont nanufaelures" Alylar ",not finished mngntlic rerording lope. Tapa of "Vytnr" are nade by all pinito fuel, rers.

DU PONT "The extra playing time offered by tapes of 'Mylar' tu o" lets me record more on a reel. This adds up to a s..* big space saving in my growing tape library." BETTER THINGS FOR BETTER LIVING MYLAR ... THROUGH CHEMISTRY POLYESTER FILM BE SURE OF SUPERIOR PERFORMANCE.. .LOON FOR THE NAME "MYLAR" ON THE BOX aa I3ICH FIDELITY MAGAZINE

www.americanradiohistory.com announcing the ultimate in stereo cartridges

SM -1 JIM b, FAIRCHILD

the company that created f// m the first stereo cartridge m o

tticH' :`FIDE-LI-IN

Now Fairchild again takes the lead by announcing the first major advancement in stereo cartridge design. The SM -1 has the highest output (15 my @ 7 cm /sec) and the lowest hum (65 db below signal ievel) insured by its mu metal case. Fairchild's SM -1 is completely compatible with any stereo or monaural system yet sturdy enough for use in record changers. Compliance characteristics permit tracking high -level passages with 3 grams stylus pressure. It is the first stereo cartridge designed with optimum vertical and lateral damping for lowest record wear. The stylus assembly is customer -replaceable. The SM -1 can be mounted in any tone arm and comes complete with a stylus pressure gauge Two -belt drive, 412- series installation kit. Audiophile $34.95 turntable with space -saving base and net,

Model 282 plug -in To complete the "Front End ", Fairchild's exclusive, two belt turntables stereo transcription arm in are avai able one and two -speed models with hysteresis synchronous il motors. Guaranteed to exceed NARTB professional Specifications, they are K 0 the Quietest and most reliable tables on the market. U Audiophile net, 412 -1 (33 rpm) 579.50 412 -2 (33/45 rpm) $99.50

The perfect complement to the SM -t is :he redesigned Fairchild 282 plug -in stereo arm, handsomely finished in black anodized aluminum. This precision arm comes complete with integral, shielded cables, ready to plug into your pre -amplifier with no solderirg. Audiophile net, $42.50 o

All New, Oil- Rubbed Walnut turntable base, with tapered sides for that E compact -look. White formica top combines beauty and durability. ce o Audiophile net, $20.00 U W Hear these Fairchild components at your dealer, or write to Dept.IlF.79FAIRCHILD !r

JULY 1959

www.americanradiohistory.com gooks in Vevtew presenting the The Toscanini Legacy and Conversa- tions with Toscanini. In everything save their passionate achniration for 300 the late Maestro, the British jazz -band- leader- gone -straight. Patrick "Spike" ITughes, and the gadfly of American music critics. the terrible- tempered Nir. B. H. Haggin, are totally ont of sym- pathy with each other. Yet their individual approaches arc so diverse that no Toscanini aficionado can be happy until he adds their new books to his library. Of course he won't be entirely happy even then, at least if he is fool- ish enough to try to reconcile the disparate points Of view either with themselves or with his own. but at least he is sure to he stimulated into an enriched enjoyment of the Tosca- nini recordings. Hughes's Toscanini Legacy is subtitled "a critical study of Arturo Tos- canini's performances of Beethoven, Verdi, and other composers.- and it is just that: at times an almost bar -by -bar analysis of the interpretative techniques (illustrated by 192 musical examples) revealed in the major Tos- caninian recordings, of which Verdi's are given I23 pages. Beethoven's 98, Mozart's 22. and those of 15 other composers (plus an 8 -page preface) the remainder of a 346 -page book. Un- sound without fury like Haggin. Hughes is almost completely disinterested in recording qualities as such or in technical comparisons Only slightly larger than "bookcase" speakers ... priced less than $200 among the various "editions" of the to gladden stereo fans ... the new Z -300 console achieves a measure same recording. and he entirely dis- of musical transparency and bass response which, a few years ago, was dains many -to him -"minor" works. considered impossible within its size and price framework. The prime virtue here is the exhaus- In the Z -300 a 2- element JansZen Electrostatic Tweeter works in sonic tive preoccnpation with interpretative harmony with a new JansZen dynamic woofer. Response is exceptionally details, particularly Toscanini's choices uniform from an honest 30 to 30,000 cycles /second. Musically, however, of tempo (which Hughes demonstrates this wide range would be painful were it not for the almost total lack of are as often slower as they are faster audible or measurable distortion inherent in the JansZen principle. than those of tradition or published Transparently clear, shrill -less trebles are faithfully reproduced by two score specifications), phrasing and ac- push -pull electrostatic elements -thin virtually massless diaphragms centuation. dynamics. and instrumenta- driven over their entire areas by 176 pairs of carefully- spaced sheathed tion alterations (supmisingl' frequent conductors. Both elements are checked for distortion and matched for considering the conductor's reputation output within 1 db. as a purist). The commentary is ecstat- A new long- travel dynamic woofer perfectly complements the distortion - ic at times and there is a good deal of free electrostatic tweeter. Its lightweight 11" cone with slight apex repetition -suggesting that these stud- weighting and specially -treated cloth suspension achieve near perfect ies originally were prepared as broad- piston action without breakup or doubling. Sealed in a 2.2 cubic -foot, cast annotations. Nevertheless, listen- fiberglas- filled baffle, its clean, solid bass consistently shames most of ers who follow their Toscanini record- the largest speakers now available. ings with a miniature score in hand The complete JansZen Z -300 measures only 28" h by 20" w by 13" d. will relish going over them anew with Send for free literature and name of your nearest dealer where it may be heard. so perceptive a mentor as Hughes (Putnam & Co., 30 shillings in Great Britain; U.S.A. price not stated). Haggin's Conversations with To.s- canini is really two books: a brief one of 1I3 pages which recounts the con- 'including designs by Arthur A. Janszen versations themselves, plus 125 pages made only by NESHAMINY ELECTRONIC CORP., Neshaminy, Pa. Export Div.: 25 Warren St., New York 7, N. Y. Cable: Sitnontrice, N. Y. Continued on page 26

24 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com I' Audiotape speaks for itself" in a spectacular recording -available in a money -saving offer you can't afford to miss!

HERE'S a reel of musical excitement that belongs on DETAILS OF THE PROGRAM ez,ery tape recorder. "Blood and Thunder Classics" is a program of great passages of fine music, spe- The stirring "Blood and Thunder Classics" impact. program includes these colorful selections: cially selected for their emotional The makers of Audiotape have not gone into the Tschaikowski . . . Russian Dance Sibelius . from Finlandia music business. They are simply using this method de Falla . Dance of Terror. Ritual to allow Audiotape to "speak for itself." This un- Fire Dance (El Amor Brujo)

Brahms . . . from Symphony No. 4 in E Minor usual program shows you how vibrant and colorful Khatchaturian . . . Saber Dance music can be when it is recorded on Audiotape. Stravinski . . . Infernal Dance of King Kastchei. Finale (Firebird Suite) "Blood and Thunder Classics" is available Beethoven ... Ode to Joy (Symphony No. 9 RIGHT NOW from Audiotape dealers everywhere. D Minor) in (And only from Audiotape dealers.) Ask to hear a por- DETAILS OF THE OFFER tion of the program, if you This exciting recording is available in a spe- like. Then, take your choice cial bonus package at all Audiotape dealers. of a half -hour of rich stereo The package contains one 7 -inch reel of or a full hour of dual -track Audiotape (Type 12M, on 11/2-mil acetate monaural sound both at base) and the valuable "Blood and Thunder - Classics" program (professionally recorded 71/2 ips. Don't pass up this on standard Audiotape). For the entire unusual opportunity. package, you pay only the price of two boxes of Type 1251 Audiotape, plus $1. And you have your choice of the half-hour stereo pro- grm or the full -hour monaural version. 'if speaks le/ irsdi" Don't wait. See your Audiotape dealer now. or MASI( AUDIO DEVICES, INC., 444 Madison Ave.. N.Y. 22. N.Y. In Hollywood: 840 N. Fairfax Ave. In Chicago: 5428 N. Milwaukee Ave.

05 JULY 1959

www.americanradiohistory.com BOOKS IN REVIEW Continued from pug 24 of Addenda that include a discussion of the rehearsals and performances of the last years, a short general study of the broadcasts and recordings (with particular attention to the re -editions), and a composers' discography (mainly concerned with the technical qualities of the various editions and the equalizations the author uses to make them sound best -or, in many cases, least bad). Throughout, Haggin is more than ever his prickliest self. Even 195 those audiophiles who share his views on technical matters are likely to be Ré'crJ,P'é.fS repelled by his venting of personal animosities and the sheer pettiness of most of his attacks on his colleagues. Review Yet the reader who can pass over the exposures of personal venom will find genuine rewards here. Apparently something in the no -less arbitrary and r rTop -notch guide for the serious rec- opinionated Toscanini responded -at ord collector in evaluating and com- least briefly-to Haggin's fanaticism for paring current and older releases.» the musical ideal, and short as the actual conversations may be. they are -NEW ORLEANS TIMES PICAYUNE rich in illuminations. I liked best of all Haggin's penetrating analysis of the greatest enigma of Toscanini's recordings: his apparent unconcern with reproduced sonic qualities; but there is THE FOURTH HIGH FIDELITY ANNUAL much else here which corrects the popular conception of the conductor's atti- Edited by Frances Newbury tudes towards both the music he played and the orchestras he worked with. And an entirely unsuspected ele- This book, the only one of its kind, contains reviews of ment of Toscaninian irony is revealed classical and semiclassical music, and the spoken word, that in the already-famous quotation - appeared in HIGH FIDELITY Magazine from July 1957 Haggin's reporting of the Maestro's through June 1958. The reviews cover the merits of the comment on himself: "He writes like performance, the quality of the recording, and make com- God: he knows what is good music and parative evaluations with releases of previous years. They what is bad music. I do not know what are written by some of this country's most distinguished is good music and what is bad music; critics. but he knows ..." (Doubleday. $4.00).

The reviews are organized for easy reference - alphabet- A Voice That Pills the House, the ically by composer and, when the number of releases for latest book from the versatile and pro- any given composer warrants, are divided further into lific Martin Mayer. iconoclastically classifications such as orchestral, chamber music, etc. An smashes most of the now -hardening index of composers is included. The book is printed in clear patterns for musical fiction. its setting type on fine quality paper, attractively bound and jacketed. is the world not of jazz but of opera - the San Carlo in Naples and the Met in RECORDS IN REVIEW is published by The Wyeth Press, New York, and, in one hilarious epi- an affiliate of HIGH FIDELITY Magazine. sode, the fantastic vet only too credible $5.95 goings on at an Italian Festival of Con - temporary Music. Its protagonist is neither a tenor nor a coloratura soprano, but a young American baritone.

Tho Wyeth Press And quite apart from its musical inter- The Publishing Mouse est it tells an absorbing story of talent - Groot Barrington, Mess. on- the -make. But best of all its back- I enclose S tot which please send ono copies of RECORDS IN REVIEW stage shoptalk rings refreshingly, if -1958. INO C.O.D., or charge orders p eose I Foreign ceders sew et buyer'. risk. Add 25e per book lot postage on foreign orders oscept Canadian. often disconcertingly, true. Mayer is first of all a superb reporter and he sur- NAME passes himself here in authentic evoca- tions of the feverish life of working ADDRESS musicians both in and out of the spotlight (Simon & Schuster, $3.75).

a R. D. DARRELL

°6 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com 1

STEREO EQUIPMENT CABINET KIT

MODEL SE -1 (center unit) $14995 Shpg. Wt. 162 lbs. (specify wood desired)

MODEL SC -1 (speaker enclosure) $3995 each Shpg. WI. 42 Ibs.(specify R. or L. also wood desired)

Superbly designed cabinetry to house your complete stereo system. Delivered with pre -cut panels to fit Heathkit AM -FM tuner (PT -I), stereo preamplifier (SP -I & 2) and record changer (RP -3). Blank panels also supplied to cut out for any other equipment you may now own. Adequate space is also provided for tape deck, speakers, record storage and amplifiers. Speaker wings will hold Hcathkit SS -2 or other speaker units of similar size. Available in 3/' solid core Philippine mahogany or select birch plywood suitable for finish of your choice. Entire top features a shaped edge. Hard- ware and trim are of brushed brass and gold finish. Rich tone grille cloth is flecked in gold and black. Maximum overall dimensions (all three pieces); 821/x- W. x 361' H. x 20' D. ' -- PROFESSIONAL STEREO -MONAURAL AM -FM TUNER KIT World's largest manufacturer of electronic instruments in kit form MODEL PT -1 $8995 The 10 -tube FM circuit features AFC as well as AGC. An accurate tuning meter operates on both AM and FM HEATH COMPANY while a 3- position switch selects meter functions with- Benton Harbor, 8, Michigan out disturbing stereo or monaural listening. The 3 -tube front end is prcwired and prealigned, and the entirc AM Irlibsidiary of Daystrom, Inc. circuit is on one printed circuit board for ease of construction. Shpg. Wt. 20 lbs.

MONAURAL -STEREO PREAMPLIFIER KIT MODEL SP -2 (stereo) (TWO CHANNEL MIXER) Shpg. Wt. $5695 15 ibs. Complete control of your entire stereo system in one corn - MODEL SP -1 (monaural) pact package. Special "building block" design allows you to purchase instrument in monaural version and add stereo or $3795 Shpt). Wt. 13 lbs, second channel later if desired. The SP-I monaural preamplifier features six separate inputs with four input level MODEL C -SP -1 controls. A function selector switch on the SP -2 provides (converts SP -I to SP -2) two channel mixing as well as single or dual channel monaural $2195 Shen. val. and dual channel stereo. A 20' remote balance control is 5 lbs. provided.

JULY 1959 27

www.americanradiohistory.com HIGH FIDELITY RECORD CHANGER KIT

MODEL RP -3 $6495

Every outstanding feature you could ask for in a record changer is provided in the Hcathkit RP -3, the most advanced changer on the market today. A unique turntable pause during the change cycle saves wear and tear on your records by eliminating grinding action caused by records dropping on a moving turntable or disc. Record groove and stylus wear are also practically eliminated through proper weight distribution and low pivot point friction of the tone arm, which minimizes arm resonance and tracking error. Clean mechanical simplicity and precision parts give you turntable performance with the automatic convenience of a record changer. Flutter and wow, a major problem with automatic changers, is held to less than 0.18% RMS. An automatic speed selector position allows intermixing 331/2 and 45 RPM records regardless of their sequence. Four speeds provided: 16, 331/3, 45 and 78 RPM. Other features include RC filter across the power switch preventing pop when turned off and muting switch to prevent noise on automatic or manual change cycle. Changer is supplied complete with GE -VR -I1 cartridge with diamond LP and sapphire 78 stylus, changer base, stylus pressure gauge and 45 RPM spindle. Extremely easy to assemble.You simply mount a few mechanical components and connect the motor, switches and pickup leads. Shpg. Wt. 19 lbs. Model RP-3 -LP with MF -I Pickup Cartridge $74.95

HIGH FIDELITY TAPE RECORDER KIT HIGH FIDELITY AM TUNER KIT Includes tape deck MODEL TR -1A $9995 assembly. preamplifier MODEL BC -1A *2695 (TE -1) and roll of tape. The model TR -1 A Tape Deck and Preamplifier, combination Designed especially for high fidelity applications this provides all the facilities you need for top quality monaural AM tuner will give you reception close to FM. A record /playback with fast forward and rewind functions. special detector is incorporated and the I F circuits are 71/2 and 3%a IPS tape speeds are selected by changing belt "broadbanded" for low signal distortion. Sensitivity drive. Flutter and wow arc held to less than 0.35°7r. Fre- and selectivity are excellent and quiet performance'is quency response at 711 IPS ±2.0 db 50- 10,000 CPS, at 3% assured by high signal -to -noise ratio. All tunable IPS ±2.0 db 50.6,500 CPS. Features include NART6 play- components arc prealigned. Your "best buy" in an back equalization -separate record and playback gain con- AM tuner. Shpg. Wt. 9 lbs. trols- cathode follower output and provision for mike or line input. Signal -to -noise ratio is better than 45 db below normal recording level with less than 1% total harmonic distortion. Complete instructions provided for easy assembly. (Tape mechanism not sold separately). Shpg. Wt. 24 Ib. Model TE -I Tape Preamplifier sold separately if desired. _.. Shpg. Wt. 10 lbs. $39.95. - HIGH FIDELITY FM TUNER KIT

IT'S EASY . . . IT'S FUN MODEL FM -3A $2695 And You Save Up To 1/2 With Do- It- Yourself Heathkits For noise and static-free sound reception, this FM tuner is your least expensive source of high fidelity Putting together your own Hea(hki( can be one of the most exciting material, Efficient circuit design features stablized hobbies you ever enjoyed. Simple step -by -step instructions and large oscillator circuit to eliminate drift after warm -up and pictorial diagrams show you where every part goes. You can't possi- circuits for full with high sensi- bly go wrong. No previous electronic or kit building experience is re- broadband iF fidelity quired. You'll learn a lot about your equipment as you build it, and, tivity. All tunable components are prcaligned and of course, you will experience the pride and satisfaction of having front end is preassembled. Edge- illuminated slide rule done It yourself, dial is clearly marked and covers complete FM band from 88 to 108 mc. Shpg. Wt. 8 lbs.

2S fítctl FtuELrt-t MAGAZINE

www.americanradiohistory.com No Woodworking Experience Required CHAIRSIDE ENCLOSURE KIT For Construction and wood $4396 (Specify model MODEL CE-1 each desired when ordering.) All Parts Precut and Predrilled Your complete hi -fì system is right at your fingertips with For Ease of Assembly this handsomely styled chairside enclosure. In addition to its convenience and utility it will complement your living room furnishings with its striking design in either traditional or contemporary models. Designed for maximum flexibility and compactness consistent with attractive appearance, t his e -i closureis intended to house the Heathkit AM and FM tuners (BC -IA and FM -3A) and the WA-P2 preamplifier. along with the RP -3 or majority of record changers which will fit in the space provided. Well ven- tilated space is provided in the rear of the enclosure for any of the Heathkit amplifiers designed to operate with the WA -P1 The tilt -out shelf can be installed on either right or left side as desired during construction. and a lift -top lid in front can also be reversed. Both tuners may be installed in tilt -out shelf. with preamp mounted in front of changer .... or tuner and preamp combined with other tuner in changer area. Overall dimensions are 18' W. x 24' H. x 351/2' D. Changer compartment measures 1714' L. x 16' W. x 9W D. All parts are precut and pre - s drilled for easy assembly. The Contemporary cabinet is available in either mahogany or birch, and the Traditional cabinet is available in mahogany suitable for the finish of your choice. All hardware supplied. Shpg. Wt. 46 lbs.

TRADITIONAL CONTEMPORARY Model CE -1T Mahogany Model CE -1B Birch Model CE -1M Mahogany

World's largest manufacturer of electronic instruments in kit form "BOOKSHELF" HI -FI 12 WATT AMPLIFIER KIT HEATH COMPANY MODEL EA -2 $2895 Benton Harbor, 8, Michigan An amplifier and preamplifier in one compact unit, the EA -2 has mort than enough power for the average home áubsidiary of Daystrom. Inc. hi-fi system and provides full range frequency response ± from 20 to 20,000 CPS within 1 db, with less than 2% harmonic distorition at full power over the entire range. RIAA equalization, separate bass and treble controls and hum balance control are featured. An outstanding performer for the size and price. Shpg. Wt. 15 lbs.

"UNIVERSAL" HI -Fl 12 WATT AMPLIFIER KIT MODEL UA -1 $2195 "EXTRA PERFORMANCE" 55 WATT HI -Fl AMPLIFIER KIT Ideal for stereo or monaural applications. Teamed with the Heathkit WA -P2 preamplifier, the UA -I pro- MODEL W7 -M $5495 vides an economical starting point for a hi -fi system. This Ili -fi amplifier represents a remarkable value at less In stereo applications two UA -I's may be used along than a dollar a watt. Full audio output and maximum with the Heathkit SP -2, or your present system may damping is a true 55 watts from 20 to 20,000 CPS with be to converted stereo by adding the UA -1. Harmonic less than 2' %i: total harmonic distortion throughout the distortion is less than 2% from 20 to 20,000 CPS at entire audio range. Features include level control and full 12 watt output. "On -off" switch located on chassis ''on-off" switch right on Me chassis, plus provision for and an octal plug is also provided to connect pre- remote control. Pilot light on chassis. Modern, functional amplifier for remote control operation. Shpg. Wt. design. Shpg. Wt 28 lbs. 13 lbs.

"MASTER CONTROL" PREAMPLIFIER KIT MODEL WA -P2 $1975 All the controls you need to master a complete high fidelity home music system are incorporated in this versatile instrument. Featuring five switch -selected inputs. each with level control. Provides tape recorder and cathode - follower outputs. Full frequency response is obtained íV2 within ± I db from 15 to 35.000 CI'S and will do full justice to the finest available program sources. Equaliza- tion is provided for LP. Rr AA, A ES and early 78 records. Dimensions are 12'íe' L. x 3 f/" H. x 57Al" D. Shpg. Wt. 7 lbs.

29 JULY 1959

www.americanradiohistory.com "ADVANCE DESIGN" 25 WATT HI -Fl AMPLIFIER KIT HEATHKIT MODEL W5 -M $5975 Enjoy the distortion -free high fidelity sound reproduction from this outstanding hi -fi amplifier. The W5 -M incorporates advanced design features for the super critical listener. Features include specially designed Peerless output transformer and KT66 tubes. The circuit is rated at 25 watts and will follow instantaneous power peaks of a full orchestra up to 42 watts. A "tweeter saver" suppresses high frequency oscillation and a unique balancing circuit facilitates adjustment of output tubes. Frequency response is ±1 db from 5 to 160,000 CPS at I watt and within t2 db 20 to r 20,000 CPS at full 25 watts output. Harmonic distortion is less than 1% at 25 watts and IM distortion is I','r at 20 watts (60 and 3,000 CPS. 4:1). Hum and "HEAVY DUTY" 70 WATT HI -FI AMPLIFIER KIT noise arc 99 db below 25 watts for truly quiet per- MODEL Wfi -M $10995 formance. Shpg. Wt. 31 lbs. For real rugged duty called for by advance hi -fi systems or P.A. networks, this high powered amplifier more than fills the bill. Silicon -diode rectifiers are used to assure long lift and a heavy duty transformer gives you extremely good power supply regulation. Variable damping control provides optimum performance with any speaker system. Quick change plug selects 4, 8 and 16 ohm or 70 volt output and the correct feedback resistance. Frequency response at I watt is ±I db from 5 CPS to 80 kc with controlled HF rolloff above 100 kc. At 70 watts output harmonic distortion is below 2%. 20 to 20,000 'CPS and IM distortion below I';;; 60 and 6,000 CPS. Hum and noise 88 db below full output. Shpg. Wt. 52 lbs.

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30 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com Bureau of Missing Attractions

AND SUCH insist upon economically it has to be done at high speed) has in- PSEUDOSOCIOLOGISTSreferring to publishing as a part of what they call volved hazards disc stamping hasn't, even if the finished communications. Editors like also to think of it in some product keeps its fi longer. The tape people's quick degree as a literary endeavor, but we can go along with (almost panicky) comeback with 4 -track 3% -ips re- a semantic trend. Communication is certainly important corded tape was not startlingly successful. The stuff was to us. The main shape of communication from us to you cheap, but the sound teas of uneven merit and playback is, naturally, the printed page. From you to us, it's equipment wasn't widely available. A compromise sug- letters. We really read these, I may point out, and we gestion first made in this magazine now is being tried: think the more of them there are the better. Not all of 4- track 72-ips tape. The first of these to come forth are them are informative, but some are. and some are witty promisingly good, according to our sharp -eared Mr. besides. Darrell. (See "The -lope Deck. ") Lately we've been getting enough letters on just two This we are glad to hear. Nearly all of us here are sort subjects so that an answer to them on this page seems of sentimentally attached to disc records, and even to justified. 1 said two subjects; actually they seem to coa- the problems that go with them: dust and delinquent lesce into one. The questions deal with our dwindling tone arms and the like. They are familiar; tape is by coverage of recorded tape, and tvith the virtual disap- contrast a little alien and serpentine. Yet it also has about pearance of a feature we have long been known for, the it the feel of the future. critical discography. These are matters requiring com- As for our vanished discographies: this is something ment, but it can be almost the same comment. The cause you could easily account for by yourselves, but I have of both developments has been the emergence of the some space still to fill here. As the record companies' stereo disc. backlog of stereo master tapes is made into discs, mono- The review department called "The Tope Deck.' has phonic discs are steadily and swiftly yanked out of the indeed dwindled, sometimes to the vanishing point (you catalogues. It would take us (including the reviewer) at will note that its back this month), but this has not been least six months to prepare. say, a l3rahms discography our fault. The supply of recorded tapes also has dwindled, for you. By the time you saw it -tie way things are and you can't review something that alo't. Tape, in late moving now -about a tenth of the records it listed would years, hit its high point when, briefly. it preempted the have been withdrawn from circulation, and about half stereo field. Stereo tapes carne out in great quantity and the remainder you :wouldn't be interested in, since they'd high quality. For a while it seemed almost that magnetic be due soon for supercession by stereo versions of equal might displace mechanical recording (I know that is in- musical merit. We will start stereo discographies as soon exact language, but this page is too small for Ph. D. as the size of the stereo catalogue warrants it. theses). Quantity -production phonograph makers like \eantvhile, for hunters of old monophonic musical V -M and Wcbcor went in for stereo tape players. The treasure. your proper recourse in this matter is to knowl- disc business faced real trouble. The tape business never edgeable record dealers, a dwindling species but not yet had it so good. Naturally, then, the disc business went extinct. They advertise, on and off, both with us and stereo, ready or not. with our competitors. and many of them know their The disc medium could give us stereo sound at about stuff. They don't usually give discounts but they do give half the per -minute price of 7i4-ips dual -track tape, it service. Further. J. B. Lippincott is now issuing a series developed. It not only could, it did. And as soon as this of discographies in paperback form at $1.65 a copy: the became apparent. the volume of recorded tape produc- keystone Music Books. Mast of them so far published don went down. At least one major record company appeared first as Hunt FtueuTV discographies, since eminent in stereo pioneering, Lo» xlon, never has put any when they have been in some degree updated. You can tapes on the market at all. (I wish they would.) Even in get Burke on Haydn, Broder on Bach, Schonberg on the matter of sonic fidelity, there hasn't been any clear Chopin and Schumann, Wilson on Swing and Tradi- advantage one way or another. Tape copying (since tional jazz. Others arc forthcoming. J.M.C.

AS THE EDITORS SEE IT

JULY 1959 33

www.americanradiohistory.com The Sightless Vision of Helmut WALCHA

by FRITZ A. KUTTNER

Kunncr

Music listeners the world over have been profoundly moved by the Bach. recordings of this blind organist. Herewith, on account of a visit with him at his home in Frankfurt.

TIM CITY of Frankfurt am Main. birthplace of of this blind musician. Germany's greatest poet, has endowed a trophy Alles geben clic Götter, die Unendlichen, called the Goethe Plaque, which is given to distin- Ihren Lieblingen ganz: guished Frankfurt residents for outstanding cultural Alle Freuden, die Unendlichen, achievements. Only a vent' few plaques have yet been Alle Schmcncn, die Unendlichen, ganz.* awarded. In 1957. on the occasion of his fiftieth birthday, It is not strange that among some of Walcha's ad- the medal was presented to Helmut Walcha, organist mirers a legend has grown up that he leads a saintly and Bach interpreter. existence, otherworldly, "bcyondish." This quality, In the music room of Walcha's house hangs an epi- it is felt, is evident in every measure of his recordings; gram by Goethe, drawn in tall beautiful Gothic letters this man could nor play Bach as he does if he lived on by his father -in -law Rudolf Koch, the well -known a merely mortal plane. Walcha himself is not pleased by

graphic artist. More powerfully than any journalist's "Whatevertever the Infinite Cols give to those they love /They give it wholly:/ Infinite ham t i ttttttt Infinite suffering/ They give it wholly. "-Translated by words, these few lines convey the drama of the lift Dr. Theodor Friedrichs. New York City.

34 TIiCII rIUF.LITy Z\'IACAZINIï

www.americanradiohistory.com this myth; and when I talked with him not long ago, the taste of the air on my tongue." He knows all the Ile asked me to do my best to destroy it. I am not sure roads and paths he has ever walked on the extended that I can do so. A life given so intensely to penetrating hikes he loves to take with his wife, and sometimes it the meanings of music, so devoted to contemplation, is he tsho finds the way back home when Mrs. Walcha may very well give rise to a legend, however unknow- is uncertain. ingly and unwillingly created. At his parents' home nobody realized that the child Blindness alone is not responsible for the moving was musical; he never had music lessons. although his impression Walcha's visitor takes away. There are sister taught him to read music. Then, one day, a many very competent blind musicians who demand string bass player in the Leipzig Gcwa ndhaus Orches- one's admiration. but Walcha radiates an almost tan- tra heard the thirteen- year -old boy improvise on the gible air of purity and serenity. Immaculately dressed, piano and tex>k hint to the great conductor Arthur handsome. well- built, he walks towards you, right hand Nikisch. Helmut didn't know what to play in this extended in a welcome. About him there is no self- "audition" because he had never practiced any real conscious dignity. merely a gentle quality of restraint. composition. He began improvising on the German He speaks unpretentiously, even on topics of great folk song "Ich half einen Kanreraden." Nikisch listened, seriousness. His conversation is never wasteful; always found the boy had absolute pitch (Helmut discovered there is economy of language, of motion, of gesture. that his piano at home stood a semitone lower than Only when Ursula \Valcha takes her husband's hand Nikisch's), and declared that music lessons should start to lead it to the crystal glass of seine on the table is immediately. 1-Ierr Fincleisen, the bass fiddler, became one aware again that he does not see- nothing at all. his piano teacher for the first year. Liter, Candler Yet to say that he lives in complete darkness would Itamin, then the twenty- four -year -old organist at be nonsense. This man "sees" a thousand things that 13ach's St. Thomas Church and teacher at the famous arc hidden from the vision of most men. Conservatory, took over \Valcha's musical education Helmut \Valcha cones from a middle -class family at the Leipzig Musikhochschule. Here began a svcll- in Leipzig; his parents were not musical people. When, rounded conservatory training, with studies in organ, late in 1907, the infant received the customary small - piano, and theory. pox vaccination, a violent reaction set in, leading within The pupil was close to being completely possessed a few clays to almost complete blindness. Nobody will by music. At 7:00 a.m. every day he would ring the ever know whether the vaccine was faulty, the dosage doorman at the Hochschule cut of bed to get to the excessive, or the child hypersensitive to the toxin; and practice organ, and during the rest of the day he would \Valcha himself does not care to know: of what use make use of every half hour the practice instruments could such knowledge be today? All possible therapy were free. His dwindling vision gave more and more was tried, and vision was partially restored. At six the trouble during these years: he could read music only boy was able to enter school, but he remained very in the early morning, and never more than one part shortsighted and suffered from chronic inflammation or voice at a time. These he learned separately by of the cornea. Over his early school years his elder sister helped him with his studies, but with puberty there began a serious impairment of his eyesight. When he was nineteen, a thorough examination brought to the young man the sudden realization that for quite some time he had lived in a world of hazy glimmer and dusk. The deterioration had progressed over five or six years at so slow a rate that Walcha had not really been aware of it until the last bit of vision was gone. He had had time, however, to experience fully the physical world around him- trees, lakes, people, flowers, animals -and these visual impressions have stayed with him, supplementing his picture of life as he "secs" and feels it now with his other senses and with an almost supranatural perceptiveness. "I-Iow one -sidedly visual is the approach and `view' of most people." said Walcha. "Our vitality is wither- ing away if we rely too much on vision. As if what can be seen of the world is all that matters, or even the most important property. I can see and tell a forest from the way it smells, the way its ground furls under

my feet, from the whispering sounds around mc, from Urvita nad 1-!e /mus Ir'alrba, al 1,0,1,0: the m otiu is sorunit r.

JULY 1959 35

www.americanradiohistory.com zig. His post as organist at the Friedenskirche in Frank- furt he won in competition with thirty other appli- cants by his outstanding performance in improvisation. At the Friedcnskirche, from 1929 to 1943. his own creative development took place, since he was no\w, for the first titre, independent of the tiles of the or- WALCHA thodox Bach tradition in Leipzig. After eight years of experiment. he discarded the practices of the Leipzig school, which LI his opinion had become a ttetrifictl codex of tempos, voice treatment, and registration. He rebuilt the whole concept of manual and registration memory. and the final joining of the separate voices changes, conceiving then, individually for each work into one polyphonic unity always became an (Wei' in terms of its form and inner impulses, a process that whelming cxpxrirncc to him. Finall', stud by himself led to a new structure of dynamic steps, coloration. grew almost impossible. 1-lis mother would slowly play and tempo integrat ion. Outside Frankfurt nobody the music to him, one voice at a time; or his falter, scented to notice what \\'aloha was doing to the Bach \who could not read music, tried to describe the notes tradition, but his listeners at Frieclenskirchc became to hint one by one, since he did not know the pitch keenly aware of a new revelation. Günther Raniin, of names and musical svmlx>ls. in this %vay \Valcha "learned course. knew about his disciple's rebellion and never music by heart," acquiring gradually an enormous quite forgave him. repertory committed indelibly to memory. In this In 1933 \Valeta received a call to teach organ at the t\ay, tort, Bach and other masters of banxpue polyph- I-loch Conservatory. Five years later, after the famous ony composed their scores: note by note in separate school had been converted into what is now Frankfurt horizontal parts and counterpoints. This procedure is State Academy of \lusic, he was made head of the one of the secrets of \Valclta's organ playing: there is organ deportment. in 1939 he established the Frank- hardly another organist in the world who memorizes furt Bach (lours, at least six full-evening programs of his repertory it such a fashion. organ and whet works each \winter, for which he Se- \Vhen the boy was scarcely sc\entecu, he gave his lected the collalxuaing artists.:\t this writing, he has first organ recitals at St. Andrews in Leipzig. The presented 175 Bach Hours, all of which have been church \vas packed :sell the critics wrote laudatory sell - supporting; he never needed a penny from pa- reviews. Invariably his soother had to plead with news- trons or public funds. papermen to make no mention of l-lelnutt's visual af- 1n View of his absorption in his work it is not unnatural

fliction: he \vatted his playing evaluated on its own that \Valcha hILSlxmds his energies, 1 -1 is Bach Hours, merits and on the Stine terms with that of other organ- his recording work, and a limited number of recitals

ists, not as a remarkable performance from a near- comprise all the commitments he will accept touring a blind person. During his conservatory years he al\waws year. How could he play \well unless he was fully ac- had his music open on the rack even alter his sight had quainted with the organ he is to play? 1-lose could he gone completely, hoping that other students \world know the special characteristics of the instrument and think he could read his music as they did. When, at of the auditorium's acoustics unless he studied them twenty -two, \Valcha moved to Frankfurt, he insisted carefully fin- several days? \Valcha believes that tem- that no criticism refer to his blindness. pos, registration. the touches and types of legato. px>r- It goes without saying that the young organist had tamento, and staccato playing must be developed anew also to memorize the disposition of all organs he ever for each organ, each recital hall. No two Of \Valcha's played, together with the location of all register stops. perli>nnanccs arc ever alike-each has a coloration and Pedal keyboard work never gave him any trouble: a sound character of its own that is painstakingly studied sense of touch and location as delicately developed as out in advance. \V:dcha's finds no difference between manual and foot This kind of contemplative preparation does not work. I-Ic does his own registration by listening to an- lend itself to international concert derbies and thou- other organist or to one of his students playing for him, sand-mile itineraries. Consequently. there is little chance and he makes his decisions on coloring and registration that American audiences will hear him perform in this by calling out to the player at the console. Thus he country. The only possibility would seem to be an in- needs more time than other organists to acquaint him- vitation from one of the universities to occupy a visit- self with a new instrument; but once he knows an ing professorship. Yet, even such an arrangement would organ and a church's acoustical properties, he knows call for a goxxl deal of persuasion: \Valcha loves his them better than anyone else. weekly church \work at Frankfurt's Dreikoenigskirche, Between his nineteenth and twenty -second year where he has served as organist since 1946. The serv- \Valcha was assistant to Ramon at St. Thomas in I.eip- ices of the church are fun- Continued on page 99

36 HIGH FmELM 1t1AGAZI\E

www.americanradiohistory.com by NATHAN BRODER

HOW /1m e ri ca n Composers PAY THEIR RENT

Recently Nathan Broder had occasion to make an examination. of the over -all economic status of the composer in mid- twentieth- century America. The results of that investigation - not as disheartening as you might suppose - are set forth below.

is, and probably always will be, music, you can lighten the duller moments by playing AT-AND-ECONOMICSa perennial problem, but alien one conies to the the gaine of slot- the -composer. You might be surprised case of the composer -and specifically of the contempo- to find how often composers like Copland and ClAvez rary American composer -the situation 'may be bright- and Hindemith turn up on such occasions, not ro men- ening. If today's composer is better off than his prede- tion many less aril -known naves. And to add an extra cessors, he owes the change in large part to the sustenance fillip there are sometimes odd combinations, like the that records, radio, and television afford. The American United States Treasury program that used to employ composer won't get rich from these sources, but he may as its musical identification a theme front a Shostakovich be able to pay the rent. symphony. Television, in particular, has macle considerable dif- Although a fcw years ago many more compositions ference to him. When the man in the ten-o'clock show were used, because there acre more live drama shows makes his way through the dark streets, pondering on than there arc now, enough of this music is still employed the best way of murdering his wile, the ominous, as background on television to provide a chief source of enigmatic music underneath the sound of his footsteps income for its composers. Even though they never could well be the opening section of William Schuman's dreamed of such a use when they wrote it, and though Undertow. \lany a love scene on the twenty -one -inch they may or may not be gratified by having it used in this screen has run its stormy course to impassioned music fashion (I have yet to meet a composer who wasn't from Samuel Barber's First Symphony. And all sorts of pleased), television performance can be definitely lucra- climaxes have worked themselves out before the cameras, tive. When a composer's music is broadcast on television coast to coast, to the powerful final chords of Roy or radio he benefits financially, directly or indirectly, Harris' Third Symphony. If you arc a devotee of TV depending on which performing rights society he belongs plays (I do not mean, of course, the dreary "situation to. I-Icre, briefly, is how it works. comedies" or the sagebrush sagas) and of contemporary The two largest agencies for collecting performance

JULY 1959 37

www.americanradiohistory.com the relatively few serious composers who have direct contracts with BMI. Most American composers affiliated with BAIL, however, arc members of the American Composers Alliance (ACA) and receive their performance fees from ACA. The method employed is this: BMI periodically pays ACA a lump sum for the use of the music of the ACA members. ACA uses part of this money for administrative and other expenses, including various services it performs for its members, many of whom are without regular publishers. It distributes the rest according to a formula very similar to. and in fact borrowed from, ASCAP's. For the purpose of determining credits for "current" performances, ACA is permitted to use the performance records kept by BAIL. to which it adds information, supplied by the members, concerning performances that may not have been caught by BM1's logging system. Now, the performances referred to may be either live fees in this country are ASCAP and Broadcast Music, or recorded. As far as radio and television are concerned Inc. (BMI). ASCAP in 1958 collected some twenty -eight -and these media account for the bulk of ASCAP's million dollars from various types of music -using media. income and all B\I1's- recorded performances far out- It kept about four million for administrative expenses number live ones. That is why it is of vital importance

and split the rest evenly between "writers" (that is, to a composer (and to his publisher) that his works be composers and authors) and publishers. The manner in made available on records, even though the royalties on which the writers' share is apportioned among them is the sales of the records are not apt to amount to much. complicated, but boils down to this: at least fifty per For recordings of his music by a regular commercial cent of what a composer gets is based on performances company the "serious" composer usually receives an of his works during the current year and his performance eighth of a cent per minute. If he has a half -hour sym- record over a fie- or ten -year period. Performance phony on discs, he will then get a little under four cents credits arc based mainly on network broadcasts and a for every copy sold. Since a few thousand copies is sampling of local stations. Consequently, the composer considered a very good sale for a contemporary American whose works are frequently and widely performed symphony, it is clear that neither composer nor publisher will find that happy state reflected in his ASCAP check - (who usually gets the sanie amount as the composer) annual payments well up in four figures arc not uncom- will wax fat from this source of income. But there are mon, and one or two of the top men each year may symphonic works that are seldom played at concerts, receive amounts in five figures. whose scores and records sell only a few copies a year, Please remember that we are dealing here only with and that nevertheless loom large on the composer's the composers of "serious" music. The successful writers ASCAP or BMI statements because the music has been of popular music of course receive much more. In found to make effective backgrounds to television that field the whole mechanism of song plugging has dramas. Obviously this cannot happen if the records arc become radically simplified. The plugger has only two not available to the musical director of the television things to concentrate on nowadays: (I) get the song show. Recognizing this, ACA recently began to use sonic recorded, on as many labels as possible; (2) get the of its funds in partial support of a new record company, recording (s) broadcast as often as passible. But that Composers Recordings Inc., whose repertory is partly is another story. Let us return to the far more modest drawn from the ACA catalogue. confines of the serious composer's economy. Similar conditions prevail abroad. The chief difference BMI, which was established and is largely owned by between the United States and European countries with the great networks, uses a rather different method of respect to performance fees lies in the manner of collect- payment from ASCAP's. Composers are rated according ing them for concerts and recitals. Most American to certain criteria -partly statistical, such as the number orchestras pay a blanket annual fee to ASCAP for the and activity of their works, but mostly indefinite, such right to play any works in the ASCAP catalogue. The as their prestige or promise -and given a flat annual pay - size of the fee is based on the resources and income of ment accordingly. Here, as at ASCAP but according to a the orchestra. Thus the Boston Symphony Orchestra, different system, careful and elaborate performance with an annual income from the sale of tickets of more records are kept. They may serve as a guide in the than a million dollars, pays ASCAP three thousand periodic negotiations of new agreements between com- dollars or some 0.3%. In Switzerland such a license for poser and BALI. This method of payment obtains with works protected by copyright would cost the orchestra-

38 Htctt FIDELITY MAGAZINE

www.americanradiohistory.com any orchestra -4 of the box ollicc receipts, in France once with the terms of their contract, a common practice 4.4%, in Italy 8 %! In the recital field ASCAP coverage being to divide it in half after the publisher has recovered is admittedly spotty. In Europe the recital field is as his expenses for preparing the parts. ("This is not the carefully and thoroughly covered as the concert field; only expense for the orchestra. As we have seen, most a pianist in France, (or example, pays 6.6% of box office major American orchestras and many smaller ones pay an receipts for the privilege of playing copyrighted music. annual fee to ASCAP for the right to perform anything

BMI for a while tried to do something alxaut the concert in the . \SC.\1' catalogue. If the orchestra does not pay an and recital fields but gave up. Clearly, the tradition of annual blanket fee, ASCAP will charge a performance fee paying the copyright owner for the use of his material is for each use. The publisher or composer- without -pub- older and more firmly established in Europe than lisher who is not a tnentfer of ASCAP will add a per- it is in this country. formance fee to the rental fee.) Among other sources of income for the composer of No American composer of serious music could live serious music are commissions anti awards. The practice decently on royalties from the sale of his published of commissioning is, of course, familiar and widespread. music alone. In the case of orchestral pocket or "study° Commissions can come from individual music lovers, scores, even successful works that are performed with from performers singly or in chamber music groups, some frequency arc not apt to sell more than a few from choruses, orchestras, opera companies, publishers, hundred copies in five or ten years. These arc bought theatrical producers, television broadcasters, churches, mostly by libraries and by students. For reasons that special foundations -from, in fact, any affluent source woulcl lead us too far afield to explain here, there is no that regards serious music as of value. For instance, when longer any sizable market for the art song. Similarly with the Robert Moses Power I }un of the St. Lawrence Power piano music. :\ successful short choral work might sell Project was formally opened last September, Morton several thousand copies a year, but the royalty to the Gould conducted a new work of his, commissioned for composer (at ten per cent of the marked price) is likely the occasion by the I- lydro- Electric Power Commission to be about three cents a copy. Contemporary chamber of Ontario and the Power Authority of the State of music has the smallest market of all. New York. There was later, to be sure, a flurry of protest The whole situation changes if a composer turns out from some taxpayers, but Mr. Moses, with the lordly a successful opera. Whether it is a full -length work gesture of a Prince Ester Inizy, brushed it aside. that is taken up by various opera houses here and Commissions range in size from something like fifty abroad (for example, \genotti's The Consul) or a short dollars for an anthem or organ piece to five thousand one that can be done by all sorts of amateur as well as dollars or more for a full -length opera. The juiciest professional organizations (Kurt \Vcill's Down in she ones naturally gravitate towards the most admired com- Valley, for instance), the sales of vocal scores, chorus posers; and the half -dozen or so top men arc offered more parts, librettos and to a lesser extent that of records - than they can handle. The commissions they do not but especially the performance and rental fees -will leap accept, and all the others, are spread among a great many far higher than for any other type of extended composi- composers, and spread pretty thin. The respected but tion. This plain economic fact may explain why many not celebrated composer is lucky to get an offer of five American composers have taken to writing opera in hundred dollars for a chamber music work or a thousand recent years. dollars for an orchestral piece. And for most such men One other avenue of income from composition must even this amount is likely to be larger than all the rest be mentioned for the sake of completeness -the movies. of their annual income from their compositions. The composers who arc regularly Continued on page 101 The only other avenues of income from their music -besides performance fees, commissions, and royalties on the sale of records-arc rental fees and royalties on the sale of the published music, and neither of these last is likely to do much for the composer's finances. 'I:akc rental fees, for example. When an orchestra wishes Lo perform a contemporary work, it usually has to rent the orchestra parts from the publisher, or from the composer if be has no publisher. Rental fees vary according to the nature of the performing organization, the duration of the work, the demand for it, what the traffic twill bear, and other considerations. A major orchestra wishing to give a pair of performances of our hypothetical half -hour symphony will probably have to pay the publisher a rental fee of $75 to $90. The publisher will then probably share this fee with the composer, in accord-

JULY 1959 39

www.americanradiohistory.com $;;q1u-seer .Sicpi at linel¡inghar Palace. Risi; Stevens and .fa »,ils fì. :h off Iheir own hier.

aspera stars of duty

Pastoral scene: Roberta Peters plays with her small son, Master And ildan, Fields.

www.americanradiohistory.com Great ,American short: the Reagans (Eileen Farrell) gel ready fir a cool¿ -our.

ht Pia:7,a 1\'avuna, Rrunc--l:enata 7ibaGli.

Di Stefano chais with residents of Ravenna, where he has a villa.

www.americanradiohistory.com by S. J. London, M.

the Splendid Infamies

of Q(e, Docteur Vron

In the early nineteenth century a shrewd medical voluptuary

put the Paris Opéra on a paying basis.

AMONG the grotesque personages who populated nine- coarse pleasures than had a dash of the mind in then, the teenth -century Paris and the novels of Balzac, none was Mercury of an intellectual materialism ... unclean more bizarre than Dr. Louis - Desire Véron, a hugely in habits, playing now the vicomte, now the bourgeois; accomplished gourmand, lecher, and entrepreneur who employing artifices that were on the fringe of fraud but

occupies also a small but picturesque niche in the history never slipped over into it, this gross Véron, crooked as of music. Dr. Véron's exploits were many and dubious. an attorney, as three attorneys, fond of women, pictures, but at least one achievement speaks to his credit: at and men of letters, played the role of a farmer - one point, he managed w save French grand opera from gcnerul " feckless ruin. Actually, Dr. Véron was a very typical product of This fantastic figure is perhaps most graphically his era, that incredible period known as the July Mon- described in the words of the contemporary littératcur, archy, and slid no more than function in accord with his Philarète Chasles: "... a man with a high color, a psychosociological milieu. The fine promises of the chubby face, the mere hint of a nose, scrofulous, his French Revolution had been frustrated by the bloodiness neck always buried in the folds of some stud that both of the Napoleonic Wars and the autocratic rule of the alleviated his malady and concealed it, his belly rotund, restored Bourbons. When, in early July I830, Charles

his eye round, bright, scintillating, greedy, the mouth dissolved the Corps h.egislatif and passed a series of laughing. the lips thick, the hair scanty. the manner that oppressive tax laws, an army of middle -class rebels bar- of a little lackey mincingly apcing his master and putting ricaded every strategic point in Paris and began shooting on drawing-room affectations; the voice high, sharp, indiscriminately. On July 30 the aging Marquis de aggressive, hissing, overbearing; supple here, impertinent Lafayette rode his horse to the Hôtel de Ville and there ... ; the head thrown back, the cheeks swollen, proclaimed fart little Louis Philippe, Duc d'Orléans and the glance arrogant when he had nothing to gain or to the Royal Cousin, Citizen King in the name of French fear.... He was not wicked, or perverse. or kicking in liberty. There immediately descended upon the capital intelligence. He was without principle.... No one in a host of estimable citizens seemingly bent on one aim, our epoch has had such a nose as Véron for the scent of to hew their fortunes from the new freedom. They profit, or such a greyhound speed for running it down. infiltrated the government, seized as many sinecures

... Véron was the first to become . .. the jobber in as possible, made contracts between themselves as civil

42 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com servants, with themselves as entrepreneurs, and flooded the boulevards and cafés of Paris in search of hard -earned pleasures. At this time Véron was thirty -two and more than ready to share in the spoils. (.)ne of the tangled affairs the Citizen King inherited

was the perilous state of French opera. In 1 8 1 1 Napoleon I had drastically changed the financial structure of the Royal Academy of Music by allotting as its only source of income a percentage from the receipts of Parisian theatres. Under Charles X theatre receipts in genera dropped off so sharply that in 1S29 the Opera Comique declared itself bankrupt and the Royal Academy, known as the Paris Opéra, was fast approaching the same denoue- ment. Anxious to rid his government of a white elephant, Louis Philippe had his Minister of the Interior issue the following proclamation in August 1830: "The adminis- The Opéra: crashing finales restored the clink of profits. tration of the Royal Academy of Music, also known as the Opera. will henceforward be delegated to a director - medical practice turned out to be of short duration. hfost entrepreneur who will exploit it for six years at his own of his patients simply refused to tolerate his inept risks, perils, and fortune." Thus did free enterprise come bleedings and cathetcrirations. The coup de gráce was to the Paris Opéra and with it, Dr. Véron. finally delivered by a formidable Parisian beauty; when There is no doubt that he was well fitted for the new his needle missed the vein of her satin -sheathed arm. she role. While stiU in his teens, Louis -Desire had had shrieked "Maladroit!" and had him thrown bodily considerable success as a full-fledged boulevardier, a from her house.

career brought to a halt by an outraged father's threats Before forsaking medicine altogether, he made one of disinheritance. Forced to choose n profession, Véron last attempt at success. Having heard of a poor pharma- entered medical school, where, strangely enough, his cist named Regnauld who made an ointment which career was not without distinction (far better than that allegedly cured all respiratory discuses, Dr. Véron paid of his fellow-student Hector Berlioz, for instance). him a business call - only to find Mme. Regnauld in A rather indelicate affair with a young nursing -order widow's weeds. He hurriedly paid the widow 17,000 novice. however, made it advisable that he grasp his francs for sole rights to this nostrum and proceeded to degree and move elsewhere as soon as possible; and in run up a profit of 100,000 for the first year. This was donc, 1823 he set out to make his fortune in Paris. There his first, by converting the Prim Pectorals de Regnauld into lozenges, tablets, juleps, and syrups and, then, by inundating the market not only with this unusual pile but with the first gigantic promotional campaign in modern commercial history. Retired from medicine and fortified by the profits from his pate, Dr. Véron was now, in 1828, ready to assert his claim to higher things. Rcinvading the boulevards, he sought out the palpitating literati and soon had a corps of illustrious names with which to grace a proposed newspaper, La Revue de Paris: as co -owner an unsavory emigré Spanish banker named Alexandre Aguado; as members of his Board. Scribe and Rossini; as contributors, Balzac, Hugo, George Sand, and Dumas. iCarefully planned and executed, the first issue was six tmonths late but struck at a time when the middle -class tliber is were gathering for their attack on Charles X. Up to this time Véron's musical experience consisted in having studied violin, at the age of fifteen, with Georges Ney, first chair at the Opera (in fact, he had spent more time in ogling the undressed beauties of the chorus than on his fingering and bowing), but apparently it was enough to induce him to act on Louis Philippe's Opera decree. According to this pronouncement, the /t most accomplished ganmand, lecher, and eutrepreuenr. director was to receive a fixed annual budget from the

JULY 1959 43

www.americanradiohistory.com Ministry of the Interior and would pocket all receipts himself the privilege of deciding which of the secondary in excess of this amount; the risk would be in his agree- artists were to receive the corps' special attention and

ment CO repair all deficits out of his own funds. Véron, thus managed to pry loose a variety of favors. :1s a result characteristically, had no qualms about deficits and set of these tactics, Véron was securely entrenched as arbiter about capturing the plum by machinations at which he of his artists' destinies. had by now become an old hand. With the shadowy Another of his great successes was the forging of an Aguado in the background he quickly sowed .140,000 able body of performers. At the high watermark of his francs in the most fertile Ministry pastures, contrived administration he had under his wing the then unusual to have the incumbent director, one Lubbert, accused of number of forty dancers, seventy musicians, sixty grand larceny, and settled himself triumphantly in the choristers, and the undivided services of some of the directors seat in March 1831. greatest living solo artists, including the tenor Adolphe The good doctor was faced by a situation of enormous Nourrir, the basso Nicolas Levasseur, the sopranos artistic portent. Besides the threat of financial disaster, Laure Cinti-Damoreau and Marie-Come:lie Falcon, and French opera was also confronted with the overwhelming the ballerinas Maria Taglioni and Fanny Elssler. This influence of Italian opera. The breath of new life had was managed by the simple expedient of paying them begun to stir in an effort to dislodge the Rossinian tira- opulent salaries and cascading the distaff side with lira then gripping Paris. But the new director. with cars magnificent gifts. Every diva and ballerina was in- apparently deaf to both the lira -lira and the nascent variably sent a box of sugared almonds wrapped in a school of French dramatic music. seemed attuned only thousand -franc note after each performance. When he to the seductive clink of profits. The house on the rue set out to woo the ballerina Elsscr sisters, Fanny and Le Pelletier, badly in need of new décor. was shortly put TbériNe. he captured them in London by using Claren- in order. l-le had a new restaurant constructed and laid don's for his setting and personally serving them a dessert plans for a new ballroom which was to be the arena for a which consisted of a huge dish of luscious fruit upon sumptuous hal masque every New Year's Evc. He re- which was heaped money and 200,000 francs worth of duced all admission prices and converted most of the jewelry. With modest alacrity. the sisters chose two loges-for -four into loges- for -six to accommodate larger bagatelles worth six thousand francs each, but followed parties in the more expensive scats. Ingenious arrange- with their signatures on the waiting contracts. ments vcre made to increase the sale of programs. li- In actuality, this dessert had been only the postlude brettos. lorgnettes, and liquid refreshments, and for the to a supper whose magnificence even Clarendon's had increased utilization of the parterre as a fashionable prom- hitherto failed to equal. Dr. Véron had the physician's enade. Opening curtain time was pushed back by one traditional weakness for gastronomy and anatomy and hour in order to allow aficionados to sup leisurely and use used his directorship of the Opéra as a vehicle to indulge the promenade to its fullest advantage. both. As a gastronomist he had no peer; even the fabulous Véron's most detailed attentions were lavished on the Dumas, after a short rivalry, was forced to admit total

corps de claque, and for its chief he hired a crafty hook - defeat. Each afternoon his short fat figure held sway over nosed genius known only as Auguste. Auguste had fought a fawning entourage at the Café de Paris which listened with Napoleon and preened himself on his military to his tirades on politics, women, and art, and managed acumen; he divided his corps into ten divisions. each to crow his praises breathlessly between each gigantic

under the command of a lieutenant and deployed for mouthful. His p ostperformance supper parties, however, action as vanguard, rear guard, flanks, and reserves -his disappeared beyond the horizon of orgies, and the creak- objective being to envelop the hapless audience by a ing boards were stressed to the limit by his notorious pincers movement. "The general order of battle." he desserts, the most celebrated of which %vas a huge silver decreed. "will consist of desultory fire during the early casserole which, upon removal of the cover, revealed a acts, followed by increasing enfilade and defilade during naked ballerina garnished with precious stones. the subsequent acts, with a climax of at least three full His interest in anatomy was perhaps even greater salvos for each last -act aria and ensemble, and a massive than that in gastronomy. l -le had a limitless store- cannonade for the finale." house of delights in his corps de balla, and these he lent Auguste reported to Víron on the morning of each freely to his personal and political friends; some of the performance for a strategy briefing and on each morning - weightiest decisions of the July Monarchy were rumored after for an intelligence session. During the latter. to have been influenced by the o0' -stage functions of

tactical errors and successes were analyzed and future his dancers. " \Vhar is the Opéra, ' observed a bitter plans hatched; then, too, specific targets were chosen Berlioz. as one after another of his operatic proposals for special attention. Auguste was permitted to accept was rejected by Véron, "but a house of assignation and commissions for these special attentions from singers, self -indulgence?" Jacques Barzun, in Berlioz.- and His dancers, conductors, composers, and even librettists, Century, writes that the composer might have received a turning a few extra sous from the delivery of flowers and different welcome from Véron had he been willing to jewelry to artists on stage. Véron, however, reserved to accept a ballerina as an of Bring. Continued on page 110

44 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Music on Ice by RALPH GLASGAL

Lists have always been quick to adapt the latest in scientific gadgetry to fit their own peculiar requirements, Since 1901, at least, phonographs and the phonograph has long had an honored place and records have been essential in the . \ntarctic. equipment to Antarctic explorers. 'l'hc Swedish Antarctic Expedition of 1901 may be credited as the first wintering -over party to while away the long polar nights with a gramophone. The machine played %%'ax cylinders and was still in grxxl condition some thirty -one years later when Lincoln Ellsworth. the first Man to Ily from one side of the Antarctic continent PuLne EXPLORATION IS at once the cleanest and to the other. rediscovered the Scandinavians' small hut. most isolated way of having a bad time which has been By 1907 both a disc gramophone and a motorcar wen: devised." So %vrotc a member of Captain Robert Falcon in use only 140 stiles from the South Pole. Scott's South Polar expedition of 1910. 'fhc Antarctic I3oth Captain Scott and Roakcl Amundsen, the first

today is still isolated and :uuiseptically %%bite, but I unen to reach the South Pale, realized how the gramo- don't think that any of the twenty -seven ntcn who phone could help ameliorate the sense of isolation and spent the year of 1957 there, at Wilkes Station, can the boredom that sometimes infect Antarctic expedi- truthfully say they had "a bad tints." In the half tions. Indeed, the phonograph has sometimes become century that has elapsed since Scott's great exploit an essential part of an expedition's equipment. One of the lot of the Antarctic sojourner has become much Scott's outposts consisted of three scientists and three nosier; with the rest of the civilized world he shares seamen who mvintcred in a one -room but on a remote hot and cold running water. showers, frozen ftxxls, barren peninsula. They were provided with a gramo- continuous electric Ix wer, and regular contacts with phone and a collection of records -but somehow an friends and family via ham radio. alarm clock was omitted. This was a serious matter, in- For myself, even such amenities of progress %%cre not asmuch as the night watchman was supposed to take

enough. I know that when deprived of good music weather observations at set times during the night. for any length of time, my cars begin to itch with Antarctic ingenuity, the gramophone, strings, and some longing. and half-remembered Bach airs pursue each candles solved the problem. The device was dubbed the other endlessly in my brain. Therefore, as soon as Carusmphuuc because Caruso's rendition of the "Flower my appointment to the International Geophysical Year Song" from Carmen was selected as the record most likely

expedition to the Antarctic was definite, I started at to awaken the night watchman, no matter how deeply once to construct a high -fidelity system especially suited that important functionary slumbered. to conditions in the South Polar region. My reaction At Scott's somewhat larger main base, music was no was by no means unique; Antarctic explorers and scien- less appreciated. One of his group wrote: "It was

JULY 1959 45

www.americanradiohistory.com usual to start the gramophone after dinner, and its value The ship drifted helpless all through an Antarctic may be imagined. It is necessary to be cut off from autumn and winter, with the pressure of the pack -ice civilization and all that it means to realize fully the grinding and pressing against the wooden hull threaten- power music has to recall the past, or the depths of meaning to crush it out of existence. Some members of the ing in it to soothe the present and give hope to the expedition felt that the ice pressure increased, making future." At the northern camp the men got more pleas- the vessel quiver and creak, whenever the gramophone ure out of the gramophone than from ally of their other %vas played. Soon the belief was so strong that a ban was amusements, giving themselves concerts night at:ter night placed on the use of the instrument -to no avail, for during the long icy months; but the winding of the the ice pressure mounted inexorably and the ship was machine and the changing of records -this long before reduced to a pile of useless wreckage on an infinite the blessed advent of LP- became an onerous chore, sea of white. Like the proverbial bad penny, the machine particularly when someone had to leap from a nice warm turned up, unharmed, on top of a pile of debris, but bed to attend to it. This difficulty was resolved by hold- not a hand was raised to salvage it when the party set ing rifle -shooting matches, the loser having to play up housekeeping on a nearby ice floe. twenty records on the gramophone for the benefit of the Another explorer not wholeheartedly in favor of the fortunate winners. phonograph was Sir Douglas ?'lawson, who established Roald Amundsen's description of an evening's music the first wireless station on the frozen continent just at his base is so rapturous that it is easy to believe that a few months after David Sarnoff received the famous Norwegian ears were the first to enjoy high- fidelity SOS from the sinking Titanic and who is also remem- sound. In addition to Tarara- hoom -de-av and The bered for the first attempt -in 1012 -to use heavier - Apache Waite, which were special favorites of the cook, than -air craft in the Antarctic. (The airplane met with an aria from Les Huguenots, sung by Marie Nhchailowa an accident, from which it never fully recovered, while and "Solveig's Song" sung by Borghild Bryhn were held still in Australia.) ñfawson, whose record collection in high esteem and were usually kept to the last. "As included The Mikado and Humoresque, uncharitably the notes rang clear and pure through the room, one remarked that "Noise was a necessary evil, and it com- could see the faces grow serious. No doubt the words of menced at 7:.30 a.m. with the subdued melodies of the the poem affected them all as they sat there in the dark gramophone." There is no doubt, though, that the winter night in the vast wilderness thousands and morning music was much appreciated by all other hands. thousands of miles from all that was clear to them. I The smallest expedition ever to spend a winter in think that was so; but it was the lovely melody, given the Antarctic consisted of only two men. They lived in with perfect finish and rich natural powers. that opened makeshift quarters constructed from packing cases and their hearts. The last high notes came so pure and soft an abandoned boat, on the west coast of the Palmer and full that they alone were enough to make a better Peninsula, just south of Argentina. It can readily bd' man of one." imagined that two solitary men completely isolated It is rarely that even the finest of today's reproducing for almost a year would find the sound of another voice equipment provides the solace and enjoyment that these a godsend. They must have often blessed the inspiration primitive hand -cranked machines gave to the pioneers of that led them to provide themselves with a talking Antarctic research and exploration. Yet there were machine even though they were short of many other occasions when the Antarctic phonograph was not essential items. Unfortunately, not all the records in always so highly appreciated. In 1914, the Endurance, their collection were suitable for such an environment, a wooden ice -breaking ship, became hopelessly im- and they complained that some of the records "were of prisoned by the heavy ice flocs of the Weddell Sea. songs which had had their day (1921) and a number were of such dclefully sentimental nature as the once -

po pu l a r Remember Me to Mother Dear and When the Fields Are White with Daisies." With Admiral Byrd came the first Victrola, and the frozen continent warmed to the beat of the latest hot jazz -circa 1929. The record player was installed in the library and "ground perpetually.. .. I was working on my polar reports nearby and had all the feelings of a distracted fugitive fleeing from a mad minstrel." By this time motion pictures and reliable radio contact with home were infringing on the recreational monopoly the phonograph once held. In 1933 Admiral Byrd returned to the Antarctic and set up housekeeping for the winter all by himself in Lt. Grinnell, the expedition's doctor, enjoys bedside hi7r. a one -room shack some two Continued on page 106

46 I-Iicu FImHLTIY M,tr.Aztzr.

www.americanradiohistory.com LEON FLEISHER. the the Democratic National Committee in Roman prison, on the immense popular- American pianist, joined us for lunch the Washington. Roy was, and unqutxtion- ity in France of the lop singer Dalida other date and discoursed at some length ably still is. an idea man of unquenchable (with selections from her best-selling on that missing adjective. fertility. Several times a dery he would records), and on a gala concert given by "For years," he told us. "I was always bound out of his office in fierce enthusi- Maria Callas in Paris. described as a young American pianist - asm and promulgate a new scheme to Sonorama is said to have a circulation or, as I like to abbreviate it. a YAP. anyone within earshot. On one occasion already in excess of 250.000. Success of Then. a couple of years ago. I noticed he proposed a daring and novel publish- this order was bound to breed competi- that people were beginning to call me a ing venture -to wit, a magazine that tion. Enter now Echo and Living Music. distinguished young American pianist -a would purvey its editorial contents on two American "sound magazines" pat- 1)YAP. in short. Now 1 find myself being microgroove records in conjunction with terned on .Sonorama. billed more and more often simply as a the printed page. Now this. we thought. Echo is a bimonthly. costs $1.50 per distinguished : \merican pianist -a pure. was one of the more starry -eyed Hoopcs- issue, and aspires to a fairly sophisticated full -fledged DAP. It's been a long pull." ian notions. We patted him encourag- tone. Its backer is Barrie Beere. a young. In other words. Leon Fleisher at ingly on the shoulder and assured him it well- heeled New York stockbroker; its thirty -one is at last being accepted as a was doubtless a meritorious idea but editor, John Wilcock, a Yorkshire born serious, mature artist in his own right. quite impractical. \\'ell, we were wrong. writer tolto has worked for a bewildering without reference to the time and place Suddenly. in mid -1959. recorded maga- number of British. Canadian, and Ameri- of his birth; and neither his reputation zines are all around us. can publications. Echo's first issue, just nor the number of his engagements shows It began in France last year with out. has text-and -sound features devoted any signs of recession. He hopes that his Sonoran a. a magaairrc sonore that meas- to A like Nichols and Elaine May, Fled case is symptomatic of a trend. Astaire, Larry Adler. :Alexander King. For a while, Fleisher seemed by way and Gypsy Rose Lee and Jule Styne - --a of becoming an expatriate. "I went powerful array of talent. but with the through the experience that all musi- exception of Thurber -Adler rather dis- cians do who start their careers before appointing in performance. adolescence. At eighteen I arrived at the Living Music. a monthly. will cost 75 point where I simply had to break away cents per issue and is to be more of a from my family. My way was to pull up pass- market alfair. Alan Gillespie, its stakes and go to Europe." He won the twenty -eight -year -old publisher. tells us Queen Elisabeth of Belgium Interna- that he aims at attracting the men and tional Competition (the first American women who buy pep LPs. Each issue will to do so), toured extensively throughout contain excerpts from tas new albums Europe, got married, and had kids. Hone ( "enough to see st'hether you'll like the was Paris or Rome or Holland-wherever Dickie, Debbie, and Leon Fleisher. record ") interspersed with spoken com- their fancy, and Leon's engagements, mentary by Milton Cross; also sundry took them. A year ago, the Flcishcrs de- ores 7% x 7% inches, contains twenty- articles by and about leading pop per- cided it was time to give up their gypsy odd pages of text and ads plus six plastic sonalities. Ne sample copies were avail- existence and settle down in the United microgroove records (playing time: six able when we went to press; hence. no States ona permanent basis "with a house to seven minutes each), and costs a bit in comments. that has a yard for the kids to play in." excess of a dollar. The records are spiral - Finally, a rumor. J. Arthur Rank. the Welcome back. Leon Fleisher, D. \P. bound into the magazine (the whole British film and flour magnate, is re- thing fits easily on the spindle of a turn- ported to have bought E mglish- language IN THE FORMATIVE YEARS of table). and their sound quality is toler- rights to the use of the name Sonura,na. HIGH FIDELITY there was a managing able. A recent issue reports. in text and in presumed anticipation of publishing editor on the premises named Roy H. sound, on the leave -taking of President his own sound magazines here and in Hoopes, who has since moved on to the Coty and the inauguration of President Great Britain. realm of high politics as a publicist for De Gaulle, on a visit of Pope John to a Mr. Hoopes, we salaam.

Jorra- 1959 47

www.americanradiohistory.com 1 "A marvel of sound ...the best stereo I've yet heard." d (Gershwin: Piano Concerto in F; Nibley, Piano; Utah Sym., Abravanel, Cond. -WST 14038) H.F. REVIEW

2 "From the standpoint of sonics, Westminster (stereo) wins hands down." (Berlioz: Symphonic Fantastique; Vienna State Opera Orch.; Leibowitz, Cond. -WST 14046) HIGH FIDELITY MAGAZINE

3 "I'm spellbound by the most magical examples of stereo I've encountered to date." (Tchaikovsky: Sym- phony No. 4; Phil. Syra. Orch. of London; Rodzinski, Cond. -WST 14006) AUDIOCRAFT MAGAZINE

4 ..... marvelous stereo sound." (Ravel: Daphnis and Chloe (Complete Ballet); Alborada del Gracioso; Le Tombeau de Couperin; Chorus of Radiodiffusion Française; Orclt. T'hédtre National dc l'Opéra de Paris; Rosenthal, Cond.-WST 204)NEw YORK TIMES

5 "Magnificent stereo directionality, terrific stereo depth." (Saint- Sasns: Organ Symphony; Schreiner; Organ.; Utah Sym.; Abravanel, Cond. -WST 14004) H.F. REVIEW 6 "In respect to stereo effect, Westminster's pair of Falla works is superb, highly musical with a lovely and unambiguous separation of the sound choirs across the imaginary stage." (Falla: El Amor Brujo; Nights in the Gardens of Spain; Orch. Thédtre National de l'Opéra de Paris; Rosenthal, Cond. -WST 14021) Edward Tathall Canby, HARPER'S 7 "Scherchen's 'Military' was one of the original high fidelity showpieces. It looks as if his new, stereo version is going to repeat the story. I don't know a better disk for testing equipment, particularly in such important matters as channel separation at high frequencies:" (Haydn: Military and Farewell Sym- phonies; Vienna State Opera Orch.; Scheichen, Cond. -WST 14044) CHICAGO SUN -TIMES COMPELLING REASONS FOR BUYING WESTMINSTER STEREO

NATURAL

FOR YOUR FREE, COMPLETE CATALOG OF WESTMINSTER STEREO AND MONOPHONIC BALANCE RECORDINGS WRITE TO DEPT. HF -7 WESTMINSTER RECORDS, 275 SEVENTH AVE.. N.V.

48 I llclr F tur.l,rn' \iAG.\ZIXP

www.americanradiohistory.com Records Reviewed b

PAUL in AFFELD NATIiAX RROD O. B. BRUMME Review R. D. DARRE

RAY ERICSO ALFRED FR.ANFF:NSTE

JOAN GRiFFI71 Classical Nl isie 49 JAMES HINTON. JR. Recitals and Nlisccllany 60 Spoken Word 64 JOHN F. INIK:OY World of Rntertaiuntcnt 60 DAVID JOIiNSON tti Fi Music 70 ROBERT (1iARLES MARSH Jazz 73 IlAlloCD C. SCHONRFRO JOHN S. WH

The performance of the Pastorale is as rhythm and phrasing is not willful; it is pleasing as any available on records; es- the result of profound study and imparts CLASSICAL pecially attractive is the sound of the breath and life to the music, giving each shawmlike stop used for the top part in movement its own special character. Al- the first movement. An interesting and though the recording dates from 1936 to nnusual combination of colors may be 1939, the sound is still perfectly accept- Violin and Strings: BACH: Concertos for heard in .peine Seele crhebet den Herrn, able. NO matter how you may feel about in A minor, S. 1041; in E, S. 1042; fourth of the "Schiibler" chorales, but in the music itself, my advice is to put at Concerto for Two Violins and Strings, %Vachet auf and Ach bleib bei uns the least one of these records at the top of S. 1043 chorale tune is so sharply registered as to your Bach list, right alongside Landow - Wolfgang Schneiderhan, Rudolf Baum- drown out the marvelous conntcrmelody, ska's Chromatic Fantasy and Fugue. N.B. gartner, violins; Festival Strings Lucerne, and the pedal pitches are sometimes in- Rudolf Baumgartner, dir. determinate. N.B. BACH: The Well- Tempered Glacier: ARCHIVE ARC 3099. LP. $5.98. Preludes and Fugues (arr. Villa Lobos) BACI -I: Suites for Unaccompanied Cello, -See Villa Lobos: Fantasia Con- These are relaxed, but not limp, perform- S. 1007 -1012 (complete) certante for Orchestra of Cellos. ances. Schnciderhan s tone is alive and beautiful here, the orchestra small and Pablo Casals, cello. sensitively directed. in the double con- ANGEL COLH 16/18. Three LP. BEETHOVEN: Mass in C, Op. 86 $5.98 each. certo the solo second violin comes forth Jennifer Vyvyan, soprano; Monica Sin- and the first recedes when the former has clair, contralto: Richard Lewis, tenor; the more important material. An obvious One of the brightest gems in Angel's "Great Recordings of the Century." These Marion Nowakowski, bass; Royal Phil- procedure? To be sure, but in many per- harmonic discs arc a treasure for at least three Orchestra and Chorus, Sir formances both soloists saw away grim- Thomas Beecham, cond. ly, as if each was determined not to give kinds of reason: historical-it was Casals any I who brought these works to the attention ground. would still choose Heifetz EMI -CAPITOL C 7168. LP. S4.96. solo I of the general public, half a century ago; for the concertos, but don't know EMI -CAPITOL SG 7168. SD. $5.98. any better recording than this of the A technical -they are magnificent examples minor. N.B. of his playing when he was in his prime; This is unquestionably the finest Bee- and aesthetic -they are still far and away thoven performance I have ever heard the finest performances of the Suites from Sir Thomas. Here he shapes the BACH: Six Schfibler Chorales, S. 645- available on records. It is in this last re- vocal line of this richly human work with 650; Pastorale in S. 590; in G F, Fugue spect that they are most impressive. a reverence that is itself an act of wor- minor, S. 578 Rarely is Bach performed with such sweep ship. André Marchai, organ. and vitality, such penetration, such sheer Unfamiliar as the Mass in C is to most WESTMINSTER XWN 18759. LP. $4.98. musicality. The apparent freedom in listeners, it ranks with Beethoven's finest

JULY 1959 49

www.americanradiohistory.com works of the middle period. Lacking the The recorded sound is in every way as double bar and repeats the exposition. In monumental architecture of the Missa fine as the performances. R.C.M. this form there are 842 bars to the Al- Solemnis, it offers in its place a Mass de- legro con brio, yet in the monophonic edi- signed to be sung, scaled to the dimen- tion Scherchen gets through all this and sions of ordinary men anci the day -to -day BEETHOVEN: Symphony No. 3, in E the Marcia funebre on one side. (Stereo requirements of their faith. This is a re- flat, Op, 55 ( "Eroica ") requires the second movement to be split cording to be acquired, heard, and Vienna State Opera Orchestra, Hennann between sides.) revered. Scherchen, cond. There arc many things to admire, with of the Both forms provide excellent sound. WESTMINSTER XWN 18800. LP. the beautifully accented opening $4.98. final movement among the most con- R.C.M. WESTMINSTER WST 14045. SD. spicuous. ( How dreary so many con- $5.98. BEETHOVEN: Sonatas for Piano: No. ductors make this magical passage!) 30, in E, Op. 109; No. 31, in A flat, Op. This is a disturbing, imaginative, uncon- There are also things that will make your 110 ventional, even brilliant performance that blood pressure soar: the sizzling fugues, challenges every listener and the critic the fast funeral march. Dame Myra Hess, piano. Monophonically, the sound is tightly ANGEL 35705. LP. $4.98. most of all. The pace is very fast, the texture exceptionally light, and the style that knit and agreeable. Stereo spreads it Although there is no lack of recordings of of crisp, well -accented classicism, about and makes it a bit thin without giving very precise information as to where either sonata, 1 find room and welcome in scrubbed completely free of the expan- the current catalogue for these documents sive oratory of nineteenth -century rhe- things are. I preferred the mono sound to Danc Myra's eloquent pianism (orig- toricians. The first hearing may produce played over dual speakers. inally issued about four years ago. as complete rejection; but if you make your- If you think the Eroica is an old, RCA Victor Li-1\iV 1008). They have a self go back the third or fourth time familiar story, hear this. You'll find that refinement of outlook and technique, a through, you may be convinced that you're wrong. R.C.M. spiritual as well as tonal strength, that Scherchen is on the right track to Bee- reveal this remarkable woman's unique thoven's intentions and that everyone else BEN- HAI\f: From Israel comprehension of these works by the is wrong. I Bloch: Schelomo greatest of all composers for the piano. I would sunrise that a small orchestra II.C. \1. was used. Beethoven's instnunentation George Ncikrug, cello (in the Bloch); actually demands only eight wood winds, Symphony of the Air, Leopold Stokowski. BEETHOVEN: Sonatas for Violin and five brass, timpani, amcl strings. The work conci. Piano: No. 4, in A minor, Op. 23; No. can be done with a few more than forty UNITED ARTISTS UAL 700.5. LP. 5, in F, Op. 24 ( "Spring "); No. 8, in players -which is all Bruno Walter had $3.98. A, Op. 30, No. 1; No. 7, in C minor, Op. for his recent Col hia set. At the speed UNITED ARTISTS UAS 8005. SD. 30, No. 2; No. 8, in G, Op. 30, No. 3 Scherchen adopts in some passages, a $4.98. Paul large orchestra would have trouble stay- Makanowitzky, violin; Noël Lee, From Israel is a five -movement suite, piano. ing together -and this one is not note - perfect. if hitherto unrecorded, on Israeli and Arab VANGUARD VRS But this is among the fastest 1038/39. Two LP. folk tunes. it is not a very profound work $4.98 each. statements of the opening movement, it is also one of the very few that observes the but it is a most agreeable one, put to- Both these performers are very skilled gether with great taste and skill, parallel- and sensitive young artists, and their col- ing Liadov's folk -tone pieces rather than laboration here is an impressive display Bartók's. The lush sonorities and grandiose, de- of their attainments. One need only com- NEXT MONTH IN pare these recordings with sonic others clamatory draina of Schelomo were nmcle by musicians of considerably greater rep- to order for Stokowski, and he makes the utation to find that in matters of refine- most of then here, aided by a superb ment Makanowitzky plays with a silken high fideli cello soloist and excellent recording. how and unerring taste, while Lee is not There are six other Schelomos in current just an accompanist but a colleague of catalogues, but few to compare with this equal gifts. one. A.F. The three performances (Nos. 4 , 5, and 8) on the initial record of the pair BERKELEY: Trio for Violin, Horn, and make it one of the best buys of the year. Piano, Op. 44 -Sec Mozart: Quintet Incidentally, there will he no stereo reis- for Piano and Winds, in E flat, K. 452. sue of these sets. The monophonic sound is first- class. R.C. \1. BIZET: Carmen: Orchestral Suites BEETHOVEN: Haydn's Esterháza Symphonies: No. 1, in C, Is Op. 21; No. 8, in F, Op. 93 Still There Philadelphia Orchestra, Eugene Orman- by H. C. Robbins Landon dy, cond. Philhannonia Orchestra, Otto Klemperer. conci. The first American to visit Ester - COLUMBIA ML 5356. LP. $4.98. hsíza in twenty years ANGEL 35657. LP. reports on the COLUMBIA MS 6051. SD. $5.98. $4.98. fabulous Hungarian estate where The sound's everything here: Philadel- I know Haydn worked. and enjoy approaches to these phian sonority and color, good in clean., scores other than Klemperer's, but I do wide -range monophony, far better in ex- not know any reading of this music nobler If You Want to Go tremely expansive, transparent, auditori- in style. The conductor snakes his inter- um-authentic, pretative to Heaven, Shout! and accurately directional point of view plain in a few stereo. But all these lavish sonic bars; and by Marshall Stearns attrac- from then on, its consistent de- tions cannot conceal the velopment Gospel singers throughout the land lack of Gallic provides a master class in idiom and sensitivity nor the dialectics. make joyful noises unto the Lord. apparent The results, at the time at complete disinterest least, are completely of Ormandy in the persuasive, and for music itself. R.D.D. those who can be content with a single From Pierino to Gamba recording of these works, this edition is as by Charles Reid desirable as any. Those who give Bee- BIZET: L'Arlésienne: Suites: No. 1; No. The story of a small thoven their highest respect will even- conductor who 2; Carmen: Suite No. 1 Wally keeps getting bigger every day. come to acquire the symphonies in Philhar.onia Orchestra, Herbert von multiple versions. Karajan, cond.

50 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ANGEL S 35618. SD. $5.98. stereo, it takes on impressive new dimensions, which also distinguish Klemperer's If scarcely the most idiomatically Gallic sound, if sometimes individualistic, treat- readings of these familiar suites, Von Kar- ment of the Academic Festival Overture. ajan's are as eloquent as any and decided- Those seeking the top -ranking Brahms ly superior to most in the precision and Third in stereo will have to try both this warmth of their orchestral playing -qual- disc and Kubelik's recent one for London. ities which richly distinguished the recent The choice will be difficult. P.A. monophonic edition, but which arc even more delectable in the present version's Symphony Na. 4, in beautifully lucid and expansive stereo - BRAHMS: E minor, ism. R.D.D. Op. 98 Boston Symphony Orchestra, Charles Scherchen: a Beethoven sui generis. Munch, conci. BLOCH: Schelomo -See Ben -Haim: RCA VrcTOn LM 2297. LP. $4.98. From Israel. and communication from the innermost RCA Vieron LSC 2297. SD. $5.98. soul of composer and artist in these per- is a Brahms has plenty formances. Of particular interest is the Here Fourth that BRAHMS: Concerto for Violin and Or- gives a inclusion of the Regenlied, which inspired of substance and sense. Munch chestra, in D, Op. 77 noble the last movement of the G major Violin finely balanced account of this Jaseha Heifetz, violin; Chicago Symphony Sonata, and its immediate successor, work, one that is firm and forthright, yet in Orchestra, Fritz Reiner, cond. Nachklang, a song of poignant reflection properly sensitive. The Bostonians are RCA Vieron LSC 1903. SD. $5.98. that uses the same basic musical material top form, and the Victor engineers have as the Regenlied. given them clean, true sound, both in Most of the time, on records and on the Ordinarily, in view of past experience, numophony and stereo. Without creating concert stage, Jascha Heifetz can do no any startling effects, the two -channel edi- I would have said that a monophonic disc wrong. For one listener, however, this reis and distribu- of these songs was sufficient, and the tion admirably separated cording of the Brahms Concerto is the ted. When I questioned the direction present one is fine indeed. But here ster- exception that proves the nde. For once, from which some of the sounds emanat- eo does add a third dimension to a song a too slick, too glib I the violinist is just bit recital. Fischer- Dicskau's warm, mellow ed, referred to the photograph of the masterpiece. in his presentation of this voice comes from the center of the stage, orchestra on the jacket, and discovered was where The silken Heifetz tone and the perfect with Demus' well -integrated piano Some- that everything exactly it Heifetz are ever- present, should be. Put this down as one of execution but what to the left. it's a fine, realistic effect the the tempos are often too rapid and many better versions of this oft -recorded sym- that represents a forward step in the art a pregnant phrase is lightly glossed over. and mechanics of stereo reproduction. phony. P.A. Even the violinist's own cadenza in the P.A. first movement has a little too much of the twentieth century in it. For those who CHOPIN: Mazurkas (complete); Bar- admire this performance, including Rein- BRAHMS: Sonatas for Viola and Piano, carolle, Op. 60; Berceuse, Op. 57; Al- er s properly matched accompaniment, Op. 120: No. 1, in F minor; No. 2, in E legro ale Concert, Op. 46 the stereo version offers the advantage flat Nadia Heisenberg, piano. of crisper sound and better instrumental William Primrose, viola; Rudolf Firkus- WESTMINSTER XWN 18830/33. Three separation over its monophonic counter- ny, piano. LP. $4.98 each. part, released several years ago. My ster- CAPITOL P 8478. LP. $4.98. eo choice, however, remains Szeryng and Several pianists have made attempts at Monteux, also on RCA Victor. P.A. Brahms wrote this last pair of chamber all of the Chopin mazurkas. Rubinstein's works for either clarinet and piano or version still remains the criterion, but viola and piano, but -since it was the these new Heisenberg discs have much to BRAHMS: Lieder clarinet that he had principally in minci recommend. In one case they offer even when he worked on them -they are better a better value than Rubinstein's, for not Mit vierzig Jahren, Op. 94, No. 1; Steig suited to the woodwind instnnnent. A only does Heisenberg play the standard geliebter Schatten, 94, No. 2; auf, Op. good violist, however, can give them a mazurkas on her three discs, but she also Mein Herz ist schwer, Op. 94, No. 3; Kein convincing performance -and Primrose is adds a number of posthumous ones. Most Haus, keine Heirnet, Op. 94, No. 5; more than a good violist. He and Firkus- editions of Chopin list fifty -one mazurkas. Herbstgefühl, Op. 48, No. 7; Alte Liebe, ny capture the brooding spirit of the first The great Paderewski edition, which Op. 72, No. 1; Abenddiimmerung, Op. and the brighter, though introspective, started coming out a few years ago, con- 49, No. .5; wüsst ich doch den Weg 0 the They offer smooth but tains fifty -eight. Of these last seven, 8; Auf dem Kirch- one of second. zurück, Op. 63, No. eminently revealing interpretations that Heisenberg plays Nos. 52, 55, 57, 53, and hofe, Op. 105, No. 4; Verzagen, Op. 72, have been faithfully reproduced. It is un- 54. She does not play Nos. 56 or 58. No. 4; Regenlied, Op. 59, Na. 3; Nach- likely that more felicitous recordings of These posthumous pieces are not of great klang, Op. 59, No. 4; Frühlingslied, Op. the viola -piano versions will appear for a importace, but it is good tc have them 85, Nu. 5; Auf denn Sec, Op. 59, No. 2; long time. P.A. on record for the first time. Feldeinsamkeit, Op. 86, No. 2. And Heisenberg is most satisfactory in Dietrich Fischer -Dieskau, baritone; Joerg her performances. Her approach is bright, Symphony No. 3, in F, Op. Demus, piano. BRAHMS: intelligent, and beautifully controlled. 90; Academic Festival Overture, Op. DEUTSCHE GRAMMOPHON DGM 12007. For the most part she is content to set the 80 LP. $4.98. music forth simply, with a delicate nubato DEUTSCHE GRAMMOPHON DCS Philharmonia Orchestra, Otto Klemperer, and a stress on the dancelike elements. 712007. SD. $5.98. conci. Only once do her ideas sound puzzling B ANGEL S 35545. SD. $5.98. and unconvincing. That occurs in the Many of the fifteen Lieder in this collec- major Mazurka (Op. 56, No. 1), where in tion are not very frequently heard. But If there is anything that can add to the her effort to emphasize the left -hand even the familiar ones, like Auf dem excellence of Klemperer's Brahms sym- melocly she spreads out the two -note ar- Kírchhofe and Feldeinsmnkeit, take on phony recordings, it is stereo. In review- peggio in the right hand in a way that new expressive power when interpreted ing the monophonic version of this sym- almost makes for textual distortion. Else- with such beauty and distinction as that phony Harold Schonberg called the un- where her bracing musicianship and given them by Fischer -Dieskau and his hurried performance, faithful to the com- technical accuracy arc a delight to hear. healthy sympathetic partner, Dennis. Nothing is poser's every indication, "a wonderful rec- She does not have the bouncing, whose ap- done on a big scale, yet there is depth ord." Spread onto the broader canvas of athleticism of Rubinstein,

JULY 1959 51

www.americanradiohistory.com Bess, proaeh is rather different and who shapes the monophonic edition, takes on greater nett's symphonic picture Porgy and the actual melodic content with a more fullness of tone and realism of distribu- still the most popular and most recorded singing tone. But Reisenbcrp s conception in stereo, which provides a fitting version of the music. This was written in tions have an equal validity of their own. showcase for the superlative string sec- 1942, at the request Of Fritz. Reiner, then In the Berceuse, Barcarolle, and Allegro tion of the Israel Philharmonic. P.A. conductor of the Pittsburgh Symphony de Concert (the last-named one of Cho- Orchestra. The two works have little in pin's weakest works) she is at all times a common; if we except the interpolation of sympathetic interpreter; and if she has one or two of the best -known songs. Ben - trouble sustaining the Allegro de Concert, nett's suite is a long, rather rambling se- it is as much the fault of the music as ries of pictures; Cershwin's is a well -de- anything else. Westminster has given ber fined, five -movement suite that highlights clear, bell -like recorded sound. H.C.S. certain memorable scenes from the opera. These are entitled: 1) Catfish Row; 2) Porgy Sings; 3) Fugue; 4) Hurricane; 5) DEBUSSY: Preludes, Book 1 Good Morning, Sistuh (originally called William Hans, piano. "Good Morning, Brother," I believe). BOSTON BST 1010. SD. $5.95. Bennelt's orchestration is expert, but the composer's own seems to me to be more William Hanes, an American pianist, is tidy symphonic in character, while re- not afraid to go his own way in these taining more of the folk and jazz flavor l'reludes. While respecting the markings Nathan Milstein: even better in stereo. of the opera. The listener will decide for in the music, he maintains highly flexible himself which version he prefers, but in rhythms and tempos which give special any case the present record is one Very interest and emphasis to individual FALLA: El Sombrero de ires picos well worth attention. phrases but which also result in the works Celia Langa, soprano; Orquesta de Con- Maurice Abravanel directs an extreme- as a whole losing some of their magical ciertos de Madrid, Jesus Aratnbarri, cond. ly vivacious and authentic performance, suggestiveness, some of their unity. As if Cot agoto ML 5358. LP. $4.98. which has the benefit of some fine West- this were a live performance and the pian- minster sound. The stereo version is most ist nervous, the first three preludes are It stood to reason that when we got a impressive, but there is too much sepa- the least well performed: inner voices go Spanish-made Three -Cornered flat it ration for my taste, and I am much more unheard; little runs sound effortful; a would possess the best style and fit - taken with the excellent monophonic is- half measure is elided in Le cent dens la though reason doesn't always govern sue. The LP includes also Crofi's Grand plaine. Thereafter the playing sounds as- music. For a number of years Ansermet's Canyon Suite, the stereo Copland's El

sured and mature in concept. (Of course, version of this score has been the lest Salcin . féxico. J.F.I. Mr. Harms is no Gieseking, and this fact available, but it takes only :a short cannot be ignored in any evaluation of sampling of this new release to make that the performance of Debussy's piano mu- sound at times like a piece of Swiss pre- GLAZUNOV: Concerto for Violin and sic.) The piano sound is completely nat- cision machinery. Arunharri knows the Orchestra, in A minor, Op. 82 -Sec ural, even to not sounding stereophonic - give- and -take of tie idiom anti charges DVOCük: Concerto for Violin and Or- a point in its favor as far as I am con- it with a steady flow of lyric force that chestra, in A minor, Op. 53. cerned. R.G. leads to excitement. His text differs in a few details Anseneet's, but both are from GRIEG: Concerto for Piano and Orches- as complete as any recording of a ballet tra, in A minor, Op. 18; Peer Gynt: DVORAK: Concerto for Violin and' Or- score can bc. now Sonies also favor the Suites: No. 1, Op. 46; No. 2, Op. 55 chestra, in .4 minor, Op. 53 work of the Hispavox engineers, who IGlazunov: Concerto for Violin and Or- producxxl this edition in Madrid. Reid Nible ', piano (in the Concerto); chestra, in A minor, Op. 82 For me, the entire score is music of Utah Symphony, Maurice Abravancl, Nathan Milstein, violin; Pittsburgh Sym- such unfailing energy that 1 cannot un- cond. phony Orchestra, William Steinberg, derstand why anyone who admires the WESTMINSTER WST 14057. SD. cunt. work can possibly settle for the concert 85.98. CAPITOL SP 8382. SD. $5.98. suites. And if one is to have the whole, this is now the edition to be Preferred. Good, clean, straightforward prescnta- These two A minor concertos, romantic R.C.\I. tionscharacterize the performances on this and richly melodic, are ideal vehicles for disc. Nibicy gives a soundly planned ac- Milstein, and his interpretations, already count of the Concerto, and although his GERSHWIN: Porgy and Bess; Orches - highly praised in piano is inclined spill across entire monophony, sound even tral Suite to the better in stereo. The solo violin is well front of the aural stage, it is well balanced centered, and the accompanying orches- Utah Symphony, Maurice Abravanel, against the orchestra. As for the latter's tra is equitably distributed. What is quite cond, recorded sound, it lias considerable depth surprising is that, for once, the stereo disc \VESTxtms'rett XWN 18850. LP. $4.98.. of perspective. l'ut this damne as one of of the Dvoñík sounds better than the ster- WES stiNsTEI \\'ST 14063. SD. the letter discs by Ahravancl and his eo tape. In the latter, the tone of the $5.98. fast -developing Utah Symphony. P.A. violin is inclined to be a trifle wiry, whereas in the former it is warm and This is a recording of considerable musi- natural. Here is a felicitous coupling of cal interest, since it returns to the reper- HANDEL: Water Music (complete) two concertos closely related in mood toire the original symphonic suite Gersh- Amsterdam Concertgehouw Orchestra. and beautifully presented. P.A. win arranged from his music for Portz/ and Eduard van Beinum, cond. Bess in response to a commission from the Eme LC 3.551. LP. $4.98. Philadelphia Orchestra. It received its DVORAK: Serenade for Strings, in E, premiere performance in Op. 22 Philadelphia on Another excellent performance anti re- January 21, 1936, with Alex :miler Small- cording of all twenty surviving move- Israel Philharmonic Orchestra, Rafael ens on the podium. It was only moder- ments of the Water Music. It's a large Knbelik, cond. ately successful and one year later, after orchestra, with a wide dynamic range, LoNnore CS 6032. SD. $4.98. only ten performances, was retired to the but not many of the movements require Gershwin archives, where it has remained delicate handling, and those that do so Kubelik -like Dvorák, a Czech -revels in ever since under the watchful eyes of the are carefully treated. This is a fresh re- the beauties of Ibis rich, melodious score composei s brother. ira. minder that the world of music lost a reflecting the spirit of the homeland. His Contrast its brief existence with the first-class artist in Van Beimun's recent expansive interpretation, well received in long, healthy life of Robert Russell Ben- death. N.B.

52 HIGH FIDELITY \lsc,iztxr.

www.americanradiohistory.com !BERT: Divertissement MOZART: Nottunti (5), K. 436 -439, 346; orthodox performances. At any rate, this IRossini- Respighi: La Boutique fan- Canzonetla, K. 549; Four Movements recording is a constant aural delight both tasque for Wind Instruments: Adagio in F, K. for the Royal Philharmonic's warmly col- 410; Romance and Polonaise from Di- ored sonorities and the immaculate trans- Boston Pops Orchestra, Arthur Fiedler, vertimento in B fiat, K. 439b, No. V; parency of the unexaggerated stereoism. cond. Adagio in B flat, K. 411; Dicertimento R.D.D. RCA Vlcron LSC 2084. SD. $5.98. for Two Clarinets and Bassoon, in B fiat, K. 439b, No. HI A welcome if belated disc release of two PROKOFIEV: Peler and the Wolf, Op. of Fiedler's most exuberant stereo tape Margot Cuillcaumc, soprano; Jeanne 67 successes, which revealed only a fraction Deroubaix, mezzo; Hans -Olaf linde- }Mozart, Leopold: Symphony in C of kaleidoscopic coloring and gusto mann, bass; Instrumentalists; Jost Mi- their ( "Toy") in the monophonic LP, containing also chaels, dir. Piston's Incredible Flutist, of two years ARCauvr: ARC 3121. LP. $5.98. Peter Ustinov, narrator; Philharmonia ago. The Fantastic Toyshop here has Orchestra, Herbert von Karajan, cond. since been surpassed in delicacy and The surprise here is the allotturnt, set- ANGEL 35638. LP. $4.98. ANCEI. S grace by Georg Soltï s London SD ver- tings of Italian texts for two sopranos and . 35838. SD. $5.98. sion, but this ribaldly rollicking Diver- a bass accompanied by either three bas- None of the participants in tissement remains incomparable both for set horns or two clarinets and a basset this recording emerges with the distinction one the zest of Fiedler's performance and the horn. These trios, written for private per- might expect. Karajan's performance of sonic authenticity with which every detail formance by members of the Jacquin the music is one of the slowest eve have, score has family, are little genus; and if they were of lbert's razrle- dazzling been with lilt and laughter captured by recording engineers. not so short (they last from one to under sacrificed to languid the legato. Ustinov presumably feels be- R.D.D. four minutes each), they could easily fit it into one of Mozart's mature operas. They neath him to read another MIDI'S script without his are very nicely performed, as arc the in- emendations, although changes in the text and his bored manner KHACHATURIAN: Symphony No. 2 strumental pieces, all of which involve I find in members of the clarinet fancily, usually of delivery lacking charnu. Symphony of the Air, Leopold Stokow- Finally the recorded sound, acceptable with a bassoon. The imposing Adagio in ski, cond. monophonically, becomes quite dull and B flat is not K. 440, as on the sleeve and UNITED ARTISTS UAL 7002. LP. cvocxlen in stereo. The bright, if some- card (a rare type of error for Archive) $3.98. what overly resonant, quality of the at- hut 440a in the. Knehel- Einstein catalogue Karlolf-Rossi version is N.B. tractive prefer- Stokowski does his best, and his best is (411 in Kiichel). able. the best there is for music of this kind, Karajan's way with the To Symphony but the symphony remains an inflated (still being erroneously attributed to MOZART: Quintet for Piano and iVinds, bore. Wonderful recording. A.F. Haydn) is pleasing, but no better than in E flat, K. 452 Janigró s, and thus insufficient cause, in }Berkeley: Trio for 'Violin, Horn, and itself, to acquire this disc. R.C.M. MAHLER: Symphony No. 10, in F sharp, Piano, Op. 44 Op. posfh. Colin Horsley, piano; Alanoug Parikian, }Walton: Partita for Orchestra violin; Dennis Brain Wind Ensemble. PUCCINI: Madama Butterfly Cleveland Orchestra, George Szell, cond. EMI- CArrrot. G 7175. LP. $4.98. Renata Tcbaldi (s), Cio -Cio -San; Lidia EPIC LC 3568. LP. $4.98. Ncrozzo (s), Kate Pinkerton; Fiorenza if the piano part of the Mozart does not EPIC BC 1024. SD. $5.98. Cossotto (ms), Suzuki; Carlo Bergonzi have quite the strength or the character ( t), B. F. Pinkerton; Angelo Mercuriali here that it has in the Columbia record- Bruno Walter feels that the Tenth of (t), Coro; Enzo Sordello (b), Sharp- ing (where it is played by Serkin) or the \lahler's symphonies was too incomplete less; Michele Cazzatoto (b ), Ymmadori; Angel ( Gieseking), is at the time of the composer's death to it nevertheless skill- Oscar Nanni (1)), Registrar; Paolo Wash- represent more than his earliest intentions fully and sensitively performed, and the ington (hs), Bonzo; Virgilio Carbonari for the work. Szell, and other conductors wind players arc first-rate. The Trio by (bs), Imperial Commissioner. Chorus and who play this score, evidently feel that Lennox Berkeley, commissioned by Colin Orchestra of L'Accademia di Santa Ce- Horsley, is an attractive work iu a con- they do Mahler no disservice in present- cilia ( Rome), Tullio Serafin, cond. servative idiom, with an poetic ing these two isolated movements to the especially LoNOON OSA 1406. Four SI). $23.92. public. The Andante was to have been slow movement. The whole disc reminds the opening portion of the symphony, and us of what a fine artist was lost in the These lingering, leisurely eight sides of the Allegro moderato a short intermezzo passing of Dennis Brain; the horn in his Alaolama Butterfly- London's second un- between the second and fourth move- hands had a melting beauty, and, when ments-neither of which was completed. required, the agility of a bassoon. On the Heard in stereo, Szcll's performance is a review dise the labels were transposed. remarkably good one, with the textures of N.B. the string passages macle beautifully dear. Some of this is lost in the monophonic version, although the set remains MUSSORGSKY: Pictures from an Exhibi- competitive with Adler's edition of some tion (orch. Ravel) years ago. The choice would seem to rest Royal Philharmonic Orchestra, Sir Eu- on whether you feel the Szell is too re- gene Goossens, coned. served or the Adler too emotional in its EMI- CAI41nL SG 7174. SD. $5.08. approach. The Walton is a showpiece for virtuoso Goossens is one of the few conductors orchestra with very lively rhythms and daring enough to depart, in these now some engagingly "modern' tunes. Szell familiar Pictures. from the ultradnuuatic commissioned the score and plays it as if tradition established from the very begin- he were delighted with what he received ning by the Ravel transcription's sponsor, in the bargain. R.C.M. Koussevitzky. At first hearing, his reading may seem disconcertingly slow and lacking in incisiveness, but I suspect that MOZART, LEOPOLD: Symphony in C its lyricism and restraint are likely to , - 4_ ( "Toy ") -Sec Prokofiev: Peter and the stand up better in frequent replayings tsri Wolf, Op. 87. than the overwhelming drive of more Tcbaldi: a rapturous road achieccntett.

JULY 1959 .53

www.americanradiohistory.com dertaking with Renata Tebaldi, and the Only the pre -prejudiced will deny that quiry about Garibaldi, or Gen. Custer. On second to be released here in stereo make Mme. Tcbakli sings, note for note, the the other hand, allowing distention to up a praiseworthy performance, recorded steadiest and most vocally generous Cio - ease the vocal weight, she siumnons an with utter and unerring competence. Cio-San on available records. Only the ecstatic "Un bel di" and a beautifully air- They will not, at the passive tempos cho- equally pre -prejudiced, however, will borne "Sotto it gran ponte del cielo ..." sen by Tullio Serafin for his London de- hotly argue that hers is much more than a Mme. Tebaldi is eminently a singer-for but, fulfill everyone's keenest expecta- rapturous vocal achievement, musically all that she breathes laboriously, stage - tions, especially those of persons (myself neat and dramatically viable, but less laughs cacklingly, and is suffering a slow among them) attuned to the Callas -Kara- than a subtle characterization. One gains but steady darkening of the voice. As jan collaboration of 1955, issued by Angel an impression that La Tebaldi, still an- such, she is a kindred soul, a source of on three monophonic discs. Others, irri- other lime, is impersonating; that her exquisite pleasure, for the voice lovers of tated by the Callas vibrato up top and by vocal acting is generalized and unspecific our all-too-loveless world. But, as Butter- Karajan's Straussian (species Richard ) in terms of Cio -Cio -San by way of Gia- fly, she cannot be said in analytical can- approach to Puccini, may And the con- cosa, lilies, and Puccini. Asked about her dor to excel Victoria de los Angeles, Licia siderable butterfat content of this newest deceased father in the first act, she sings Butterfly precisely to their liking. "morte" as if, in fact, answering an in- Continued on page 56

By a Past Master of the Demonic: Dread and Tortured Ecstasy

pRoxOFIEV'S The Flopping Angel, com- by an overwhelming will to find him of course, a past master of the demonic posed between 1920 and L926, is one again. Such is the tale Renata tells Ru- and grotesque. Demons lurk in every cor- of the earliest manifestations of the precht in a tumbled -clown inn near ner of this opera, and they are at one serious, epical, pungently dramatic side Count Henry's castle. and the same time the picturesque fiends of the composer's nature as we have come Ruprecht and Renata journey to Co- of medieval imagination and the monsters to know it through such works as Alex- logne where, with the aid of some rather of modern psychology. ander Neosky and the Fifth Symphony, complex sorcery, they discover the where- The whole thing sweeps along with the but since it was written before Prokofiev abouts of the flaming angel in his human drive and dynamism characteristic of began to compromise with political im- guise. But Count Henry spurns Renata, Prokofiev. Only seldom does it linger long peratives, its idiom is stronger, more whereupon she turns against him and enough for anything like an aria; it trans- barbed and rugged than that of those forces Ruprecht to challenge him to a acts its business with the speed of a very popular pieces. The Flaming Angel duel. Ruprecht loses. He is nearly killed spoken play, and as one follows it with suggests directions in which Prokofiev by the Count, and his wounds bind him the libretto, one is as much excited by would probably have gone if the Soviet to Renata until they arc healed. But Re- the drama and as eager to follow its un- hierarchy had not intervened. nata's spiritual wounds are deeper than folding as one is in witnessing a skillfully The libretto, apparently by the coin - Ruprecht's physical ones. She leaves him written tragedy on the stage. The music poser himself but based on a novel by to enter a convent while he, utterly bro- falls off at the end, however. The Black a Russian author named Brussov, is most ken, wanders off in the company of Faust Mass of the nuns reminds one of nothing extraordinary. The action takes place in and Mephistopheles. so much as the finale of Verdi's Falstaff. Germany in the sixteenth century. A no- The final scene takes place in the con- Prokofiev's immense gift for the comic has bleman named Ruprecht meets a girl vent, where strange things have hap- full sway in many scenes of the opera, and named Renata, who tells him a strange pened from the moment of Renata's ar- it is essential that it should, but the light story. From her early childhood Renata rival. An inquisition into her knowledge treatment of the concluding scene ends had lived in constant companionship with of evil forces is instituted. As it progress- the work on a false note. an angel. When she was a little girl, the es, some of the nuns proclaim Renata a The performance is superb. No one who angel, Madiel, was a joyous, playful saint, while others, no less hysterical and follows French operatic records needs to friend. When she grew older, he set her inspired, embrace her as an incarnation he told that Depraz is one of the finest upon a path of ascetic saintliness. But of the devil and celebrate a Black Mass. basses in Paris. Jane Rhodes seems to be a Renata longed secretly to mate with At the end, Renata is condemned to the newcomer. Westminster's booklet tells us Madiel, and when at length she made stake. that she "is rapidly becoming known as this desire known, he vanished in a flame The theme, then, is an age -old philo- one of Europe's best -known dramatic so- which burned her. Renata prayed for his sophic one, the relativity of good and pranos," which means that no one has return, and ultimately she recognized him evil, with modern psychiatric overtones. ever heard of lier, but she sings gor- in the person of Count Henry, with whom The book is beautifully written, the char- geously and sustains her long, complex she lived for a short time. But Count Hen- acters arc well drawn, and the intense role with great conviction. The minor ry grew melancholy and disappeared, ambivalent Renata, destroyed by the singers all sound like major singers; even leaving Renata tortured by demons and twin drives of sex and saintliness, is an the smallest walk -on role is beautifully extremely memorable personage indeed. performed. Bruck's conducting adds in- Renata and Ruprecht occupy the center candescence to the work of the vocalists, of the stage throughout. All the other and the recording has been brilliantly characters are secondary, but they pro- engineered. The booklet contains the full vide much Gothic detail, all of it ex- text as sung -in a fine French translation tremely telling. Count Henry appears only by Michel Ancey -and in a very subtle twice, each time momentarily, and has and skillful English version by Robert no lines to sing or speak. We do not wit- Cushman. ALFRED FRANKENS7EIN ness the scene in which he rejects Renata, and we never know if this actually hap- PROKOFIEV: The Flaming Angel pened or was imagined by her. Except for the final scene, the music is Jane Rhodes (s), Renata; Irma Kolassi magnificent. The book, with its atmos- (ms), Sorceress and Mother Superior; phere of violence, dread, and tortured Janine Collard (ms), Woman Innkeeper; ecstasy against a medieval background, Jean Ciraudeau (t), Mephistopheles; reminds one in some ways of Mussorg- Xavier Depraz (bs), Ruprecht; et al. sky's Khoeanchina, and there are strong Chorus of Radiodiffusion- Télévision Fran- Mnssorgskian overtones in the score, no- çaise; Orchestre du Théâtre National de tably in its speech -song declamation and l'Opéra de Paris, Charles Bruck, cond. in its powerful individualizing of each WESTMINSTER OPW 1309. Three LP. Charles Bruck: he adds incandescence. role, no matter how small. Prokofiev was, $14.95.

54 HIGH FIDELITY MAGAZINE

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VIENNESE NIGHT AT THE THE COMPOSER "PROMS." Hallé Orchestra, Barbirolli. SR 90124. "A collection ND HISORÇHESTRA of 7obann Strauss hunes, played to a fare- thee -well.... The recorded fidelity is strato- spheric." THE MILWAUKEE JOURNAL til i.y1{! ELCAR "Enigma" Variations; PURCELL-DARBIROLLI Suite for Strings. Hallé Orchestra, Barbirolli. SR 90125. "The Elgar has never had so sympathetic a spokesman. Perfect

recording. " HI-FI MUSIC AT HOME

SCHUMANN Symphony No. 3 ("Rhenish"). Detroit Symphony, Paray. SR 90133. " .. 'Vigorous, almost earthy. and at the same time splendidly lyrical. 'Very clean and crisp, with a fine balance and deeply resonant bass fine ..." RADIO « TV NEWS SR 90175 BRAHMS Symphony No. 2 in D major. Minneapolis Symphony, Dorati. SR 90171. Zi":Eo "7 know of no recording that sets forth as clearly all the details of Brabms's orchestration. " MUSIC ON RECORD OUVERT Ntiki MOZART Eine kleine Nachtmusik; Symphony in C major ( "Linz"). London Sym- FRANC} phony, Dorati. SR 90121. "... fide performances, exquisitely recorded." L A memos TILE NEW RECORDS ú cúwivu 1110110161.1 LC' BACH ON THE BIGGEST. Robert Elmore playing the Atlantic City Convention Hall Pipe Organ. SR 90127. "One cannot help but marvel at the way Mr. Elmore handles the anions 'gargatttua' among organs. The sound is simply wonderful." THE. AMERICAN ORGANIST

I IESrA IN III-PI. Eastman-Rochester Orchestra, Hanson. SR 90134. "gay and brilliant exercises by contemporary Americans, performed and recorded just that way." SR 90191 BETTER LISTENING

THE COMPOSER AND HIS ORCHESTRA; I-IANSON Suite from "Merry Mount." Eastman - Rochester Orchestra, Hanson. SR 90175. "Th this handsome work ... one sees a ff,te orchestra broken down so the listener knows what is happening. Reproduction is superb." FORT NORTH STAR-TELEGRAM

OUVERTURES PRANÇAISES. Detroit Symphony, Paray. SR 90191. "The orchestra and Paray play superbly, with razor -sharp precision and plenty of orchestral color." THE MILWAUKEE JOURNAL nELmrs Coppélia (complete recording). Minneapolis Symphony, Dorati. SR 2-9005. "This performance glows with warmth and precision and Mercury's engineering is a dazzling achieve»Ienl." HIGH FIDELITY

JULY 1959 55

www.americanradiohistory.com RAVEL: Bolero; Parane pour une in- that pleasure /Which is obtained with fante défunte; La Valse pain. "). I must say that to my own twentieth- century taste, Handers opera Is Symphony' Orchestra, William Pittsburgh much the superior of the two; not only is Steinberg, tond. its music incontrovertibly more exciting, CAI'ITOI. P 8475. LP. $4.98. but its cheerier approach does not force C, m rroL SP 8475. SD. $5.98. us to take too seriously the incredibly involved transvestism of Achille and Anti - Perhaps the best tribute to this version ope, with all of the misplaced anguish of Ravcl's much -recorded war horse is to attached thereto. Scarlattïs music (and, note that Steinberg's performance con- be it noted, Capeci's verse) has dignity sistently held my attention on its own in- and a mournful nobility, but it has little me to dividual merits. it occurred to else. and I can appreciate the good sense make comparative evaluations only after- of the Italian citizens who soon began wards, when I discovered that despite its clamoring for comic intermezzos with notably brisk treatment this Bolero at:- their opera seria. Wally runs to almost exactly sixteen min- \\'ith the above observations out of the utes, which is considerably longer than way, I can say that Tetide in Sciro has any other recording i've timed, except moments of lofty beauty: the trio at the Vox. Leibouvitz's for But if this is one of close of Act I and 'reticles " Sarebbe men the most straightforward and steady forte" stand out after two hearings, but Boleros on record, the companion Pavane there are many other lovely moving pas- Steinberg's Ravel can stand alone. is one of the most seductively romantic, sages, and the recitative has unfailing and this Valse one of the most intoxicat- strength. There is not a shabby minute ingly rhythmcd and richly colored. Albanese, Anna Motto, or especially An- in the score. This version is heavily cut- At first I thought the stereo version su- tonietta Stella, who has yet to record a many arias, recitatives, and even whole perior to the monophonic only in its in- distinguished interpretation -nut to men- scenes are dropped, and the repeats have herently greater spaciousness and tonal tion the surgically characterized Cio -Cio- been slashed from most of the remaining Sans of \Luria \Icneghini- Callas and Tnti luminosity, but on closer comparison the arias. All told, it would appear (no score orchestral dal Monte, each of them historic whether balancing seems less felicitous is at hand) that nearly forty per cent of or not privately appealing. in the LI', where some scoring details the music is absent from this recording. Nine. Tcbaldi's principal singing asso- tend to become obscured or at least to be Unless the omitted sections arc of unlikely ciates are further cases -in -point of unless clearly profiled than they are in brilliance, however, the effect of a com- garnished vocalistics -Carlo Bergonzi en- stereo. R.D.D. plete Tetide, running to nine or ten LI' tirely to the guest. Enzo Sordcllo less af- sides, would be stupefying. The version fectingly. The tenor is no more Pinkerton RAVEL: Concerto for Picaro and Orches- presented proceeds reasonably. and that here than be is Dick Johnson, Andrea tra, in G -Sec Shostakovich: Concerto will satisfy all but the most ardent of Chwnier, or one of Verdi's recurring Don for Piano and Orchestra, No. 2. scholars. Carlos, beyond a careful and musicianly Of the performance, it is perhaps best to say that it is singing of the notes involved. But the ROSSINI- RESPICIII: La Boutique not poor enough to dis- fan- courage anyone results are so pure, even, and steady in tasque -Sec Ibert: Divertissement. attracted by the work. sound that a better characterized Pinker - The two sopranos are, in fact, rather good. ton-RCA Victor's Cesare Valletti, for one Adriana Martino has an impressive voice -is less to be cherished. The Sordcllo SCARLATTI, DOMENICO: Tetide in and dramatic delivery, and Luciana Pio- voice, prodnce(l with considerable strain Sciro Fuumgalli is an excellent stylist with a anti a sinussy sound, lacks conspicuous Adriana Martino (s), Tetide; Luciano pretty, flexible instrument. Contralto interest, as does the Sordcllo interpreta- l'in- Fnmagalli (s), Antiope; Wanda Ma- Wanda Madonna, the Deidamia, is ex- tion of Sharpless. donna (e), Dcic lamia; Carlo Franzini tremely uneven and rough -sounding. 'í'1)c Supporting singers (including another (t ), Achille; Valerio Nfeatcci (b), Ulisse; best of the men is the baritone Valerio rice -bland Suzuki) are neither notably Giuliano Ferri) (bs ). Liconede. Angeli - Meucci, who, though not the world's most distinguished nor completely disappoint- cum Orchestra (\pilon ), Aladar Janes, polished singer, keeps Ulisse's music ing, but fall capably, adequately, soIuc- conci. moving. Carlo Fraozini has the devil's where between. Choral and orchestral \\'EST\IINS-rEn OPW 1305. Three LP. own time with Achille's music; though the contributions have a technical finish su- $149.. accompanying notes do not indicate it, I perior to the every -month standards of think it is likely that this role was intend- Rome's Santa Cecilia Academy on rec- Apparently due to the efforts of a certain ed for a castrato. At that, Franzini conies ords-a credit to Serafin's genuine com- i'adre Tcrenzio Zardini, who discovered off about as well as any of the current mand, however too-fond, and in conse- and transcribed the manuscript of the crup might. Basso Giuliano Ferreira seems quence toil elastic, too prolonged, a read- score, the now have at our disposal a sam- to llave all the vocal equipment neces- ing. The "Flower Duct," one example ple of Domenico Scarlatti's operatic out- sary for the role of Liconte-' Ina he only, sets something of a new record for put. It is, of course, Alessandro Scarlatti plods through it in a most uninteresting local stops on the ram between peach who is accorded an eminent position in fashion. The orchestra is competent, and blossom and jasmine. the early history of opera, but son Domen- though there is no way of knowing if NIr. The recording, clean throughout and ico put considerable creative energy into Janes adheres to the proper tempos, they singularly well balanced, features a sense works for the lyric theatre (his operas sound appropriate. of spread and depth beyond today's number an estimated dozen); and al- The sound is generally clear and bal- norm, though scarcely any stage business though the unearthing of a single score anced, if leaning towards edginess and following Butterfly's first -act entrance. will not make him an operatic composer an occasional hiss, as if overntiked -es- Compared to London's La Fanciulla del of stature, Tetide in Sciro indicates a real pecialiy noticeable near the end of Side West, the singers here hold tight to fluency in the lyric language. 2. A complete libretto is provided, sensi- their music stands, with minds less on Tetide is a chamber opera version of bly translated by Sam Morgenstern. \Vest - theatrical illusion than perhaps on Sera - the Dciclamia legend, which is also the minster has carefully indicated where fin's octogenarian, under -the-desk down- subject matter of Handel's last opera, cuts have been made, though in one or beat. In favorable contrast to RCA Vic- probably written at least forty-three years two spots the actual deletions depart from tor's competitive stereo sct (likewise a later. But while Handel takes the legend the booklet's markings. The notes are in- Roman undertaking), London's sound is as occasion for a romp, Scarlatti and his formative, if a hit abrupt. An interesting vastly more spacious and tonally agree - poet (Carlo Capeci) point a stringent album for eighteenth-century enthusiasts able-nt a cost to the buyer, however, of moral: "ltd pies dolce et quel piacere/ eight vs. six sides. ROGER DETTMEn Che s'ottiene col penar" ( "But sweeter is Continued on page 58

56 HIGH FIDELITY MAGAZINE

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Can you imagine the thrill of owning a library of hi -fi records made at the original concerts of such composers as Bach, Beet- hoven. Brahms? Would you like to be one of the discerning patrons who arc sponsoring the rommissioning of outstanding living composers, as the Esterhazvs sponsored Haydn? First Edition Recorde give you such opportunities today - for these are conuuissioned works of today's leading composers, some of whom are Fine Hi -Fi Recordings of Award -winning Compositions, Bril- famous today - may well he fabulous names tomorrow (sec list at I1M Iss I linntly Played by One of the Nation's Outstanding Orchestras Xi* r right). The orchestra is conducted Lou -545 -1 LOU -56-6 by famed Robert Whitney, who is Paul Croton Invocation and Dante Hank ledings The Leuinill< Symphony known throughout the musical world Hain, Villa. Lab., Oy.nu, , "Down in a Tropical len Weber Prelude and Pasaomglia Farert" Lae Surchy All an a Summer's Day as a foremost and con- proponent Haley S Triskalien L0U -S7 -1 ductor of contemporary music. Lou 515 -t Paul Nadall Winter Symphony Henry Cowell Symphony Mo. 11 Paul Muller- Iurieh Concerto for (dl. and Until now, these matchless recordings Aöasad., Trhrpnin Suite, Oput 17 Orchestra, Op. 55 have been available either singly at $7.95 larnard Wagenaar A (aneart Overture (Grau Whitney, Cellist) Lou -545.1 LOU -57 -7 each or by subscription at $4.98 each. Now Peter Mennin Symphony Na. 6 Andre lalinee Suite Trancoueno our subscribers have increased so magnifi- Wallingford Riegger Vcriatiens for Piano and John Vincent Symphony in D Orchestra (Benjamin Owen, LOU -51 -2 12 cently that we can now offer records for Pianist) Roll Liebermenn Opera: "Sheet far Wire," the price of 7- .caving you nearly 50% on Etna Tech Neftu no Morin Bombard, Diuuor your purchases. LOU -SIS -4 LOUS7.4 Alan Ha Mane. Concerto No. 7 for Orchestra Ragan Stolen, "Idyll of Theorritue" for Make no mistake about it - there are no Maria Ca ninoave- Overture to "Much Ado About Soprano and Orehettra Tedesco Nothing" ¡Audios. Nona man, Soprane) other record like Louisville Orchestra First Carlo Surin,eh Sinlonieuc Flamenca LOU -57.5 Edition Records. The music is recorded for LOU -Sis -5 Ned Rarem Deign for Orrhnna Jacques Ibert you by Colombia transcriptions. It is played Louinille Concerto Bernard Reiehel Suite Symphonique Gardner Read Toecoen G LOU -S7.6 and interpreted as the composer intended Ono lueningVladimir Rhapsodic Variationt fer Tape Edmund Rubbra Improvisation for Violin and Uuochevsky on 12" long -playing hi -fi records. Recorder and Orchestra Orchestra (Sidney Harth, LOU -545.6 Violiniull Critics have praised First Edition Record- Peggy Glanville -Nicks Opera: "The Transposed Heads" Irving Fine Serious Song: A Lament Morio Beinhard, Diretto, for Siring Orvhttoo ings to the skies: LOU -545 -7 Harald Marrir Pauocaglio, Adagio and Finale "Splendid sound ". Cleveland Plain Dealer Vincent P.rsichetti Symphony ter Strings LOU -5t -1 Robert Sande" Little Symphony Na. 2 in lb Altai Haìfl Ballet in E Boris Studie ira Pianínimo, Opus 45 Nabokov . . a service to music unequalled ". Blather Nicolas Symbali (hrntioni far Science LOU545t Baritone and °renom. Christian Monitor Luigi Dollapicula Voriorioni per Orchestra 'William Pickett, Baritone) ... the reproduction Is model of clarify ". late Pablo Montoya Cumbret LOU.SO.2 Ulysret Kay Serenade for Orch Lau Harrison "Four Strict Songs" fer Eight St. Louis Globe- Democrat Darius Milhaud Ouverture Meditenanernne gariraner and Orchestra LOU -545-9 firer /ono Korn Variation, an a Tune from ". . recording and performances, excel- Gottfried Von Einem Mediations "The Seaga''. Opera" lent". Pittsburg Post -Gazette Karel Rothau Prelude fer Orchestra, Opus 71 LOU -56.7 quality higher than critics dared George Parla Rhapsody for Orchestra Elliott Carter Variations far Orchnbo (OU-545.10 Everett Helm Strand Piano Concerto hope ". Time Magazine Alberta Ciminero Pampeana No. 3, A Pattern' ¡Benjamin Owen, Pianist) Symphony Lou -SI.4 . . Louisville commissions enrich Euro- William Bergsea A Carol on Twelfth Night Arthur Berger Polyphony far Orchestra pean as well as American repertories. Henri Sauguet Les Trait Lys Carlos Suri no ch Feria Magica Overture And the value of recordings for the for- Robert Word Euphony far Orchestra Maya Kupferuran Fourth Symphony LOU-SIS -11 LOU -56.5 mulation of second thoughts and longer Gian.Franceno Fantasia di Ognì Glorna Roger Loeb Concertino fer Oreheure II perspectives on contemporary works Muliplera Gail Kubik Symphony No. 2 in F would be hard to Vittorio Rieri Introduzione e Giono Delle Ore LOU -St -6 exaggerate ". liner Baton The En,hanted Island Waller Piston Serenata New York Times LOU- 545.12 David Von Valor Fantasia, Chaconne and Allegra Riehud Mehaupt Opera, "Double Trouble" Niel, Viggo Amnon Pali Sintonici, Opec 109 first 6 records (all 6 will The for 5,198) MO/ill Bomhurd, Oirestar Y be mailed you upon receipt of the coupon LOU -56.1 1 Nilding, Rosenberg Louinille Concerte at the right. SEND NO MONEY - 6 RECORDS FOR 54.91 WILL BE Chou Wen -Chung And the Fallen Petals MAILED YOU UPON RECEIPT OF THIS COUPON You may discontinue your subscription al Carnage Loonier') Suite IV Centenaries l Lot -56 -2 any time after purchasing 6 records at S4.98 Tanana' Capricoia Richard TVaumerin, \Sanaecr Alexandre SOCIETY ' each. within one year. Petit Borowski The Mirror LOUISVILLE l'ESILII:\R\tONIC Suite 7. HJ0 S. Fourth Street. Louisville, Ky. I oyats Dahl The Tower al Sr. larbaca The 6 additional records, for which you LOIi -56.7 Pleut enroll me as subscriber for Fin. Edition rn. the acute!. who. 1 pay 54.98 each. will he mailed you at in- Ernst Krenek Eleven Tran,par ne agi Record, seal Roberto Ca,meno Magnificat, Op. e 20 ben have °ndbeen circled above. You may bill me tervals of approximately two months during Choir of Southern Boptlit total of 14.98 for the.t 6. 1 t 6 the next 52 weeks, with bill enclosed (we Theological Seminary 1 agree to purcha.e the net releaxe, during LOU -56.4 the next twelve month.. at $4.98 each - after pay After 6 e the postage). purchasing these George Antheil Opera: The Wish" wbinh I will receive free bonus record for each 1 records at 54.98 each, you receive a First Morin Bosshard, olrector additions) two aelectioa. 1 buy. Record choice, free, for Lou -56 -5 Edition of your Juan Orrege -Salas Serenata Concertante, Op. 42 Narrt every 2 additional selections you buy. Harald Shapero (redo for (rchenra Robert Maerynski Concerto No. 1 tor Piana Addy., THE LOUISVILLE PHILHARMONIC SOCIETY and Orchestra 1 (A Non- Proflt OrganIzorionl ¡Robert Mueryncki, Pianist) City 7 ne,Stare Robert Whitney, Conductor 1 rTl.l 1939 57

www.americanradiohistory.com or explorers of musical history; others had COLUMBIA \iL 5337. LP. $4.98. COLUMBIA \iL 5338. LP. $4.98. best proceed cautiously. COLUMBIA MS 6043. SD. $5.98. CONRA» L. OSBORNE Recorded some years ago, the reissue of Although the Shostakovich deserves top this set continues a series of electronically billing here, I played the Ravel first, and updated \Valter recordings begun with SCHUBERT: Sonatas for Piano: No. 6, for a good reason. For many years Bern- the Beethoven Triple Concerto. The per- in E flat, Op. 122, D, 568; No. 19, in stein's Victor record of the Ravel was the formances are all worthy parts of the con- C minor, Op. posth., D. 958 hest one obtainable. It has long since been ductor's legacy, and the laboratory work them soft, rich patina. They Beveridge Webster, piano. withdrawn and supplanted by seven oth- has given a virtuosos, are not high-fidelity recordings in the M -G -M E 3711. LP. $4.98. ers, all the work of celebrated but none of them ever measured up to self- conscious sense. The extremes of the This release is the first of a projected the essential musicality of his interpreta- frequency range are self -effacing, and complete edition of Schubert's piano so- tion. Here it is again, in a recording of the registration of the ensemble lacks the natas. Let the faithful keep their fingers marvelous fidelity in both monophonic weight to build the largest crescendos. crossed: the now defunct EMS label once and stereo versions. Bernstein plays the But the sense of attending on the con- announced just such a project with the whole piece, not merely its solo part, and ductor and his art is real. R.C.M. able pianist Webster Aitken, but never his performance has a thoughtful, crea- it to completion. tive feeling about it which puts it in a brought STRAUSS, RICHARD: Till EuIenspie- I am unwilling on the basis of the first class by itself. No one, it seems to me, has ever understood this concerto so well gels lustige Streiche, Op. 28; Tod und issue to make a liard and fast judgment Verklärung, Op. 24 about the artist who has undertaken this as he. ambitious labor. The variety to be found The Shmtakovieh takes first billing be- Vienna Philharmonic Orchestra, Fritz in Schubert's keyboard works is very cause it has not been recorded before. Reiner, coned. broad, not to be encompassed by a mere It was written two years ago as a solo RCA Vlcron LSC 2077. SD. $5.98. two sonatas. Beveridge Webster studied vehicle for the composer's son, then eight- with one of the greatest of Schubert pi- een, and is a very jolly piece in Shosta- As fine an example as we have of Reiner's anists, Artur Schnabel, and more than a kovich's liveliest and most tuneful man- prccmincnt place among the living disci- little of Schnabel's manner and manner- ner. It should provide a welcome alter- ples of Richard Strauss, this set, with the isms have rubbed off on him. The man- native to Prokofiev's Third Concerto for richly colored sound of the Vienna or- ner we can identify in a lovely, singing pianists w:ro want to dazzle the public chestra, has been haunted by off- center- tone, a highly dramatic approach, an with that kind of fireworks. Bernstein's ing. It was weeks before I found a good ability to realize generously the sharp performance is tremendous in tone and monophonic copy, and my initial stereo contrasts between the dynamic and the spirit, and the recording is quite as good set wailed in and out of pitch in a most lyric that Schubert delighted in. That as that of the Ravel. A.F. depressing fashion. Shop for this with rapt inner communion of Schnabel, how- care. Its performances and impressive, big-orchestra sonies are worth the trouble. ever, is not evident in this supple of SHOSTAKOVICiI: Symphony No. 1, in Webster's Schubert -unless, perhaps, mo- R.C.\t. F, Op. 10; Prelude, No. 14, in E flat mentarily in the last bars of the C minor's minor; Lady Macbeth of ,\lzensk: adagio. ( The cross -hands sections of the Entr'acte TCHAIKOVSKY: Symphony No. 1, in G finale of the same sonata arc, in their minor, Op. 13 ("Winter Reveries ") bold, rhythmic abandon, very like Schna- Symphony of the Air, Leopold Stokow- bel indeed.) As to Schnabel's manner- ski, cond. Vienna Philhannusica Symphony, Hans isms, the worst of them, extreme incon- UNITE» AR'T'ISTS UAL 7004. LP. Swarowsky, conci. sistency in tempo within a given move- 53.98. URANIA 8008. LP. $3.98. ment, seems to be shared in full by Mr. UNITED AwrrsTs OAS 8004. SD. URANIA USD 1010. SD. $5.98. Webster. He begins the allegro finale of $4.98. the C minor sonata at an exhilarating Tchaikovsky's First Symphony, an early presto but slows to something like alle- Stokowski is retravcrsing, in a series of work and certainly not one of bis best, is gretto by the time he reaches the epi- recordings with tvarious orchestras, the on the lugubrious side, yet it has some sode in B major. Obviously a movement works with which he had such sensational lovely passages. Fortunately, Swarowsky as huge as this cannot be taken at too success during his Philadelphia days a doesn't allow the gloom of winter to lie strict a pace; but since there is only one quarter of a century ago. His mastery of too heavily on the score; he keeps timings tempo indication in it the pianist ought these works has not changed in the slight- moving along at a good pace. And the to strive for various shades of that tempo est, but the art of recording has changed Vienna l'hilhamn sica Symphony, obvi- and resist the temptation to make en- enormously for the better, as is made ously a nom -dc- risque, plays most com- tirely new ones. But 1 like this reading magnificently apparent here. petently. Urania, on the other hand, has better than Friedrich \Vührer's more The short entr'acte from Lady Macbeth not clone very well by the recording. The proper but less imaginative one, if not so of Mzensk seems to be the only excerpt sound is faithful enough, but there are much as Aitken's heroic view of the mu- from that historic piece to be put on some strange imbalances, both in the sic. The playing of the early E flat sonata discs. It sounds like any other vigorous, monophonic and stereo versions. Brasses is easily the best in the current catalogue. satiric dance episode by Shostakovich and and woodwinds tend to override strings; The sound is constricted and really sloes not explain the furor which the and in the two -chanel edition there is not satisfactory on Side 1, possibly be- opera caused. The Prelude in E flat mi- very little sense of direction. Even the cause of the length of the work thereon nor is a grimly powerful hit which makes violins emanate mostly from the center, recorded. Side 2 is emphatically fuller one regret that Stokowski did not orches- rather than from the left. Nevertheless, and brighter. On neither side are the trate more of Shostakovich's piano music. this is one of the better performances of movements separated by bands, and on The symphony is too well known to re- a seldom -heard symphony. 1'.A. the review copy there was a great deal quire comment. This is the eighth record- of surface noise on both sides. D.J. ing of it to be listed by Schwann. It must he by far the most brilliant of them all, TCHAIKOVSKY: Symphony No. 3, fn D, and it is without much question the most Op. 29 ( "Polish ") SHOSTAKOVICH: Concerto for Piano vivid in interpretation. A.F. and Orchestra, No. 2 Vienna State Opera Orchestra, Hans Move!: Concerto for Piano and Orches- Swarowsky, conti. URANIA USD 1026. SD. $5.95. tra, in G STRAUSS, RICHARD: Don Juan, Op. Leonard Bernstein, piano; New York Phil- 20; Tod und Verklärung, Op. 24 Tchaikovsky's Third is a symphony defi- harmonic (in the Shostakovich ), Colum- IWagner: Siegfried Idyll nitely worth knowing, if only for its in- bia Symphony Orchestra (in the Ravel), New York Philharmonic, Bruno Walter, Leonard Bernstein, cond. cond. Continued on page 60

58 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com spired moments, such as the Alla tedesca URANIA USD 1027 -2. Two SD. quently, I fincl myself pleasantly aston- and the final balletic Tempo di Polacca. $11.90. ished at being able to report that L'Uc- Swarowsky s reading is a lively, yet stable cellino d'Oro, clubbed "a musical fairy one; the orchestral execution is first -rate; For such an ambitious undertaking, this tale," is a thoroughly disarming little and Urania's stereo sound is among the album is a big disappointment. Just about piece. Its libretto, by Giovanni Chelodi, is best to be heard anywhere -full, sono- all the highlights of the opera have been something of a cross between Turandot rous, and most naturalistically pinpointed included, but they often contain cuts or and Love for Three Oranges, with a dash and distributed. In other words, true abrupt endings. Only the final stanza of of Coq d'or: the witch, the ugly daugh- stereo. P.A. Sachs's "lerum, jerum" is sung; and the ter, the little golden bird ( really a be- very point of Beckmesscr's ludicrous witched prince), the hero. the sleeping serenade VILLA LOBOS: Fantasia Concertante is lost by the omission of Sachs's princess, the three riddles, the comic cook hammer strokes. Aside from for Orchestra of Cellos Uta Graf, -all are here, along with an enchanted who makes an excellent, clear -voiced ¡Bach: The We11- Tempered Clavier: forest and a pit of loathsome salamanders. Eva, the singing is competent but Preludes and Fugues (nrr. Villa Lobos) rou- All is in place. This material Zandonai tine. Bamberger's musical direction is handles with unfailing melodic inven- Violoncello Society of New York, Hcitor solid and well grounded; but if the afore- tion and tasteful treatment of potentially Villa Lobos, cond. mentioned cuts and breaks are his, he has cloying and ponderous elements; it is EVEREST LPBR 6024. LP. $3.98. been considerably in error. clear that, at the age of twenty- three, he EVEREST SDRR 3024. SD. $5.95. If only the performance could have was a polished craftsman, with an ability matched Urania's stereo sound, this for sustained lyric writing as well as an Two years ago some New York cellists would have been a memorable set. Most excellent sense of proportion. Violoncello funned the Society and com- of the singing comes from the left chan- The performers are all un- missioned Villa completely Lobos to write his Fan- nel, except for the choruses and the third - known to me. Ondina Otta, who sings the tasia Concertante for their inaugural con-. act quintet, which are wonderfully dis- title role, is inclined to he shrill, and the cert. Villa Lobos was the inevitable tributed; but there is an impressively tenor, Nino Adami, is hardly more than a choice, since no one has written so much realistic expansiveness to the orchestral comprimario; still, they are equal to the for cello ensemble as he. The work with recording, marred only by a slightly over - modest demands of this music. The rest of which he responded is a beauty, much in resonant hall. P.A. the singing -and the delivery of the dia- the spirit of his Bachianas Brasileirar (two logue-is really most acceptable, save for of svhich are for an orchestnt cellos), of a painful little interlude rendered by one full of life and gusto, mingling WAGNER: Parsifal: Prelude to Act I; Brazilian of those strangled ragazzi whom the Ital- folk melody with strict counterpoint in Good Friday Spell (Act III); Siegfried ians are pleased to bill as "boy sopranos." his familiar, vivid, and tuneful style. Idyll; Die Meistersinger: Prelude liis Orchestra and chorus are adequate, and arrangement for the same instruments of Pittsburgh Symphony Orchestra, William Westminster's sound is extremely good. three preludes and three fugues from The Steinberg, conci. A little of this swill, naturally, go quite 1Vell- Tempered Clavier dates from 1941, CAPITOL SP 8368. SD. $5.98. a distance, but since there is only a little but has not been recorded before. It is of it here, i have a hunch that this disc not a stunt, for the cello is the only or- Fast tempos mar Steinberg's readings of will provide many opera lovers with a di- chestral instalment can play soprano, that the Parsi/al excerpts and the Si gilled verting respite from weightier fare. alto, tenor, and bass. The ensemble there- Idyll. The Mei.stersinger Prelude, on the CoNnAn L. OSBORNE fore takes very naturally to this assign- other hand, has breadth and nobility, ment, and it confers upon it a unique and these qualities really become im- grandeur and beauty of tone. pressive in stereo, where the orchestra The personnel of the recording ensem- has a grandiloquent spread. P.A. RECITALS AND ble as listed on the jacket reads almost like a roll call of the finest cellists in MISCELLANY New WAGNER: Siegfried idyll York. There are thirty -two of them -solo- -See Strauss, Richard: Don Juan, Op. 20; Tod ists, string quartet players, first -desk men, und Vcrkliirung, Op. 24. teachers -and they seem to have come CHAMBER BRASS PLAYERS: "Two together in a high, festive spirit to honor Hundred Years of Brass Music" both their craft and the grand old plan WALTON: Partita for Orchestra -Sec from South America. The recording was Mahler: Symphony No. 10, in F sharp, Adson: Two Ages for Cornetts and Sag- made to preserve a concert which must Op. peath. buts. Anon.: Sonata from "Die Biinkel- have been unique in New York annals, siingerlieder." G. Gabrieli: Canzone per sonar, Nos. 1 and 2. Holbomc: Honk- and it is suffused with the feeling of a ZANDONAI: L'Uccellino d'Oro great occasion. So far as the Fantasia Suckle and Night Watch. Pezel: Sonatas Concertante is concerned, there is no im- Ondina Otta (s), Uccellino d'Oro; Luci- Nos. 2 and 22; Suite. Purcell: Two Trum- port.mt difference between the stereo and ana Pio- Funagalli (s), Rosahella; Wan- pet Tunes and Afire. Reiche: Sonala the monophonic versions, but in the Bach da Madonna (e), Matrigna and Fata No. 19. Schein: Pelham° and Calliard. the stereo gives the voices greater relief. Cattiva; Nino Adami ( t), Riceardino; Stoll: Sonata No. 1. Susato: Three A.F. Giuliano Ferrein (hs ), Re di Terziglio and Dances. Cuoco; Dante Mazzola, boy soprano; Chamber Brass Players. \VAGNER: Meistersinger (high Adelina Mancini, Marisa Venutti, Carlo Die CLASSIC EDITIONS CE 1039. LP. $4.98. lights) Carbone, Alberto Pighini, and Bracco Lorena, speakers. Angelicum Chorus and Rudolf Conszar (h), Sachs; Karl Licbl Orchestra (Milan), Silvio dc Florian, The brass quintet employed here com- (t), Walther; Uta Graf (s), Eva; Anne- cond. prises two trumpets, a trombone, a French liese Schlosshauer (ms), Magdalena; Ja- WESTAONSTEn OPW 11034. LP. $4.98. horn, and a tuba. None of the pieces it kob Rees (t), David; Georg Stern (h), plays was written for that combination, Pogner; Robert Jockel (t), Vogelgesang; A pupil of Mascagni, whose early efforts and the horn and tuba arc complete Richard Otterpohl (hs), Nachtigall; Ger- evidently attracted widespread attention, anachronisms; hut if such matters don't hard Misske (b), Beckmesser; Herbert Riccardo Zandonai secured for himself a bother you, you may find this disc quite Klomscr (bs), Kothner; Karlheinz Vogel respectable position in the nmsical world, enjoyable. All of the music lends itself to (t), Zorn; Roland Kunz (t), Eisslinger; and finally assumed (in 1939) director- arrangement for modern brasses, and the Ralph Baumann (t), Moser; Bodo Muel- ship of the Liceo Rossini in Pesaro. Of his players are excellent, both individually ler- Crosse (bs), Ortel; Richard Hoemickc operas, however, only Francesca da Rimi- and as an ensemble. Query: Instead of (bs ), Foltz; Jakob Staempfli (bs), ni has been performed with any frequen- Purcell's "trumpet tunes," which as far as Schwarz and Night Watchman. Chorus cy since its initial production, and its most is known are keyboard pieces, why does and Orchestra of the Frankfurt Opera, recent appearance that I know of was Carl Bamberger, cond. greeted almost contemptuously. Conse- Continued on page 62

60 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ST WSK

"Into these performances and recordings I have tried to put a life of study and a life's experience, so that the composer's message will be brought to the listener in its full eloquence."

ON UNITED ARTISTS RECORDS!

STOKOWSKI SPI;7i:",;';,; STOKOWSKI ''1Ii%`A*4ri STOKOWSKI 6rC±Gr uoK.u,. . L¢ SHOSTAKOUICH

SYMPIDNY. I

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BLOCH, SCHELOMO; HEBREW RHAPSODY SHOSTAKOVFCH, SYMPHONY NO. 1 in F, KHATCHATURIAN, SYMPHONY NO. 2 -Tnc for Cello and Orchestra, George Neikrug Op. 10 /PRELUDE F flat minor /ENTR'ACTE composer's later work conducted by Cello/ BEN.HAIM, FROM ISRAEL. FROM LADY MACBETH. The early work Stokowski with the Symphony of the Stokowski and the Symphony interpret of Shostakovich performed with the Air, in the first American recording of these great modern ethnic works. excitement and depth of maturity. this brilliant masterpiece. Mono UAL 7005 Stereo UAS 9005 Mono UAL 7004 Stereo UAS 8004 Mono UAL 7002 Stereo UAS 8002 729 71h AVE., NEW YORK 19, N. Y.

JULY ]95O 61

www.americanradiohistory.com not a group like this do his March and erable verve, and the violin sound is as For three decades Nellie Melba enjoyed Canzona for four trombones for a change? faithful to reality as I have heard on an international fame and prestige that N.B. records. The sonata for two violins and no prima donna of our clay could pos- continuo by Giovanni \ laria (as in the sibly rival. Melba triumphed at a time notes; not Giovanni Battista, as at the when movies, radio, television, commer- CHAMBER ORCHESTRA OF THE head of the liner) Ruggieri, one of a set cialized sports, and ezaristic conductors SOCIETAS MUSICA (COPENHA- published in 1693, is pleasant but not were either unknown or kept in their GEN) : Italian Baroque Music outstanding, as is the Sonata by Roberto place. Hers was an era during which the Vivaldi: Concerti grossi, Op. 3: No. 6, Valentino, probably intended for flutes prima donna rode roughshod if things in A minar; No. 8, itt A minor; No. 11, and continuo but played here by record- did not go her way; and Melba remained in D minor. Corelli: Trío Sonata in F, ers. N.B. a Simon pure example of that era. A mix- Op. 4, No. 7. Ruggieri: Trio Sonata in ture of peach preserve, raspberry sauce, G, Op. 3, No. 8. Valentino: Trio Sonata NELLIE MELBA: Recital, Vol. II and vanilla ice cream, and a particularly in A minor. dry, thin sort of toast were named after Arias (min Ronéo et Juliette, Hamlet, her by worshipful chefs, as public and Chamber Orchestra of the Societas Mu- Elaine, Otello, La Bohème, Le Roi d'Ys, critics bowed before the refulgence of sica (Copenhagen), Jßrgen Ernst Hansen, Le Cid. Songs by Bamberg, Bizet, Hüe, her immaculate scale. cond. Lotti, Bla:Tgini, Bishop. During her heyday, Melba's voice HAYDN SocrEry HS 9057. LP. $4.98. seemed synonymous with perfection. In Nellie Melba, soprano; Enrico Caruso, describing the effortless purity of her The concertos are out of Vivaldi's top tenor; Charles Cilibcrt, baritone. evenly matched tones, one had best re- drawer. They are perfonned with consid- Rococo R 17. LP. $5.95. sort to such verbal pictures as --spring water" and "morning skies," for no more entrancing voice ever issued from a human throat- Her technique glittered in the aplomb with which she tossed off roulades and staccatos, and the brilliant high notes flamed diamondlike. Her crc- scendoe(l trill had to be heard to be be- lieved. Melba was horn near \tellxnrne, Aus- tralia, on May 19, 18.59. She made her debut at Brussels, on October 13, 1887, and her first Covent Carden appearance $ 98 on May 24, 1888. At this house she produced for brooked no rival, making her last appearance there on June 8, 1926. Shc died in monophonic Sydney, February 23, 1931- Her career 74kvtELE connoisseurs on four continents remains one of the longest on record, as she retained the KEN youthful freshness of her voice until the riced for end. p 98 And how does the Melba voice emerge from these grooves? For modern listeners everyone there may be a certain silvery coldness t/ stereo and aloofness in this pre- verismo type of "disembodied" singing. One can also de- tect an occasional --booty' quality. which those who heard Melba maintain was not SUITE; THE WALTZES OF JOHANN STRAUSS. Tchaikovsky: NUTCRACKER present in the opera house. She is said to Artist's Life, The Blue Danube, emperor SERENADE FOR STRINGS. Symphony have disliked her records; nevertheless, Orchestra of 7be Belgian National Radio- Wall:, 1Yitte, h1'onnn i and Song. The Tram.: Andrf. Mon: TC0001 Storeo, TCS1E001 Bamberg Symphony Orchestra - Joseph notch that was exquisitely beautiful and Keilberih, Mon: TC8019 Storno: TCS18018 precious can be found on this Rococo Respighi: THE PINES OF ROME; THE disc -the art of a singer who has been FOUNTAINS OF ROME. Symphony Or- Beethoven: SYMPHONY No. 3 (Eroica). rightly rated as one of the great vocalists chestra of The Belgian National Radio - 14anburg State Pbifbarmonic Orchestra- of all time. MAX DE SCHAVENSEE Tranz André. Mon. 7C8002 Stereo: TCS1B002 losepb Xcilbettb. Srorao: TC518003

Wagner: LOHENGRIN; DIE MEISTER- Delibes: SYLVIA AND COPPGLiA -Or- PAUL PARAY: "Ouvertures françaises" SINGER Preludes to Acts I and 3. Ham- cbeslral Suites. Sympbony Orchestra of - burg State Philharmonic Orchestra Joseph 9; 7be Belgian 'allant Radis -Trap: Andrf. - Berlioz: Le Carnaval Romain, Op. Le Sneroo: TCSIB006 Keilberth. Corsaire, Op. 2I. Lalo: Le Roi d'Ys, Mon: TC8019 Sloroe: TC518019 Bizet: Patrie. Dvoak: SLAVONIC DANCES. Op. 46: POLKA AND \C'ALT7- TIME IN BO- Nos. t, 3, 4, 6, S, Op. 72: Nos. I. 2, 4, HEMIA. 7je 1Pinning Bard, 7toadigbt Detroit Symphony Orchestra, Paul Paray, 7. s. Ramberg Symphony Orcbestra- losepb On The Eger, Only One 1lalf Nom', Oder- conci. Keifherib. Storco: TCS19015 flirter Promenade, liartc,d,erner Polka, 111 \IEnctuRY MC 50191. LP. $3.98. 7be 1(eart, :Womelnna Greemlos, Stone!. \1EILCURY SR 90191. SD. $5.95. MARCH TIME IN GERMANY. OU Com- heart, -4prea Watt:, 7be Pillage Black- rades, glory Of Prussia, Radetzky ;liards, smith, Ernst Mosch and Bohemian His Paray has a way with French music. Some Rrgin,nttal ;Marcb, Noib - und Dndsch- Band. Mon: TP2511 uteister, Nis M1(ajestÿ s huard, (loch 7leid- conductors treat it very lightly and deli- ecksburg, Bavarian Parade Nareb, Lieder - Beethoven: SYMPHONY No. S. Nanbirg cately. He can, too, where the score really marscb, 7be Ri)kmar:. Band Of The Berlin State Pbilpannonic Orchestra-losepb calls for such treatment. But he can also Chard. Mon: TP2508 eilberlb, Slereo: TCS18305 give the music substance, drive, and impact. This is what he does here, impart- ing new vigor to these four overtures. Oth- For complete catalog of Popular TETE TELEFUNKEN RECORDS ers have given freshness to the two Ber- A dm;,ior. of Lauder RerarA,c, Inc. and Classical records write to: KEN lioz compositions; but heretofore Lab's Dent, MD 140 Wou 22nd Sl,. New York 1, N. Y. Le Roi d'Ys and Bizet's Patrie have sounded just a bit old -hat. In these vibrant

HIGH FIDELITY MAGAZINE

www.americanradiohistory.com readings, they emerge as exciting orchestral tours de force. The performances are matched by some equally vibrant sound Listen! to these outstanding Capitol albums - from the Mercury engineers, both in monophony and stereo. The latter is not strong winners of 4 classical music awards from the on direction, though it is well spread out. P.A. National Academy of Recording Arts and Sciences RUSSIAN ORCHESTRAL WORKS: "A Modern Russian Concerto Festival" Valentina Maximova, soprano; Sergei Popov, trumpet; Alexander Korneyev, flute; Isaac Roginsky, clarinet; Leningrad Philharmonic; State Radio Orchestra of the U.S.S.R.; various conductors. The recording industry's own MONlroll MC 2030. LP. $4.98. academy members chose the Best Recordings of die Year The concertos arc for coloratura soprano in the first annual NARAS and orchestra, by Reinhold Clière; for For trumpet and orchestra, by Alexandra Pak - balloting. classical music, mutova; for flute and orchestra, by Otar 7 awards -miniature replicas of Cordell; and for clarinet and orchestra, an old -fashioned phonograph - by Alexander Manevich. The perform- were presented. And the ances arc superb and the recordings are albums shown here won 4! first -class. All four compositions sound like ballet music by Clazunov. A.F.

EMILE SCARAMBERC: Recital Arias frone La Favorite, Rennéo et Juliette, Mireille, Reine de Saba, Sigurd, Carmen, Mignon, Si . tétais roi, Werther, tauon, Best Classical Performance, Best Classical Performance, Lakmé, Lohengrin, Cacallerla rusticane, Orchestral Operatic or Choral Paillasse, Fedora.

Emile VIRTUOSO! Scarambcrg, tenor. THE ROGER WAGNER CHORALE Rococo 11 18. LP. $ì.95.

Recently, Mr. Philip Miller, head of the 'Tv music division of the New York Public Library, asked, "Why has French opera always taken third place in the New York repertory ?" A record such as this adds ORCHASTRR point to Mr. Miller's question. SYMPHONY Ensile Scarambcrg a contemporary of Ernest van Dyck, was born at Besançon, Conducted by Fd,R S0,t10, Selections by Handel, (S) P 8405 Borodin, Ortf, others April 20, 1863. His was a good -sized, (S) P 8431 well -trained lyric tenor which he employed with unfailing artistry and taste in the repertoire he obviously knew so well. Best Classical Performance, Best- Engineered Recording, Scarambcrg made his debut at the Opéra- Chamber Music Classical Comique in Crétry's Richard Coeur -de- Lion, on April 23, 1893. in 1895 he ap- BEETHOVEN duets 1,i..,, ILA rnr,: u peared with Adelina Patti Well- OUdMlt,.0 with the at Nice. spanish known throughout France, he also en- guitar joyed much success in Brussels. in 1903, he made his entry at the Paris Opéra as Lohengrin. His identification with that .[ role is still remembered by the older gen- -.f_t. +y eration; a fine example can be heard on this disc. Scarunbcrg died at Besançon on Launndo Almeida, Mutin Audmnnt. nm, SIM Teei. mmrn, February 28, 1938. ,,,I 11011 Y.u,tl, 110\ q,,,,l,l , -

When one considers that these records P 8.29 Music of 12 composers, were made during 1905, they sound (Also in PER 8394: BEETHOVEN including Villa - Lobos, amazingly clear and convey a responsible The Late Quartets) Ravel...and Almeida P 8406 idea of the singer's voice and technique. The selections are run-of-the-mill French arias, but the numbers from Ccnmod's La All in Capitol's incomparable high fidelity. Reine de Saba, Rcyer's Sigurd, and Prefix S indicates sterco version available Adam's Si ¡ étais roi bring a more exotic note. Several of the tempos are slower than those we hear today, but the singing is generally on a high musical level. Cor- rect pitch and careful transference have been observed. Rococo has rescued from oblivion a name that does not deserve such a fate. MAS 1)S SCHAUENSEE

JULY 1959 63

www.americanradiohistory.com ERIC SIMON: Music for Chamber Or- Shakespeare's Much Ado About Nothing form a real offbeat inspiration. The value chestra and Concert Band played in the expanded symphonic ver- of the individual compositions is not a1 up a divert- Korngold: Much Ado About (Nothing, sion, and l'vc been looking for a suitable ways high, but they make of it since. ing worthwhile Op. 11: Suite. Beethoven: Two Marches recording ever The present collection. Perhaps least score, in F. Schubert: Marche Militaire, in E performance is long overdue. The of all arc the two short Beethoven which calls for a chamber orchestra of transcriptions of the flat, Op. 51, No. .3 (trans. Eric Simon). marches. Simons K'renek: Three Merry Marches, Op. 44. only" nineteen performers, is light, emi- Schubert-not the familiar Marche 'utili- Berg: Wozzeck: March. J. Strauss: Ra- nently fresh and flavorsome, even perky taire but the one that follows it in the detzky March, Op. 228 (trans. Eric at times. and several of its themes stick set-andl Strauss marches are tasteful. Simon). in the Mind. The suite which the com- Most rewarding of the lot is the striking poser extracted from the incidental music March from Wozzeck which, when heard Boston Chamber Artists (in the Korn- comprises an Overture, ,Maiden in the apart from the opera, has a sharp, biting gold ); Boston Concert Band (in the Bridal Chamber, March of the Sentinel, character all its own. All of these works Marches); Eric Simon, cond. Garden Scene, and Hornpipe. Eric Sinum are delivered with spirit and precision by BOSTON BST 1012. SD. $5.95. and his excellent group of players give a small but virtuosic Hind banal. the proper light touch to the work, al- Boston's reproduction on both sicles of 1 have been waiting for this record for a though I would have liked a bit more ani- this disc is quite live, and the stereo dis- long time. As a youngster, I heard Erich mation in the first and list movements. tribution is good. P.A. Wolfgang Korngold's (1897 -1957) de- The other pieces on the disc, identified lightful little suite of incidental music to here as "Austrian Classical Marches," TWENTIETH- CENTURY RECORDER MUSIC Ai:udl:Ltt:m Recorder PAUL Ft-OBE Aa7R' Consort. CLASSIC Emrrlolas CE 1(155. LP. $4.98.

In the notes for this recording, Lalloue Davenport, director of the Manhattan VOICES AND SINGERS Recorder Consort, emphasizes the fact that many more people play the recorder Which is primary, the voice or the song? than listen to it. There is a reason for this: If we prefer singers to voices, it is not that we the instrument is endlessly entertaining NEW RELEASES to use, but its chill, naïve tone and limited prize vocal agility less, but that we PAUL ROBESON AT range of soon CARNEGIE HALL expression grow tiresome to prize the art of interpretation more. Thus Monaural - VRS -9051 the nonparticipating hearer. In one of Stereolab - VSD 2035 the seven works on this disc, the Suite artists like PAUL "Finds Robeson in magnificent voice with a for Four Recorders and Percussion. Erich command of resources Katz shrewdly provides relief for the ROBESON, that grow rather than di- ALFRED minish with the passing sound of the wooden flutes, and in his of lime." Saturday Re- serenade from the film cartoon, The Uni- view. on Robeson (VRS DELLER, 9037 8 VSO20151 corn in the Garden, David Raksin delightfully employs the deep, hollow tone the ERICH MARTHA SCHLAMME of SINGS JEWISH FOLK bass recorder. Elsewhere the color grows KUNZ, SONGS, Vol. 2 monotonous, although Seymour Monaural - VRS9049 Barab's MARTHA Stereolab - VSD 2032 suite in baroque style is so beautifully "Stands out among written one folk singers for her charm that ekes perk up and take SCHLAMME, and her mastery of the notice. The other works on the record are Jewish folk idiom... Miss Four Dances by ODETTA and Schlammg and Vanguard Hans Ulrich Stacps; the have turned out a gem." trim from the famous Pliine, Musiktag. by others in the N.Y, Times, on Jewish Hindemith; three by Folk Songs. Vol. l (VRS duets 1.allome Dav- Vanguard- Bach Guild 90I I) enport; and a scherzo by Benjamin Brit- catalogue are more than fine PURCELL: WELCOME TO ten. The performances arc excellent and ALL THE PLEASURES the recording is BLOW: ODE ON perfection itself; in the vocalists.They make a song THE DEATH OF Katz piece, the percussion instruments HENRY PURCELL sound more stereophonic come alive. And as we listen the Allred Deller, Soloists of than in many a the Deller Consort, with stereophonic recording. A.F. the voice itself takes on 0rch., Lute. Recorders Monaural - BG-590 new rich colors. Then Stereolab - BGS-50I5 "This is one of the great one song links to another, recordings in the steadily vowing Purcell canon." THE SPOKEN WORD that to the N.Y, Herald Tribune, on Send Purcell's Ode for St. third, and for the Cecilia's Day (8G -559) Vanguard. ODETTA: MY EYES Bach Guild JA\fF.S JOYCE: Finnegans Wake the program HAVE SEEN - - catalogua. Monaural VRS Including - 9059 becomes Stereolab VSD 2046 more singers like - Selections from Finnegans Wake: "Sherri "Filled Town Hall with a the than just a LEON BIBB warming and often elcc Permeati," read by Cyril Cusack; ALFRED DELLER Irifying glow ... She is a "Anna Livia Plurabcllc," read by Slob- group of songs. THE DELLER CONSORT highly cultivated singer ROLAND HAYES bringing to everything halt McKenna. It adds up to a ERICH KUNZ she sings the strong CAEnrrox'l'C 108G. LP. $5.95. GERMAINE MONTERO imprint of her warm. total, ODETTA positive and enormously PAUL ROBESON skillful personality." N.Y. \Vhat a fine corrective this record is to memorable PAUL SCHOEFFLER Times, on Odette's 1959 TERESA STICH RANDALL Town Hall concert. all the solemn exegeses of Finnegans THE WEAVERS Wake that musical list Price: started to appear even while MONAURAL 12" $4.98 Joyce was still in the process writing experience. of SIEREOLAB 12" $5.95 his epic novel. Samuel Beckett and others brought out their Our Exagntination rourul his Factifìcatien for Incmninatloti Send for Catalogue If) Dept. A VANGUARD of Work in Progress VANGUARD RECORDING SOCIETY INC. RECORDINGS FOR THE CONNOISSEUR in 1929; the Viking DUALITY CONTROL HIGH FIDELITY Press (and clue credit, too. to the type- 154 West 14th Street, New York City, 11 4 VANGUARD setters of the Reehl Litho Company)

64 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com published the completed work in 1939; in the last twenty years critical tempers FOR JULY: IN STEREO ON have continued to flare in debate as to whether we have in Finnegan the "sense- less muttering of the subliminal mind's low delirium' (Cogarty) or a nighty act EL of creation in which all time, all peoples, and all languages are synchronized into a new vision of human life. in Cacd- mon's recent contribution to Joyecana, one recognizes Joyce as a great comic talent, perpetrator of a joke perhaps monstrous and very possibly malicious, CALLAS but in these readings thoroughly relish- La Divine's first recording since her U.S. lour -and it able. includes that spine- chilling letter- reading scene front Shem the Penman -son of Humphrey MACU6r11 (Act I) which had her tour audiences and critics cheering! Plus the compelling Callas portrayals Chimlxlcn Earwickcr ( himself Tristan, of other Napoleon, Oliver Cromwell, hhunpty Verdi heroines front ERNANI (Elvira), Dort CARLO (Elisa. Dumpty, ultimately Adam and H.C.E. or betta de Valois), and NAnut:co (Abigaillc). A must for Here -Comes- Everybody) and of Maggie Callas fans, Verdi fans. for everybody who likes opera with the drama it can have -when CALLAS sings. Nicola Res - ( who is also Anna Livia Plurabelle, Eve, cigno conducts the Philharmmtia. Angel Sterco S 35763 et al.) and brother of Shaun ( Abel to his Cain) -is probably the closest approxi- mation in the book to the person of James Joyce. In the passages read here BEETHOVEN BEECHAM SY\11'lll)Nr N" 2 Shem is described first "chanting . IN n JIAJOR his cantraps of fermented words, abra- "Almdst anything Sir Thomas Beecham turns his hand to O1'E:IlT1AtE: AND cadabra calabra culorum," is addressed emerges the richer for his touch" (High Fidelity). in this, INCIDENTAL BII'SIC. ego - his only Beethoven stereo recording on Angel. the redoubt- directly as "condemned fool, anarch, 'THE RUINS 01' ATHENS' able Sir Thomas pairs the sparkling Second Symphony with arch, hiresiarch" concocting a "new Irish SIR THOMAS BEECHAM the infrequently -heard and Incidental Music from stew." The section concludes: "He lifts Overture aAar-ca the lifcwa nd and the dumb speak." What "Ruins of Athens," Op. 113. The "Ruins of Athens" choral SOYA'. PIIW IAlelOxlC the dumb speak is " Quoiquoiquoí(luoi- passages are sung in English. Royal Philharmonic Orchestra W WHAM (MORAL suclLTr quoignoiquoiq," in \1r. Cusack's fine with the Beecham Choral Society. Angel Stereo S 35509 reading a splendid recreation of the quacking of ducks. The puns, the port- manteau words, the distortions of syn- usa LES PREWOES tax, the jumbled history and geography- RESPIGHI THE PINES OF ROME KARAJAN BEREIOZ ROMAN CARNIVAL OVERTURE all are part of the "ghem of all jokes, to Herbert von Karajan celebrates his fiftieth album for Angel make you go green in the glazer." And it with a fabulous "Roman Holiday" in stereo. Respighi, can be hugely entertaining to sec (in the Berlioz, Liszt, are guests of honor. The Philharmonic plays printed text; Caedmon kindly provides with utmost élan. The listening -under the baton of the two copies, somewhat cut from the Vik- mtmgg "Cnierahnusikdirektor of the continent of Europe" (Time) °' °9, ing edition, with each record) and to -couldn't be better! hear this vast redu,clio ad Itl)surdun) of Respighi: Pines of Rome Liszt: Les Préludes PHILHARMONU4 ORCHESTRA man, his works and days. ( Reflections on Berlioz: Roman Carnival Overture Angel Sterco S 35613 the morality involved won't bother you, HERBERT VON KARAJAN at least 'hilt you're listening to the record.) Beethoven The override of the disc, relating the KLEM PERER Symphony conversation of two washerwomen as they scrub their clothes on the river Here's what critics said of Angel's monophonic recording n °9 bank, describes episodes in the history of the Ninth: "Of transcendental quality...Klemperer gives "Choral" of Anna Livia Plurabelle, and is, I think, us the spiritual force of the music in terms of a universal- 'mascara Music well first to most remarkable as another illustration ized idea of humanity. In stereo, it could be the Gashes -Egmont - entirely recording of the vast instrumental and of the virtuosity of Siobhan McKenna. adequate OTTO The old woman, her young and rather vocal forces for which Beethoven wrote." (High Fidelity) KLEMPERER silly companion, Annushka Lntetiavitch "One of the greats! What more can one want- except .Nxl' Puf lovah- "Anna Livia trinkettocs," and stereo ?" (David Hall, Hi -Fi Music Relive) the "rivering waters, the hithcrandthith- V. Noir IT'.S IIERE -IN STEREO! With the Philharmonia Orch. and Chorus. ering waters" of the Liffey into which Soloists: I.üvberg, Ludwig, Kmcntt, Hotter. Angel Stereo S 3577 -B female principle they all more or less merge -each is given an extraordinary More Klemperer. Beethoven Symphony No. 8 and No. 1 Angel Sterco S 35657 and unique identity. Some listeners may recall Joyce's own reading of this final GOOD SOUNDS FOR SUMMER- RECORDED IN EUROPE FOR ANGEL metamorphosis ( issued on a recording of a meeting of the Joyce Society in Nev York in 1951, Folkways FP 9311); sugges- SONGS AND A WONDERFUL STORY Alcxandrnv con,lsteis 200 Soviet soldiers in 11 tive as an author's own spoken versi.m of Olernkirehen Children's Choir songs that range in fttou

JULY 1959 65

www.americanradiohistory.com orld of ntertai n men . . -.

kles brightest in the numbers he has writ- From the evidence on the record, I ten for chorus. These, excitingly sung by felt Polly Bergen's style all too sophisti- Here at Home the citizens of Bottleneck and by the la- cated and her voice far too mature for dies of the Last Chance Saloon, have all Elizabeth Bennett. As Mr. Darcy, Farley the lusty atmosphere of the Old West. Granger has merely to intone his num- "A -One A -Two . . . This Is Lawrence For Dolores Cray, \ir. Rome has pro- bers, in the manner that has now come to Welk." Lawrence Welk and His Or- vided some beguiling songs, as well as be expected of leading men, and, natu- chestra; various soloists. Coral CX 3, some that permit her to shake the rafters rally, this is no problems for him. As Mrs. $7.98 (Two LP). xvith huge success. The homespun man- Bennett, Hermione Gingold is involved in Designed primarily as a showcase for the ner of Andy Griffith is the perfect foil to no less than six songs. No believer in talents of the Welk gang, this winds up Miss Gray's more robust style-even if subtlety, Miss Gingokl attacks them with by being a typical Lawrence Welk tele- he can't summon up much of a voice. all the gusto of a true English music hall vision show, minus the picture. Apparent- Elizabeth Watts scores with an amusing comedienne. There were times when I felt ly, individual hands have been extracted situation number, Respectability, and she was giving an imitation of Tallulah from earlier Welk LPs and assembled in Jack Prince is particularly successful in Bankhaad playing the lead in an English program format. Thus, sandwiched be- the bright, bouncing 1-loop -dc- Dingle. pantomime. The rest of the cast hardly tween the vocals by Alice Lon, The Len- The entire performance is under the sure get a look in, but handle efficiently what non Sisters, Larry Cooper, and Jim Rob- direction of Lehman Engel, a gentleman is handed them. erts are instrumental solos by Tiny Hill not likely to overlook every chance to ex- (piano ), Myron Floren ( accordion), Pete ploit Philip J. Lang's brassy and vibrant "Tammy Grimes." Tanury Grimes; Stan Fountain ( clarinet), and Rocky Rockwell orchestrations. 1'he stereo version gleams Keen and Carl Norman, pianos. Off (tnunlxt). Needless to say, the Welk Or- with a nice theatrical atmosphere, thanks Broadway OB 401, $4.98 (LP). chestra gets in a few licks and ties the to excellent depth and direction. The Tanury Grimes, whose talents so much whole program together. It's good family monophonic version is completely success- impressed Noel Coward that he whisked entertainment; and if you don't object to ful and, in fact, when played over two her directly from the confines of a New the usual quota of cereal indigenous to speakers it is almost the equal of its fel- York night club right into the lead of his Welk's programs, you'll find this quite low issue. production Look After Lulu, makes an acceptable. auspicious debut on this disc. \liss Grimes "Film Encores, Vol. Two." Mantovani and is a singer of remarkable range: she can "Come Fill Your Glass With Us." Tom, His Orchestra. London LL 3117, $3.98 be subdued and touching in a song like Liam, and Patrick Clancy; Tommy (LP). Molly Malone or strident and brash in Makem; Jack Keenan, guitar, banjo. The title of this record is self -explanatory, Cole Porters From Alplui to Omega; she Tradition TLP 1032, $4.98 (LP). and it is hardly necessary after all these relishes the point of Take Him from Pal When the boys get together in the local years to dwell on the merits or demerits Joey, yet can also toss off the inco nscquen- "Snug" at the end of the Fair Day, it isn't (depending on one's viewpoint) of the tialities of Doodle Don Doo with un- long before the tippling gives way to a Mantovani method. Suffice to say that the bounded good nature. She has been un- spurt of singing. If there's a fiddler or treatments are in the customary \Ianto- usually adventurous, particularly for a piper handy to give a little necessary sup- vani style, the performances are of dazz- newcomer, in her choice of material, port, so much the better. Here is a record ling virtuosity, and the London sound is which includes seldom- recorded songs by of what such a session would be likely to spectacular. Porter, Rodgers, Arlen, and Fain. ( Her provide: Irish songs that are jolly, amus- respect for these numbers extends even to ing, occasionally melancholy, sung with "First Impressions." Original Cast Re- including their verses.) Skillful accom- simplicity and understanding by a group cording. Orchestra, Frederick Dvouch, paniments from Stan Keen and Cad Nor- who come dose to the art of authentic cond. Columbia OL 5400, $4.98 (LP). man at the twin pianos go a long way to- folk singers. With pipe and harmonica to Three cYmnposers, doubling as their own wards making this a fine record. supplement the excellent guitar and ban- lyricists, are credited with the music and jo accompaniments of Jack Keenan, noth- words for First Impressions, a musical "The Letter." Judy Garland; John Ire- ing is wanting to complete an evening of based on Jane Austen's novel Pride and land; Ralph Brewster Singers; Cordon real Hibernian entertainment. Prejudice, which ran for some three Jenkins' Orchestra. Capitol SAO 1188, months in New York last spring. It would S5.98 (SD). "Destry Rides Again." Original Cast Re- be nice to report that the increased com- A sugary confection by Gordon Jenkins cording. Decca DL 9075, $4.98 (LP); plement of composers has resulted in a that seems to he (a) an extension of his DL 79075, $5.98 (SD). superior score. Unfortunately, it is merely love affair with the Borough of Manhat- When this musical Western galloped into another passable assemblage of songs, tan (as set forth in his ,1(an/u ttan Tower) the Broadway arena, at the tag end of a about average for any Broadway musical and (b ) a soap opera with music. The al- singularly dull season, most critics greeted of today. Although there are moments most intolerable bathos is relieved by only it with the enthusiasm Clue a second when it is flecked with inspiration, as in one good song, Charley's Blues, sung, Oklahoma. Actually, it isn't that good, the fragile Lore Will Find Out the Way oddly enough, by the least -publicized though beside the previous weak en- and in the gay orchestral interlude Polka: member of the cast, Charley LaVere. trants this year it almost sounds so. For The Assembly Dance, the remainder of Enmeshed in the prrxhrction are Judy this sagebrush saga, Harold Rome has con- the score 1 found agreeable but hardly Garland and John Ireland. Miss Garland cocted a rousing, zestful score that spar- memorable. is her usual taut, emotional self, Mr. Ire-

66 HICH FtnL'L1TY DLcnztNE

www.americanradiohistory.com lanci sounds relaxed but completely in- monophonic version is only very slightly 8854, $3.98 (LP); DL 75854, $5.98 different. The score is pretentious, and less attractive. ( SD). quite dull. This is the sort of nonsense Even though Sammy Davis, Jr., who plays that Stan Freeberg effectively demolished "Porgy and Bess." Lena Horne; Harry Sporting Life in the current motion pic- in his celebrated recording of John and Belafonte; Orchestras, Lennie Hayton, ture version of Porgy and Bess, receives Marsha. Apparently even that devastating Robert Corroan, conds. RCA Victor top billing on this record, it is Miss McRae satire wasn't enough... . LSO 1507, $5.98 (SD). ( long considered as primarily a rhythm The recent film version of Porgy and Bess singer) who walks off with the honors. "Memories of Popular Operas." George has led the record companies, naturally The power and sincerity of her singing Feyer, piano. RCA Victor LPM 1926, ennngh, to jump on the Gershwin band in the two solos assigned her My Alan's $3.98 (LP); LSP 1926, $5.98 (SD). wagon with innumerable "cover" records. Gone Now and Summertime, completely in his recent recording of Viennese oper- Big -name artists of strong commercial ap- overshadow the superficial work of her etta favorites (RCA Victor LPM 1862) peal have been pressed into service, with- colleague. And when the two singers George Feyer showed a disposition to get out regard to their vocal ability to tackle must join forces in the duet I Loves You, away from the cocktail- lounge playing the Gershwin score. As may be imagined, Porgy, Mr. Davis is completely outclassed. with which he has so long been associated. the performances vary from mediocre to Fine monophonic sound, and even better He gets even further away in these con- downright had. stereo, except for one occasion. I found cert performances of a dozen well -known The Victor entrant, too, is unsatisfactory it disturbing to listen to Miss McRae pro- operatic melodies, which he has trans - -for a number of reasons. The major in- fessing her love for Porgy from the left scribed for piano in subtle arrangements dictment against it is the highly illogical, speaker, while Mr. Davis, separated by a that never try to make the keyboard in- and quite indefensible, reallocation of wide void in the middle, appeared to be strument do the work of an orchestra. some of the songs. This results in Sporting almost indifferent, in the right. Long -dis- There is much imagination, color, and Life's it Ain't Necessarily So being turned tance love affairs aren't very convincing. spirit in his playing, and fortunately very over to Miss Horne and the transforma- little flashiness. Mr. Feyer steps out of tion of his solo There's A Boat That's "Say It with Flowers." Ronald Binge and character only once, in a swingy version Leaving Soon for New York into a chiet His Orchestra. RCA Victor LPM 1890, with a rhythm section of the Quartet from for the two singers, with Miss Horne ob- $3.98 (LP); LSP 1890, $5.98 (SD). Rigoletto; on that he really goes to town. viously playing the lead. It may have Here is a fragrant musical bouquet of a A good monophonic version sounds rather been reasonable to ask Belafonte to han- baker's dozen of melodies culled from pale beside the brilliance and depth of dle the Crab Man's hawking cry, but such disparate sources as Bizet ( "Flower the stereo edition. surely not that of the Strawberry Woman Song" from Carmen), Nevin (Narcissus), too. Belafonte's light, sweet tenor voice \iacDowell ( To a Wild Rose), Johann "Music To Listen to Records By ... Edie is reasonably acceptable, if not very ex- Strauss (Roses from the South), Tchai- Adams Sings ?" Edie Adams; Orchestra, citing, in 1 Got Plenty of Nothing, the kovsky ( Valse des Fleurs) and played in Henry Mancini, cond. M -C -M E 3751, only Sporting Life song left him; but it extremely lush arrangements by Binge, $3.98 (LP). is quite unconvincing for the music who relies heavily on massed strings, of Compared to Edie Adams' strenuous written for Porgy, or for that matter most beautiful quality. You'll find this attempts at song satire, the broadest ef- for Jake. Lena Home is a more resource- music particularly suitable for a late -at- forts of Anna Russell begin to sound like ful singer, though as Bess she often night listening session. The sound on both an evening with Rnth Draper. Miss Ad- sounds too refined. There is, however, versions is extremely good, with a slight ams belongs to the school which considers more pathos in her version of My Alan's edge going to the very widespread stereo the sledge hammer a more effective weap- Gone Now and more warmth in her Sum - edition. on than the rapier. The results are not mertime than one might expect from very successful. The fact is that Miss this singer. Both orchestras resort to some "Swing Around Rosie." Rosemary Cloon- Adams' material is basically thin, and has pretty cool jazz arrangements, which do ey; Buddy Cole Trio. Coral CRL already been kidded to death. Occasion- not seem to nie to serve the Gershwin 57266. $3.98 (LP) . ally she hits the mark, as in Singing in the score very well. Stereo sound is not sen- After a period of free- lancing which Rain, which studio- generated weather ef- sational, and l'd not be surprised to find found her flitting from label to label, fects turn into a soggy dirge. There is that the monophonic recording is its Rosemary Clooney appears to have set- a nice touch of polite malice to her Hilde- equal. Miss Horne, I understand, is not tled permanently at Coral. If this, her first gardish Autumn Leaves, and she gives very happy with this record. Mr. Bela - record for that company, is any criterion, Romberg's Stout -Hearted Men an amus- fonte has not been heard from. Me . . . it should be a happy association for her ing come -up -and- sec -me- sometime treat- I'm on Miss Horne 's side. and a rewarding one for her many ad- ment. But an attempt to outdo Florence nnrers. Her program ranges all the way Foster Jenkins in Bishop's Lo, Hear the from the old Ellington Mute Do Nothing Gentle Lark falls far short of its target. Till You Hear from Ile to something that 'Madame Jenkins herself would have been jumps as strongly as Sing You Sinners, twice as funny. and not once is Miss Clooney ever less than wonderful. The taste and sensitivity "Over There." Albert White and His Gas- of her singing, coupled with an almost light Orchestra. Fantasy 3273, $3.98 complete absence of vocal mannerisms, (LP); 8020, $4.98 (SD). have established her as one of the most Since the orchestral arrangements of these satisfying of modern girl singers. This fine popular World War i songs have not been record more than substantiates that posi- updated, nor the playing style modern- tion. Excellent support from the Buddy ized, this is easily the most authentic and Cole Trio, even though I do not feel that successful re-creation of America's Hit the sound of the Hammond organ blends Parade, circa 1917, to be found on rec- well with that of the human voice. ords. These period settings project all the maudlin sentimentality of such tear jerk - "You Asked for It ... Jack Smith Sings." ers as My Buddy or Just a Baby's Prayer Jack Smith; Orchestra, Russ Garcia, at Twilight, yet they also catch the cond. Bel Canto BCM 37, $4.98 (LP); bounce in How Ye Gonna Keep 'Ens SII 1015, $5.95 (SD). Down on the Farm and Where Do We Do not confuse this Jack Smith with the Debut of talented Tammy Grimes. Co from Here. And for a proper old -style once popular radio star "Whispering" Jack military zip, there are fine swinging ver- "Porgy and Bess." Sammy Davis, Jr.; Car- Smith. This Jack Smith, star of television's sions of Over There and Tipperary. The men \leRac; Bill Thompson Singers; "You Asked for It" program, is one of big, well -balanced stereo sound is a defi- Orchestras; Jack Plcis, Buddy Bregman, the most virile and blithe singers around. nite asset to the recording, though the and Morty Stevens, couds. Decca DL His style is particularly well suited to

JULY 1959 67

www.americanradiohistory.com songs like Cuanto Le Gusta, Oye Negra, playing me false, this is an agglomeration or the fast -paced The Alost Beautiful of earlier efforts recorded at various rpm. Girl in the World. He is less successful Dccci s engineers have nobly refur- with Bless This House and Tenderly. bished the older items -although Siboney With Smith well placed in the middle and Alta en el Rancho Grande show their and the excellent Russ Garcia orchestra decades -and the relaxed Crosby manner spread across the background, the stereo is as ingratiating as ever. version is considerably ahead of the monophonic. "Lebanon -Her Heart, Her Sounds." Djamal Asian; Chants; Orchestra. 20th - "You Don't Know Parce." Reg Owen and Century Fox 3001, $3.98 (LP). His Orchestra. RCA Victor LP\l 1915, One of the very finest recordings -tech- $3.98 (LP). nically anti musically -of Middle Eastern In one swoop, Victor has released no less music now available. Although Djama l than five records by this English orches- Asian modifies traditional melodies and tra, all of which -my colleague O. B. instrumentation to appeal to the \ \'estcm Brummell on the next page notwithstand- ear, he never sacrifices the substance of ing -1 find superb examples of good lis- the idiom. His treatments merely render tening music. This particular record seems the melodies more manifest, the iterative to me the pick of the bunch. There is rhythms less monotonous. Ashur himself, nothing very Parisian about the program, supported by a twenty -seven-voice cho- since except for the title song it is com- rus, provides the vocals. prised cf oldies of varying familiarity and popularity, but these have been given " \[trio!" Mario Lanza; Orchestra; Cho- very soothing arrangements, are played rus. RCA Victor LM 2331, $4.98 (LP); seductively by the massed strings, anti LSC 2331, $5.98 (SD). have been recorded in hnxuriant sound. A florid but exciting recital of Italian Sparkling pianism highlights each number songs taped in Rome, where tenor Lanza and should rescue the unbilled perfonner is making a filin. In flainhoyant voice, from anonymity. For those whose taste the soloist squeezes the last measure of runs to a coupling of massed strings and drama out of every selection. But these united brass, a la Jackie Gleason, Cuddle hardy perenials -on the order of Mario Up a Little Closer (RCA Victor LPM Atari' and Funiculi' Funicula'- thrive on 1914, LP; LSP 1914, SD) is also highly raw sentimentality. One might cavil at recommended. Lanza's blurred diction, but otherwise he Joux F. INDCOs is at his lest. Both monophonic and stereophonic versions are well engineered, VAN CLIBURN'S but my nod goes to the monophonic edi- Foreign Flavor tion for its greater range. 2ND GREAT "Old Heidelberg." Will Glahe and His 'Clauson In .Mexico!" William Clawson; Orchestra with Chorus. London PS RELEASE ON El \Lariachi Mexico. Capitol T 10205, 150, 54.08 (SD). $3.98 (LP). Since Will Glahe covers forty -one songs RCA VICTOR To hear a Swede singing Mexican ballads in about the same number of minutes, his in perfect Spanish is incongruous enough, handling of them is short of interpretative. frills. But these weinstube -mcl- VAN CLIBURN but to hear him excel most Mexican trdnl- RACHMANINOFF badors in the process is indeed startling. loved tunes arc marvelously mchxlic, CONCERTO No.3 Unison is much more than a linguistic and Clahe's singers anti nunsicians attack SYMPHONY OF THE AIR phenomenon. He sings well -and with them with zest. German songs of this KIRIL KONDRASHIN insight; he has even incorporated into his type have fared exceedingly well on style all the little vocal tricks and frills discs, but Globes contribution rates a favored by Mexican singers. While both place near the head of the class. Those voice and style fall short of the ultimate who prefer a once -over- lightly treatment (lark virility of a Pedro Varga -who is, of will particularly appreciate this disc. The course, in a class by himself-Clawson can stereo reproduction is outstanding. more than hold his own with the Mesi- can second echelon. Brilliant reproduc- "Orienta." The \larkko Polo Adventurers. tion. RCA Victor LP \I 1919, $3.98 (LP); From the actual concert at LSP 1919, $5.98 (SD). Carnegie Hall on May 19, 1958, "Encore!" Domenico Motbugno; Orches- Effective satire on records is all too rare VAN CLiBURN performs tra. Decca DL 88.53, $3.98 (LP). -perhaps because an LP per se militates RACHMANINOFF'S Face it, amid, \lodugno is a unique tal- against the soul of wit. But, stringing together a series of pungent musical vi- CONCERTO No. 3 ... with the ent. Iic leads off this disc with Piocc, his own composition. This prize winner of the gnettes -The Girl Friend of a Whirling the Symphony of Air, 1958 San Remo Music Festival is a Dervish to Sung of India -Gerald Fried conducted by Kirin Kondrashin. worthy -and equally orgiastic -successor and his forces offer a shrewd spoof on the to his 1957 winner, Volare. \lodugno fills pretensions of exotic discs. Fried also Featuring the finest in both musical out this "encore' with eleven other stylish manages to shade the fun with first -rate values and sound reproduction, this Italian ballads, five of them his own. To musicality. Nagasaki, for example, -Japanese recording is an outstanding repeat this corner's earlier prediction: evolves brilliantly from pseudo ?`fothugno will the Maurice Chevalier instrumentation to full -bodied rock 'n achievement! Available on regular be of this generation. Don't miss him. roll. Sonic gimmicks aplenty -sirens, whis- L.P. and Living Stereo. tles, dropped ball bearings -will test any "In a Little Spanish Town." Bing Crosby; system for range and transient response. The World's Greatest Artists Are On Orchestras. Decca DL 8846, $3.98 While these effects are designed speeifi- (LP). RCAjTÇTOR Unless my ear and my equipment are Continued on page 70

68 HIGH FIDELITY \1ACAZINE

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www.americanradiohistory.com cally for stereo, they are hardy less spec- French pedal- piano /organ called the tacular on the silky monophonic edition. ondialine, but which might be more ac- Recommended for chuckles. curately as well as onomatopoetically named the Razzmatazz. The LP record- "The Streets of Athens." Trio Kitara. ing is extremely brilliant, but drier, harsh- Capitol T 10171, $3.98 (LP). er, and considerably higher in modula- The period following World \\'ar II has tion level than the stereo version. revolution in Creek popular seen a quiet of Nostalgic of "café' music has "Highball: A Collection song. An upwelling Sounds." Jim Ameche, nar- brought new vigor and new color to the Railroad Athe- rator. Mobile Fidelity MF 4, $5.00 stately rhythms once favored by (SD). nian sophisticates. The Trio Kitara -three (LP); $6.00 key word for these lov- vocalists who accompany themselves on "Nostalgia" is the ing sound -portraits of the surviving short - guitars -here give a noble account of the line and mainline steam locomotives of hybrid genre. One of their songs, The the Colorado S Southern, Great Western, Last Tram, belongs on any international Santa ?Maria Valley, Sierra, Southern hit parade. Pacific, and Union Pacific railroads, work, bill climbing, and Reg Owen and His "shot" at yard "Linder Paris Skies." railway -fare -club outings, and knowing- Decca DL 8859, $3.98 Orchestra. ly described by Jim Ameche (who sounds (LP); DL 788.59, $5.98 (SD). like a true aficionado himself). This is Reg Owen's arrangements .arc neat, lis- easily the least sensational, most evoca- tenable, and danceable; but at no point tive, and historically valuahlc locomotive do they strike fire. Owen 's Pigalle is no- recording I've encountered to date. nearly as gay as Georges Ulmer's where While the sounds themselves are all there original; his L'Ante des Poètes lacks Tren- in the technically excellent, somewhat haunted lyricism. In sum, a pleasing EXCIrewir:Mt d's higher- level, LP version, it is only in but unexciting concert halfway between stereo that the sense of actual motion Muzak and Montmartre. The stereo re- and full atmosphere comes fully alive. is but correctably, unbal- cording mildly, Insatiable collectors also will be in- anced. I preferred the cleaner, crisper in the companion- monophonic edition. terested monophonic only -releases issued by the same producers: "Steam in Colorado" and "Great Mo- "Vienna So Gay." Music of Emmerich ments of Steam Railroading." Kalman, played by Bans Carste and His Orchestra. Decca DL 8810, $3.98 " Memoires aus Bruxelles." Carlton LP (LP); DL 78810, $5.98 (SD). 12/113, $3.98 (LP); STLP 12/113, Kalman's is virtually the apotheosis of $4.98 (SD). Hungarian light classical music. His pal- This documentary of the Brussels World's ette comprised waltzes, czardas, and Fair's "official music" is likely to appeal gypsylike tunes; his operettas spoke di- most strongly to those who actually vis- rectly to the heart. The most fanions of ited the various pavilions, but it should these, Countess Maritza, ran on Broad- also give stay -at -home listeners a good way for almost a year in 1926. Decca notion of the Fair's diverse sonic attrac- has performed a service both to Kal- tions -and horrors. Among the latter is the man and to discophiles in assembling pretentious Official March of the Worlds Marti this splendid anthology of his finest tunes. Fair; the former; the engaging among Hans Carste and his musicians bring a music of the Belgian Congo, the glitter- kind of Teutonic literalness to the effer- ing carillon of the Dutch Pavilion, Va- vescent melodies, but the damage is only rèses bizarre electronic music from the Denn superficial. Fine, room- filling stereo sound; Philips Pavilion, and the rousing a flawless monophonic recording. Your Marche grande by the 150 -man U.S.S.R. equipment should determine the choice. Anny Chorus and Band. There is no O. B. BRUMMELL great difference between the LP and SD versions except for the superior sense of movement and out -of -doors effects in the Belgian Carde Civique Band's march through the fair grounds, and this is one Ii/ji music® of several excerpts which sound like ama- teurishly low -fi recording in either edition. "Exploring New Sounds in Hi -Fi." Esqui- "Men, Brass and Voices." Massed Brass vcl and His Orchestra. RCA Victor Bands of Fodens, Fairey Aviation, and LPM 1978, $3.98 (LP); LSP 1978, Morris Motors, Harry Mortimer, cond. In music evoking memories of the Is- $5.98 (SD). London PS 132, $4.98 (SD). lands, the Orient - and the jungle - Like many another new -sound explorer, A typical British amateur band- festival MARTIN DENNY weaves a variety of the Mexican pianist- arranger -leader has pops program which is likely to put per - exotic moods to captivate the listener allowed himself to run hog -wild in his fonners in similar American concerts to -YOU. search for ever fancier timbres. Most of shame by virtue of both the enthusiasm the novel instruments here (pandero, the overseas workmen bring to their play- Write for Free Catalog chromatically tuned bongos, theremin, ing and the surprisingly professional skill alto flute, jew's harp, 'lwzzimba," etc.) that \fortimer's direction elicits. (The are ineffectually exploited or their indi- "voices " -those of the Sale and District viduality is diluted by schmaltzy vocaliza- Music Society Chorus -are more ama- tions and echo-chambering. Having said teurish, but they are heard only in RECORDS INC. the Dept. H -7 all that, however, I must concede that Tannhäuser March.) The big band ca- HOLLYWOOD 28, CALIF. Esquivel's own Whatchmnacallit does vorts in a variety of materials from a star one genuinely new sound, that of a jaunty Strauss Czech Polka and Offen-

70 HICI3 FIDELITY MACAZI\E

www.americanradiohistory.com bash's Orpheus in the Underworld Over- might have been written by a Squire the somewhat broader and more attractive ture to Morton Gotuld's Brass Banc! Bluer John Bull Sousa, stuffed to the ruddy stereo edition, the tonal balance is very and such British imitations of Leroy An- jowls with roast beef and buttermilk! odd and singularly lacking in "blend." derson as Holyer's Three of a Kfmcl and They are, however, beautifully recorded, Possibly this is caused by overclosc mitr- Seymour's Trumpeters' Serenade. The as was evident in the widely praised ing plus spectrum -extremes boosting, but markedly stcreoistic and broadsprcad re- monophonic version (LL 1229) of several at any rate it results in a highly unnatural cording captures to perfection the spirit years ago, and is even more obvious now spotlighted quality, which is certainly not as well as the letter of the performances in stereo. likely to be satisfying, if even tolerable, throughout. over any extended period of listening. "Stereo March Around the World." Mu- "The Romantic Music of Tchaikovsky." sikkorps der Bmideswehr (Hamburg), "Stereo, Stereo, Stereo." Westminster Leonid Hambro, piano; Andre Kostel- Gerhard Scholz, conch Urania OR \\,SS 2, $2.98 (SD). anetz and His Orchestra. Columbia CS 9015, $3.98 (LP); USD 1033, $5.95 A sampler -sequel to the "Introduction to 8112, $5.98 (SD). (SD). Stereo" (WSS 1 ) of last fall and like it The best that can be said for the present The Official Vest German Army Band gyrating dizzily among "classics" ( Tchai- "chicken -in- parts" approach to the mas- plays with energetic pedestrianism in sev- kovsky, Rossini, Copland, Gershwin, by ters is that it's mercifully shortened from en Sousa marches etc., and sounds at the Utah Symphony and Vienna Opera the original two-disc monophonic version home only in two Fucik marches and the Orchestras ), a light classic ( Deutschmeis- (C2L II) and that Hombro plays with a Strauss Sr. Radetzky. What gives this pro- ter Band), and pops ( Leibert's theatre deftness worthy of a better cause. Kos - gram its somewhat dubious sonic distinc- organ, Ralph Font's Orchestra, and Sy telanetz himself leaves no mannerism tion is that, in both the almost excessively Coleman's Trio), plus one brief band of unturned, the stereoism seems minimal, brilliant and dry monophonic version and miscellaneous sound effects. Somewhat and the brilliance of the recording cruelly espuws the coarseness of the orchestral playing.

"The Scots Guards Play Gilbert & Sul- livan." Angel S 35625, $5.98 (SD). ACCLAIMED Lt. Col. Sam Rhodes and his famous regi- mental bandsmen must be bored by the Pinafore, Mikado, and Pirates medleys or else they were caught in a rare off day, a formid- for they merely plod through the motions abie array of .. a perform. here, to the nearly complete waste of the a, lists -an im ante with pressive piece sweep and vig- engineers' skill in providing the airiest of music mak. or. Hearing the and most spacious of stereo recordings. ing." stereo discs ... Christian Sri - is a revelation." ente bfoni,ur High Fidelity "Showcase." Mantovani and His Orches- tra. London MS 5, $ 1.98 (LP); SS 1, $2.98 (SD ); limited editions. "Now it is here "The lest stereo - with such a At any price, the LP sampler of eight recording of cast of musi selections from recent Mantovani hit re- Beethoven's cians and sing- Ninth. Separa- ers .. , that usata n1tI0.1K:o. o::HSrra ;1\ß d SI 110nGS G1N(pRtc leases would be of interest only to his tion excellent... Olt it pales any pre- well chosen vious dream of devotees; but although the stereo disc cast." perfection." presents the same music (albeit in even United Preçs LLTHOVE Buffalo richer and lusher smiles), it has the spe- In remotion rd NIN"I'I-I SYMPHONY Evening News cial attraction of Mantovani's Own dis- 5111115 (MOMS MOWN i[J1egi1.00 ffa. ulrnrr ki 1 two ierr.re arming spoken commentaries, which are not only the pleasantest 1 have ever THE MIGHTY "NINTH " REVELATION IN STEREO! heard on demo -samplers but also -in the -A long opening of Side 1 -one of the hest "intro- "Superb and vital ... marks a new milestone In the symphony's life. A glorious ductions to stereo" available to date. east ... a chorus that is about the best in existence. The conductor reaches his own high point ... intense, eloquent playing." Edward Tatnall Canby. Harpers

Sousa Marches. Goldman Band, Richard Beethoven: Symphony NO. 9 (Choral) Op. 125 (with "Leonore" d! and "Egmont" Over- Franko Goldman, cond. Decca DL tures). Fricsay -the Berlin Philharmonic. Soloists: Seefried, Forrester, Haefliger. Fischer - Dieskau. St. Hedwig's Cathedral Choir. Notes, text and background. De luxe set. Available 8807, $3.98 (LP); DL 78807, $5.08 in Stereo and Monaural high fidelity. DXA157 Stereo: DXSA7157 (SD). Band of the Grenadier Guards, Major F. J. Harris, cond. London PS OTHER OF SPECIAL INTEREST 139, $4.98 (SD). RELEASES Thanks to his brisk faithfulness to Sousa's fa6: ntiiU w unflagging tempos (and no-nonsense yy{{ CrA07S'ai'fl phrasings), young Goldman not only RP,GYkfQOIE)1 RsSS finds room for no fewer than fourteen marches, but restores their now often - lost incisiveness and robustness. Perhaps there is less dynamic variety here than we have become used to. and the brilliant clarity and dry acoustics of the present in Stereo Requiem Award Winner Introductory Release: recording accentuate- particularly the Deutsche Grammophon monophonic version -an occasional tonal Music of the Russian Or. National Academy of Re- thodox Church: Divine Lit- cording Arts and Sciences Bruckner; Symphony No.5. hardness and gruffness, but it is refresh- urgy; Requiem Mass. A award, 1959. Segovia A brilliant performance. ing indeed to hear the authentic zip and unique recording- 2 rec- Golden lubilee- commem- E. Jochum - The Bavarian ords. The Don Cossack orating 50 years of con- Radio Symphony. 2 rec- lift of the familiar pieces as well as to Choir, Serge larof, Cond. cert mastery. 3 records. ords. (Also, Wagner: Parsi- meet such seldom- played ones as the Notes & Texts. DXA -158 De luxe set. Monaural only. fal excerpts.) DGMA -300 -7158 DXY -148 Stereo: OGSA -7300 Rifle Regiment, Bride Elect, Free Lance, Stereo: DXSA and Corcoran Cadets. In marked contrast. the Grenadier Guards' ten far more mellifluous -and DECCA RECORDS only one mannered- marches (including Gold Label A New World of Sound ®. novelty, The Picadore) sound as if they

.funs 1959 71

www.americanradiohistory.com sensationalized and spotlighted record- of the Vortex faux d'esprit, as must also ing; no vocal commentaries. the rotation of sound sources around a ring of thirty -six speaker systems located "Symphony of Dance." Musical Arts in the dome of the Morris Planetarium. GRADO Symphony Orchestra, Leonard Sorkin, Here the stereo effects are mostly negli- conci. Concert -Disc CS 42, $6.95 (SD). .gihle except in a few pieces where the At last discophiles can enjoy the gleam- sound flutters back and forth between ing Conccrtapes recordings and the inter- channels in rather disconcerting fashion. pretative verve of Sorkin s performances But there arc plenty of the out- of -this- of the Ruskin and Lucbnilla Overture world sounds which already seem typi- and Poloctsian Dances and the no less cal of all electronic music; two pieces ... takes pride in announcing vivacious and attractive coupling of fa- (Jacobs' lyrical Chan and Loughbor- vorite orchestral Glances (by Rimsky- ough's polyrhythmic study For the Big a new Custom Series Stereo Korsakov, Sibelius, Bizet. and Clinic) Born) reveal some sense of the inte- Cartridge. The Grado "Cus- previously available only in a special grated form usually missing in these tom" was designed for the tape "Stereo Starter Set." sonic experimentations; and Longfellow's crackling 350 -2 exhibits a delightful selective audiophile who de "This Is Stereo." RCA Camden SP 3322, sense of the humor and gusto so pain- sires excellent reproduction $1.98 (SD). fully lacking in most works in this genre A straight sampler on its second side (cur- -not excluding the same composer's at a moderate cost, With its rent Camden pops releases plus Crieg's jangling and pretentious Notes on the excellent tracking ability and Hall of the Mountain King by the Oslo History of the World, Part 3. extremely low distortion, the Philharmonic), the whole first side is an effective demo -lecture in which commen- "The Wild Wild %Vest" Ralph Hunter new Custom Stereo Cartridge tator Ralph Camargo utilizes a consider- Choir and Instrumental Ensemble. becomes a perfect compan- able variety of both musical and sound - RCA Victor LPM 1968, $3.98 (LP); effects snippets ( the latter drawn from ion to the widely acclaimed LSP 1968, $5.98 (SD). the Robert Oakes Jordan Associates' As an old -time collector of authentic Grado "Master" Stereo Car- archives of "Sound in the hound" fame) cowboy music recordings, I have been tridge. Because of small mov- to illustrate his description of stereo tech- inclined to sniff at the oversophistication nology and potentialities, as dramatically of most present -day releases. Anti ing masses and low tracking it's contrasted with an old McCormack-Cormack re- tore enough that Hunter's performances forces, stylus wear is virtually cording and an example of "hi -fi" mon- are much too -c iiccrtized" and bis ar- nonexistent. Grado Labora- °phony. rangements and sound -effects montages overdever. l'ct his chorus sings so well tories now guarantees all of "This Is Epic Stereorama." Epic BC 1 and with so h relish, his instrumen- the stereo diamond styli' for ( Classical ) and BN 1 (Popular), $2.98 talists (outstandingly, Eddy \lanson on each (Two SD). harmonica) are so deft, the sonic evoca- a period of 5 years from date .Both demo- samplers share in common the tions of prairie and range so apt, and the technically useful first two bands, where- of manufacture. recording so pure and natural in LP as in an anonymous (overpwnderous) com- A greatly improved Grado well as in the more atmospheric stereo mentator introduces some transient -rich version, that I am almost completely dis- Tone Arm is now available. It clattering bouncing-ball signals for chan- armed. Certainly it would lx; hard to is dynamically balanced and nel- balancing adjustment and a series of heat on their own tens the peppy Dec - repeated piano tones (ranging from four il'.s Square Dance here, or the linked features o new micrometer octaves above to octaves three below saloon scenes of a rousing Rile \Vhiskey tracking force adjustment middle C), first in one channel and then for barflies' chorus and Elmaric \Ven- Stylus force accuracy of in the other, for speaker response check- del's tear -jerking ballad, I'll Remember ing. The rest of BC 1 is given over to a tenths of grams may now be l'ou in Mt Prayers. And for sheer vo- dozen unannounced selections from cur- cal virtuosity, Bob Harter's melodramatic rent Epic- classical releases. mostly by achieved with complete sim- Rot Gut solo is a masterpiece worthy of a Szell and Van Bcinum, while the com- plicity. Also new is o stainless bechapped-aid -spurred Chaliapin. panion EN 1 features a similar sampling steel arm rest rock, All present of Epic pops releases. The recording is "The World's Great Music in Stereo- ullrabrilliait and strongly Grado Tone Arms can be stereoistic phonic 'Total Sound.'" Kapp KC 9031 throughout; but with the exception of the S, $4.98 (SD). modified. McKenna snappy This Trio's is the Mo- Least sensational of the several stereo ment, the pops selections have mini- samplers received this month, this is by mal musical interest. and few of the ex- far the most musically satisfactory, since Mosier Stereo Cartridge .. . S49.50 cellently chosen and varied classical se- it not only omits all narration and con- Custom Stereo Cartridge . . 532.50 lections (from Handel's Water Music to fins itself to complete pieces or move- Micrometer Stereo Tone Arm $29.95 Walton's Partita) arc complete pieces or ments, but is topped by the complete movements. Haydn Trumpet Concerto by Roger Voisin and the Handel and Haydn So- "Vortex." Folkways FSS 6301, $5.95 (SD). ciety Hallelujah Chorus from Messiah, each of which lias long been famous in After Alfred Frankensteins description Unicorn monophonic releases. Two oper- Of the extraordinary audio -visual enter- atic orchestrais by the Rome Symphony tainment developed for the Morrison under Savino (the Aida \larch and Planetarium in San Francisco (Hlcit For further details write to- "Vissi d'arte") must be skipped by any- MEATS', May 1959), the present recorded one intolerant of really ugly sound. But examples of tape compositions by Henry the three piano solos are fine (a GRA00 LABORATORIES, INC. Jacobs, David Talcolt, William Lough- Chopin étude by Hambro, Raclunaninoff etude borough, and Cordon Longfellow of the 4614 71h Arcnuc Brooklyn 20, Now York by Schein, and Lisnt's Mephisto Valse Vortex group may seem somewhat anti - Export- 25 by Encourt), and still better is a beau- Sirronlrice, Warren Si., N.Y. C. climactic -at least to listeners already fa- tifully sung spiritual, Let Us Break Bread miliar with earlier examples of musique Together, by Adele Addison and concrète and electronic composition. the Jubilee Singers. Undoubtedly the lighting effects add a great deal to the dramatic effectiveness R. D. DAnRELt.

72 HIGH FIDII-ITY MAGAZINE

www.americanradiohistory.com JAZZ

Peter Applcyard: "The Vibe Sound of Peter Applcyard." Audio Fidelity 1901, $5.95 (LP). Applcyard, a melodic and sensitively J rhythmic vibraphonist, lcacls a lively little group in a well-balanced, carefully HENRY MORGAN chosen program of familiar (but not tun 00 00 familiar) material. i -ic has a delightfully "THE fluent pianist who is unidentified in the SAINT ;SPOKEN long, rambling liner notes which, in addition to being vague, refer to the group's AND THE SINNER" leader as Charlie Applcyard. In any event, this is pleasantly forthright, polite with Isobel Robins LP jazz -lots of beat, lots of melody. "The fantastic fidelity of this LP, an fffrrr, far fuller frequency rich range Lil Armstrong; "Satchmo recording, is owed to its having been and Mc." Riv- recorded on two Vershluginner Equal RECORDS erside 121211, $4.98 (LP). Margin machines on sofa war, and then transferred en hard rubber With warmth, humor, and perceptive by a in- Little Daisy stamper or some other at 10e per disc per day ... then buy them ii sight, Lil Hardin tells the story of her way. For best results we suggest you use a Victrola. fully wound. you wish. Relax and listen to complete novels, clays with King Oliver's band, her mar - Cover notes by Henry Morgan: cover- plays, poetry and documentaries ...languages riage to Louis Armstrong, and his first ing such selections as "College Medley: and instruction from Listening Library's tentative steps on his own More they this will appeal to those who are ripe ... went separate enough for Serum." "Automobiles; collection of more than '700 LP records and their ways. She is a charm- an imitation of Mort Sahl but done ing raconteur, lust her story has been set while wearing a necktie." "Cha Cha tapes. Ideal for the literary ... for the eye - Cha; some friends of ours wrote this. a weary for teachers, students, drama in banal, soap -opera frame, complete One is known to her buddies as ... with a pompous, domn- voiced announcer. Nokomis, Girl Rabbi. "' groups ... adult parties ... children ... self As in Riverside's Coleman Harkins inter- improvement. Free 52 -page catalog describes a ova release view disc, one misses the musical illus- (0J 3004) by records and membership plan. Write or visit trations that almost cry to be included. OFFBEAT RECORDS Listening Library, inc., Dept. F7, 10 East 44 St., New York 17, N. Y. ea divsrfer, of IVasbingtorr Record, Louis Armstrong. Odeon OS 1012, OS at better record write 1017, OS 1036, OS 1080, OS 1081, shops or 1340 Conn. Ave., N.W., Wash. $4.98 each (10 -in. LP). 6, D. C. FREE at $4.98 each, postage paid. Free Catalog. The importation to the United States of ®CATeLorCATALOG French Odeon discs has started with a o o bonanza for jazz collectors -five Arm- strong LPs carrying material from his 1926 -1931 period, all but one of which contain several pieces never before avail- OPERA able On microgroove in this country (ex- $1 cept briefly in the pirated versions on Send Jolly Roger and Jazz Panorama labels). Roughly half of the selections on the Odeon discs duplicate pieces in Colum- for three specimen bia's four -disc Louis Armstrong Story, but only Odeon OS 1012, which covers hot Five and Hot Seven recordings made in copies of 1927, is a complete duplication. Odeon OS 1036 (1926 Plot Five recordings) ft/ offers the previously unavailable Lonesome Blocs, with its brilliantly plaintive Johnny Dodds solo and a moving Armstrong void, the lusty King of the Zulus, Irish OPERA Black Bottom, and You Made Mc Love You (quite different from the familiar ov CAN ROAD all about Grand Opera and its performance all over Judy Garland and Harry James tune). in The 1928 Hot Five with Earl Hines I the world Britain's only magazine devoted entirely to this is heard on Odeon OS 1017 -the new ma- subject. terial is the volatile Fireworks, Ileah Me OPERA, founded by the Earl of Harewood, brings you each month Talkin' to Ya, and No Otte Else But You, vivid articles by leading British and Continental authorities illus- the latter a pop tune so trite that it trated by fine photographs. serves as a provocative challenge to the As you read through each of the copies and study the inter- ingenuity of Hines and Armstrong. The esting special features, you will want CO have it sent co you every previously unavailable pieces played by month. Armstrong's 1929 orchestra on Odeon OS But first mail the coupon below with your $1 bill or check. 1080 are typically sloppy and bland except for Armstrong's contributions and CLIP COUPON AND MAIL WITH $1 BILL OR CHECK even that is routine in St. Louis Blues. To OPERA, Rolls House Pui:hshing Co. Lid., Rolls House, Breams Buildings, london, E.C. 4. England 1 $l. Please send me three specimen of OPERA. The other new selections are Mahogany enclose different copies Hall Stomp, Some of These Days, and NAME After You've Gone. The additional selec- ADDRESS tions on Odeon OS 1081, by the 1930-31 orchestra, include the worthy Wrap Your HF Troubles in Dreams, l'as in the Market

JULY 1959 73

www.americanradiohistory.com for You, and Dinah, along with the rela- trouble. Arranger Jack Marshall seems tively dismal Georgia on My Minci and happier when he is reflecting Wilbur De /HI-FI NOTES Bessie Couldn't Help lt. Paris than in trying to revive Crosby ÁZZ Four of these five discs are an invalu- items (Skater's Waltz, Surokey ,\fart). CONTEMPORARY RECORDS, INC. from able supplement to the Columbia set. Gene Bolen plays some pleasant low - For those who do not have the Colum- register clarinet in an orchestration of Producers of Wang Nang Blues based on the De CONTEMPORARV RECORDS bias, any one of the Odeons- starting COOD TIME JAZZ with the Hot Fives and Hot Sevens -be- Paris version of The Pearls. The main CR COMPOSERS SERIES grace of the group, however, is CALIFORNIA RECORDS longs in a balanced iazz collection. saving REM (Society for Forgotten Jackie Coons, who hulls and puffs an Mu.i4) STERRO RECORDS Louis Armstrong and Ella Fitzgerald: elegantly bumptious mellophone. "Porgy and Bess." Verve 4011/12, Barney Kessel has an exciting Wizard of the Rag- new album -music from "SOME $11.96 (two LI'). Eubie Blake: "The and Bess and Louis Armstrong and Piano." 20th- Century Fox 3003, LIKE IT HOT " Prohibition Era Porgy time - Ella Fitzgerald seem to have been made $3.98 (LP). tunes featured in. Billy Wilder's smash film starring Marilyn for each other. For both Armstrong and Blake was one of the great pianists of the Monroe, Tony Curtis and Jack Miss Fitzgerald, the Gershwin score pro- ragtime era; and later, in partnership Lemmon.. vides the most felicitous material either with Noble Sissle, a successful song The stars of Barney's album has had in a long time. This is certainly writer and vaudevillian. At seventy -five, are Shelly Manne, Art Pepper - more in Miss Fitzgerald' line than Cole he is remarkably nimble -fingered as he CR's newest exclusive recording Porter, Rodgers and flart, or Irving Ber- romps through a set of hues taken from in artist on alto, tenor and clarinet; lin, and she responds to it warily and both these backgrounds. Sissle joins the sensational young trumpeter readily. Armstrong, for his part, plays and vocally a few times; on some selections Joe Gordon, who just joined Shelly sings with an entluisiasm and an inven- Buster Bailey's jaunty clarinet is added and Manne & His Men; pianist Jim- tive vitality rare in most of lois recent to the rhythm accompaniment, mie Rowles and bassist Monty work (to find out bow well he can still throughout the disc a happy spirit reigns, Budwig. Tunes are a delight in play his trumpet when he wants to, the heightened by Blake's unaffected shouts modern jazz. reference point is his bristling opening of joy and encouragement. We're proud of André Previn and solo on It Ain't Necessarily Si, ). his winning an Academy Award Unlike the other jazz versions of Porgy Ruby Braff: "You're Getting to Be a Oscar for scoring GIGI. André's and Bess that have tumbled onto the Habit with Me." Stcre -O -Craft 507, jazz version merits some sort of market lately, there is little overt effort S5.98 (SD). an award too for being one of the to translate the Gershwin songs into jazz One of Braff's finest collections, a group happiest in the "Broadway Goes terms it this collection. Russell Garcia of very easy, relaxed, rhythmic perform- to Jazz" series on Contemporary. has written and conducted arrangements ances in which Ruby is an unending joy. Most everyone has the jazz MY that ate appropriate to the tunes, and the There are samples of the artistry with FAIR LADY album played by jazz interpretation -which is definitely which he flows effortlessly through the André and Shelly Manne -it's present -emerges in the natural course of lower register, the little runs and accents been on best -seller charts for over events from the way Armstrong and Miss that accumulate casually into his pat- two years! Their versions of Fitzgerald sing and play even in basically terns, his clean selective mobility at fast LI'L ABNER and PAL JOEY are nonjazz surroundings. It is an unusually tempos, his sly humorous use of

74 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Bill Evans Trio: "Everybody Digs Bill (LP); STLP 12115, $4.98 (SD). sensitive in these selections, and a pleas- Evans." Riverside 12291, $4.98 ( LP). Florence, a pianist and arranger who has ant well- oriented pianist, Walter Mor- Most of Bill Evans' second solo dise is worked for Barry James, Les Brown, and ris. Celler once more shows how much devoted to an unusual development of Sauter- Finegan, leads a big -voiced band can be done with a style that stems from ballad material. Evans' approach avoids with harmonic depth in its arrangements. Charlie Parker, although his source is both the facile, surface qualities of the It even manages at times to get away now little more than a well- assimilated cocktail pianist and the musical cross- from the hammer- and -tongs shouting suggestion. His work has bite and it breeder's faked -out longhair trimmings. that usually passes for swinging in most flows, and he has so much basic jazz It is, instead, a serions and thoughtful such hopefully organized recording feeling that he can make It Might As examination and development of mate- hands. Florence is particularly good in Well Be Spring seem to be a raw, wann rial rarely considered worthy of serious his writing for saxophone ensembles and blues tvithout doing injustice to the origi- and thoughtful attention. The wonder of he has created several extremely promis- nal piece. these performances is that Evans suc- ing, easygoing, smooth settings to bal- ceeds in projecting a valid emotional ance the more routine flag wavers which Benny Golsen: "And the Philadelphians." quality, without twisting or straining to make up a large part of the dise. United Artists 4020, $4.98 (LP); make the material something that it is 5020, $4.98 (SD). "The Other Side of not. On all but two selections he is ac- Herb Geller Quintet: "Stax of Sax." ju- Benny Colson." Riverside I2290, $4.98 companied by Sam Jones, bass, and bilee 1094, $3.98 (LP). (LP). Philly Joe Jones, drums, but he is better Geller's consistently stimulating alto saxo- Colsons adaptation of the bursting, note- on his own since they are apt to tear the phone has finally been replaced in com- packed tenor saxophone experiments of delicate design of his patterns. pany worthy of it. His two principal as- Johnny Griffin and John Coltrane is be- sociates in the quintet he leads on this ginning to bear Emit. On both of these Bob Florence and His Orchestra: "Nane disc are Victor Feldman, whose vibra- discs he uses the approach with a great- Band- 1959." Carlton LP 12115, $3.98 phone playing is extremely swinging and er sense of form than either Griffin or

Three Decades of Ellington Documented on Three Discs

CROSS SECTION of Duke Elling- disc. Black, Brown, and Beige is one of ABROADton's recording career appears on Ellington's few long works which achieve three discs released this month. The focal musical and programmatic development areas are the Ellington bancls of the late and, barring a recording of the entire Thirties, the early Forties, and the pres- work, the Victor version is the one that ent, but works from the Twenties and reveals Ellington's real potential as a middle Forties are also included. It is al- writer in extended fonn. This disc also ways an impressive reminder of Elling- includes two contrasting and, by now, ton's remarkable consistency to hear his classic examples of Ellington's use of the work reviewed in such breadth. voice as a wordless instrument -his 1927 M His Best, which fits chronologically Creole Loue Call with Adelaide Hall and in the middle of the trio, is an invaluable the 1946 Transblucency with Kay Davis. Ellington collection. Not only does it re- The Ellington band in 1938 and 1939, turn to currency the cream of the per- just on the threshold of the optimum "The individual, mainstream Duke." formances by the superb band which El- hand Qf 1940 -41 heard on the Victor disc, lington led in 1940 (Concerto for Cootie, is featured on A Blues Serenade, a Jack the Bear, Warm Valle, Ko -Ko, French import which includes only two Duke's most distinctly Ellingtonian col- Across the Tracks Blues, Harlem Air selections currently available on Ameri- lections in some time. A major point in Shaft, and Chloe -all once available on can LPs -The New East St. Louis Toodle- its favor is a long work, Toot Suite (once a ten -inch LP) hit it transfers to LP for Oo and A Gypsy Without a Song. It called the Great South Bay Festival the first time Ellington's original record- brings hack from the limbo of inaccessi- Suite) which, while no Black, Brown, and ing of excerpts from his Black, Brown, bility the brilliantly slippery brass en- Beige, is several cuts above most of his and Beige. sembles based on Tiger Rag which El- recent extended works both in writing His recent Columbia recording of this lington called Braggin' in Brass, the easy and performance, except for a long final suite, with Maimlia Jackson, consisted of and insinuating Portrait of the Lion and section devoted to another of Paul Gon- lengthy rcworkings of only two of its sec- The Gal from Joe's, a more deliberate and salves' marathon meanderings on tenor tions-Work Song and Come Sunday. precise version of Cotton Club Stomp saxophone. The program also includes Both sections are included in the Victor than the lusty 1927 performance recently two surprisingly effective selections in version (recorded in 1944, almost two reissued by Camden, and Prologue to which the band prods and snorts behind years after it was first performed at Car- Black and Tan Fantasy. The appearance nine percussionists; one in which Dizzy negie Hall ), but aside from Tricky Sam of this last number adds one inure in- Gillespie shows himself to be a trumpeter Wanton's brilliant trombone wah -wab triguing chapter to the strange history of who fits readily into the Ellington vein; calls in the first and Johnny Hodges' the recording of Black and Tan made by another with both Gillespie and blues serene alto saxophone solo in the second, Ellington in 1938. Originally cut as two shouter Jimmy Rushing (in rather hoarse they are of less interest than the sections sides of a ten -inch 78 -rpm disc, the sec- voice); and one of Johnny Hodges' leaner omitted from the Columbia recording - ond part was released alone as New and more muscular alto showpieces. Even Joya Sherrill's expressive singing of Black and Tan Fantasy, followed in sev- with all this variety, the personal stamp Duke's evocative lyrics in The Blues, the eral months by the first part, also alone of the Duke-the well- established, indi- gutty brass ensembles in West Indian and billed as the Prologue. This pattern vidual, mainstream Duke, not the tenta- Dance and Emancipation Proclamation, has been continued in the LP reissues; tive adventurer of recent years -is placed and Ellington's sly picture of Sugar Hill the second part has been reissued in this on this set with gratifying firmness. Penthouse. Even though this 1944 ver- country (Columbia CL 558) without the JOHN S. WrtsOm sinn is not complete, it at least outlines first part, and now comes this French re- the development of the work- Ellington issue of the first part without the second Duke Ellington and His Orchestra: "At subtitled it Tone Parallel to the Ameri- part. Someday some genius may tie this His Very Best." RCA Victor LPM 1715, can Negro, tracing his progress from the piece together. $3.98 (LP); "A Blues Serenade." primitive Work Song to the sophisticated Present -day Ellington is represented Pathé PAC 1002, $4.98 (10 -in. LP); Penthouse -a development which is not by Ellington Jazz Party, which -despite "Ellington Jazz Party." Columbia CL at all evident on the longer Columbia an invasion of guest performers -is one of 1323, $3.98 (LP).

JULY 1959 75

www.americanradiohistory.com Coltrane . has shown and, seemingly Mundell Lowe and His AB Stars: "TV having gained assurance in his attack, he Action Jazz!" RCA Camden CAL 522, ARGO is refining his tone, getting back to some- $1.98 (LP); CAS 522, $2.98 (SD). thing resembling the warm, liquid sound Starting with a gimmick idea (the use he once produced but in a more volatile of themes on TV private -eve shows), manner than before. The group he leads Lowe has turned some very slight material into an unusually gotxl jazz set. Pos- WRITE FOR CATALOGUE on the United Artists disc (Lee Morgan, Ray Bry.mt, Percy Heath, Philly Joe sibly the very thinness of the material CHESS PRODUCING CORP Jones) reflects his own feeling for eon - was an advantage -in some cases he had Dept. A tinuity and form. The solos are pertinent only a few musical phrases on which to 2120 5. Michigan Ave and there is a mininnrm Of exhibitionism, build -for this has given him a freedom Chicago 16, III. even from Jones. Colson is less aptly to do almost anything he felt like doing supported on the Riverside. dise (on with the material. \Vhat he has felt like which he plays with Curtis Fuller, Barry in most cases is swinging in an easy, Harris, Jymie Merritt, and Jones), a middle tempo or digging down into the looser set of pieces more inclined to blues. Lowe's project is helped enor- wander. mously by Eddie Costa's lively, swamp - toned piano and I>y, Tony Scott, alter- Armand iiug: "New Orleans Piano." nating between a booting baritone saxo- Golden Crest 3045, $4.98 (LP). phone and a brilliant exposition of his Since no one is showing the common most mournfully plaintive, feather -light sense to record Jess Stacy these days. clarinet. Even trombonist Jimmy Cleve- the next lest thing may be Armand land loosens up enough to swing nut. Hug Knocky Parker). Ihlg is strong- (or Lowe himself contributes several well - ly and invigoratingly Stacy -like on such constructed chorded solos. pop tunes as Alter You've Cone and If I Could Be with You but he shows little musical personality (his own or anyone Blue Mitchell Quintet: "Out of the Blume." else's) on those pieces that have a more Riverside 12293, $4.98 (LP). set jazz form- Little Ruck Getaway or Mitchell's second try as a leader in a re- Bourbon Street Parade (which, inciden- cording session has turned out remark - tally, is interrupted by a glaring and in- ably well. \Vhat might have been just explicable cut). another lengthy blowing session has real validity almost all the way through, for is working with a seasoned and Jazz in the Classroom, Vol. 2. Bcrklcc 2, \litellell $4.98 (LP). sensitive group of amen (Benny Colson, \Vynton This second collection of compositions Kelly, Paul Chambers or San and performances by students of the Jones, Art Blakey) who disdain show- boating, who play with a group concept, Berklce School of Music in Boston is sev- \H and whose solos have \'I.\1))- \ \I. \1, eral cuts above the school's first disc. One generally both form and content. Mitchell is particularly im- side is devoted to work by the Turkish pressive. His solos are crisp and positive, composer- arranger Arif Mardin, the cleanly and clearly expressed both on other to pieces by five other students. up- tenmpos in ballads, with or without AHMAD In general, these selections are service- and JAMAL LP 2638 mutes, and with a of able but not, in themselves, memorable. suggestion unforced imlividuality. Colson 2 RECORD ALBUM They gain distinction, however, through occasionally shows that his assimilation of the bursting type LEM WINCHESTER and the work of Some of the student soloists, of attack on tenor saxophone is uncer- the RAMSEV LEWIS TRIO particularly baritone saxophonist Nick tain, but more often than not it is evi- Brignola, whose playing is remarkably dent he is fluent, that channeling it to useful full -toned, and skillfully devel- ends. oped. His work on this dise places him well in the forefront of current baritone men. His assurance, his sense of direc- Orange Blossom Jug hive: "Skiffle in tion, and the authority in his playing arc Stereo." Lyrichord 773, $5.95 (SD). especially impressive. Dick Wright, on The Five is an amateur group in the both trombone and bass trumpet, con- primary sense of the word. 1-he names tributes several good solos and so does a of some of the Blossoms are familiar - faculty member, alto saxophonist Charlie Sam Charters, the New Orleans research- Marf:u o. A big band, conducted by er, plays cornet and guitar; Len Kun- Herb Pomeroy (also of the faculty), stadt. editor of Record Research, is on *LEM WINCHESTER plays with clean, crisp, professional pre- kazoo. They are willing but vague, full cision. of enthusiasm but low on cohesion. Ex- RAMSEY LEWIS 642 ceptions to this rule are Russell Glynn, who blows a sturdy, steady and purpose- Jo Jones Trio. Everest 5023, 83.98 (LP). ful jug, and Ann Danhcrg, who proves Recordings on which a drummer is the to be a virtuoso leader tend to devote an inordinate of the washboard on Kecpin' Thin. By all normal standards amount of time to drum solos. This one is this is an ill-kempt disc a little different. Jones's solos are not too but taken on its own loose, unbuttoned a extensive but his trio (Ray Bryant, piano; tenus it is lot of fur. It includes a first performance Tom Bryant. bass) has been set u p so of New Original that the balance favors the drums and, hello Alaska Statehood Joys. Possibly last soloing or not, Jones is almost always out performance, too. But definitely definitive. front, This buries some pleasant piano work by Ray Bryant under a show-off surface and a surprisingly ricky -tick heat. Paul Quinichclte and His Basie -ites: For drum students or devotees, however, "Like Basic." United Artists 4024, $4.98 there arc some instructive close -ups of (LP). Jones's technirpte with brushes and of This month's RED RODNEY 643 evocation of Basie is better his finger drumming. than most -light, rhythmic, and generally

76 I31GH FIDELITY MAGAZINE

www.americanradiohistory.com unpretentious. Quinichette frequently Joe Wilder Quartet: "Jazz from 'Peter gets back to his Ivan, moving, Lester - Gunn'." Columbia CL 1319, $3.98 Young style, which is helpful. There are (LP). a lot of bristling trumpet solos ( Harry Month by month the music from Peter the Edison can usually be spotted but there Gunn receives better and better jazz per- is no indication of how Snooky Young, formances. Henry Mancini's sound track most Dick Vance. and Shad Collins split up from the show was impressive, consider- the remaining solos), and Al Gray growls ing its television origins. Shelly Manne's out some delightfully dirty muted trom- version on Contemporary gave the tunes important bone. a stronger jazz treatment. And now trumpeter Joe Wilder, accompanied by Hank jaU Q Bob Scobey's Frisco Band: "The Scobey Jones, Milt Hinton, and Johnny Cresci, has produced a relaxed and strongly the year Story, Vol. 1 and Vol. 2." Good Time el Jazz 12032 and 12033, $4.98 each (LP). rhythmic set that is even more warmly These two discs sum up the early pin- jazz-oriented. Wilder works a wide range nacle reached by Scobcy s band and the of open horn and muted styles with 1111 QUARTET beginnings of its disintegration, covering clear, bright, pungent crispness, and Jones adds some piano solos that have more vi- MAT1ST: recording sessions from 195( ( the year GÚ ST he organized the group after leaving Ln tality than he has shown recently. dtv It Wafters) through 1952. On the 1950 selections (in Volume 1) clarinetist Darnell Howard and pianist Burt Bales give the George Williams and His Orchestra: "Swing band great life and fire while Albert Classics in Hi -Fi." United Art- ists Nicholas, replacing Howard in some 1951 3027, $3.98 (LP). recordings on the same disc, provides an The thought here is: How would some `.y,N of the favorite selections of authoritative if not quite as stimulating a the swing ,"1`\tt`,i,1\htQ`1, hand days if voice. This is a lusty, happy band have sounded they had been arranged in throughout Volume I; while it retains the Fletcher Hender- son-Benny Goodman manner? Answer: some of this feeling in Volume H ( the The Modern Jazz Quartet Who knows? George Williams' sound 1952 sessions), the rhythm section is be- Music ginning to turn heavy, Clancy Hayes's and solid arrangements focus more fully At Inn on sections than on solos. Like Pete Hu- vocals arc more frequent and more dog- guest artist: Sonny Rollins gedly mannered, and the choice of ma- golo, he favors a rugged, heavy "bottom" sound but he uses it for a more Monaural $4.98 terial (Iluggin' and A- Chalkin', for in- ATLANTIC 1299 stance) is becoming tasteless. The first propulsive effect than Rugolo does. The Stereo $5.98 include Marie, Bay Shuffle, disc, however, contains some of the high tunes Bak Wrife for compete stereo disc fitting points of the traditional jazz revival. Pompton Turnpike, and The Breeze and and LP catalogue. I. The band is a surging, alert group of all -stars. They produce a rich, full sound ATLANTIC RECORDING CORP. Horace 157 West 57th Street, New York 19, N.Y, Silver Quintet: "Finger Poppin'." and a toe -tapping, swinging beat. Blue Note 4008, $4.98 (LP). Jonc S. \VILSON A good serving of Silver's typical work - intense, roaring uptempos and slow, swampy, minor patterns with Silver's rhythmic, humorous, prodding piano ELLA FITzGERALD L°UIS ARMsTR°NG weaving in and out. This time there is less arid soloing by Silver's sidemen than one has become inured to; in Blue Mitch- ell, Silver has found an unusually well - balanced and sensitive trumpet player who can sustain a long solo effectively. Junior Cook, however, contributes the customary drab, flat saxophone solos.

Nina Simone: "Little Girl Blue." Beth- lehem 8028, $4.98 ; LP). \liss Simone is a fascinating nonconfornt- ist-a singer -pianist who has a definite personal quality on both counts; who has a strong jazz feeling and projection but who moves with equal facility in the realm of the torch song, the ballad, the rhythm song; and who can even make a sentimental, pseudo- concert approach to You'll Never Walk Alone seem palat- able. She has the kind of provocative imagination that makes Nlood Indigo a digging, rocking piano solo which is suddenly and aptly turned into a dark, half - spoken vocal. The blues -bred texture of her voice is very effectively exposed on Plain Gold Ring, a song with a folk bal- A I`IAGNIFTCENT BLENDING OF JIUSIC:\I. lad quality, while a lightness suggesting Pearl Bailey's insouciance turns up in her GENIUS AND SOULFUL INTERPRETATION. singing of My Baby Just Cares for Ale. For a recording debutante, Miss Simone Album Contains Two Long-Playing Records and Book is an amazingly polished performer and an entertainer with a delightfully mixed MONAURAL on STEREO 'WPC bag of talents.

JULY 1959 77

www.americanradiohistory.com New Stereo Tape Recorder Cybernetically engineered for intuitive operation

Fluid smooth, whisper quiet...with feather - mixing controls on both channels for com- ganged volume control. Head cover removes, light touch you control tape movement bining "mike" and "line:' The SM -310 re- giving direct access to tape for easy editing. with the central joystick of your Newcomb cords and plays back half -track monaural The Newcomb SM -310 is a sleek, rugged, SM -310. This exciting new stereophonic also. So versatile is the machine that you compact machine, discreetly styled by an record -playback tape machine has been may record and playback on either or both eminent industrial designer in easy -to -live- cybernetically engineered to fit you. channels in the same direction. with shades of warm gray and satin alumi- Intuitively, you sense how to operate this The SM -310 is a truly portable unit which num...a gratifying, precision instrument for handsome instrument. The natural move- combines the features required by the pro- the creative individual who is deep in the ment, you find, is the correct movement. fessional and desired by the amateur for on- art of tape recording. Eight, tightly- spaced Loading is utterly simple. It is almost impos- location making of master stereo tapes. For pages arc required in a new brochure to sible to make a mistake. The transport han- example. the SM -310 takes reels up to 10! ", describe the SM -310 in detail; send for your dles tape with remarkable gentleness, avoids has two lighted recording level meters ar- free copy. stretch and spilling. ranged pointer-to- pointer for ready compari- Advance showings in New York and Los The Newcomb SM -310 records stereo - son, has a 4 digit counter to pinpoint position Angeles proves an unprecedented demand phonically live from microphones or from without repeating on any size reel. For play- for this instrument. We urge those who de- broadcast or recorded material. There are back there are a "balance" control and a sire early delivery to place their orders now.

Dept. W -7 NEWCOMB AUDIO PRODUCTS CO., 682.4 LEXINGTON AVENUE, HOLLYWOOD 38, CALIFORNIA NEWCOMB SALES REPRESENTATIVES CALIFORNIA, San Francisco 3, William J. Purdy Co., 31 2 Seventh Sr,; COLORADO, Denver, Cott Soles Co., P.O. Boa 4201, So. Denver Station, FLORIDA, Taylor Co., 4304 Corona St.; Tampa 9, Morris F. Winter Haven, M. F. Taylor Co., 940 lake Elbert Drive; GEORGIA, East Point, M. F. Toylor Co., Sukup, 5226 Boa 308; INDIANA, Indianapolis 20, Thomas 8 Inc No. Keystone Avenue; MASSACHUSETTS, Brookline 46, Kenneth L, Brown, 54 Atherton Road; MARYLAND, Silver Spring, M. F. Taylor 1 l GAN, Ferndale 20, Sholco, 23525 Woodward Co., P.O. Boa l; MICHI- Ave., Grand Rapids 6, Shako, 700 Rosewood Ave.,S.E.; MISSOURI, Clayton S. lee W. Maynard Co., 139 N. Central; East Meadow, Harry N. Reizes, 1473 Sylvia NEW YORK, Lone; Syracuse 14, PostonHunter Co., P.O. Boa 123, DeWitt Station; NORTH CAROLINA, Charlotte 5, M. F. Taylor Co., 1224 Dresden Drive, West, OREGON, Portland B, Don H. Burchate Co., P.O. Boa 4098, PENNSYLVANIA, Maw, Ave.; Pittsburgl. Hliertown, M. F. Taylor Co., 534 Ellen St., Lansdowne, M. F. Tcylor Co., 275 Bryn 36, M. F. Taylor Co., 5436 Younprldpe Drt., TEXAS, Dalles 1, Wyborny 6 Toanr Co., 408 Merchandise Mart Burchon, Co., 422 First Ave., West. BIdp., WASHINGTON, Seattle 99, Don H. www.americanradiohistory.com Tape Deck

Reviewed by R. D. DARRELL

CODUAGE, tape addicts! After a brief ab- phonic Music Society, in coiiperation with program slightly below the other two, it sence, this column reappears this the manufacturer of Tandberg tape is mainly because of its too -obviously month to announce a revival of activity recorders, as mentioned above. "studio" lack of acoustical warmth, in the stereo tape world. The inaugural releases are: Tandberg/ rather close miking, and the absence of Item: At the spring meeting of the EMS S 1, "Leon Bibb Sings Folk Songs," marked stylistic distinction in the singing MRIA (Magnetic Recording Industry 38 min. (including both "sides "); S 2, by a group of soloists hitherto unknown Association) in Chicago, a new campaign "Songs from Rodgers & Hammerstein's to me. Yet they all have disarmingly to popularize the attractions of stereo Flower Drum Song," 38 min., and S 3, fresh, young voices, are deftly accom- tape was launched. A large proportion of the Ben Ludlow Orchestra's "Dancing in panied by Jimmy Carroll's small chorus new tape recorders are or will be High Society," 44 min.; $7.95 each. and orchestra, and the arrangements of equipped with the new ultranarrow -gap 'l'he technical qualities of all of these the hit tunes make good use of both 4 -track heads and both 714 -ips and 3%- unquestionably sleet the highest present exotic instrumental colorings and stereois- ips speed facilities, so that they are capa- 2- track -tape standards and possibly con - tic effects. ble of playing back not only the familiar siderably surpass them, although that is 2 -track 7;4 -ups tapes, but also the new difficult to prove until we are given pro- The following reviews are of 2 -track 4 -track variety recorded at either of two gram materials ( such as ultrahrilliantly tapes. speeds. scored modern symphonic works) which 71/2-ips stereo Item: Several instrument and raw - make more rigorous frequency- and dy- tape manufacturers have been issuing namic -range demands. The modulation COPLAND: Appalachian Spring promotional recorded reels of their own, level is fairly but not excessively high; London Symphony Orchestra, Walter while the Stereophonic Music Society of the channel differentiations are well Susskind, cond. Palisades Park, New Jersey ( which has marked, yet with no loss of smooth bal- EVEREST STBR 3002. 23 min. been taking over the role abdicated by ance and spread; the background noise $10.95. many dealers in making the existing li- and hiss are negligible even at high -level brary of stereo tape recordings available playback; and, like all good stereo tapes, At long last the memorable Koussevitzky to steadfast collectors), has begun a these are characterized by rich depth of reading of Copland's tenderly moving regular schedule of releases -engineered sound and sense of ample lower- in -re- ballet score has met its interpretative by Livingston -under its own label, some serve. My only real criticism is a compara- match. The only possible issue I can take of which are sponsored by Tandberg and tively minor one: on my present repro- with reviewers who lavished praise on the are now being sold by Tandberg dealers ducing equipment I encounter more op- original disc releases is that they surely throughout the country. The initial three posite-tracks crosstalk (during an ex- would have been still more enthusiastic of these, in which the "ideal" medium of tremely quiet "played" passage when about the sound qualities if they had 4 -track 'Mips reel -to -reel stereo tapes is there are high -level signals on the reverse been able to judge them by the present utilized for the first time, have joist tracks on the other "side ") than 1 can taping. There is nothing at all sensational reached me arcs arc reviewed below. hear in playing 4 -track 3%-ips "tapettes," about it: the modulation is restrained and Item: The industry air is thick with but very possibly this may he entirely channel differences are never exagger- more -authoritative- than -usual rumors of the result :lf incompletely accurate head - ated, yet the dynamic range is extremely renewed activities in stereo tape process- positioning adjustment. wide, there is complete freedom from the ing plants. Over -all, the most impressive of the surface noise some commentators com- Item: Perhaps best of all, correspond- three reels is S 3, since the Ludlow Or- plained about on their disc copies, and ence and conversations with stereo tape chestra not only uses richly colored ar- every detail both of the comoser's scor- collectors strongly indicate that at least rangements but plays with extremely at- ing and of the Londoners' exquisitely col- a core of the potential purchasing market tractive sonority, as well as exceptional ored playing is revealed with gleaming has decided that good as the best stereo relish and rhythmic verve, in its long clarity. Above all, the atmospheric quali- discs may be, they aren't the only -or program of mostly standard dance -set ties of the work are as superbly evoked necessarily the best-medium for home medleys. It is also eapeciaUy interesting sonically as they are interpretatively. stereo. in that it currently appears also on a Van- After which pronouncements, to the guard SD, VSD 2023, for the benefit of specific TCHAIKOVSKY: Francesca do Rimini, material at hand. those whe would like to make Overdue- Fantasia, comparisons between stereo disc and Op. 32; Hamlet, First Tandberg /EMS Releases stereo tape editions of the same re- Op. 67 From the moment the newly designed cordings. Stadium Symphony Orchestra of New 4 -track 90- microinch -gap playback heads Musically, the program of folk songs York, Leopold Stokowski, cond. were first announced, it was obvious to by Leon Bibb, with Fred Hellerman, EVEREST STBR 3011. 42 min. all stereophiles that whatever new qual- guitar, and a small chorus and orchestra $10.95. ity standards might now be achievable under Milt Okun (also available on a at 3i ips (in either regular reel or "car - Vanguard LP), is even more attractive "Moderation" is a tenu seldom applied tridge" forms), 4 -track 734-ips tapes must in its specialized appeal. The soloist is to Stokowskian performances, especially surely be as technically good as 2-track perhaps a sophisticated "minstrel" rather those of Russian music characterized by as the tapes at the saine speed and probably than a true folk singer, but he has both as strongly melodramatic elements - reason thanks to the new heads' extended high - an engaging voice and manner, and he present well -known yet for some frequency response -even better. The is particularly effective in The Turtle never really popular tone poems. But regular recorded -tape producers have so Dove, Red Rosy Bush, and Look Over even the passion of their stormier mo- their far been reluctant to demonstrate this in Yonder. ments and the emotional lushness of fail to tempt the con- actual practice, but now comes the Stereo- And if 1 rank the Flower Drum Song lyric passages here

JUL]' 1959 79

www.americanradiohistory.com lector into excess. In its finer restraint, vinsky Firebird "Infernal Dance" and NEW BING-SING lucidity, and proportioning of parts, this Finale, and the Final Chores from Bee- coLOMn1A 4 Francesca surpasses even Stokowski s thoven's Ninth Symphony. If this guess famous version for Columbia of a decade is right, Audiotape is to be congratulated ago, and the Hamlet (which has never on its processing skill; while there is nat- been recorded by Stokowski before to my urally considerable variation in technical knowledge) is played no less admirably qualities here, the general effect is far in a reading so well integrated that one more sensationally dramatic than that W ' scarcely is conscious of the basic uneven- achieved by any of the original releases. MSS in its composition. I'd like to use the word "moderation" Dave Carlson: "Relax." HiFiTape R 203, for the recording, too, if it would not 32 min., $12.95. AN ORIGINAL SOUND TRACK RECORDING a -hour pianist, !nnfCal'pY rfm:ruLH:!tlmlN(INCN KOR. give false notion of the technical A new -to- recording cocktail strength and brilliance here: the engi- Carlson sounds like a somewhat unhappy BING CROSBY neers have rigorously resisted any temp- refugee from the concert world. He ob- DEBBIE REYNOLDS tation to exaggerate or spotlight solo viously is a skilled and fluent player, but WAGNER ucsod -wind or brass passages, or even the he is also an uncertain arranger and a ROBERT prominent timpani, hats dtvm, and tam - romantic entertainer who doesn't mes- SAY ONE FOR ME tam parts. Add sufficiently differentiated merize. However, his pianism itself often stereo channels to give a marked sense is a delight, especially in a Chopinesque Sammy Cahn and Jimmy Van Heusen have of sound- source directionality, yet with- Waltz Medley and a Minute Waltz played an incurable habit. They keep writing the out any unbalancing of a smoothly first reasonably straight and then in most songs. this beautiful popular In album pseudo but lively jazz. Both he and (an original soundtrack recording of "Say hroadspread "curtain of sound," and one font. One for Me," a brand new song-packed 20th has truly natural and authentic big- his rhythm accompaniment arc excellent- Century -Fox motion picture) they've got orchestral sisies. These are as musically ly, if drily, recorded, with the uncom- Bing Crosby singing them, and who could satisfactory as any t have ever heard, monly bright piano tone authentically ask for anything more -unless the more hap- and are particularly successful in trans- captured. pens to be Debbie Reynolds, Robert Wagner mitting the curiously Clark yet still lumi- and Ray Walston. If you like your entertain- nous coloring (lurid" in its proper sense Lcs & Larry Elgart: "Sound Ideas." Co- ment big and happy, "Say One for Me" so is for you. is perhaps the enact descriptive terns) lumbia GCB 27, 23 min., $10.95. SAY ONE FOR ME -An Original Soundtrack essential to the scores. If Francesca and First -rate music for dancing, nicely varied Recording CL 1337 CS 8147 (stereo) Hamlet now begin to share widespread between romantic pieces ( Lazy Afternoon, GUARANTEED HIGH -FIDELITY AND public favor with Romeo and Juliet, Sto- Technicolor Dreamt, etc.) starring Larry's STEREO- FIDELITY RECORDS BY kmvski and Everest certainly will be en- "ringing" alto -sax solos, and brisker- titled to claim a large share of the credit. swinging numbers, of which The Coffee Song is notable both for its gay lilt and COLUMBIA! the clever cross -channel interplays of the eYeYeW" TER= RN. A division eflblumkLBlekdcalisrtSrstrm,Inc. bright and strongly stercoistic recording. The following brief reviews also are of 2 -track 71 -ips stereo tapes. Percy Faith: "South Pacific." Columbia NOW! GCB 26, 21 min., 810.95. Harry Belafonte: "Love is a Gentle As in the earlier stereo disc version (CS HIGHEST FIDELITY Thing.' RCA Victor CPS 152, 2.5 Ruin., 8005) these big -band arrangements of AND 88.95. the familiar tunes still strike me its in- This. the first chance I've had to hear sensitive and overblown, but via tape the LOWEST PRICES! Belafonte in stereo tape, proves to be a echo -chambered inflated sound is-if no reel well worth waiting for: Belafonte is less pretentious -at least considerably The Vox Thrìftmaster Series in characteristic form in a recital of true easier on my cars. folk airs mingled with several quasi -folk- 12" Monophonic Sicords at $1.98 ish pops ballads. If he is rather closely "Introducing Si Zentner and I -lis Dance naked and the naturally pure, expansive 12" Stereophonic Records It s2.98 Band." Bel Canto STB 43, 25 recording is unnecessarily echo-cham- $9.95. Now...a rare and wonderful opportunity to build bered at Mils.(, the soloist's irresistible I was first introduced to Zentner's elo- a record librory on o bud5ell Favorite classical voice and personality triumph over all quent trombone and high -.spirited side- works, performed by worldfamous artists, magnifi- such handicaps, especially in the beauti- men in the "High Noon Cha- Cha -Cha" cently recorded by Vox -o wonderful buy of these fully sung Turn Around, Fifteen, and an reel (STB 47), but his zestful perform- fontostic low prices...for a limited lime onlyl effectively mandolin- and accordion -ac- ances and the beautifully clean and companied Bella Rosa. MENDELSSOHN. Stereo Monophoole bright, moderate-level Bd Canto record- SYMPHONY mod, A MAJOR. OP. CO ing arc heard to even better advantage "ITALIAN" "Blood and Thunder Classics." Audiotape in the present program of straight dance TCHAIKOVSKY. siecial offer, 30 min., 81.00, plus the music, topped by a jumping Ecerythiug CAPRICCIO ITALIEN, OP. OS regular cost of two 7 -in. reels of No. Ibe Cot Belongs ta You, catchy Turn - Edoue,d yen Remoorrel, conducl 1251 Audiotape. around, driving Little Boy Blues, and imp rho Orcherier Wiener der The title is no misnomer. In extremely jaunty Siboney. A cxmtple vocal Musikgesellschaft of chor- STPL 511.210 PL 11.210 high -level, strongly stercoistic recordings, uses by Lynn Franklin in other pieces are I HUNGARIAN DANCES this program of show -off pieces should he pleasant enough, but add less to the reel's DVORAK I SLAVONIC DANCES a powerful promotional device in con- appeal than the restrained but extremely Bomberg Symphony -lone) Perleo, vincing tape recorder owners that stereo effective use of channel- respxmsivc effects conductor STPL 511.240 PL 11.240 tapes offer quite incomparable sonic in the instrumental arrangements. thrills in home listening. No orchestras or RACHMANINOFFr (Also PIANO CONCERTO p2 IN Tchatkoysky conductors are named, but any veteran Fran Lacey: "Fran!" Bel Canto STB 44, C MINOR. OP. 18 Piano stereophile can easily guess that what are 23 min., 89.95. Felicia BlumntoI, pianist -the Concerto now probably withdrawn Concert Hall Miss Lacey has a pleasant enough voice Orchester der Wiener Musikgesell. pli tapings provided the originals of the pres- but as yet has developed no stylistic dis- ScholaMichael Gielen, conductor STPL 511.500 PL 11,500 re ent Tchaikovsky Russian Dance, Sibelius tinctions or powers of projecting person- e Write at p to Dept. H lot complete stew. OP Finfandia excerpts, Falla Dunce of Ter- is rnophonic catalog. ality. She further handicapped by ex- ror and Ritual Fire Dance, an excerpt cessively close miking, overripe salon ac- VOX PRODUCTIONS, INC. from the end of the Brahms Fourth Sym- companiments, and what sounds like ar- 236 W. 55th St.. N.Y. 19, N.Y. phony, Khachaturian Sabre Dance, Stra- tificially enhanced reverberation.

So HIGH FIDELITY VLIGAZINE

www.americanradiohistory.com Munn & Felton's Works Band. Angel Announcing ZST 1011, 24 min., $10.95. 7gi45.íC..., , ilte A typical British competition -winning en- "SOUND" semble in a considerably less than exciting program. Neither of the two conduc- IS THE THING IN tors here, S. H. Bocldington and Harry Mortimer, is able to get much real spirit into Sousa's Liberty Bell and Washing- STEREO ton Post marches; but more surprisingly, a LISTEN AND COMPARE native Royal Standard march is pretty slapdash, and the novelties (like Bees BRAND NEW! a- Buzziti and a Christmas lullaby featuring carillon- imitative cornets) are (EIP 1360 The Many Moods straight out of pre- War -1 music halls. Pre- smnably the most characteristic items here of are the sanctimonious hymn settings, but these are least of all likely to make any JOSE marked appeal to American stereophiles. MELIS Effective but ovcrdry sound. JANUS Peter Palmer: "Presenting Peter Palmer." RCA Victor CI'S 164, 26 min., $8.95. Tenor Palmer, who hit the Broadway CUP 130D Bourbon Street, "MUSIC IN MOTION" jackpot in the title role of Li'/ Abner, here Exciting Stereo- Scored Listening! demonstrates that much more than an Billy VOL. I- FST2004 VOL. I1- F5T700S VOL. I I I- FST2008 engaging personality is demanded for and the Blues the successful BILLY projection of a solo pro - LENNY gram of mostly sentimental songs. Com- MAXTED HERMAN petently accompanied by Lehman En- and his And the Mightiest Little Bond in the Land gel's Orchestra and beautifully recorded Manhattan EXCLUSIVELY ON JANUS in reverberantly open stcrcoism, Palmer Jazz Band is fine in a lilting Alone and I'll Take Ro- A Folk Concert in Stereo mance, but waxes pretentious in the songs (Available in Monaural) BROWNIE MCGHEE S SONNY TERRY where the demand for sustained tone FST2012 -Write for Complete Catalog cruelly exposes the tremulous uncertainty of otherwise MMI erailabh ar your dealer, write this attractive voice. 1159 Broad St. SE£CO RECORDS, DEPT. HF 39 W. 60 ST. R.Y.C. JAN us Newark 2, N. L RECORDS "Sweet Sounds of Jazz in Stereo." Reeves RITE fOR COMPLETE CATALOG OF FINE SEECO RECORDINGS. Soundcraft special offer, 29 min., $1.00, phis the regular cost of two 7 -In. reels of Soundcraft tape. Apparently the earlier Reeves pro - everybody likes to motional reel ("Dixieland Jamfest in Iii /A1 A r+Jt Stereo ") was successful enough com- Afa mercially (as it certainly was musically) to warrant a sequel -again with Coleman Hawkins heading an all -star group, this one comprising Henry "Red" Allen (trumpet), Earl Warren (clarinet), Marty Napoleon (piano), Chubby Jack- son (bass), and George Wettling (drums). As expected, the recording itself is outstandingly clean and natural (and perhaps even more remarkable for its defiance of the current trend to ultra- high modulation levels), and the performances give fine scope not only to the RENE BLOCH AND HIS RIG LATIN RAND individual soloists but also to tuttis, which are much better integrated than those in So many the earlier reel. All six pieces offer first - rate jazz in both relaxed and exuberant exciting new veins. but the best to my cars are the ear- and toe -tickling versions of All of eir 41 AUDIO FIDELITY® Me and Tea for Two. iryi O records e y The Three Suns: "Love in the After- we just can't noon." RCA Victor APS 210, 15 min., R819 Hear Rene Bloch's big Latin $4.95. band with drive, drive, drive, and ex- show all of them The trio's of guitar, combination accor- citing brass! This is "Cha -Cha" that's dion, and electronic organ usually has DIFFERENT! . please write for been too staccato or wheezy for my taste, STEREOPHONIC but the present program features less free catalog. strenuous performances as well as more IIIFIRLCORU imaginative and versatile arrangements HIGH FIDELITY RECORDINGS, INC. (by Charles Albertine) than in the earlier 7807 Sunset Boulevard, Hollywood 46, Californio AUDIO, FIDELITY, INC. releases. of is In Record, P.O. Boa 5035 The gamut sonorities con- Canada - Sparton 770 ELEVENTH AVENUE siderably enlarged, too, by the addition London, Ontario BOX 421, NEW YORK 19, N. Y. of violins, cello, bass guitar, and mando-

JULY 1959 S1

www.americanradiohistory.com lin; the ensemble is more relaxed than usual, achieving considerable rhythmic lilt in Love, Your Spell is Everywhere and the florid title piece; and even the severest transients here are brilliantly i7 captured in strongly stercoistic record- ways to protect your ings. Why settle for ordinary THE tape when Sonoramic records and tapes The following brief reviews are of 4 -track gives you so many 33/4-ips sterco "tapettes," supplied in CASE exclusive extras - ,- ,improve hi -fi and "cartridge" form, but removed to normal brilliant reproduction, reels for present review purposes. permanent plastic FOR container, 3 -way stereo performance indexing system Julie Andrews: "Lass with the Delicate with pressure Air." RCA Victor KPS 3000, 31 min., BETTER sensitive labels ROBINS $6.95. and V -slot self Undistinguished recording and the pres- threading Selection audio accessories ence of considerable background noise SOUND Finder reel. make this noticeably inferior to its 2 -track RECORD CARE ACCESSORIES 735 -ips tape equivalent. And to my cars, "4Mi---'t the pure swectncs of Miss Andrews' 1. 2. 3 voice can hardly compensate for the _. schoolgirlish naïveté of both her singing o,,,.,,, von and most of the present songs themselves. It is only in London Pride, As I ,. 5' G. tì 4Vcn1 A- Boeing, and Canterbury Fair that her charm emerges unalloyed. awn tar nrciws eoo,-. 1o. 11. 1J' 13. Jerome Mines: "The Holy City." RCA . TAPE CARE ACCESSORIES Gibson Girl Tope Splicers Victor KPS 3004, 32 min., $6.95. Beyond noting that Hines himself is in magnificent voice and is no less magnifi- _ J: cently recorded in broadspread stcrco sm FREETape -time ruler. Gives you. l- than in an earlier -and abbreviated-M- footage and recording time on reel. Write Dept Ca ips taping of this program of popularized "sacred" works of the Bless This House and Lord's 5' Prayer genre (including several with chorus), critical cunnlcnt would be tactless as well as superfluous. The mass public apparently avid for such musical religiosity will be able to recog- Now Available nize only the emotional sincerity of even its most inflated passages, and never un- 1958 derstand why others should deem it (and especially the long quasi- cantata, The A 1 Penitent) sheer vulgarization. 13 High Fidelity

RECORD CARE ACCESSORIES Melachrino: "Music for Dining." RCA RECORD REVIEW 1. Turntable Level TL -I $ 1.15 Victor KPS 4003, 44 min., $8.95. 2. Professional Stylus Microscope MX -1 2.60 INDEX 3. Hobbyist Stylus Microscope MX -40 1.35 The appropriate meal may be too rich for 4. Record Cleaning Cloth 1C -1 .80 most digestions! However, this version 5. Atomic Jewel SE -900 4.00 A complete index to all sounds less thick and heavily modulated classical, 5. KleeNeedle NB -I 1.35 nmiclassical, jazz, and spoken 7. Changer Covers f2 sizes; CC1, 2 1.75 than an earlier Th-ips tape, and so per- 8. Turntable Covers 12 sizesi CC -3. 4 morel record revieras which ap- 2.25 haps can be gingerly commended to those 9. PhonoCushion, 10" x 12" PC -I0, 1.00 peared in Kali Final.= Maga- PC -12 1.35 with an insatiable taste for ultralush 10. Acoustic Insulation AM-9 2.25 sonics. zine in 1958. 11. Record Brush RB -75 .75 12. 45 rpm. Adapters -- RA -45 .25 Arranged alphabetically 13. 45 rpm. Spindle Adapter SA.45 .25 by roan- 14. Tone Arm Lift TA -1 .35 Tito Puente: "Mucho Puente." RCA Vic- poser or by collection -title, with tor KPS 3008, 28 min., 86.95, the issue and page on which you TAPE CARE ACCESSORIES There is perhaps just too much of Pu- will find the review .you wish. 1. Hobbyist H -4 $ 1.75 ente's characteristic raucousness and fran- 2. Semi -Pro SP.4 3.50 tic energy in this nine-item Latin- Ameri- ONLY 50¢ EACH 3. Junior TS4A -1R 6.50 can 4. Standard IS4A -STD 8.50 Glance program, and the marked 1954, 1955, 1956 and 1957 Indexes 5. Deluxe TS4A -DLX 11.50 channel differentiations and acoustical 6. Industrial (5 sizes to 1") ....net 55.00 also available at 50e per copy. 7. Splicing lape ST -500 .40 dryness of the almost painfully brilliant 8. Recording Head Cleaner HC -2..., 1.00 recording here transmit his 9. lape piercing and Cleaning Cloth !CT -2 1.00 clattering sonics only too realistically. HIGH FIDELITY Magazine 10. Tape Storage Can t7" and 5 ") Yet, Gaol borringlon, Mass. TC7 .75 except by tender ears, it is hard to resist TC -5 .55 Enclosed find Please send me 11. the intoxicating excitement he brings Tape Threader 11-1 1.00 to copies of the 1954 Index 12. Tape Head Demagnetizer Malibu HD -6 10.00 Beal, Night Hawk, and Mambo coptes 13. Tape Clips TC -12 , .35 of the 1955 Index Beat in particular. copies WRITE FOR FREE CATALOG of the 1956 Index copies cf the 1957 Index Al deoturs evcrywhoro copies of the 1958 Indo, ROBINS INDUSTRIES CORP. Name r1uSnING 54, N. Y Address

Ne C.O.0.1 or charge orders please 82 HIGH FIDELITY IL'IACAzIXE

'TH . for the matador - it comes paper claims, every brand, every when he can no longer play at the product of old must now face up game of bravery, but must at last 1104E \T to the new challenge wrought by face up to the supreme test of his stereophonic sound. Regardless of courage and greatness - when he past laurels, it is today's perform- must conquer or be conquered. or ance that counts. . for the turntable or changer - The United Audio DUAL -1006 it comes when the stylus descends TR_ ' ... totally new, significantly dif- to the groove of a stereo record, to ferent . .. is the only combination track as never before required . - - professional turntable and deluxe vertically as well as laterally, with changer created for uncompro- lighter pressure, greater accuracy, mised stereo and monophonic less distortion and far more sen- reproduction. sitivity -when the operation must be silent, smooth and flawless to We invite you to visit your author- permit the music to emerge with ized United Audio dealer ... to clarity, purity and distinction. submit the DUAL-1006 to the most demanding of tests ... to see and Shorn of pretension and mere hear it in its "moment of truth."

,0" The DUAL-1006 combination professional turntable f deluxe changer for un compromised stereo and mono reproduction

Actually tracks and operates auto- Totally new design one -piece tone- Stereo -mono switch has phase -can- matically or manually with only 2 arm - provides perfect vertical and celling feedback circuit to remove grams stylus pressure. lateral tracking - no multiple arm serbeal noise signal from mono rec- resonance or cartridge vertical am- ords played with stereo cartridge. Choice of heavy, large diameter united (ludio plitude distortion. for turntables. - new laminated con Obsolescence -proof intermix ....DUCTS O F DISTINCTION Truly freefloating tonearm - unique present or future record sires. centrically -girded design retains Desk 8, 202-2 host 19th Si., New York 3, N. Y. clutch disengagement for complete dynamic balance and plano surface. spindle safe- freedom. Elevator action changer Please send full details to: Rigid equipoise motor suspension guards record grooves and ce-sfere. Multiple transmission motor drive Principle eliminates vertical rumble. uses individual gears for each speed True manual (or automatic) single Built -in direct reading stylus pres- - automatic disengagement makes play - permits setting tonearm on "flat spot thumping" impossible. rotating or motionless turntable. Sure /tracking force gauge. CITY 20 N E...... STATE...._.. a+g lb.ratandard; 5% lb. optional at small extra cost.

JI:LY 1959 83

www.americanradiohistory.com From the supreme B-3loA to the new

-s : .Rr_-_11_ _ -t7fill:.= "Spinet "...

:ow aft

Big or Little...Best Buy is B 0 ZAK

Every Bozak speaker system, from the magnificent B -310A and B -400 to the competent little new "SPINET" Series offers the very best sound in its class All are made from the same components - have the same capacity for Systematic Growth - and are distinguished above all others for outstanding musical quality Even where space is sharply limited yet musical

standards are high, the new Bozak two -way B -500 and the three -way B -502 out- perform any

other small speaker system Only 141/2"x 23,/8"x 111/2" they combine modest price and size with an unmuffled bass, balanced midrange, sweet, musical highs, and clean transients.

From the largest to the smallest, your Best Buy is BOZAK DARIEN CONNECTICUT

S-1 HICIHH FIDELITY MAGAZINE

www.americanradiohistory.com ca ud í o rca ft- - July 1959

scramble around on the roof to see that everything is in good order and that you are getting the best possible From signal at the antenna input terminals of your FM tuner. In later issues, we'll return to the HP Shopper series; the here again, we have been sitting tight, dropping the feature for a couple of issues to make room for TITI-I IIigh- Fidelity and ATR reports, and because new products arc coming fast. Which will be almost enough chitchat for one issue. Newsfronts We would likc to extend a cordial invitation to all readers to write us your views, tell us where we arc weak or strong; what you'd like more of, what less of. TWO MONTHS AGO we headlined this page "From the Letters from readers are the life blood of a magazine; 1-Iigh- Fidelity Newsfronts," and we shall continue to do they are far superior to the plasma of readership ques- so until we decide to use the space for some other pur- tionnaires. Perhaps we should suggest to our circulation pose, or someone- reader or staff member-comes up manager that he offer, with every subscription, a free with a better tide. We Want this page, the first in the pencil ... so everyone could get busy writing. "Audiocraft" section of Him FrowLtrv, to be one where- And with that, let us sec what has been happening on we can report and discuss informally audio events of on the I-Iigh- Fidelity Newsfronts. Nothing of great import, and even perhaps express a few opinions of our significance, but let's glance at the pile of miscellany,

own. This page will not have the stature and significance starting with . . . of the Magazine's regular editorial page, way up front. Here we would like to feel more or less ea fru»ille. We can, therefore, discuss with you the fact that the Tape "Audiocraft" section is beginning to settle down and take the shape which most readers would like to have. For a while, it looked as if tape would disappear from We can never satisfy everyone; there are those who the high -fidelity world, what with all the furor over want more technicalities, those who want fewer. But, as stereo discs. But it's hard to keep a good product down, all magazines must, the carry on a program of editorial and in spite of the confusion caused by RCA's off-again research. This involves bothering a selected group of on-again gone -again announcements about tape car- readers with tedious questionnaires, and reading care- tridges, there's growing strength in the medium. \Veb- fully a lot of mail. Prom all this we develop an idea of cor, for example, reports sales of recorders for the first who everyone is and what everyone wants. Back in quarter of the year arc up 52% over the same period these pages, in the hinterlands of the Magazine, we are in 1958. Recorders which will record in stereo, instead not concerned particularly with the musical desires of of just play back, are increasing in numbers. Most ma- readers; we are interested in what you want in the way chines arc equipped now for four -track playback. of audio material. The Ell, by the way, reported that in 1958, sixty - For a couple of months at least, you will get a spate four manufacturers sold 410,000 tape recorders with a of I-IF Reports. The handwriting is on the wall; the retail sales value cf $72,000,000. This is down from first publicity releases recounting the myriad wonders 500,000 units in 1957. Recorded tape took a bad shel- of revolutionary new products to be announced at fall lacking; sales dropped from $7,000,000 in 1957 to audio show time have begun to straggle in. So we'll try $3,500,000 in 1958. to catch up with the existing backlog and clear the decks A4tsenLt.ANv: Irish now offers tape on 534-inch reels, for fast handling of new equipment. providing lengths of 850, 1,150, and 1,650 feet of We would also like to encourage you to get some regular, long -play, or double -play tape, respectively. fresh air. So we'll give you an antenna tune -up and FM Irish also recently introduced a tape correspondence sensitivity article next month. August is a good time to pack: five three -inch reels Continued on page 102

JULY 1959 S5

www.americanradiohistory.com ._¡i¡- -;

Willard F. Stern's Snyder, N.Y. installation includes Bozak

: speakers; Fisher amps and pre - amps; Ampex recorder; Garrard, Rek- O -Knt, and Gray phono units.

2:iiiii ; :

. ,.,,- W MY.. W.''N11.N. =99Y9L°4s99N99!!9999¡ ..

... -i7 1`.`.:« _s:_.- : (k

Designed for List evtvy

www.americanradiohistory.com F. Scott Hummel's California home features Bedard, Scott, McIntosh equipment in unique installation.

Milwaukee's Hi -Fi Center put McIntosh. amps and preamps, Berlant recorder, Sherwood tuner, Miracord changer, Bozak speakers in home of Bryan A. Frame.

www.americanradiohistory.com combining: Audiolab Test Reports H reports Tested in the Home

prepared by Hirsch -Houck Laboratories and the technical staff of st i91t.:Fldltr HF REPORT POLICY Equipment reports appearing in this section are of two types: Audiolab Test Reports and Tested in the Home Reports. AUDIOLAB TEST REPORTS arc prepared for us by Hirsch -Houck Laboratories, a completely independent organization whose staff was responsible for the original Audio League Reports. Audiolab Reports are published exactly as they are received. Neither we nor manufacturers of the equipment tested are permitted to delete information from or add to the reports, to amend them in any way, or to withhold them from publication; manufacturers may add a short comment, however, if they wish to do so. Audiolab Reports are made on all -electronic equipment ( tners, preamplifiers, amplifiers, etc.). TESTED IN THE HOME REPORTS are prepared by members of our own staff on equipment that demands more subjective appraisals (speakers, pickups, etc.). The policy concerning report publication and amendment by the manufacturer is the same as that for Audiolab Reports.

Electro -Voice Both enclosures are completely effect. prominent on rapid A -B sealed. The bass speakers are specially switching, tends to diminish with pro- Regal IA and III TITH designed to function effectively in a longed listening. Speaker Systems small, sealed enclosure, yet they are On the high end, the Regals efficient enough to work with a rela- have Electra -Voice's widely adjustable SPECIFICATIONS (furnished by manufacturer): tively low- output amplifier. compressii n tweeter :u'rays. Even Regal IA -a full -range speaker system eon. sisting of a 12 -in. woofer and compression it is extremely difficult to make a when set near maximum, the high - tweeter mounted in o specially designed, sealed small -enclosure speaker system which frequency drivers appear smooth and enclosure. Frequency range: 45 to 16,000 can provide the same feeling of sonic pleasantly crisp. When turned to a cps. Impedance: 8 ohms (nominal). Power fullness as a larger system. The Regal more normal setting (about No. 8 on capacity: 20 w program, 40 w peak. Cross- over frequency: 2000 cps. Recommended systems demonstrate a noteworthy the dial, in my listening room) the amplifier damping factor setting: as high compromise. Subjectively, they appear tweeters murmur unobtrusively, yet as possible, 10 or better. Dimensions: 131/2 in. to go further down into the deep -bass speak with authority when the right deep by 14 high by 25 wide. Price: 5103. region than their modest proportions kind of instrumental voice comes Regal III -a full -range loudspeaker system consisting of a 12 -in. woofer, o treble driver, would suggest. On some types of pro- along. and a high -frequency driver, mounted in a gram material, the "small-system- In actuality, the high end can be specially designed, sealed enclosure. Fre- squeeze" is evident, although this made to conform to practically any quency range: 40 to 18,000 cps. Imped- listener's taste and virtually any acous- ance: 8 ohms (nominal). Power capacity: 25 w program, 50 w peok. Cross fre- tical environment. The controls on the quencies: 1,000 cps and 3,500 cps. Recom- high- frequency unit in the Regal IA mended amplifier damping factor set- and on both the treble driver and ting: os high as possible, 10 or better. Di- high -frequency unit in the Regal IIi mensions: 131/2 in. deep by 14 high by 25 wide. Price: $147.50. MANUFACTURER: Elec- permit such a wide range of adjust- Iro- Voice, Inc., Buchanan, Mich. ment that these speakers Can be matched to almost any listening room Outwardly, the Regal IA and Regal with satisfaction. IIJ speaker systems appear to be car- Used singly, the Regal lA has an bon copies of each other. The en- nuira of "liveness" about it. Musical closures are identical in size, and come notes scent to stay_ with you a moment in the saine finishes (walnut, blond before dying, an effect which creates limed oak, or mahogany). The major the impression that your recordings differences between the two systems were all made in the same highly re- are electrical: the more expensive Re- verberant recording hall. Bass is full gal HI has an additional treble driver and agreeably deep. to handle the 1,000- to 3,500 -cps band, By itself, the Regal III sounds much plus a level control to vary its output. like the Regal IA, with one notable It also uses a heavier bass speaker de- difference. The adjustable treble shiv- signed for a lower system resonance. Regal IA and III: here up- ended. er does some rather startling things to

88 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com the "live- hall" effect. In fact, it lets creating a blend which is markedly coming into wide use. Not too large for you change the apparent acoustics of different from the sound of either comparatively small apartments, nor the recording ball over a fairly wide speaker alone. In stereo, the Regal sys- too costly for limited budgets, they range. It is a distinct advantage, and tems complement each other nicely, supply a much -needed compromise be- marks the considerable superiority of spreading an evenly balanced curtain tween high quality and moderate size the Regal III over the Regal IA. of sound across the listening room. and price.- P,C.G. The Regal speaker systems are really Their high- frequency controls must, of at their best when they are paired for course, be identically set for proper MANUFACTURER'S COMMENT: This is a well. stereo. One of the happiest features of stereo directionality. reported test and certainly clarifies relative stereo is performance for the enthusiast who is seeking operation that the character- The Regal speaker systems arc that an ultracompact speaker system designed for istic sounds of speakers often merge, readily adaptable "middle size" now stereo.

Harman -Kordon one at the MODE selector switch, for monophonic reproduction through Trio Stereo TITN both channels. Phono equalization is Amplifier very accurate, conforming closely to NARTB specifications. The same is SPECIFICATIONS (furnished by manufacturer): an integrated two -channel stereo amplifier con- true of low -level tape equalization. sisting of two 12 -watt amplifiers and stereo con- The input impedance to the high - trol and preamplifier sections. Rated power: level phono channels is 2 megohms, 12 w per channel; 24 w with channels com- which is close to ideal for most cer- H-K's sterco amplifier -lite Trio. bined. Distortion: below 1% harmonic and 2 %IM at 12 w out. Frequency response: amic and crystal cartridges. There are ±0.5 db, 15 to 30,000 cps. Power responses no input level -set controls to permit speaker outputs strapped together, ±1.0 db, 45 to 20,000 cps at 12 w. Damping adjustment of the loudness control to the Trio will operate as a conventional factor: 5. Hum and noise: 70 db below its optimum range of rotation, but if monophonic amplifier, delivering 0.5 to high -level inputs; EO db below 6 mv v an excess of bass results, the loudness about 24 watts of power to the loud- to ph ono input; 55 db below 1 mv to tape input. Channel separation: more than 50 db. compensation may be switched out speaker. Inputs (two each): tape head or magnetic by the front -panel LOUDNESS switch. There is also provision for attaching phono (selectable by switch); high -level phono; 130th tone controls are so- called a second speaker (or pair of speakers) tuner; high -revel tape or auxiliary. Controls: losses types, which at intermediate for use in another room in the house, combined AC power and treble ( ±12 db, 10,000 cps); bass ( ±12 db, 50 cps); loudness/ settings affect over -all balance rather and a pair of slide switches on the volume; balance; mode (stereo normal, stereo than frequency extremes alone. In our Trio's front panel allows selection of reverse, monophonic right, monophonic left and sample Trio, when both tone controls either or both pairs of systems. The monophonic parallel); function (tope- low /phono- -alun in low, phono high, tuner, auxiliary/tape- high): were set at their middle positions, 32 output taps, operated par- was allel this way, im- speaker selector 1 (A, B); speaker selector 2 there no audible deviation from provide the correct (one, oil); loudness contour (on, off); rumble fil- flat resp0nsc. pedance to feed a single 16 -ohm ter (on, off); separate hum balance adjustments Normal stereo or reversed- channel speaker -an unusual feature. It is, for high -level and low -level stages; output tube stereo operation can be selected by however, advisable to use only a pair balance controls; tape /disc equalization selector; power parallel switch combines channels the AroDE switch. In the sioNO- of speakers at a time, since no correc- for monophonic operation. Outputs: 8, 16, or raoNrc right and left positions, the tion is provided for impedance match- 32 ohms from each channel; 4, 8, or 16 ohms signal coining into either the left- or ing when both pairs are used simul- when amplifiers ore paralleled (separate right -hancl channel is fed equally to taneously. grounds for speakers A and speakers B); high impedance to left- and right -hand tape; high both outputs. The Trio's high- frequency stability impedance from left -hand preamp Two switched The MONAURAL position on the mode %vas found to be close to perfect: no AC convenience outlets. Dimensions: 13% in switch parallels both stereo inputs so trace of ringing could be induced un- wide by 41/2 high by 11% deep, over -oll. Price: that anyone wishing to play mono- der any conditions, including loading $99.95. MANUFACTURER: Harman -Kardon, Inc., 520 Main St., Westbury, N. Y. phonic discs with a stereo cartridge can with an electrostatic tweeter. Bass sta- conveniently do so without introducing bility was also very good. The tone This is an integrated stereophonic surface noise or rmble. The VALANCE controls and function switches oper- control amplifier incorporating a pair control reduces the level in one chan- ated smoothly and evenly, and track- of 12 -watt power amplifiers. Its input nel as it raises that in the other chan- ing between the two sections of the selector, tone controls, volume con- nel, thus taking care of any disparity in ganged volume control was uniform and loudness switch affect both program levels or speaker efficiencies. throughout moderate ranges of rota- channels simultaneously, and a front- The control is effective in monophonic tion. Although there was a small range panel MonE switch selects stereo- as well as stereophonic modes. Only from 11:30 to 12:30 through which phonic or monophonic operation of by setting the POWER- PARALLEL rotation of the control had no effect both channels. switch to its PARALLEL position can on over -all volume, the resultant chan- Two low -level input receptacles, the balance control be deactivated, nel unbalance could be easily correct- one for each channel, accept the and it may then be used as an input ed with the BALANCE control. stereo outputs from a magnetic phono level -set control for the left-hand- The Trio's gain was ample for cartridge or a tape head, and slide channel control section only. use With moderately efficient speakers switches at the rear of the chassis The purpose of the POWER-PAR- and fairly -high -output stereo car- select the appropriate equalization ALLEL switch (which is located be- tridges. A cartridge producing at least characteristic for each source. The hind the front panel) is to enable 4 my was required to drive the ampli- separate switches make it possible to both power amplifier inputs to be tied fier to full output. Noise and hum plug a monophonic cartridge into one together and fed by the output from were both extremely low; they were input and a mono tape head into the the left-hand control section. With completely inaudible in normal use. other, to preset the equalization for this switch in the PARALLEL posi- Sonically, the Trio was well bal- each source, and then to select either tion and the left - and right -hand anced, with vivid high-end brilliance.

JULY 1959 ScJ

www.americanradiohistory.com It was capable of driving a high -effi- sociated tuners, tape recorders, etc., MANUFACTURER'S COMMENT: The A224 speaker system at full volume set low in order to avoid the possibility does not include input level controls because it ciency is our belief that such controls are not really without undue stress on crescendos. of overloading the first stage. necessary. High -fidelity program sources are de- The use of very low -efficiency speaker The Trio amplifier is one of the signed to provide output levels that fall far systems is not recommended, although first of an entirely new breed of stereo- below the levels required to overload the A224. the amplifier overloads cleanly and control-amplifier designs now coming For example, most high-level sources provide an output that varies from .3 volt to 1 voll. It recovers rapidly, thus minimizing the into popular use. It is a capable per- would take 6 volts to overload the A224 at the subjective effects of transient over- former, and has many convenient, and high -level input. Magnetic phono cartridges load. Its low end was full and moder- often unusual, features which the may vary from 21/2 to 7 mv. It would take 100 ately well defined. average user will find extremely handy. mv at the low -level input to overload the A224. These design characteristics of the A224 elimi- Since none of the inputs is equipped For its price, as a complete, integrated nate the possibility of overloading the input with level sets, users are advised to stereo amplifier it is going to be vir- stage and as a result eliminate the need for keep the output level controls on as- tually impossible to beat. input level controls.

supply chassis with a single -ended in the metal part of the dash, but not Becker FM -AM audio output stage. It should be in the plastic panel Which covered TITN Auto Radio pointed out that, with a decent out- the metal. There was no place to put transformer, such a circuit can mount the speaker either. It was a SPECIFICATIONS (furnished by manufacturer): be made to have very low distortion. fairly tedious job to make the proper "Europa MU" push -button FM -AM high -fidelity This one has. Twelve -volt models can hole in the plastic with a coping saw automobile radio. Power supply: 6 or 12 v be ordered with push -pull output and to make a speaker cutout in the DC. Controls: tuning; combined power on -off, volume, and tone. Sensitivity: better than 3 stages, if desired. Another option is a shelf below the rear window, but it µv, FM and AM. Power output: 4 w, 2.5 or 5 short-wave adapter, with push but- was not impossible; in most installa- ohms. Response: 30 to 18,000 cps. Tubes: tons for selection of frequency ranges. tions these tasks would not be re- ECG-85, ECH -81, EABC -80, EBF -89, EF -89, E1.84. The left -hand knob on the control quired. We used a short -barrel \Nisi Price: $130, standard model; custom and push - pull output models slightly extra. DISTRIBU- unit is a combination o11 -off switch antenna as recommended by Witte. TOR: Witte Import Distributors, 617 South 24th and volume control. In addition, by The range of automobile FM recep- Street, Philadelphia 2, Pa. pulling the knob out slightly until it tion is always much more limited than clicks, you can switch into the audio that for home installations. The major Automobile radios that can claim to circuit a high- frequency cutoff filter reasons for this are the relative lack of be high- fidelity are unusual enough, which gets rid of noise and hash on antenna height and the fact that, in the but even rarer is a high- fidelity car weak signals. It removes most of the United States, FM signals are oriented radio that provides FM as well as music's high frequencies as well, so horizontally while auto antenna whips AM reception. The Becker Europa it should be used with discretion. are vertical. Even so, %vith the Europa MU is one of the first radios to meet Pushing one of the first three push MU we obtained solid reception thirty the demand for such an instrument - buttons switches the radio to AM, to forty -five miles from stations of av- a demand which has long been un- and selects one AM station; the re- erage power. Noise was extremely low; satisfied. maining two buttons serve the same not even the vibrator in the power sup- The Europa MU consists of two purpose for the FM band. Other sta- ply was audible. The sound was of major parts: a timing and control tions in either band can be selected very good quality, even with the chassis, compact enough to fit in or by the manual tuning knob at the small and unimpressive- looking speak- under just about any dashboard; and right. er. With substitution of a better speak- a power supply and audio power er the audio quality could be called amplifier chassis that gets tucked high fidelity, without reservation. Fre- away, usually on the inside of the quency stability on FM was excellent, firewall. A loudspeaker is supplied without noticeable drift after a minute too, of course, together with mount- or so. AM quality was about as good as ing hardware and installation in- can be found in an automobile re- structions. Custom models are avail- ceiver. able at extra cost for many automo- Sturdily built, neat in appearance. biles, even sports cars; these include and capable of fine FM and AM per- dashboard- matching escutcheons for formance, the Becker Europa MU the control unit, specially fitted would seem to have everything a qual- speakers, and complete kits for igni- Becker car radio. ity- conscious automobile music listener tion -noise suppression -even to resis- could want. It is relatively expensive, tor -type spark plugs. Also available are For testing, a custom model for a but not a great deal more so than the whip antennas designed for FM -AM Borgward sedan %vas ordered and in- AM -only radios installed by auto man- reception. stalled in a Borgward sports coupé. ufacturers -and certainly it is worth Standard models have a power- The coupé had a cutout for the radio more. -R.A.

range speaker system for stereo. Response: high by 4' wide by SG deep. Weight: 7 Electro -Voice 300 cps to 18,000 cps. Crossover frequen- lbs. Price: 530. MANUFACTURER: Electro- TItN Stereon lA cies: 300 cps and 3,500 cps. Power han- Voice, Inc., Buchanan, Mich. dling capacity: 25 watts continuous (50 watts peak). Impedance: 16 ohms. Size: 25 in. Electro-Voice's Stereon speaker system SPECIFICATIONS (furnished by manufacturer): high by 1714 deep by 71A wide. Price: $99.50. an add -on speaker system and control unit to Stereon Control Model XX3. Impedance: 8 is a recent innovation designed ex- be used in conjunction with a separate full- ohms input and 16 ohms output. Size: 51/2 in. pressly for stereo. Its most radical fea-

90 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com tore is that it reproduces no frequen- have to produce deep bass. Two con- was homogeneous and well blended cies lower than 300 cps. trols on the back panel -a level con- between the two units. After a few mo- The basis of this idea was discovered trol and a brilliance control-let you ments, I forgot that I was listening to many years ago by an early audiophile balance its output to match the other a divided- frequency system. The illu- named Fletcher, a persistent theoreti- channel system. sion of two- channel bass was thor- cian who later was to align himself oughly effective. with n fellow pioneer by the name of My report, therefore, is simply that Munson and devise, ultimately, the fa- the Stereon works as effectively as the nions ear sensitivity curves that bear manufacturer has claimed. their name. Fletcher determined that Like the Patrician, the Stereon tends frequencies below 300 cps are not di- to be somewhat brilliant. Listeners who rectional. prefer less brilliance can turn clown the To discover this fact for yourself, BRILLIANCE control. take a 60 -cps tone, and project it from The price of the Stereon- $99.50- any point along the wall of a listening is more than that of a number of full - room. Then, standing at the other end range systems, and this fact may deter of the room, try to determine the ex- some prospective purchasers. The Ster- act location of the speaker. It can't eon's diminutive size, however, and easily be clone. the ease with which it can be fitted Electro -Voice has borrowed this idea into practically any décor, may offset (so, incidentally, have several other the higher price. companies) and from it devised the The Stereon represents a new idea, Stereon, a tiny speaker system which E -V's Stereoe and crossover network. skillfully executed and sonically effec- produces only frequencies above 300 tive. If you already have a Full -range cps, and is designed for no output be- The Stereon contains two speakers, Electro-Voice system, and want to go low this figure. one of them coaxial. The midrange stereo, the Stereon merits careful con- When operated in conjunction with unit covers the 300 -cps to 3,500 -cps sideration.- P.C.G. a full -range speaker system, the Stereon range, crossing over mechanically at MANUFACTURER'S COMMENT: A well.sum- reproduces a second -channel signal 1,000 cps. The high -frequency horn marized report which certainly echoes our own which,mystically,appears to be as full- commences at 3,500 cps and goes up philosophy in that the STEREON is recommended os the add -on- system where considera- bodied as the sound from the full -range to 18 kc. The BRILLIANCE control is a tions of space are important. The economy of system. The secret of the Stereon's suc- level control on the high- frequency a Stereon becomes evident when used with cess is this: since stereo's directive unit only, whereas the LEVEL control o large multi-way system such as the E -V characteristics are predominantly ef- affects the output of both speakers. Georgian, Cardinal or Centurion. Naturally, an inexpensive full -range speaker used as the fective only at frequencies above 300 In order to gauge the effect of the second channel will not produce the balanced cps, the Stereon preserves this direc- Stereon under typical conditions, I stereo sound; the Stereon does. Two odditionol tional effect, while the lower frequen- placed it on one end of a wall across points of versatility should be borne in mind. cies, being essentially nondirectional, from an Electro -Voice Patrician. I felt First, the Stereon (either the Model IA or the deluxe Model 111 at $129.50) can be used appear to come from all parts of the that the Stereon was more likely to with virtually any quality full -range system listening room, just as if the Stereon sound (on the upper register) like a with excellent results. The second and most were producing bass as deep as that Patrician than like a speaker of an- dramatic purpose of the Stereon is in 3- channel from the full-range speaker in use. other manufacturer. stereo reproduction where the size and proportions of the unit make it ideal for use os an The Stereon is a very small enclo- The stereo effect, far from being outrigger using the full -range unit as the cen- sure (see specs above), since it doesn't lopsided and shifty as I had expected. ter piece.

than I can. The Sterecorder features tape. Using the tone settings specified Sony full stereo record and playback and has for the unit at hand (apparently cor- TITH Sterecorder separate VU meters for each channel. rect settings are checked out at the separate line and speaker outputs, as factory and specified for each unit), SPECIFICATIONS (furnished by manufacturer): well as a stereo headset jack. It has I noticed a slight difference in play- A recorder /reproducer for 2 -track or 4 -trock separate record /playback level con- back response between channels, with stereophonic tapes, with built -in power am- being plifiers for both channels. Speeds: 71/2 ips or trols, a master level control, and sepa- the low end (below 200 cps) 3,4 ips, selectable. Frequency response (per rate playback tone controls. about 1 db better in one channel than channel): ± 2 db, 50 to 15,000 cps at 71/2 At the 7'í -ips speed (the only one I in the other. Fiddling with the tone ips; 30 to 12,000 cps at 314 ips. Signal -to- checked) the playback curve closely controls would have corrected this dis- noise ratio: 50 db. Flutter and wow: less than 0.2% at 71/2 ips; less than 0.3% at 3,4 follows the NARTB /Ampex standard crepancy. ips. Harmonic distortion: less than 2% at In monophonic operation, a single 3 db below rated output. Bias frequency: 65 pilot light illuminates the left -hand kc. Input impedance: 100,000 ohms, micro. tone and channel level control. Switch phone inputs; 1 megohm, radio inputs. Output go on. impedance: 4 -, 8 -, or 16 -ohm speaker outputs; to stereo, and two pilot lights cathode follower line output. Output levels: To get into record, you have to push 4 w, speaker outputs; 1.5 v, line outputs. Price: two safety buttons. There's a knob at Model DK -555.A (less carrying case and micro- the left, which switches electronic phones), $395; Model PC -2 carrying case, S70; record, and Model F -38 dynamic microphone, S25. DIS- functions from playback to TRIBUTOR: Superscope, Inc., 8520 Tujunga turns on a red light between the reels. Ave., Sun Valley, Calif. At the right there's a function selector: Please go back and read those speci- (rewind, stop, forward, and fast for- fications all over again. They tell the ward). Push a safety button, like the story of this remarkable unit better Sony Stcrecorder. one on the left, and forward becomes

JULY 1959 91

www.americanradiohistory.com the complexity and flexibility of the record. I myself would like another for servicing. Threading is no problem. operation to be described: however, light in the record mode, maybe a The unit shipped had an extra head the manual slid a fine job. green one to give the go- ahead. As for playback of four -track recordings. intrigued by a recent an- could find yourself run- Thus the home recordist is assured of I was things are, you which disclosed that the with the red record being in a position to enjoy tape stereo nouncement ning the machine price almost has been but without recording. regardless of the direction taken by former of $500 light glowing, to for the basic unit. are smooth and precise. the industry. dropped $395, Operations This places the Sterecorder in a unique and fast forward are slow by The four -track method of operation Rewind position, considering its many features. most standards, requiring better than seemed to work quite well, as nearly as I hope we see more recorders as in- two minutes in either direction -easy I could determine. With no four -track teresting as this one. -C.F. on the tapes, but hard on the nerves. tapes on haul to listen to, I bad to im- The head cover slips off easily, for provise a bit to test this particular feature. The tests, although quick, were MANUFACTURER'S COMMENT: The Sony cleaning or editing. Tape is held Sterecorder hat been engineered to provide against the heads by pressure pads, sufficient to convince me that the four - professional specifications and performance for which are released during fast forward track operation works as claimed. the home recordist at a price well within his to easily remov- The instruction manual was a little reach. It is gratifying to know that the pro - and rewind. Thanks fessional specifications and precision perform. able top and side panels, the tape undone by the four -track head, which once of the Sterecorder were to readily evident recorder's innards are very accessible required a page of errata. In view of to the TITH reviewing staff.

The feedback controls have a slid- FICO HF -65 ing inflection point. This means that ATR Preamplifier considerable boost or cut can be applied at the ends of the spectrum Price: (Kit Form) $33.95; (Assembled, with without affecting the middles. We feel power) $49.95. MANUFACTURER: Electronic that this type of tone control is much Instrument Co., Inc., 33 -00 Northern Blvd., Long more useful than the usual type. Island City 1, New York. is applied at Loudness compensation E[CO's latest preamplifier -the 11F -65. The FICO HF -65 master control pre- both low and high frequencies. amplifier is a compact, inexpensive, The panel is deceptively simple, the level 6 db from maximum (a con- and flexible monophonic preamplifier. due to the use of two sets of concen- dition which frequently causes a loss It is available in kit or wired form, of high- frequency response) has no ef- e.ellllu.11/1 fect on response up to 10 kc, and drops with or without a built -in power sup- ,1 RUMBLE ANO SCRATCH FILTERS ply. We tested a wired unit with power response at 20 kc by only 2 db. WIIIII mill .a11111mil supply. The rumble and scratch filters are The HF-65 is accompanied by an 111111!vsiulv:A!! reasonably effective without producing instruction manual which includes excessive loss of mid- frequencies. Only complete performance specifications. mum uti HEIN a few preamplifiers have sharper filter Several of its design features are rare cutoff characteristics. -. IIIIIIIIIIIII The loudness controls are pleasing in low -priced equipment. For example, the input selector switch shorts all un- .a in their audible effect. The concentric used inputs, reducing interchannel n11aiuummullI0. IoK mounting of the loudness and level crosstalk to zero. The volume control FREQUENCY , C P S controls makes adjustment a simple is a two -gang type, controlling level at matter. the input and near the output of the IIN(./1 RIAA phono equalization is very ac- tone control stages. The result is a LOUDNESS CONTROL CONTOURS curate. NARTB tape equalization is very good signal -to -noise ratio, with iawe... also provided, but this has a slight hum and noise falling to negligible ° HI\dI1flIIIIIIIII/ fall -off at the ends of the audio spec- is . trum. proportions as the level reduced. In -2Od '!Eil. The HF -65 has very high gain, which ;Ii1d1I IM distortion in the HF -65 is very ó 1 1 makes it practical to operate the level Ii111HI low, remaining below 0.15% up to cm trot at a low setting. \i;!!11II¡jlll outputs in excess of 5 volts. The dual volume control maintains low distor- . I tion at any volume setting, since the I M DISTORTION I 1111111i 20 100 IK ION 20K -MAX GAIN T NER INPUT FREQUENCY , C P S level is reduced at the input to the - -. REf GAIN PHONE INPUT (LOW LEVEL) preamplifier as well as at a later stage. --MAX GAIN PHONE NPUT (LOW LEVEL) - It tric controls. Tone controls are con- This makes it virtually impossible to tMUBEIEf \OE11f um11 z centrically mounted, with the on -off overdrive the amplifier. o 1111111i1iiiliiiüiiiiiiiiiil switch on the treble control. Level and On the low -level inputs, such as -_ loudness controls are also concentric. phono, tape head, or microphone, there ó öm:- _==óii=:-:::1 _..1:: úá. 11_.1111 High - and low -frequency cutoff filters is no control over the level going into V, CiCiüáIMMi4 ó iérNINIiiiiiñ are operated by slide switches. the phono preamplifier stage. A strong 11111 iIIf111f1IIIIIIIII input signal re- zQ could cause distortion Illllllllllilllllll Test Results gardless of the setting of the level con- The tone control curves are note- trol. The distortion show I::EEl curves that >< ta_.111dIL13MIM_.11/11C::j1CCC::::j 11111111_..011.=_.m 11/NOM.Y1111 worthy, not only for their shape, but at maximum gain the distortion is prac- M1. NUI111IS_.MEI I ItIMINIIININIRO1B for the negligible effect the controls tically identical on high -level and low - Illll 11711f1Illlll have volume level on midrange and for the inputs, but at our standard refer- 111111091Me1III1111111i111 excellent flatness which results when gain 80.1 0 10.0 ence setting (10 millivolts input OUTPUT VOLTS - NDICATED the controls are centered. Reducing at 1,000 cps for 1 volt output) the

qJ IHICH FIDELITY MACAZr..E

www.americanradiohistory.com Summary \Ve were especially impressed by iIIIII TONE'aee"'111I1i CONTROLS l1114 111...11IIII Behind its plain and unglamorous the fact that our measured perform- iV.t panel, the EICO I -IF -65 preamplifier ance agreed with published EICO mi:!!NI.`1111111111/?11!!!!en performs in a manner which we have data in every respect, duly allowing Nlllfl ì::!!!i/1111111l come to associate only with units at for normal instrument and measure- 11IIUIII0.ïllll!111IIII111! several times its modest price. It exhib- ment errors. its no fancy frills, but shows abundant Our chief criticism of the HF-65 NID! 111111111=1111;lIIIN evidence of thoughtful engineering. is concerned with the placing of the The result is a control unit- with high power switch on the treble tone con- Qpm9ilIiIl11111111I11I1011111I1121 trol. Certainly it is desirable to avoid IOO IK IOK 20K gain, low distortion and hum level, FREQUENCY, CPS and one of the least cluttered panel placing the switch on the volume con- layouts we have seen. trol, but by placing it on one of a pair distortion rose appreciably at the high- of concentric controls, it becomes nec- er output voltages. Even so, it is negli- essary to set both tone controls to cen- EQUALIZATION ERRORS gibly low for outputs up to a volt or ter (or wherever desired) each time so. RIAA - FI0 the equipment is turned on. A sepa- The hum levels were found to agree rate slide snitch would have solved ig=iii the problem neatly. almost exactly with the values given in 111I1JM the EICO manual. Under almost any 111u practical operating situation, the hum is MANUFACTURER'S COMMENT: It is a pleasure to see the purpose and scope of our efforts and noise output is LLfIInI of the HF -65 com- o MD IK in¢ I( fully understood and appreciated. We could pletely inaudible. FREQUENCY, C P S not ask for more.

Quad 30 -cycle notes with a wide -open 60- able difference in the sound between Electrostatic watt amplifier, but I did get ample the two units. The second unit (a TITH level at 50 cps. later production run) was a bit less Loudspeaker The unit is very sensitive to place- di), with a little more sheen. ment in the room. Because of its shape, To "Walker's Little \Vonder", a SPECIFICATIONS (furnished by manufacturer): it appeared ideally stilted for use as a hearty welcome to these shores.-C. F. a full -range electrostatic loudspeaker. Size: fireplace screen. In fact, it turned out 341h" w, 31" h, 101/2" d. Power handling ca- MANUFACTURER'S COMMENT: The Quad is pacity: 6' on axis in free space, 93 db between that in this position it was pretty to flat to 40 cps under free field (out -of- doors) 50 cps to 10 kc; 100 db in range 70 cps to 7 look at but not to hear. The lows conditions. In corner or tight wall placements, kc; total integrated radiation, 95 phone in picked up and the highs stayed with both of which tend to accentuate room reso- rooms up to 5,000 cubic feet. Impedance: 16 us, but the middles chopped out, giv- nances, it will exaggerate the very low fre- ohms. Price: $345. DISTRIBUTOR: Lectronics quencies, as noted. When placed in the rec- of City Line Center, Inc, Philadelphia 31, Pa. ing it a bass -heavy sound (surprising ommended free standing position, the Quad, for an electrostatic). Neither was it because of its doublet design, tends to mini- Jets may cross the Atlantic in six hours, successful in a corner. The best posi- mize room effects, resulting in very smooth or whatever it is, but it has taken tion in my room was out from the overall response, tilting upward slightly at the very low frequencies. This smoothness, difficult "Walker's Little Wonder" three years wall a few feet, angled toward the to obtain with conventionally designed and to make the commercial crossing. In listening area. Sound dispersion placed loudspeakers, is an integrol part of the June 1956 issue of this magazine, seemed to be much wider than the the Quad "Window on the Orchestra." The re- Robert Charles Marsh reported: 35° claimed in the inshitetion manual. viewer well notes a corollary characteristic -the volume control now affects both level and ap- "Peter Walker . . . is about to pro- Sound ouput was ample though parent nearness -an invaluable aid to the sari. duce commercially the first full -range by no means domineering. %'lv big cor- aus listener in re- creating the concert illusion. electrostatic speaker in the world ...." ner enclosure cold outshout the Quad The maximum permitted input to the speaker It was not until early this year that the any day and could give a bigger feel to is 35 volts peak. Thus most amplifiers of 20 watts or more will need to be specially loaded speakers finally got here. the sound, but the Quad, though less or modified. Failure to do this invalidates the We have been fortunate in having dramatic, was in many yaws pleasanter guarantee since not only will it produce distor- available for test one of the first ones to listen to. It slid not project; my cor- tion but it will inevitably cause internal damage to the speaker. If one of the loudspeakers had to be imported. Insofar as I can deter- ner system spills the sound out into been slightly overdriven, this would alter the mine, it is identical to the one de- the room. The Quad simply produced frequency balance and could well account for scribed in some detail by Mr. Marsh. sound right where it was, with no en- the noted difference between the two. Electrostatic speakers are, in gen- closure effect at all. The volume could eral, the least sound-colored of all. If be turned down without loss of clarity they are good ones, they evidence a or liveness; the effect was that of mov- city transparency and clarity. This dry ing the sound source farther away in sound is highly enjoyed by most lis- an acoustically superlative hall. teners. disliked by some -with opin- The manufacturer recommends that ions seeming to be correlated some- the Quad speaker he used with a what with the character of room acous- Quad amplifier, and this I did. But tics. The Quad, too, is dry, transparent, shifting to a standard American 60- and well balanced. Because it is watt amplifier was not fatal; nothing wholly electrostatic, it produces the ripped or shattered (that membrane same type of sound throughout its is tough!) and, if anything, the sound range. This often is not true of other was drier than ever. systems which combine, say, a cone A second, Quad was delivered so woofer with a horn -loaded tweeter. that I could listen briefly to a stereo Its range seemed wide and smooth. pair. Excellent, indeed- though I was I was a little timid about pumping in surprised to find a subtle but notice- 1%'niker's " [Vander' -flic Quad.

JULY 1959 93

www.americanradiohistory.com vides an attractive solution to the fore. In the FM position the converter Gonset FM problem. detects a ci amplifies FM signals, then uses them to amplitude- modulate an 11111 Mobile Converter The converter is very simple to in- stall. You attach it to the bottom lip oscillator operating at a frequency approximately in the center of the AM by manufacturer): of the dashboard by a metal strap SPECIFICATIONS (furnished dial. In short, the FM signal is Model 3293 mobile FM converter for use with and two sheet -metal screws. The pow- tuning is any AM automobile radio. Power supply: er- lead has an alligator clip on the converted to an AM signal which 12 -volt DC, ground negative. Controls: com- feci through the antenna cable to the bined power an-off and FM -AM selector; tuning. AAI radio. You tune this in on your 12AD6, 12EK6 (3), Tubes: 12EC8 (2), AM radio just like any other AM pro- 12Aí5. Price: $99.95. MANUFACTURERt Gon- set Division of Young Spring and Wire Corpo- gram. If the radio has push buttons, ration, 801 South Main St., Burbank, Calif. it will simplify matters to use one of them for the signal from the Corset Until recently, radio listeners wanting converter. FM sound in their automobiles had to As simple as this system is, it has modify a tuner made for use in the one disadvantage: the FM reception home so that it would work with the is limited by the quality of the AM standard AM car radio. That meant radio. Although many auto radios are digging into the power and audio cir- Gomel conrerter. comparatively free of distortion, they cuits of both the tuner and the radio, rarely have a wide frequency range. adding transfer switches, determining end, which you snap onto the radio Consequently, FM's advantages of how to mount the tuner, and so on. power terminal at the ignition switch low noise, dependable reception after The operation was not often success- or fuse panel. Then you remove the dark, and better programing are re- ful; home tuners aren't designed to antenna cable from your AM radio tained: the sonic quality depends on take the jarring and vibration an au- and plug it into a receptacle on the your present radio. tomobile set is subjected to, and their converter; there is another cable hang- The sensitivity of the Conset con- input circuits aren't a good match for ing from the converter which you plug verter equaled that of a very good the impedance of an automobile whip into the car radios antenna receptacle. FM -AM car radio that I used for com- antenna. That's all there is to it. parison. It is built sturdily and is It is possible to buy FM -AM auto Two knobs are on the front panel of styled to complement the chrome- radios. They are relatively expensive, the converter. One is an FM tuning splashed interiors of modern automo- however. So is a good AM -only car knob, of course, and the other is an biles. \Vitlh its AFC (automatic fre- radio. If you have one of the latter al- FM -AM switch. In the AM position, quency control) circuit, stability is no ready, you may be reluctant to dis- the power to the converter is turned problem at all. Altogether, it is a well - card it in order to make room for an off and the antenna signal is bypassed designed and useful product. at a FM -AM model. Gonset, with its Mod- through the converter to your AM ra- price which FM fanciers will find el 3293 Mobile FM Converter, pro- dio, which you operate exactly as be- gratifying.-R.A.

ESL Gyro /Jewel is extremely low; about 2 mv per chan- Cartridge and Gyrol nel at a recorded velocity of ten centi- meters per second, at 1,000 cps. But Balance Tone Arm accessory transformers arc provided to increase the voltage SPECIFICATIONS (furnished by manufactur- by about ninety er): o four -terminal, moving coil stereo car. tinier. When used with transformers, fridge, mounted in a specially shaped, boll - the total output is somewhat greater bearing- pivoted tone arm. C -100 Gyro /Jewel than that obtained from some other cartridge. Response, per channel: ±- 2 db. high -quality 18 to 30,000 cps; response extends beyond magnetic stereo car- 30,000 cps. Compliance (vertical and t ridges. lateral): 5 x 10-" cm /dyne. Stylus: .7 -mil The cartridge received for testing, al- diamond. Dynamic mass: .002 gm. Channel though equipped with four output pins, t>lo 20 to 25 Output: 3 mv per separation: db. came with both grounds tied together, channel. Output impedance: 23 ohms at 1.000 cps. Recommended force: 2 to 4 since the Gyro /Balance ann received gms. Price: $69.95. was a three -terminal mechanism. This Gyro /Balance tone arm. Connecting wires: negates many of the advantages of 4. Pivots: ball bearings for both vertical and ESL cartridge and arm. lateral motion. Weight: adjustable by sliding four -terminal operation (i.e., input counterweight. Shell: removable. Finish: versatility, ground separation between Mg off the separate ground! Which just chrome. Price: S34.95. MANUFACTURER: channels, and minimization of ground goes to show how devilish the hum Electro -Sonic Labs., Inc., 35.54 36th St., Long loop potentials). monster can be. Island City 6, N. Y. But, when it comes to hum, you just Most of my listening was done with The Gyro -Jewel cartridge is a unique never know. The first time I used the the cable transformers in circuit. These design which features a pair of rotat- arm and cartridge combination, I was transformers, by the way, are excellent able coils designed to revolve on four beset by a host of bun problems, and hum collectors, and must be carefully jeweled pivots (hence the name, conquered them only by separating the positioned away from strong fields. Gyro/Jewel). Movement of the stylus ground connections at the cartridge Fortunately, this can be clone simply, against the groove walls causes rotation and running a separate ground for one with the volume tuned up but with of the coils around a magnetized core, channel outside the arm. the arm clipped to its rest. thus inducing a voltage in the coil be- And then, oddly enough, the second Compliance, both vertical and later- ing rotated. time I set up the ESL system I suc- al, appeared to be excellent. Even at a The output from this configuration ceeded in eliminating hum only by tak- relatively light 2 grams track force, the

94 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ESL rode most heavily modulated the preamp in use does not have a A fourth wire running through it grooves with excellent clarity and free- blend control. would increase its versatility consider- dom from breakup. The ESL definitely ranks in the top ably, and would adapt it to those in- Bass was deep, and tight. The high drawer, exhibiting the same excellent stallations which, for hum reduction, end seemed to rise somewhat, an effect quality as many of its single -channel require complete ground separation at which imparted crispness to cymbals predecessors. the arm and cartridge end of the sys- and brasses. On some types of program The Gyro /Balance arm is an ex- tem. But everyone will find the arm a material, the effect was pleasant. When tremely free -moving arm which is easy convenient and extremely effective in- the crispness is not wanted, it can be on both records and cartridge. The strument.- P.C.G. minimized by slight adjustment of tone double set of ball bearings provides in- or speaker level controls, or by switch- stant, smooth movement in either ver- MANUFACTURER'S COMMENT: The rising ing input equalization to LP. tical or horizontal directions. The coun- high end referred to is characteristic of all Although the ESL has sufficient ap- terweight on the rear end of the arm is properly designed, small vibratory mass pickups. When used wish records made of yielding parent separation for most program quickly adjustable to accommodate a material this can easily be corrected by means material, it seems to have less than fairly wide variety of cartridge weights. of the treble tone control. Records made of some other cartridges I have heard. Furthermore, the arm is a decidedly stiff material do not exhibit this rising charac This can be a distinct advantage on handsome object (the chrome literally teristic. The Gyro /Balance arm is now furnished with o four-terminal head shell eon much widely microphoned program gleams) and it's as easy to use and as nector, and a separate ground, o total of five material, however- particularly when adjustable as any arm I've seen. connecting wires.

the stylus simply cause it to retract Dynaco Stereodyne slightly. It does not seem to be possi- C COK 0 114_11'j2 AiR Cartridge ble to damage the stylus by careless I handling, although the diamond could ...., _ I Price: $29.95. MANUFACTURER: Dynaco, be chipped by dropping it on a hard FREQUENCY RESPONSE ill =: Inc., 617 N. 41st St-, Philadelphia 4, Pa. surface. W is reluc- The stylus guard extends consider- The "Stereodyne" a variable R ably in front of the jewel itself, 1 Ì l in which I COOK 10 LP die tance stereo cartridge manufactured o makes it necessary to mount the tone Denmark by Bang & Olufsen and dis- 0 arm parallel to the record surface in ¡ tributed in this country by Dynaco. {ü4i__ f -I construction is unlike that of order to keep the plastic guard from mR ARM : GRADO Its -_l FURCt:4GIAS - riding on the record. It is, of course, RL any other stereo cartridge on the - 250K market. The stylus is on the end of a vital for proper performance of any stereo cartridge to position the stylus 100 1K K]c 20K fairly long cantilever arm of light FREOUENCY, C PS aluminum tubing. At the other end is perpendicular to the record surface. a cross -shaped piece of mn- metal. Near in order to play the Stereodyne at all, however, it must be mounted correct- I I ( each arm of the cross is a pole piece m' I ÌhU t may atII011, ly. be difficult, par- I protruding from the body of the car- Installation oa ; I FREOUENCYI ! - - ticularly in some record changers 1 RESPONSE tridge. Each of the four pole pieces is W where the angle between arm and NQ , part of the core of a coil. At the other 2, RESPONSE TO WESTREX I/, record with the num- !1 A RECORD -; end of the coil assembly is a magnet. surface changes o ber of records in the stack. t<0 'pNNN'I7/ Surrounding the entire structure is a N mu W - , , - - - -metal shield. L If+ CItANNCL ' , Stylus motion resulting from modu- SEPARATIO lation of either channel of a stereo disc o ll1L I T20 100 1t{ SK 5K 'OK 6n rocks the mu -metal cross on an axis FREQUENCY, CPS through one of its inns, inducing a voltage in the coils associated with the other arm. The coils are brought out Test Results to separate terminals. The hvo coils With the Westrex IA stereo test rec- for each channel are specially designed ord, the Stereodyne is flat within i- to cancel induced hum from external 2 db from 1 ke to 15 kc, true to the magnetic fields. manufacturer's specification. The The moving structure of the Stereo - channel separation (up to 33.5 db at dyne is completely symmetrical so that Components 1109 -10 cps (left) 1,000 cps) as measured from this its compliance is the same in any di- to 100 cps. record can only be described as phe- rection. It is surrounded by a protec- nomenal. Frankly, we had not suspect- tive cone which allows only the stylus ed that the test record itself had such jewel (a 0.7-mil diamond) to pro- high channel separation, since no trude. Excessive pressures exerted on other cartridge we have previously tested has approached this level of performance in this respect. On the Cook series 10 and IOLP monophonic records, there was a difference of 2 to 4 db between the outputs of the two channels over most of the audio range. On the IOLP the re- --r sponse extended to 12 kc, after which

Dynaco "Stercodyne" cartridge. Electra 35 -200 cps (left) to 20 kc. Continued on page 104

.JULY 1959 95

www.americanradiohistory.com "Stereo" Turntable /Changer Compatible Diamond Styli Built -in Television Designed especially for stereo records, A new line of "compatible" diamond A fresh approach to television viewing the United Audio Dual -1006 is a com- styli has been introduced by Fidcli- has been advanced by Conrac, Inc., bination 4 -speed turntable and record tone, Inc. Called New Compatible manufacturers of Fleetwood television changer. United Audio says that the Standard, the styli will, according to equipment. The Model 900 da Vinci Dual will track and operate the auto- the manufacturer, permit the user to matic cycling mechanism at a stylus play both monophonic and stereo rec- force as low as2 grams. A built -in, di- ords with the same stylus. With this rect- reading gauge may be used to as- type of stylus, response sensitivity at certain stylus force. The 5114-lb. turn- 10,000 cps is said to be increased by table, laminated and concentrically 25 %; distortion at 5,000 cps, to be re- girded to insure dynamic balance, is duced up to 45 %. It is also claimed that stated to reach full speed within one - the New Compatible Standard styli half second, from a dead start. The will provide up to ten times longer arm is designed to maintain a 90-de- wear. The new styli are available in gree angle between pivot axis and models to fit most currently available cartridge axis, for proper stereo car- cartridges. tridge operation. A Stereo-Mono switch enables a stereo cartridge to be Tape Splicer used for monophonic reproduction. A British -made splicer for iS -in. record- Price and further information are ing tape is available through the Elec- available from the manufacturer, tronic Division of Ercona Corp. Of United Audio Products, Inc. nickel -plated brass, the BIB splicer comes with its own base, or it can be mounted permanently on any tape re- receiver is designed for custom mount- Record Rack ing behind a "picture frame" which builder's A unique record storage rack, called may be constructed to the for pro- the Pic- A- Disc, is being marketed by tastes. Safety glass, necessary in case of picture-tube break- Art & Industry, Inc., I1 West 30th St., tection is to tube New York City. The rack is designed age, laminated the picture wide to be decorative as well as useful, and itself, thus adapting the set to a can be placed on speaker enclosures, variety of custom installations. The tables, or what-have-you. Each rack Model 900 is of two -chassis constnic- located will hold fifty records of any size, in tion, with all tuning controls jackets. Wire receptacles guard against on a separate chassis for remote place- warpage. The receptacles are hinged ment as desired. The Model 910 is a con- to permit instant selection of a disc single -chassis unit, with tuning trols conventionally placed directly be- anywhere within the rack. The rack is corder. Two pivoted clamps hold the sturdily constructed of heavy -gauge neath the picture tube. Prices and fur- tape firmly in a channel, for proper ther information are available from wire and finished in brass. It sells for vertical alignment while splicing. Both Conrac, Inc. .5.95. and diagonal miters are provided. Price: $3.95. For more information about any of Stereo Booklet the products mentioned in Audio - news. we suggest that you make use 26 A -page booklet entitled "Fifteen of the Product Information Cards Minutes to Stereo" is being distributed bound in at the back of the maga- by General Electric. The booklet cov- zine. Simply fill out the card, giving ers, in nontechnical language, many the name of the product in which aspects of stereo equipment placement, you're interested, the manufactur- and includes a glossary of stereo teens er's ncine, and the page reference. plus a basic stereo record guide. Many ße .sure to put down your name and photographs and simplified diagrams address too. Send the cards to us show stereo recording systems and il- and we'll send them along to the lustrate solutions to stereo speaker manufacturers. Make use of this placement and component selection special service; save postage and the problems. Priced at 25 cents, the book- trouble of making individual inquir- let is available from authorized Gen- ies to several different addresses. eral Electric components dealers.

96 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com _

PRESENTING THE JBL RANGER- MINIGON

The new 1BL Linear.Efficiency Speaker, with its small enclosed-air-volume requirements, permits the use of radial refraction In an acoustical enclosure measuring just 32" wide, 15%" deep. 12Ví" high. The same method of projecting a broad stereo field that originated with the fabulous JBL Paragon and was popularized with the JBL Metregon is used in the Minigon. One Minigon gives you the highest fidelity monaural reproduction ever provided by a minimum size enclosure. Two will give you enviable stereo, integrated by the curved refracting panels. Usually placed end to end, Minigons may be separated a reasonable distance without disturbing the stereo field. Your choice of louvered wood or fabric grilles. Hangers for wall mounting are built in.

New 1BL Dale Enclosure, Model C49. for 1BL Linear-Efficiency driven measures

23M" a 114" e 12" high. is delightful in its simplicity. refreshing in its restrained use of mterestarousisg design details

New IDL Madison Enclosure. Model C48

23M" it 13Iri" a 114" high. reflects the influence of Danish design. Finished on lour sides and front- the Madison may he used in either vertical or horizontal position

DESIGNS NEW PRECISION LOUDSPEAKERS FOR SMALL PRESENTING THE JBL LINEAR -EFFICIENCY SPEAKER ENCLOSURES You see an all new precision transducer that could only be a product of lames B. Lansing Sound, Inc. The company which brings you the best speakers for horn encla sures and the best units for reflex enclosures now offers the finest infinite baffle type transducers. Under intensive development for a year and a half, design judgment and engineering decisions were iecuitelltly confirmed by analog computer. You will hear big, deep, accurate bass from these instruments. Application of new principles of cone suspension permits unusually long linear excursion. Relatively high efficiency with its attendant precision transient response, clean reproduction, vast dynamic range is achieved by use of large voice coils, precision -instrument tolerances, advanced magnetic ci cuitry- all typical of JBL transducers.

Illustrated above is the 1BL Model LEI the super 10" LineasEllieiency Lo Frequency Driver. To the left are the ne LX3 Dividing Network and the new 18 Model LE30 High Frequency Omer I the far left is the new LEO. the super 8 extended range linear-Efficiency Loudspeake which gives a flatnett of respons from 30 to 15.000 cycles that , without precedent in a unit of this Sit

Write for a complete description of these new units and the name INC. 3249 CASITAS AVENUE, LOS ANGELES 3 of the Authorized JBL Signature Audio Specialist In your community. JAMES B. LANSING SOUND, /

www.americanradiohistory.com Recording the pizzicato movement of the Bartók a /ter a long, grueling session to determine recording techniques most suitable for the special problems involved. It is 3:00 A.M. the day of the concert.

LIVE vg. RECORDED CONCERT at CARNEGIE RECITAL HALL

On January 10th, 1959, a "Live vs. Recorded" concert was given in New York City; protagonists were the internationally famous Fine Arts Quartet and a pair of AR -3 speaker systems in stereo, driven by Dynakit preamplifiers and Mark Ill amplifiers. At pre -determined intervals the members of the Quartet would lay down their bows, allowing reproduced sound to substitute for the live music. After a minute or so they would take over again "live" without interrupting the musical continuity. (A carefully synchronized stereo tape had been made the night before in the same ball by Concertapes, Inc., for whom the Fine Arts Quartet records exclusively.) Excerpts from reviews of this concert appear on the facing page.

Leonard Sorkin, first violinist of ¡he Fine Arts Quartet, listens critically to trial recording.

The formal concert, daring one of the "live" portions Advertisement www.americanradiohistory.com WALCHA kept increasing his enormous memo - rized repertoire, which comprises by Continued from page .36 now a major part of all important organ literature, including all of Bach's

JULY 1959 99

www.americanradiohistory.com Low -Cost Hi -Fi with the WALCHA SOUND ECONOMY Continued frone preceding page If YOU HAW

of for the first series the majestic instrument at St. Laurenskerk in Alkmaar, AU t Holland, had been found to be superior in its versatility, tonal beauty, and acoustical surroundings. Thus the new HOstt series was recorded in its entirety in Alkmaar. in my own opinion, however, several of the earlier discs re- POCKETBOOK corded on the Arp Schnitger instrument in Cappcl, Oldenburg, and on the smaller organ at St. Jacobi in Lübeck will ahyuvs remain desirable because of their artistic merits and in- LOUDSPEAKERS dividnal tonal splendor. A fortunate circumstance brought Dr. Erich Thicnhaus, a distinguished THE SOUND THAT STANDS ALONE... engineer anll well-known teacher of Now. with Will Stentorians, you can enjoy the recording arts, into coöpelation. He high -quality high fidelity at unbelievably low. low cost! is responsible for all of \\raleha's re- Manufactured in England by world-re- nowned Whiteley Electrical Radio Company cordings. Thìenhaus is both a profes- - originators of the first commercial per- sional musician a11C1 811 electronics en- manent magnet loudspeakers in 1927 - Stentelnns provide n beauty and realism that gineer. He is also a highly literate has won the unqualified praise of nearly As every leading audio critic and user, both here and widely cultivated person. a and abroad. consequence, the Walcha albums re- Rut hrnrinp is brticoi,,e Hear the Win Stentorians nt your very first opportunity veal the organist's unique interpreta- and discover for yourself why these distinguished units are the leading low-cost tive power's under near -perfect Sonic speakers in the world today. C011diti011S. STERIEO In \\'alcha's records we have the STENTORIAN EXTENDED RANGE SPEAKERS STENTORIAN WOOFER HF SPECIAL evidence of a whole reorientation and t5" Model 1514 AUDIOPHILE Response. 25 4,000 cps.; bass re- FOR YOU - HET reconstruction Leipzig Bach Is sonance, 35 cps.; power rating, 25 of the watts; 10 Ib. Alcomax Magnet System tradition -the final consequence of an List $149.50 $89.50 12" STENTORIAN EXTENDED RANGE extraordinary musical discipline but LOUDSPEAKER Model HF 1214 also, surely, of a peculiarly dedicated Response, 25 - 14.000 cps.; bass resonance, 39 cps.; power rating, 15 way of life. In part, the facts support watts; 542 lb. Alcomax Magnet System the myth of this man's pure spiritual- List y eem $52.50 Model NF 810 (81 ity. His food is almost completely Response. 50 - 12,000 cps.- bass re- sonante, 65 cps. List $18.25 $10.95 vegetarian. Artificial stimuli have no Model HF 610 (81 place in his life -no strong spices, no Response. 60 - 12.000 cps.: bass resonance, 70 cps. List $14.95 $ 8.95 hard liquor. no tobacco. Hospitably UNIVERSAL IMPEDANCE LOUDSPEAKERS he will let the visitor have his smoke, WITH 4,1 L 16 OHM VOICE COILS Model HF 1012 -U (101 but one soon notices that the smell Response. 30 - 14.000 cps.: bass re- gives him discomfort. Ashamed, you sonance, 35 cps.: power rating. 10 2 lb. kill your half -finished cigarette; a Magnet System gauss; New single-element ist $3i 6600 $18.95 smile from him acknowledges that he Model HF 1016 -U (10 ") noticed your belated effort at self - Response. 30-15.000 cps.; bass reson- stereophonic cartridge ance. 35 cps.; power rating. 15 watts; discipline. 344 lb. Alcomax Occasionally, and especially gauss; System List $6] 95 $36.50 i11 company, he will have a glass of by ERIE Model 812 -U (81 noble wine, and he likes to be sur- Response, 50 - 12,000 cps.; bass resonance. 65 cps.; power rating, 10 rounded by lovely objects. Even for Fits any standard tone arm watts; 12,000 gauss; 2 IDLisAlcomax t 5.00 $14.95 their ordinary weekday meals Ursula Simply plug it in... adapter is included Model HP 816-U Walcha sets the table with fine damask as above Dual slylii ... diamond-sapphire or b. Magnet System LLiists$4995 and embroidered pieces; the $29.50 center sapphire -sapphire. glassware is crystal. and the china STENTORIAN TWEETERS anal Frequency response: 20 to 16,000 cycles Pressure Tweeter Model T -10 silverware are of exquisite qual- Response. 2000. 16,000 cps.; power rat- ity. Yet this is not a contradiction in Tracking force: 5 -6 grams ing, 5 watts; 242 lb. Alcomax Magnet System List $35.00 $20.95 a life otherwise austere. Walcha deep- 20 DB channel separation 31/a" Cone Tweeter Model T -359 ly enjoys the concrete touch of these 0.5v. output, each channel Response. 3000.17,000 cps.; power rat- things, but for him their beauty is not ing, 15 watts; 9,000 gauss; E oz. Alto- LOW IN PRICE ... HIGHES- FIDELITY mas Magnet System List $25.00 $14.95 simply sensuous. There is no room in his days for shallow entertainment or For literature and name of your local IlkFor complete literature on these and many ERIE write other famous Stentorian loudspeakers and trivial preoccupations. Much of his Distributor, audio accessories, see you- dealer or write: tinte is devoted to a kind of inner Barker Sales Company listening and contemplation, his free hours Electronics Distributor Division 339 Bread Avenue, Ridgefield, N. J. U.S.A. are spent amid country things - ERIE -"N.'''. ERIE RESISTOR CORPORATION Exclusive Sales Agents for the U S.A. and South America walking. touching, listening- continu- Charter Pc rin Member: of High Fidelity M Ifs., Inc, ously sharpening his physical senses Erie., 1 /M Whiteley Electrical Radio Company and intensifying his inner vision. l00 HICI I FIDELITY MAGAZINE

www.americanradiohistory.com Another great Bach interpreter and OUALITY MADE FOR keyboard artist once described the way to genuine creativity. Edwin DYNAKITS Fischer, in a famous essay on the pianist's prerequisites for supreme Look Best - Test Best - Sound Best achievement, ends by saying that the HIGHEST QUALITY very highest levels of technical virtuosity and musical knowledge will pro - duce little more than externally pol- NEW STEREO 70 KIT ished readings, "... unless one dedi- REPRODUCTION cates one's whole life to becoming the medium for great thoughts and feelings. Every act, indeed every thought leaves its imprint upon the personal- NEW ity. The purity of one's life should em- Fidelitone NC brace the very morsel that is raised to one's lips. So prepared, that nameless oriente d something will manifest itself which cannot be taught: the grace of those quiet moments when the composer's diamond spirit speaks to us." *Dual 3S watt super- quality ampli- The Walcha legend may, after all, fiers-70 watt continuous mon- be a living reality. ophonic rating -160 watt peal-. *AI1 critical parts on prefabricated printed circuit assembly reduces COMPOSERS wiring time to five hours. *Premium quality parts conserva- Con tinned frone page 39 tively operated permit one year guarantee.

employed in writing serious music for *l'ut of promised design for finest films are very well paid, of course; but performance -usable with all only a few of them venture out of speakers. Hollywood into the world of music for *Only $99.95* net including all concert and opera. parts, instructions. and protective Let us sum up. The American com- cover. poser of serious music can live com- fortably from his music if he writes YOU CAN successful operas, or if he works regu- Step up to STEREO ACTUALLY larly for the movies, or if he is one of Superb Dynakit Quality Is Fully Com. HEAR THE DIFFERENCE the dozen or so nonoperatic composers potible with Stereo Requirements whose music is most frequently performed. If he is not among this chosen group, then he must make his living in some other way and regard any- *New Compatible Standard- reproduces thing he earns from his music as sup- both stereo and monaural recordings plementary. Is this a bad situation? It depends I Fidelitone N.C.S. Oriented Diamond on how you look at it. If you are a Needles are designed specifically for the composer who cannot find a job that *Famous Dynakit Preamplifiers- ultimate in high fidelity. They add an en- will leave you time to compose, it can Distort innless and noise free - tirely new dimension of quality to sterco stack harmoniously for stereo. or monaural reproduction. be most disheartening. And it is no $34.95* each. consolation at all to know that despite Fidelitone N.C.S. Oriented Diamonds superior methods of collecting per- *Add DSC -I Adaptor unit for correctly track the vertical and lateral complete flexibility. Includes blend, sound impressions with less distortion. formance fees in Europe, the rank - balance, dual volume controls plus Result - magnificient reproduction with and -file serious composer across the loudness, tape monitor, and revers- all the balance and clarity of living realism. Atlantic is no better off economically ing switches. l.T>ablc with most And your old records sound better too! than you are. high quality preamplifiers. Only Background noise $12.95* net. is noticeably reduced. there are other ways viewing Records are reproduced with the fidelity But of of new records. the scene. The idea of a composer's *PM -2S Panel mount kit provides earning his livelihood entirely by his integrated handsome appearance To achieve the highest fidelity reproduc- plus mounting facility- 55.95* net. tion - stereo or monaural specify a pen is a comparatively recent one. It Fidelitone N.C.S. Oriented Diamond Needle dates, in fact, only from the nineteenth *CM -2S Cabinet Set includes front - it costs no more. Ask your dealer for centuy. Lassus had a nice job at the panel and walnut table top cabinet. a demonstration today, and hear the differ- court of the Duke of Bavaria, he $17.95* net. ence for yourself. but did not hold it simply by composing. Leader in fine needles for over 30 years Available from leading HI -Fi dealers everywhere. He had to run a whole musical estab- Desuipllve bruiting available on request. lishment; his work was not only *Slightly higher in Weil creative but administrative. Similarly Fidelitone with Monteverdi at St. Mark's, with "Best buy on records" DYNACO INC. Chicago 26, Illinois Continued on next page Dept. HF, 617 N. 41st St., Phila. 4, P.

Juta 1959 I 01

www.americanradiohistory.com STEREO -FAX COMPOSERS PURCHASING Provides Stereo Realism Continued from preceding page From Monaural Source Bach in Leipzig, and with Haydn at A HI -FI Esterháza. Even in the nineteenth century, matters were far from rosy SYSTEM? for composers. For each Brahms or PARTIAL LIST Verdi or Rossini who reached the OF BRANDS financial stage at which he could Send Us IN STOCK devote all his time to composition, Allee loosing STEREO- PA7t;g Electroyo ice there were hundreds of other eminent Your Jensen Holley men who had to conduct, or play University in public, or teach for a living, un- List Of Acoustic Research kinsman Hear new depth and brilliance from your less, like Beethoven and Tchaikov- Wharfedale monaural tape and record collection by rn godson stalling the STEREO-FAX in your high bidet. sky, they managed to be subsidized. Components Viking ity stereo system. This network component permits you to take full advantage of your The composer who teaches in a uni- Con cerione stereo system with all monaural program For A Bau G.E. material by introducing phase displace versity or a conservatory today is fol- Weather. ment between amplifiers. The result is ex- lowing a Hormon Kordon traordinary realism. Get new enjoyment tradition older than Vivaldi. Package Elio Pilot from ALL radio broadcasts. Written up in It is important, I think, to remember Sherwood Hi -Fi Directory and other leading publica- A crosau nd tions. Unit comprises a passive RLC circuit that fifty years ago no American com- Fisher requiring no power source. Easily installed Quotation Bogen Leak without disruption of existing hook -up. poser of serious music al all could earn Dynakb a living by his music alone. WE WON'T BE H. H. Scor. Edward Ferrograph MacDowell. the most highly respected UNDERSOLD! Ta nd berg Pennon native composer of his day. had to :111 merchandise Ampro VM RADIO !-- is brand new, far Revere Challenger teach privately to support himself and tory fresh ,l- guar - anteed. Wollensock Available only by mail, postpaid if cash his wife. and one of the reasons he Garrard with Order. or C.O.D. plus postage. (Calif. Mlracord residents add 4% tax.) Shipping weight took a job- as professor of music at Gl oser- Steers approx. l'h lbs. for either model. Complete Rek -O -Kut technical data. simple installation instruc. Columbia University was that it would AIREX Components lions. and schematic included with each assure him a regular and predictable Norelco order. Satisfaction guaranteed. Fairchild income. Ancl although the Mme. von Pickering Groy AUDIOPHILE MODEL STANDARD MODEL U3A $19.95 U-4D $16.95 Meeks RADIO /sootier Tope are just as rare today as they Full Lino of ORDER NOW ur write fo, full iaforrnahon were a century ago. CORPORATION Cabinets more and more Gaylory Products Co. 58.79Dept' attention is being paid to the composer 64 -HF Cortlandt St., N. Y. 7, CO 7 -7137 2505 Canyon Oak Dc. Las Angeles 20. Calif. by large and small foundations -a phenomenon that began only in our own generation. Much remains to be done to en- RECO3JJ.S5D STEREO courage and sustain the American composer, but at least some progress

-iiti'¡.ei<-.- T has been made. '`^)t .. I. :L,'` , 1 ' qq,, r1 NEWSFRONTS

ry 1 Continued from page 85 (150 or 225 feet), each in an individual mailing package, Norelco has available a world -wide list of Philips representatives, prepared to service its tape recorders. Nice to 1141VC for the United States, even more useful if you are traveling. We hate to suggest this, but the Norelco /Philips rep in Dahomey, or Malta, or Portug, India, might be per- suaded to help out even if you aren't toting a Norelco at the moment. And, speaking of handy things, does everyone have his Ampex Stereo - THE ? f STEREO SYSTEM Graph? It's a sort of slide rule affair (T U J L which tells you the proper settings for the various modes of operation. In- achieves the lull. true potential of stereophonic sound. trigued us so much we wired Art Foy, Roberts superbly designed transport mechanism. with its hysteresis of Ampex Audio, asking what good synchronous drive motor, provides perfection in pitch- and timing was the Stereo -Graph without a 960 to accuracy of 0.2 This: with %. Roberts exclusive Multirase Head, see how it worked in practice. gives you professional recording quality found only in To far more expensive recording systems. which he wired hack, "Sending 960. Also bill." Oh well, it Complete Stereo System S499 was a nice try? More next month. ROBERTS ELECTRONICS Inc. ID28 N. LA BREA AVE., HOLLYWOOD 3e, CALIF. CHARLES FOWLER

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SEPARATE EARPHONE INPUT! BATTERY 250 -PAGE INCLUDED 11 SEMI- CONDUCTORS: TRANSISTORS TREE! 8 2 CRYSTAL DIODES 1960 CATALOG 1 THERMISTOR and GUIDE Beginning with its handsome top grain leather case, the powerful, versatile "Realistic 8" has more luxury features than TO ELECTRONIC BUY1t1Gi" radios selling for twice the price! Plays anywhere - has It's a handbook an HI -FI, AMATEUR RADIO. such unbelievably fine tone we recommend it for hi-fi music INDUSTRIAL ELECTRONICS . . . the latest ar. Earphone lovers to take along on trips. Phono input lets you use It as tidies. engineering charts ad data prepared (Order NO. 911176) 98c extra. portable amplifier- speaker for your record changer. even as Ih by experts. of a low-cost stereo phono. Order No, 901X696, Sh. W1. 2 lbs. It's a complete buying guide - over 30,000 different items with lowest net prices! Thousands of illustrations - handsomely printed In rotogravure! Order now for Sept. 1 ORDERS STILL POURING IN BY THE THOUSANDS . For The ONE, The ONLY, The ORIGINAL delivery!

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Bargain Bulletins For 1 Year @ FREE! BEWARE OF IMITATIONS! The famous tweeter that captured head- lines all over the world for the past mire months is available 1960 Guide to Electronic Buying @ 35c ONLY from Radio Shack. If you want the most fabulous tweeter 8 Transistor Radio (g9OLX696) @ 29.95 in hl -fi history (at any price), and not an inferior Imitation, you MUST order the REALISTIC ELECTROSTAT-3, Its smooth, silky Earphone for above (8911175) @ 98c response from 5,000 to 25.000 cycles improves any speaker or system. Order yours today! Order No. 360X01 TY. Sh. Wt. 7 lbs. Electrostat -3 (,.36CX017Y) @ 27.50 8 -ohm X -over Wired (491L534) @ 6.95 8.0H51 ELECTROSTAT-3 CROSSOVER NETWORK Order No. 9t1534. Sh. Wt. 2 lbs. $6.95 16 -ohm X -over Kit (#911505) @ 4.95 Cheek Money Order C.O.D. AMMO rSH.4C/r COI?PO/?AT/ON Nome 167 Washington Sr., Boston 8. Mass. Address 17, Wags. 730 Commonwealth Ave., Boston City Zone Stet. f 230-240 Crown St.. New Haven 10. Conn,

103

www.americanradiohistory.com HF REPORTS Continued from page 95

it fell off rapidly. On the 78 RPM Se- ries 10, useful response extended to 20 audiolab kc. The Elektra 35 sweep frequency record shows the same slight peak at TEST REPORT 7 to S kc and clropoff above that point that was observed with the 10LP. The low -frequency resonance was at 15 cy- reprints cles, in a Grado arm. the Stereodyne was The output of . . . 1.50 per copy approximately 5 millivolts per channel at 5 em /second stylus velocity at 1000 . . . any two for 250 cps. With both channels paralleled for monophonic playing, the output was These unique "pull -no- punches" about 6 millivolts at 7 cm /second, reports of high fidelity equipment Cook 10 record. - with the now published exclusively in IIICI! Listening Tests FI DELI T Ir - are prepared by The listening quality of the Stereodyne Ilirsch- llouek Laboratories, the or- is every bit as good as the measure- ganization whose staff was responsi- ments would indicate. The highs per- ble for lire original, highly-respected haps are not as pronounced as we have Audio League Reports. noted from some of the more brilliant monophonic cartridges, but it is doubt - Use the coupon below to order any ful if the difference could be detected of the Audiolab Test Reports listed. except by A -B comparison. The supe- Payment of 150 per copy (any two rior channel separation of the Stereo - for 250) must accompany order. dyne, particularly at thc high frequencies, minimizes the distributing a effect we have noted on some stereo discs, where voice sibilants emerge Audlolab Reprint Serylee from one speaker or some point be- /he Publishing House tween the two speakers, while the Great Barrington, Mast. voice itself comes from the other Picase scud me reprinls of Aadiolab Teat speaker. Nep rtx as checked here. 1 hazle indicalnl Needle talk was quite low, as was the anaiditll of each reprit! / want in the space in frota of (lie reprint tille, hum pickup. \Ve did find one annoy- ance, probably aggravated by the Pn(pnent of 1ú0 per cop;/ (any Ileo for proximity of the plastic stylus guard eso is enclosed. to the record surface. Dust and dirt QUANTITY EQUIPMENT from the record surface tended to - 101 McIntosh C -B Audio Campensotor build up rapidly around the stylus, 102 Eire HF 52 Control Amplifier eventually causing poor tracking. - 103 McIntosh MC-SO Power Amplifier Record cleanliness is a must with this _ 104 Weathers K -730D Turntable and te Pickup cartridge. 105 General Electric PA -20 AmpliMr J W 106 Grey 212 Tone Arm O Summary - 107 ESL C40 Series Cartridge and Dust Bug The Dynaco B & O Stereodyne is an W - 108 Thorens Model TD 124 Turntable unusually fine stereo cartridge, at a - 109 Shure Professional Dynstic Cernidge most reasonable price. In addition to - 110 Harman- Kordon Solo t 1, Model TA12 oo its smooth frequency response - 111 Sargent- RaymeM SR-570 and Power Amotine, á 112 Scott 330C FM Tuner 2 clean sound, it has the best stereo -AM channel separation of any stereo car- 113 Moran,: 40 -Walt Power Amplifier 114 AM-3 Preomp- < tridge we have tested. Gray Control Unit 115 Manante Audio Console** a Although the cartridge is certainly _ 116 Chapman FMAM -SW Tuner rugged enough for use in any record - 117 Scott 310B FM Tener W changer, we foresee problems in this - 118 Perm -50 Pow.. Amotine. 119 Connoisseur Turniob application unless the arm height is _ J 120 NemIco Mognelo- Dynamic Cartridge s. - Z carefully adjusted to keep the stylus 121 Garrard 301 Turntable o - oo perpendicular to the record. Some 122 Fairchild 248 Stereo Preamplifier changers 123 Gonna! Mork II Pickup ao may require a stack of records to achieve this condition. 124 Miracera XS -200 Changer ó 125 Pentron 7M-4 and CA -13 O MANUFACTURER'S COMMENT: We are - 126 Stereotwin 200 Cartridge pleased to note ú the reviewer's approval of the W superior chonnel separalion of the Sseroodyne. À'anse D In addition to this stereo attribute, us the smooth u, response of the unit and ils high compliance Address cc make it excellent for o monophonic reproduction also, while its light tracking capabilities mini- City Stale < mize record wear. J 10 I H1GII FIDELITY MAGAZINE

www.americanradiohistory.com Save yourself time and trouble by ordering your books directly from us. Just fill in the coupon below and mail it to us with your remittance.

Two new books-provocative and challenging

Composers Eleven Conversations with Toscanini By Neville Cardus By B. H. Haggin

"Recalls the enchantment of great music as vividly os he tells .. a valuable addition to the Toscanini literatjre ... Mr. of technical points in great musical textures. When he charts Haggin hos more to offer thon skillful and lively reporting; the inward course of his own thought he does so with a skill his book contains long and enlightening disquisiticns on many that proves his insight and his power of handling words so matters that arise when we think of Toscanini; the nature of his that they follow and express the most subtle mutations of genius, his attitude toward the choice of soloists, his reper- emotional feeling; and the writing is nearly always as beauti- tory, his apparent indifference to the sensuous quality of ful os it is vital. " -Manchester Guardian recorded tone.... " -Desmond Shawe -Taylor in The New (Composers discussed: Schubert, Wagner, Brahms, Bruckner, York Times Book Review Mohler, Strauss, Franck, Debussy, Elgar, Delius, Sibelius.) A study of Toscanini's published recordings is also included. $4.00 286 $4.00 287

A limited number of RECORDS IN REVIEW - 1957 now available at the reduced price of $3.49 (usually $4.95). Book itself perfect, dust jacket soiled. #288

FOLK BLUES -This is a hook which is meant to be used. Ir contains Paperbacks one hundred and ten of the outstanding American folk blues compiled, edited, and arranged for voice, piano, and guitar with a chart of basic THE COLLECTOR'S HAYDN -by THE COLLECTOR'S BACH -by guitar chord fingering patterns and a full bibliography and discography. C. G. Burke Nathan Broder $6.95 277 The music of Haydn on records Every available (up to rinse of evaluated for musicianship and publication) recording of Bach's for sonies. Addendum by Arthur music on LP records is discussed THE YEARBOOK OF JAZZ Volume 3 of THE ENCYCLOPEDIA OP NEW - Cohn. $1.65 281 Jazz Series - by Leonard Feather. Tells the complete story cf what and rated. $1.2S 272 has been happening in jazz since 1956, comprising the indispensable THE COLLECTOR'S CHOPIN AND source of information both for the expert and the increasing number of SCHUMANN -by Harold C. newcomers ro the field who want to know all there is to know about Schonberg A discussion and evaluation of the GREAT OPERAS Ernest this vital art. Illustrated with 54 photographs. Introduction by John -by Hammond. $4.95 278 music on discs of these two mas- Newman ters. $1.45 282 This definitive treatment of the THE COLLECTOR'S JAZZ -by history, stories, and music of the MAINTAINING HI -FI EQUIPMENT -By Joseph Marshal/ John S. Wilson great operas is unique as both A much -needed book on the specialized approach necessary to service This complete guide to LP jazz guide and armchair companion. high -fidelity equipment. The author discusses not only electronic faults, records analyzes jazz styles up to Vol. I, $1.25 279 but the mechanical and acoustical defects which cause a high -fidelity World War II. $1.45 273 Vol. II, $1.25 280 system to (unction less than perfectly. The book is clearly written and well indexed. Hard $5.00 Soft $2.90 cover, 232 cover, 233 Book Department HIGH FIDELITY Magazine UNDERSTANDING HI -FI CIRCUITS -By Norm on H. Crowhurst Great Barrington, Mass the books Here the audiophile will lind the answers to questions often confusing. I enclose $ for which please send me, postpaid, orders, The chapters are; special output stages, feedback, damping, inverter and indicated by the circled numbers below. (No C.O.D.'s or charge driver stages, input stages, matching, equalization, speaker distribution please.i Foreign orders sent at buyer's risk. Add 25yí per book for postage loudness volume on foreign orders except Canadian. and crossovers, and controls, tone controls. Hard 278 cover, $5.00 254 Sof: cover, $2.90 255 Unmarked binders $2.75 each 232 279 HIGH FIDELITY RECORD REVIEW INDEXES -50c each 233 280 1954 1955 1956 1957 1958 254 281 NAME Now available -1958 Record Review Index -50e 255 282 286 ADDRESS 272 For RECORDS IN REVIEW -1958 see page 26. 273 287 277 288

JULY 1959 105

www.americanradiohistory.com the recreational ON ICE After examining MUSIC budget and consulting with the local experts at the Davisville, Continued from page 4G high -fidelity Rhode Island, naval station, the chaplains purchased a complete high -fidel- hundred miles from the nearest hu- ity system for each base. Approximate- being. " vul then my only man 350 records bought through a New Robert C. Marsh music. I wound up the ly Chicnoo Sun none, real luxury- house (which now dis- green Victrol.t, slipped on a York discount battered plays an Operation Deep Freeze cer- Strauss waltz (Wine, Women. and The Sound tificate in its store) accompanied each Song), released the brake, and jllnlpcd a The idea unit. The headaches of choosing of High simultaneously for the dishes. the tastes phono- library of 350 -records to suit is to finish the dishes before the and navy Fidelity The machine has a of both civilian scientists graph runs down. to contemplate. The One Book rigged ratings are too painful double- length spring. and I've queer selec- to Buy Before plays a Naturally, some mighty a rude sort of repeater which per cent of - You Buy HI -FI! tions resulted. About forty only small record four or five times on one the discs were classical. All the sym- $395 A Primer for the Notice winding. Tonight though, no sound A Guide for the Buyer carne out. Cause! Frozen oil in the Fascinating for the "Old Hand" works. I stood the machine on a cor- The answers to your HI -FI ques- ner of the stove. In it little while the tions are here, presented with record began to turn, very slowly at refreshing clarity, in one compre- first, making lugubrious notes, then hensive volume. Practical, non- faster and faster. I transferred it to technical advice on HI -FI com- the table mh(l fell to on the dishes, ponents, stereo, tape. An invalua- going like mad. Tonight they outlasted ble handbook -illustrated -to the record by fifteen seconds; a very help you get the best sound re- poor showing indeed. although I credit production our of high fidelity the defeat to the head start the phono- system, old or new. At your graph got while it was warming np on favorite book -dealer ... or order the stove." phonies of Beethoven .vere repre- direct from publisher at 53.95 The Antarctic continent, as large as sented except the Fifth and Eighth. postpaid. Money -back guarantee. the United. States and Europe com- To make np for this omission there bined, contains locked within its icy were two versions of Brahms's First MECHANICS PRESS POPULAR heart a wealth of natural secrets of and three of Greig's Pismo Concerto 200 E. Oetarlo St, Dept. G -30, Chicago 11, III. great importance to the rest of the with Rubinstein, Gieseking, and Cur- world. The international Geophysical zon doing the honors. (As there was a with the propose at the base, all T H E Year was proclaimed Norwegian glaciologist of making an exhaustive and cobrdi- three editions were given a good .work- nated study of world -wide geophysical out.) In addition to the general run of phenomena. No such program could romantic symphonies and concertos, NWRITEBRINGS hope to be complete without observa- modern composers were represented tions from third world. The United Stravinsky, TRUE HI -F1 the by Hindemith, Copland, States agreed to establish seven bases Died, and Bloch. Chamber music was SOUND OUTDOORS in the Antarctic as its part in the effort somewhat slighted, with only two to explore thoroughly the mysteries of sting quartets of Schumann, two of the Antarctic continent. A committee Mendelssohn, and one of Schoenberg You can now was established by Congress, and the in the collection. Not a single quartet, enjoy Hi -Fi Navy was assigned the job of estab- sonata, or symphony of Mozart was all year 'round! lishing the bases, providing transpor- sent clown, though there were in- Summertime can still be tation, and supplying all nonscientific cluded assorted concertos and two

Hi -Fi time . . . when you gear. The job of selecting the recre- operas. Bach's Christmas Oratorio, bring true high fidelity ational equipment %vas given to the Brandenburg Concertos, Mass in B sound outdoors with you! two chaplains who were to winter at minor, two cantatas, and :in assortment For this smart patio lamp conceals a sensitive hi -fi the largest of the bases. of piano and harpsichord concertos, speaker . . . adapts sen- It has been observed, with much with H:n>(lel's Messiah. held up the sibly to your patio decor. wisdom. that the "principal privations baroque end of the collection. Relax outdoors this sum- I of polar people are pelvic." It is true A goodly portion of the classical li- -fi supplied by mer with hi was in nature; and evi- your .new HIFILITE. that the Russians have made some brary operatic progress in this direction by the wide- dently in fear that the base might run spread use of woolen scientists, but short of alarm clocks those in charge Write 1- f¡ /- for your the American Navi' has not vet seen supplied us with a copy of the "Flower nearest r_ - cleated r" fit to follow their lead. However, the Song" sung by Caruso. It also seems Navy has clone the best it could in likely that the chaplains felt Wilkes other directions. At Wilkes Station -a Station might be split into two fac- twenty- seven -mane base including ten tions, those who worship at the shrine MANUFACTURING civilian scientists, two officers and fif- of Renata 'fehaldi and those whose COMPANY teen enlisted men, located just outside ears are offended by all sopranos save the Antarctic circle, clue south of Java Callas. Therefore to avoid any appear- 3030 LACLEDE STATION ROAD -listening to music is a pastime second ance of partisanship or bias in this ST. LOUIS 17, MO.. U. S. A. IN CANADA. ATLAS RADIO CORP. LTD. in popularity only to the nightly movie, controversy, two complete versions of 50 WINGOLD AVE.. TORONTO 19. CANADA Ping -pong, and alcohol. Madama Butterfly were made avail-

106 Hrcrl FIDELITY MAGAZINE

www.americanradiohistory.com able. Our complete opera sets generally reflected the more recent Metro- '0 + a politan Opera repertoire. Not a single . opera of Wagner was to be had, though such interesting items as Aus Eiden Totenhaus by Janacek and Ber- lioz's Damnation of Faust were in- chided. There was some discussion as to just where the high -fidelity system should be located. The barracks were immediately ruled out because people would be sleeping or resting at almost all hours of the day and night. Our recreation building might have seemed the appropriate site, but there music would have to compete with the noise of bouncing Ping -pong balls, clicking pool cues, sliding shuffleboard markers, and talking movies. We decided to move the system into the library lounge, on the theory that books and Louis Armstrong were more compatible than beer parties and Chopin. The library was a bit small to house a BURGESS full- fledged installation, but it had a Leakproof very nice corner into which a moder- FLASHLIGHT BATTERIES ate -sized enclosure would fit. Since the mess hall was separated from the li- //4etr2aj !%CrI/aLtdce/ brary only by a thin and incomplete partition. the cook could also enjoy the PORTABLE LIGHTS music -an important factor in maintaining his good temper and the quality of the menu. BURGESS BATTERY COMPANY

Almost before anyone bad settled rREEPORI, ILLINOIS NIAGARA FALLS, CANADA down to routine existence or even finished unpacking, a musical -taste poll was conducted to determine what sort of music should be played in the mess hall during mealtimes. \ Vesten music "T ere is won, but as there were only two albums n o thing finer of Western songs this appetite was not easy to satisfy. The next most then a popular type of music was "anything," SEND FOR Stromberg- Car /son" though in most cases "anything" ALLIED'S turned out to be anything except what the person involved happened to dis- BARGAIN like. Votes were also cast for "Chopin"; SUPPLEMENT "Peppy Dixieland "; "Satchmo "; "anything in morning, classical other times'; "German drinking songs "; "anything except Presley, noise, or jazz"; and "Finnish folk music." To re- BIGGEST VALUES EVERi Save moat on Stereo hi -fi. See top buys in Allied - solve these differences of opinion, each recommended complete systems, man was assigned a week during which KNIGHT quality Stereo compo- he would be responsible for selecting nente, and KNIGHT -KIT build - Acoustical Labyrinth') Quarter your -own Stereo. Hundreds of values and playing the mealtime music. in famous name amplifiers, tuners, From the moment the system was changers, speakers, accessories -as Wavelength Duct Speaker System! well as recorders, P.A. systems, teat plugged in until the ships came back a instruments and electronic supplies. year later it was hardly ever turned off. Revolutionary design brings you Send for your FREE Allied Supple- the world -famous Acoustical Laby- ment packed with bargains and new Certain records such as Bill Haley's products. Save as never before! Rock and Roll, Georgia Gibbs, and rinth enclosure in shelf -size systems My Fair Lady were played over and for 8 ", 12" and 15" speakers. ALLIED RADiO over again though in the end every See your Stromberg- Carlson agab record was played at least once, in- dealer. He's in the Yellow Pages ALLIED RADIO, Dept. 144 -G9 100 N. Woslarn Ave., Chicago BO, III. cluding even such outré recordings as under "High Fidelity." Edinburgh City Police Pipe Band and Send FREE Allied Supplement No. 185 A Tribute to James Dean. There were STROM BERG-CARLSON Name A DIVISION or GENGRAL DYNAMICS CORPORATION rather a large number of "Music to Address 1419 N. GOODMAN STREET S -C GO ROCHESTER 3, NEW YORK An?. LC,,, 7one sale Continued on next page

JULY 1959 107

www.americanradiohistory.com MUSIC ON ICE for less wore and nzore play Continued from preceding page GET THE TURNTABLE ELECTRONIC ... by" records, and although they ORGAN were not often played, their covers RECORDS! THAT CHANGES for your were much admired. HOME! The library system was by no means the only source of music at the base. The doctor, a discriminating record BUILD -IT collector, found some extra space in YOURSELF his medical supply locker and installed in the sick bay his own high -fidelity SAVE! system. As there are no disease germs in and there Now you can own a professional electronic or viruses the Antarctic MIRACORD organ and save up to 50% on an easy were few serious accidents, the doctor XS -200 pay- as.you -build plan ... The world famous had a lot of time for listening. A large heavyweight, professional -type turn- ARTISAN ORGAN -in 14 models from the table -and a fullautanyntic changer! popular 2- manual Home entertainment style collection of folk music and light clas- plays both stereo and monophonic! to the majestic 4-manual Theatre and Church sics, including three different versions push- button controlled throughout! style is now available in kit form. Simple step of Scheherazade, accompanied the Magic Wand spindles eliminate bystep instructions, pictorial diagrams and pusher platforms and stabilizing schematics make this an ideal sparetime equipment. Unfortunately the sick arms! project for anyone. bay was located in the same building ecf it costs only $6750 aadurplrile net as the barracks -which meant that to and for the stereo cartridge that SEND FOR THIS avoid waking sleepers the system FREE LITERATURE could be used only very occasionally. ELIMINATES HUMrrr TODAY/ The doctor was prepared for such an Get ALL lia fada 00 W meal eventuality. however, for he had nIkent 201A tealur, Successor, f/et STEREOTWIN 200 Tonle Pipe Orton- IheARilcAN1 brought with him several pairs of high - Ginn you inlarmauon you sroata PERFECT FOR fidelity earphones and could often be AIONOPIIONIC. TOO! know Waco you Durerez ANY PITS AI.!. STANDARD TONE ARMS! arpn -kil ay cornmereur model. seen late at night listening quietly to 54450 NOW audiophile vet music and eating toasted cheese sand- ELECTRONIC wiches washed down with exotic foi store neared you, and for Dee analogue, pleasewrite Dept. H ORGAN ARTS, INC- Chinese teas. AUDIOGERSH CORP. 4949 York Blvd. Dept. HF -7 :14 Broadway. N. Y. 12 WO 6 -0800 Los Angeles 42, California In construction of my own system, weight, quality, portability, bulk, and ruggedness were the factors considered. A bulky speaker system vas, I thought, impractical, as I had no means of shipping it and there was a SMALLER THAN weight ceiling on personal baggage. I also reasoned that my kind of music WEBSTER'S STEREO HIGH -FIDELITY is not enjoyed by many people and that if I wished to keep my friends, I UNBELIEVABLE WITH KOSS DYNAMIC had best use earphones. This was no STEREOPHONES hardship as there arc available ear- FULL RANGE phones that are comfortable to wear and high in quality. I wanted a turntable that had a simple means of varia- SOUND! ble speed control and a minimum of rubber belts, pulleys, or other~ parts which could wear out or become brittle at very low temperatures. The variable MODEL speed feature was necessary since SP -3 Antarctic power line frequencies are not always exact. With a little search- Frequency response ing I was able to find a turntable that 30 -15000 Flat, impedance suited my requirements exactly -and 4 ohm bad the additional advantage that it Excellent response from any could be carried in any position with- Stereo or Monaural system. out its parts falling out. Organs, Hi -Fi, etc. My FM pickup system was the heart of the unit, and there were many occa- WEATHERS Harmony Stereo Speaker Complete separation of the two sions when I had good reason to bless Actual measurements: 11" x a 3 channels gives the realism and fine 9%" %" it. The high -output level of its oscilla- Frequency Response: 70 to 15,000 cps tonal qualities that are unobtain- tor Designed like a book, to be placed inconspicuously able by any other method regard- macle a preamplifier unneces- on shelf, table or tucked away in your library. Use less of cost. Price $24.95 sary; and as RIAA equalization was singly, in pairs or with hideaway bass. built in, even an equalizer was super- Send leda- /or FREE órochere m Available at your Local Hi -Fi Store or Write Direct. fluous. A two -tube earphone ampli- WEATHERS INDUSTRIES fier was designed and installed tinder Dice ^..10e Cr. ALV 'C( MOUS7NILZ. INC KOSS 66 E. Gloucester Pike Barrington, NJ. INCORPORATED the motor board and a carrying case Export: los. Plasencia. Inc., 2227 N. 31st ST., loi Broadway. N.Y. 13, N.Y. MILW. 8, WIS. constructed just big enough to hold

103 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com the turntable and arm. No extra space PROFESSIONAL DIRECTORY was required for the electronic components. The arm tracked so well that MARYLAND NEW YORK even on a round -bottomed icebreaker going through the furious forties, the DIXIE TAPE RECORDERS howling fifties, and the screaming HIGH FIDELITY WHOLESALERS HI -FI sixties, I was able to enjoy good music iii Components when none of the ship's phonographs Largest catalog High Fidelity distributors in the South. Guaranteed lowest prices on package quo- en SLEEP YARN tations. Wholesale price. on individual component,. was working and even tape recorders ,.nut cost.next. KITS All new merchandise in factory sealed carton.. )1401 quality Are price, too ,{ were having difficulties. Plight-Write: record l n0 UNh,SUnl tain. Selecting records to take was anoth- ' d, In bnOaa V01/MS DIXIE HI -FI FILM.; er knotty problem. When the num- 1050 Cataloz 12402 Connecticut Ave., Silver Springs, ber you can carry is limited, you want Md. 69.02 FA, 174 Stroe DR ESSN ER Flushing 63, New York to be sure that you will not tire of the NEW JERSEY ones you've chosen. I must confess, RECORDING TAPE AT ROCK -BOTTOM PRICES though, that I grossly overestimated PROFESSIONAL HI -F1 REPAIRS 3,108 Ili. Fi enthosinsts, now using FA It recording Creeping dororierallon or superficial "fixing.' is tam. xny "why pay ,here whim liar It antJeu.ry eon, nntees new. fresh. the free time I would have for listen- robbing many of lull HI -F1 enjoyment they paid for. highest quality. trifi tape - freq. 'meth 30- 15.000 cycles or your money refunded ing to music, I Now concept In HI -Ft servicing developed by BREMY - and in actuality never ELECTRONICS In collaboration with the AMERICAN Just Compare These Reek -Bottum Prices got to listen even once to many of the AUDIO INSTITUTE, an Independent testing laboratory. 600 Ft. 5" Reel - Acetate Itarw- 3;or $2.55 Over 50 precision instruments; now & more exacting 900 Ft. 5" Reel -Acetate Dose -3 nor 3.40 records I took with me. to,. methods. Your equipment restored to peak per. '100 Ft. 5" keel - Mylnr Rase -3 jor 4.20 lormnnce quickly and inexpensively by experienced 1200 Ft. 7" Reel- Acetate (lase - 3 for 3.95 1800 Ft. 7" Read Acetate Rase- 3for 5.25 This by no means completes the prokuionols. Written laboratory test repon with every - 1500 lit. 7" Ref - Mylnr Bose-- 1 for 6.85 tally of reproducing systems at Wilkes repair lob. Bring any make Hl -F1 phonograph, tuner, 2400 Pt. 7" Reel- Mylar Buse -3 for 10.60 lope recorder, omplifior and see ono of Iho /Most audio Please Adel 15d l'l' & Handling- Per Reel Station. The radio operators had a laboratories in the U.S.A. Experts on Stereo. Cheek -up and test report from PLORMAN & DAD'', INC. $5.00. Reasonable rotor on all 68 West 45th Street New lock 36. N. Y. portable tape recorder and speaker repairs. Please pack securely when mailing far service. system to liven up BREMY ELECTRONICS, 394 E. 18Ih St" Petersen 4, N. J. the radio shack with Tel. LAmbert 5.1191. music. The tapes were made from NEW YORK records played on the library machine. FOR THE TOPS IN VALUE There was also a table model tape AND THE BEST TRADE -IN ON Draw .. recorder which was used to record your own conclusions HIGH FIDELITY EQUIPMENT re- messages on the ham radio or to pro- ceive our spacial quota- Check with Arrow.' tions an your Hi.Fi needs. vide music in the recreation building. Write too for audio cata- This recorder was also used a log A -10, loaded with at small double- barreled values. inland base fifty miles from the main ARROW/ ELECTRONICS, INC. station where it often provided for Key Electronics Co. Sl., Y. 65 Cortland, SI., Now York 7, N. Y. 110 Librdr N. Y.6.11. weeks on end the only sound one Dlgby 9 -4730 El'npren4.6011 heard other than one's own voice. 525 Jericho Turnpike, Mineola, N. Y. Pioneer 6.8686 Carl Eklund, the base leader and "BUCK STRETCHER" ornithologist, had two battery -oper- HI -F1 VALUESI ated tape recorders which he used to SOUNDTASTIC! Ex.and the buying power record the cries of penguins, skim of your III -Fi dollar at gulls, Sun Radio on new and fill. and seals -when he could entice WRITE FOR FREE SE- Iv guaranteed'name brand them into range of his parabolic micro- i ii.11i components! LECTOR a PLANNING phone. Penguins are easy to record for AUDZO Send for our special price ono. they cackle constantly all clay long. 10,1701;t.IICAD BOOKLET LISTING louons and our Hi -Fi package specials! Seals require a little prodding before Depl. i9 SOUNDTASTIC HI -FI SUN Radia 6 Electronic, (o., Inc, they hiss and bark, but seal pups yip 650 6th Ave., New York 1I, N.Y. Island Ave. SYSTEMS AT SPECIAL and squeal almost as soon as they see 2057 coney Phone: ORegon 5 -8600 a skua, sometimes York microphone. The Brooklyn 23, New PACKAGE QUOTATIONS PENNSYLVANIA as referred to the eagle of the Antarc- This Amazing Booklet tic, is a fearsome animal of aggressive Only a Rich Purple People Eoler habits. When it feels its home is being Does Not ... violated, swoops down with a shrill FREE! it A COMPLETE distress cry and dive -bombs any ad- INTRODUCTION TO versary in sight, including a parabolic gee with microphone or a tape recordist. STEREO At the bottom of the world, too, AUDION there's high -fidelity sound. before buying HI Fl components RADIO CO. 2S- HF- Oxford Rand audeI 913 ARCH ST. CALIFORNIA l 11 Massapequo, L.I.,N.Y, PHILA. 7, PENNA.

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JULY 1959 109

www.americanradiohistory.com DR, VERON

Continued from page 44

Yet the fat little doctor had a certain Does your stereo justice on his side. In 1832 Berlioz where had proposed an opus based on the Day of Judgment. at a time when have three sounds fine sound Paris was beginning to recover from New stereo owners often hear a third sound: it disastrous cholera epidemic and was ugly turntable rumble. Here's why: begins! in the midst of a bloody political re- Most standard phonos were designed so volt; with his sensitive nose for pub- that vibration was aimed in a vertical direc- lic opinion, Véron could hardly be tion. The up- and -down movement is O.K. for monophonic cartridges. But in stereo, this blamed for disdaining a piece of this vertical bucking makes your records sound macabre nature. as if they had acid indigestion. Despite these magnificent excesses, What to do? You could purchase a very Fine sound reproduction begins with Dr. Véron dici expend some serious expensive Or, for a turntable. modest sum, a good microphone. Resla micro- effort on the music of the Opéra. The you can get a Sonotone "8T" ceramic stereo phones bring out the best in your Government had set him a yearly pro- cartridge. It has an exclusive vertical rumble recorder with unsurpassed quality suppressor...acts like the springs on your car duction quota of new works, which for clean, silky, uncolored, flat re- to absorb vertical motion...and greatly re- was to include one grand and two duce turntable noise. sponse to 20,000 c /s. recording, broadcast or P.A. lesser operas, and one grand and two You'll hear the difference when you get Quality a Reslo Mark Ill. Blast - lesser ballets. Running a contemplative Sonotone and prices of Sonotone stereo uses require car- mounted, triple tridges start at only $6.45 (including mount- proof, fully shock eve over the previous decade's reper- ing brackets). shielded for outdoor use, they can toire, Véron found that such specta- be boom mounted without adaptors. FREE! "Stereo Simplified" booklet -tells you Exclusive ribbon permits near auto- cles as William Tell and La Muffle do how stereo operates. Write to: matic self- service replacement. Portici had drawer the greatest audi- Reslo microphones are used by lead- ences and decided that, art and the ing broadcast and recording firms. evolution of opera notwithstanding, $onotone.ÁP. Try one at our expense ... see your the biggest sellouts would come from Electronic Applicorions Dlvhton, Dept. CH79 dealer. NEW YORK grandiose historical plots capped by a ELMSFORD, Complete data and price lists for qualified respondents. crashing finale. The finale xvould be the thing -a glorious nüse en sane ERCONA %vith masses of people on stage, magnif- (electronics div.l dept. RH -7 World's icent sets, lavish costumes, arias, en- 46th New York 36 Finest `l6 West St., J sembles, and deaths galore, all to full orchestral accompaniment. Paradoxi- cally, it was this concatenation of noise and color, conceived by a mercenary 1- Vis/E LA "THIS IS THE MASS" dilettante, that set a rejuvenated A magnificent achievement French grand opera hounding across Terlimonials from Catholics and nonCathalics--Can- the world. verts-ShutIns- express appreciation of the reverent ex- Giacomo Meyerbecr, of course. en- DIFFÉRENCE recorded under the direction of planation, professionally joys some responsibilitiy The Carmelite Fathers Guild. Ecclesiasti- for this Gallic resurgence. The cally approved. I I your favorite Department French had taken to or Religious Store -Record or Gift Shop his works and, sensing that his good cannot fill your request for this fairy was a Parisienne, \feyerbt s be- *ViTRA 12" 331/2 L.P. Unbreakable gan the assiduous study of French Record $495 literature and language. \\'hen Write to. Scribe offered him the libretto for the medie- MATHEL, INC. val tale of chivalry, sin, and repent- SPEAKER P. O. Box 584 ance called Robert le Diable, Meyer - Englewood, New Jersey beer accepted it immediately. The result was a three -act opera, originally SYSTEMS intended for the Opéra Comique but later revised into five acts for presenta- The Finest World's tion by the Opéra. Véron's first as- - with Drivers - FM/Q signment- handed clown from his imported from France predecessor, Labbert -was to mount The Amazing Bookshelf ANTENNAE Robert le Diable as soon as possible. System $80.00 THE FINEST OF ITS KIND . . . He at once threw the entire Govern- Get more FM motions with the world's most powerful FM Yogi Antenna systems. ment into crisis by refusing. publicly For information on all other stating that the production required models, with free literature, write to To be fully informed, too much time for its actual worth. send 25s for book What he neglected to add "Theme And varia was that it would likewise require great ex- ULTRA lions" by L F (3. Carini and containing FM penditures. Finally, however, the Min- ELECTRONICS, INC. Station Directory. istry granted him a supplementary 234 -236 East 46th Street budget, \4eyerbeer agreed to purchase New York 17, New York APPARATUS DEVELOPMENT CO. the organ required in the finale -and WETHERSFIELD 9, CONN Robert went into rehearsal.

110 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Dr. Véron also managed to squeeze interest in Meyerbeer's new work from the composer some artistic con- through the murky offices of banker TRADER'S MARKETPLACE cessions which must be held at least Aguado and planned to await his prof- in part responsible for the opera's phe- its in the wings. Here's the place to buy, swap, or sell used nomenal success. Meyerbeer agreed Dr. Véron went on to play even equipment, records or what have you. to rewrite the role of Bertram for basso more crucial roles in what had by now Rates are only 45e a word (no charge for in order to permit the great Levasseur name and address) and your advertise. become the dismal fiasco of the Citi- nient will reach more than 110,000 music to create the part, and to assign the zen King's regime. becoming by his listeners. Remittance must accompany role of Alice to the nimble Gallic so- control of legislative seats and news- copy and insertion instructions. Copy prano Doles instead of the broad - papers the country's foremost entre- must be received by 5th of 2n1 month beamed Teuton, Preceding publication and is subject to Schröder- Devrient. preneur of power and influence. He approval of publishers. The change of greatest consequence became involved, too, in a long and was that of the finale's alise en scène; incredible liaison with France's great- INDUCTORS for Crossover Networks. 118 types in stock. Send for brochure. C 8 M Coils, 3016 Holmes est tragedienne, Rachel. As he him- Avenue N.W., Huntsville, Ala. self remarked to Arsène Houssaye: "I con a happy man, and you must ad- PRERECORDED tapes. Drell French stories. $3.95. I Macleod's Unique Recordings, 487 Stiles Street, mit that have a right to call myself Winnipeg 10, Canada. so. Every day of my life for thirty years 1 have drunk champagne, and HIGH FIDELITY, 2.70. Best offer. Rebore Weatherly, 9501 Radio Drive, Afton 23, Mo. still I find it good. I have denied myself no woman, and the government WANTED: Brucine,. corner horn, slate condition and does nothing without consulting me." prier. Gus DeRidder, 34 Winton Lana, Dolgeville, But as the political complexion of New York.

France changed, Véron's influence SALE: 78 R.P.M. RECORDINGS, 1902 -1950. Many on tenor Nourrit's suggestion, this was gradually diminished. When he died types. Free lists. Collections bought. Mr. Ellie Hirsch - mann, P.O.B. 155 (HF), Verona, N. J. recast from a conventional Cluckian quietly at the age of sixty-nine on Mount Olympus to a cloister cemetery September 27, 1867, he had been dis- HEATHKIT WS-M amplifier, WA-P2 preamplifier. like with a host of ghostly nuns rising from creetly retired from public life for new, $70. Dennis W. Brown, Walker Road, Avon Lake, Ohio. their tombs to bring the action to its several years and baci long since been appropriate climax. The opera went consigned to the limbo of the damnecl WALNUT TAPE cabinets -contemporary design. The - and disinherited by physicians and mu- cabinets can be stacked, each one holding 24 tapes. on to its premiere, launched Meyer For further information write Box 237, Saugus, beer on his spectacular French career. sicians alike. California. restored operatic hegemony to Paris, UNUSUAL VALUES, Hi -Fi components, tapes and tape and earned Véron 780,000 francs in recorders. Send for package quotations, Stereo Can- two years. tor, 18 W. 37th Street, N. Y. C. I. Véron actually more than fulfilled CUSTOM MADE protective turntable covers of transparent Plexiglas. Send *inside dimensions to and ALL MAKES HIGH FIDELITY speakers repaired. Amp - his contractual obligations by mount- request price from TOLO Industries, 30 East 2111 rite, 70 Vesey St., New York 7, N. Y. BA 7 -2580. Street, New York 10, N. Y. ing six new grand operas in the four- and-a -half years of his tenure. Among LEARN JAZZ DRUMMING. Discover hidden musical KLIPSCHORN loudspeaker system, mahogany finish, aptitude. Gat more understanding and know-how 2927 these was Halévy's La Juice, in which excellent condition. $450.00. Warren Wilbur, out of your recordings. Learn to drum along Dr., 6, TW 6-4073. jazz Grinstead Louisville Kentucky. with them. All you need to start is a pair of drum the parboiling Inquisition nlise en sticks. Surprise your friends. Surprise yourself. You learn ' record time with our unusual recorded scèlle produced a most brilliant effect. selling. Wood cabinets will DRESS UP your tuner before home study course. Easy to understand. It has been a for discontinued Fisher components. Mention chassis written and recorded by the countries leading expert Nourrit again contributed telling Co., 10316 model for special price. Electronic Wood- on the teaching of jars drumming. Recommended by assist by writing the lyrics for the great ward, Detroit, Mich. Max Roach. An off -boat gift for the man that has tenor aria. Levasseur created the role everything. Not sold in music stores. Write today for TRANSISTORIZED AMPLIFIER -PREAMP. 30 watts of free information. Stanley Spector School of Drum- of Eleazer, and Falcon was responsible highest fidelity. Beautifully styled, compact case. ming, Dept. H -I, 255 Newbury Street, Boston, Massachusetts. for Rachel. Now. $200. R. L. Kissner, Box 214, Canton, Conn. its way OWen 3.8093. With La Juive safely on and AMPEX, CONCERTONF, Crown, Ferrograph, Presto, Rek- Dyne - several millions of francs stuffed in his HI -FI, Recorders, Tapes. Send for free wholesale Tandberg, Pentron, Bell, Sherwood, O-Kut, Dept. 10 Carlton, 125 -N East 88 Street, Now York kit, others. Trades. Boynton Studio, FH, Véron con- catalogue. Y. coffers, Dr. was suddenly 28, N. Y. Pennsylvania Ave., Tuckahoe, N. fronted by the official disquietude of SELL: New Heath SP2 Stereo preamp, W7M 55 watt Ministry, ostensibly because cer- USED Pickering cartridge (350), 510.00. New diamond the G. Odian, 68 -40 Clyde Street, Forest Hills styli, Pickering D 3510, 510.00; G.E. RPJ.003, 004, amplifier. tain vestigial Jacobin purists were out- 013A, $5.00 each. Byron C. Pevehouse, M.D., 3801 75, N, Y. RA 9 -2489 (Day). raged by the licentiousness then rol- University St., Montreal 2, Otto., Canada. loyal SELL: Pickering 190 -D arm; Grado stereo arm and licking at the Opéra. When the mono cartridge; Norelco AG -121 cartridge, diamond 281 -A 16 USED EQUIPMENT FOR SALE: Fairchild -in. styli. used 100 hours. All $50.00. Joseph B. Dolph, Nnnrrit reported overhearing a Minis- arm, $17.00; GE RPX single play car- tramelotien 149 -46 21 Ave., Whitestone 57, N. Y. Tel. IN 15724. terial plan to investigate Véron's fi- tridge with .001 diamond and .003 sapphire, 510.50; Bell 2200C control amplifier, 548.00; Alter-Lansing nancial structure, the eminent Doctor 601 -A speaker, $49.50. Rose Broder, 824 Eastern HIGH QUALITY STEREO -Complete sets only. Fully hurried to the Minister (the erstwhile Parkway, Brooklyn, New York. tested. Big discounts. George's Music House, Cali- fornia, Missouri. radical journalist Adolphe Thiers), HI -FI KITS wired and tested. Send specifications for screeched his outrage at officialdom, free estimate. Nones Kit Service, 273 Belmont Street, HI -FI SALESMAN wanted to merchandise, capable Manchotes, N. H. taking advantage unlimited opportunity. N. Subur- and presented his already prepared ban Philadelphia. Hi Fi, Roslyn, Pa. resignation. Thiers promptly accepted HI -FI COMPONENTS Package prices, top quality and it and then presented the directorship guarantee. For a SOUND investment, write us for HI -FI LOWEST quotes: write for prices. Registered quotations. Kenneth Thomsen, HFCA, P. O. 730, IHFM dealer. R. Bruna, 162 E. Cook A , Liberty- to the architect Duponchel with or- Omaha 1, Nebr. ville, Illinois. ders to proceed at once with Meyer - beer's new Les Huguenots. Dr. Véron, USED EQUIPMENT FOR SALE: Viking FF75 /ßP61 tape ISSUES 1.59 less 18, 20, 51, 53. Will include three recorder, $125; Electro -Voice 15ßW 15 -in. speaker, binders and pay freight. Enclose 533.00 to J. Gussin, however, had left Jul acquisitive finger $2S; Lafayette KT300 preamp. $35; Argos 17368 Mendota Ave., Dotroit 1, Mich. in pie; Californian Jr. enclosure, $27; Oyamu tape heads, behind the operatic unbe- $10 ea.; ArkayYSAIS stereo amp, SSS; GE record lalowllst to either Thiers or the com- compensator, $S; University 4420 crossover, 511; BUYI GOOD USED McIntosh MC30 Amplifier. Give Lafayette KT500 stereo tuner, $75. Box 82, Great vintage when replying. Ben E. Hampton, 228 N. poser, he had bought a comfortable Barrington, Mau. Green St., Gainesville, Ga.

JULY 1959 IlI

www.americanradiohistory.com ADVERTISING INDEX

Key Key No. Page No. Page 59 1. ...Acoustic Research, Inc ...98, 99 57... . Kapp Records 2 ..Aero Products 112 58.... Key Electronics 109 3.... Airex Radio Corp. 102 59.... Kicrulff Sound Corp. 109 4....Allied Radio 107 60.... Koss Inc. 108 5.,..Almo Radio 109 6.....Allee Lansing Corp. 8 7....Angel Records 65 61.... Lafayette Radio 4 8. , .. Apparatus Development 62....Lansing, James B., Sound Corp. 110 Inc. 97 9.... Argo Records 76 63....Lc lie Creations 109 10.... Arrow Electronics 109 64....Liberty Records 70 11 .... Atlantic Recording Corp. ....77 65.... Listening Library 73 12.. .. Audio Devices. Inc. 25 66....London Records 62 13.... Audio Fidelity Records 81 67 ....Louisville Philharmonic ....57 14.... Audio World 109 68.... Lowell Mfg. Co. 106 15....Andiogersh Corp. 108 Audiolab Reprints 104 16.... Audio's 109 69.... Mathel inc. 110 70....Mercury Records 55 71....Minnesota Mining and 17.... Barker Sales Co. 100 Manufacturing Co. 6 18.... Bogen, David, Inc. 15 Music Listeners Bookshop .. 105 19.... Bozak, R. T.. Co. 84 20.... Bremy Electronics 109 21 British Industries Corp. 32 .... 53.... Neshaminy Electronic Corp. .24 22.... Burgess Battery Co. 107 72.... Newcomb Audio Products Co. 78 23. ... Capitol Records, Inc. 63 24.... Carston Studios, Inc. 109 25.... Coll aro 19 73.... Opera 73 26....Columbia LP Records 5 27.... Columbia Records 80 28.... Conrac, Inc. 10 74.... Pickering & Co. 2 29.... Contemporary Records 74 75. .Pilot Radio Corp. 69 76.... Playboy Magazine 17 77....Popular Mechanics Press ...106 30.... Decca Records 71 Professional Directory 109 31.... Dixie Hi -Fi 109 32....Dressner 109 33.... Dupont "\lylar" 22 RCA Components 30 34.... Dynaco, Inc. 101 7S. ... RCA Victor Division 68, Lside Back Cover 79....Radio Shack 103 35....EICO 11 Record Review Index 82 36.... Electronic Organ Arts 108 Records in Review 26 37.... Electro -Sonic Laboratories 107 79....Radio Shack 103 38.... Electro- Voice, Inc. . Back Cover 80.... Roberts Electronics, inc. 102 39....Ercona Corp. 110 SI....Robins Industries 82 40.... Eric Resistor 100 25....Rockbar Corp. 19

41.... Fairchild Recording Equipment 23 82....Scott, Herman Ilosmer, Inc. 21 42.... Ferrodynamics Corp. 82 83....Seeco Records 81 84....Shure Bros. 9 43. .. , Fidelitonc 101 44....Fisher Radio Corp. 13 85....Sonotonc Corp. 110 17....Stentorian 100 28.... Fleetwood Television 80....Stromberg- (Comae, Inc.) 10 Carlson 107 Radio , 45.... Florman and Babb 109 87....Sun and Electronics 109 88.... Superscope, Inc. 16

o N Garrard 21.... Sales 32 Trader's Marketplace o 46.... Gaylor Products W 102 e 47.... Glaser -Steen Corp. Inside Front ñ Cover 89.... Ultra Electronics, Inc. 110 48....Crado Laboratories, Inc. ..72 90.... United Artist 49..,.Gray M 61 facturing Co. ....I4 91. ... United Audio Products 83 92.... University Loudspeakers, Inc. 12 50....I-larman- Kardon, Inc. 7 51. , ..Heath Co. 27 -31 52....h igh Fidelity Recordings ...81 93....Vanguard Recording Society, Inc. 64 94.... Verve Records 77 53....JansZcn 24 95.... Vox Productions, Inc. 80 54....Janus Records SI 55.... Jensen Mfg. Co. 1 96.... Washington Records 73 97.... Weathers Industries 108 56....KLiI Research and 98....lVebstcr Electric 18 Development 104 99 Westminster Recordings Co. .48

112 HIGII FIDELITY \IAGAZINE

www.americanradiohistory.com Íi'i% .` i:Y' \`\\ \v\ -,..;'`\,. 'i %+- ,\`" .`i : \: \\\.` . ``\\\\\\t\\it\\\\' i' -;`` \..`: O\ \U\5}1N ?'%r%."'' \ \4 r \ \i 1 \1 1 1 li C`.+-Z \\ti\.` \ \ /" -.C ' \ , V '\\t\ t i/" \ r' i'"es,"'r l-'" ---_Z :`, .\ \\\`,,\\ `1 aA\ \\\1t,1t111 \\ 0`ti \`\ \, , ..,y\Nn\\t - ` \ \.\\\\\t \r\t"\\ "IteA _ Victo {y7} . 1GaS4( a i,-í2eiv ,:\t\ '11r1\1tl`t\\Cftftll ,i,IIE \!\\\.\\:\i\\ d ¡\ I it\ttiln\t lll . \ ` 'IÍIUiIv;fili;l

RCA VICTOR RCAVICTOR ;6- more music from PORGY and BESS LENA HORNE HARRY BELAFONTE GWEN VERDON rET R GuNN In REDHEAD Co- Starring RICHARD KILEY composed and conduèd'by HENRY MANCINI from the NBC television AN ORIGINAL series PETER GUNN CAST RECORDING

All new, Vol. II. Exciting sequel to Amer- Lena Home and Harry Belafonte bring you The show that was voted "Best Musical of ica's best -selling album, Peter Gunn! the t; eatest "Porgy and Bess" of them all! the Season" and won 5 other "Tony" Awards! ORIENTA RCAVICTOR PCAiiCTOR® RODGERS & HAMMERSTEIN'S themes from THE MARKKO POLO peter Gunn ADVENTUREQSS% soUTH PACIFIC Waterfront Rawhide BlackSaddto

Ihr orchestra under the Nrection of Buddy Morrow

Patrol Richard Nlghway Diamond

Qa Perry MOeloi Mason aNa MS4u66

Sumptuous sounds from far- distant places - The origina movie soundtrack that won the Dynamic themes from 12 top TV shows, like unusual music that tickles the imagination! Academy Award for achievement in sound Rawhide, Perry Mason, Sea Hunt, Naked City.

Ml of these albums are also available on Living Stereo records. When ordering Stereo, say... ®11CAViçTöR

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