11111101F1 08398 Forthcoming FIDELITY Recordings

SEPTEMBER 1973 75¢ Preview of 1" 11111101F1 08398 Forthcoming FIDELITY Recordings

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Studic-type master ")glance facer controls for bass :ontrol, with Frofe!.s.oaal pan pots, and treble. for MC' ,ocalizati3n and balance flexibility. If you want the best 4 -channel sound, the latter, the 304B is "state-of-the-art:' you've got to pay for it, right? That's why its remarkably low drain on the And, conversely, if your budget is limited, pocket, $399.95:' is such a triumph. you've got to accept something less than the very Do you realize that a good tube receiver, best. So goes the conventional wisdom of the for stereo only, cost about as much ten years ago? audio world. How did we do it? With the latest IC In these fast-moving times, however, chips, for one thing. They do save space and conventional wisdom may be out of date by the money. And with the kind of production time it becomes conventional. The new Fisher techniques and plant facilities that simply didn't 304B is a case in point. exist a few years ago. From the ear's point of view (if we may mix But that's our business. Your concern is the our metaphors) there isn't really anything better performance of the 304B. The specifications below than the 304B. A few other 4 -channel receivers arewill give you an idea. They're factual and conservative, more powerful and somewhat more versatile, but easily verifiable by anyone with measuring equipment. they don't produce purer sound; nor does the And audible to anyone with an ear. 304B lack any important features that the others Fisher Radio, Dept. HF-9, 11-40 45th Road, have. In a somewhat less luxurious form than Long Island City, N.Y. 11101. THE POCKET.

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"Manufacturers of the World Famous Stanton Calibration and Professional Broadcast Cartridges." CIRCLE 55 ON READER -SERVICE CARD

2 HIGH FIDELITY MAGAZINE September 1973 VOL. 23 NO. 9

music and musicians Leonard Marcus AN ANSWER TO MY HOST 6 Why I prefer recordings-if that was the question PREVIEW OF THE COMING SEASON'S RECORDINGS 14 Watergate, Royal S. Brown FRENCH MUSIC SINCE DEBUSSY AND RAVEL 50 See page 70. A guide to some of the most creative music of the last 50 years Gene Lees BAD DAYS AT THE BLACK ROCK 70 The Columbia scandal-record industry's Watergate? audio and video TOO HOT TO HANDLE 36 NEWS AND VIEWS 38 In the lab: Supertape? . More forCD -4 EQUIPMENT IN THE NEWS 41 EQUIPMENT REPORTS 43 Teac 450 cassette deck Technics SL -1100A turntable Heath AS -104 speaker kit KLH Fifty-five receiver Leonard Feldman WHAT DO YOU DO WITH ALL THOSE KNOBS?74 How tone controls can enhance sound even or. "flat" equipment

record reviews Responsive knobs. See page 70 Andrew Porter MESSIAEN'S WONDERFUL WORLD OF BIRDS 79 Vox records his inventive Catalogue d'oiseaux Robert P. Morgan BOULEZ AS COMPOSER 81 The French master dons his two chapeaux for Columbia David Hamilton BOULEZ AS CONDUCTOR 83 Dale Harris THE TRAGIC ART OF KATHLEEN FERRIER 84 Five Richmond reissues recall one of the most gifted singers of our time CLASSICAL 86

Debussy/Ravel couplings . . Opera reissues Robert P. Morgan CONTEMPORARY AMERICAN CHAMBER MUSIC 96 Works in a classical mood by Diamond, Thomson, Palmer, and Foss Robert Long FOUR -CHANNEL DISCS AND TAPES 122 Sousa in quad ... Banishing Quadradisc fuss LIGHTER SIDE 124 Bo Diddley ... The Little Prince ... Perry Como PianIstic birds. JAZZ 126 Si. Page 79 Billie Holiday ... The McPartlands ... Jimmy Rushing R. D. Darrell THE TAPE DECK 130 ,t3,1 Path al al . 301- P + PA.'sP T N. B NEC's buoyant Scott Joplin ... Sound of Genius Library :10^ fr peRnlt:V Pot r 'ol',01 Ur el 01 0, 'D.,eo -co .1

' o. any 11111111111t d 0,i r I,i , o etc. Aogionted ts 'sn P " Va0-^' u,..,. LETTERS 8 Christ or iddroo. nofices and undel.red mooItoom 15791 shade be sent to Bye Subscoptoso DepartmentP 0 Sot 14156. C.nonnati Ohio 45214 nerve slate teeth old and nen Rock and violence ... The first taperecording addresus Phan,.Quest nit ,hanga PRODUCT INFORMATION 28 Current and back copies of High Fidelity and High Fidelity and Musical An "at home" shopping service 107 America are available on microfilm from University Microfilms, Ann Arbor, Mich gan 48106. Microfiche copies of these magazines (1973 ADVERTISING INDEX 106 forward) arz available through Bell 8 Howell Micro Photo Civisicn, Old Malstield Road, Wooster, Ohio 44691. stars in stripes

Stars of the hi-fi cassette deck or port- EDEXTRA DYNAMIC the new dynamic world of able recorder, TDK's new family of cas- offers an entirely new dimen- settes offer the best -balanced sion in cassette recording fi- performance characteristics of any cas- delity for the discriminating audiophile. settes on the market. You'll discover Recording characteristics are vastly su- whole new worlds of listeningenjoy- perior to any other cassette on the ment from the true high-fidelity per- market, for unmatched performance on ;L:7 D K formance of TDK's new DYNAMIC and any cassette deck. Incomparably fresh, TDK ELECTRONICS CORP. BRILLIANT cassettes, regardless of the sharp and rich sound. Available in 45, East Gate Blvdat Roosevelt Field, Garden City, N V 11530 make or model of your recorder. 60 and 90 minute lengths. CIRCLE 58 ON READER -SERVICE CARD TDK's dynamicnew world of cassettes offers new worlds of hi-fi performance TDK's new family of cassettes was developed in response to demands by the ever-growing number of home recording fans for true high-fidelity cassettes: Fourteen models in two series offer just the right cassette to meet every home recording need: `The DYNAMIC series includes TDK's top -of -the -line EXTRA DYNAMIC (ED), the famous tape -of -the -pro SUPER DYNAMIC (SD), and the all -new DYNAMIC (D) lines. *The BRILLIANT series includes TDK's KROM (KR) high-performance chromium -dioxide cassette line. All models in both series are capable of capturing the true essence of hi-fi music - the subtleharmonics and overtones, the richness, depth. timbre and warmth that give music its unique "real -life" sound quality.They allreflect TDK's dedication to leadership in the development of new and better tape products. ...plus a whole new way to evaluate tape performance A tape's high-fidelity sound reproduc- sents one of the twelve factors; the Shown below are the Circle of Tape tion capabilities depend not only on its outer circle represents the ideal char- Performance characteristics of TDK's frequency response characteristics, but acteristics of a "perfect" tape. By plot- ED, SD, D and KR cassettes, compared also on a number of other properties. ting the characteristics of various with those of a typical conventional TDK has arranged twelve of the most cassette tapes on the circle, we can cassette (dotted line) and with one of important of these characteristics on compare them directly: the closer they the leading so-called "hi-fi" competi- their exclusive CIRCLE OF TAPE PER- approach the size and shape cf the tive cassettes. Judge for yourself which FORMANCE shown below. Each of the ideal tape, the better their hi-fi sound cassettes provide thebest -balanced twelve "spokes- of the wheel repre- reproduction capabilities. hi-fi performance characteristics.

ED EXTRA DYNAMIC SD SUPER DYNAMIC Ideal Circle

MOL:

@ 333Hz @ 8kHz

SENSITIVITY @ 333Hz

@ 8kHz O@ 12 5kHz 9 0 ERASASILITY (6)

OSIAS NOSE

0 PRINT. D DYNAMIC KROM THROUGH Competitor's Circle KR 0 MODULATION O NOISE 0 OUTPUT UNIFORMITY

0 UNIFORMITY of SENSITIVITY 0 SIAS RANGE 0

SDSUPER DYNAMIC. DDYNAMIC KRKROM the tape that turned the cas- the entirely new hi-fi cassette from ,:assettes. available in 60 and sette into a high-fidelity me- TDK, offering excellent quality at 90 minutelengths,arethe iium. Very high maximum output levels moderate prices with well balanced "more than equal" chromium dioxide MOL) and very broad dynamic range performance characteristics superior to cassettes for those who prefer its bril- issure outstanding reproduction of the most "premium" cassettes. New coat- liant, crisp. sharp sound. For use only :omplex characteristics of "real life" ing formulation assures bright. warm on decks equipped with a bias or tape ,ound. Clear, crisp. delicate sound re- and mellow sound reproduction. Avail- type selector switch. KROM cassettes goduction. Available in 45. 60. 90 and able in 45. 60. 90, 120 and 180 minute offer unequaled response and outstand- 20 minute lengths. lengths, world's only 3 hour cassette. ing linearity at high frequencies. LEONARD MARCUS An Answer Editor

NORMAN EISENBERG to My Host Executive Editor

WAYNE ARMENTROUT Managing Editor

I now have some idea why the United Nations is not more successful than it KENNETH FURIE is. Nobody can understand anybody else during simultaneous translations. Music Editor I recently participated in a "First World Record Congress" in Treviso, Italy and found myself on a panel composed of editors and critics whose ROBERT LONG languages were Italian, German, French, and English. We communicated Audio -Video Editor via headphones and simultaneous translators, professional interpreters who SHIRLEY FLEMING were constantly enlivening the proceedings with such evocative images as Editor. Musical America Section "Beethoven'sMoonshineSonata." EDITH CARTER Our moderator and organizer of the congress, Giuseppe Pugliese, who in Associate Editor Italy has a reputation as an advanced music scholar because there he is one of the few to take recordings seriously, started the discussion by asking us VIOLA MATSON something about what my interpreter passed along as "the actuality of the Assistant Editor historical document of the disc against the actuality of the opera and the WILLIAM TYNAN concert." After we each in our several tongues gave voice to our feeling that Special Projects Editor "the disc" is (or is not) the "historical document" of "the concert" or that "the disc" has, as much "actuality" as "the opera," our moderator immo- ROY LINDSTROM derately complained that we had all sidestepped the issue. He then gave Art Director what seemed to be an eloquent defense of the importance of recordings. ROBERT MADDOCKS Oh, Koldewey, that could not have been Babel you found in Iraq. Associate Art Director After the session, some of us panelists had an informal gabfest over cof- MORGAN AMES fee and determined that the question had probably concerned the musical ROYAL S. BROWN importance of recordings as distinct from live concerts. Therefore, although R. D. DARRELL it is too late to have my thoughts and attitudes enter the congressional tran- PETER G. DAVIS scripts, here they are. HENRY EDWARDS It seems to me that there are two enjoyable aspects of live music that ALFRED FRANKENSTEIN HARRIS GOLDSMITH recordings largely-though not entirely-lack: the social and the sportive. DAVID HAMILTON The first lets us share an almost ritualistic communicative experience with DALE HARRIS others, not only with the performers but with the rest of the audience, so MIKE JAHN that we can even "enjoy" a bad concert or opera (or movie) through the hu- MILES KREUGER PAUL HENRY LANG man bond of joint discontent. The second lets us savor the anticipation of GENE LEES the performer's ability (or inability) to overcome the musical-technical or ROBERT C. MARSH aesthetic-obstacles. In that regard it is like watching a game the outcome of H. C. ROBBINS LANDON which is unknown. Contributing Editors But for purely musical enjoyment, give me the recording every time. Or STANLEY BINDER at least every time the recording is excellent. Such a reproduction is better Circulation Manager able to present all the details the composer indicated than the sound coming to most seats in most halls, and I am thus better able to receive the com- CLAIRE N. EDDINGS Associate Publisher and poser's message-which I generally find more inspiring than the per- Director of Advertising Sales former's. If to understand is to equal, as someone once said, and if the composer is a genius, then for a while I am able to share that genius. And if I WARREN B. SYER miss something, I can always have it repeated-as I can always have it inter- Publisher rupted to refresh my mind by making my body more comfortable. Cover: Clifford Condak Musical theater is a special case, and assuming that the visual component of opera is enjoyable, I withhold my opinion in this field until I can experi- ADVERTISING Main °Mee: Claire N. Eddings. The Publishing House. ence some great audiovisual recordings in the comfort of my home. Great Barrington, Mass. 01230. Telephone: 413-528-1300. Next month we take our annual look at the equipment that will be show- New York: 1515 Broadway (1 Astor Plaza). New York, N. Y. 10036. Telephone: 212-764-7385. Seymour Resnick. ing up the following year in NEW PRODUCTS FOR 1974. Record collec- Eastern Adv. Mgr. tors who want to know of their hobby's equivalents to the stamp collector's New England: The Publishing House, Great Barrington, Mass. 01230. Telephone: 413-528-1300. Russell Gilchrist. rare upside -down -airplane specimen, will find their answers in RECORD- Chicago: Billboard Publications. Inc., 150 North Wacker ING ODDITIES. We also will have an article on a conductor whose unique Dr.,Chicago,III. 60606. Telephone:312-236-9818. Leonard Levine. qualities were too seldom fully appreciated in THE POSTHUMOUS AC- Los Angeles: Billboard Publications, Inc., 9000 Sunset CLAIM OF JASCHA HORENSTEIN. Blvd.. Los Angeles. Calif. 90069. Telephone: 213-273- 7040. Andrew Spanberger. Nashville: Billboard Publications, Inc., 1719 West End Ave.. Nashville. Tenn. 37203. Telephone: 615-329-3925. Robert Kendall. London: 7 Carnaby St., London W.1, England. Telephone: (01) 437-8090 Andre de Vekey. Frankfurt/Main: Eschersheimer Landstrasse 69. Frank- furt/Main, West Germany. Telephone: (0611) 590805-6. Walter B. Rios. Milan: Piazzale Loreto 9, Milan 20131. Italy. Telephone: 28.29.158. Germano Ruscitto. Tokyo: Japan Advertising Communications. Inc.. New Ginza Bldg., 7-3-13 Ginza. Chuo-ku, Tokyo 104. Japan. Telephone (03) 571-8748. Shigeru Kobayashi. president

1114.111.1111

6 HIGH FIDELITY MAGAZINE These four major develtpments make thenewBIC 'Venturi speakers totally unlike all others...and better.

Venturi PrincipleBathSection Extended Musical Dynamic (patents pending) transforms the Range results from the unique magnitude of air mass and energy in a \ combination of high efficiency and way never before applied to acoustics. high power handling capability. (Fig. A) The result is bass response hun-mumnummuni Even the smallest model (Formula 2 dreds percent more efficient at $98.) can be used with amplifiers and substantially purer in rated up to 75 watts RMS per chan- quality than is possible nel. Formula 4 ($136.) will handle from any other speaker of 100 watts; the Formula 6 ($239.) can comparable size. take 125 watts. Yet any of these B-Shows output oflowfrequency driver when driven at a freq. of 22 Hz. models can make a Titan of an Biconex Pyramidal Dispersion Sound pressure reading, 90 dB. Note poor wave form. amplifier rated as low as 15 watts Horn (patents pending) was C -Output ofVenturi coupled duct. (under the same conditions as Fig. B) RMS per channel! developed to match the demanding Sound pressurereading111.5 GB (140 times more output than Fig.B) A 12 -page booklet is needed, at capabilities of the Venturi bass Note: non -distorted appearance. the very least, to properly describe section. It is far more efficient, can what makes these BIC Venturi handle more power and covers a speaker systems so different, and wider, uninterrupted frequency we think you'll agree, better. So this range than cones and domes. And, is what we will send you, upon unlike other horn designs, it can't Biconex horn request. Or better still, visit your add metallic sound coloration and BIC Venturi dealer, and hear for has truly wide angle dispersion yourself. BRITISH INDUSTRIES Co.,Inc. in both the horizontal and vertical Westbury, New York 11590. A div.of Avnet, Inc., In Canada: planes, for unrestricted system C.W. Pointon, Ltd. positioning. DynamicTonal Balance Compensation (patents pending) adjusts speaker performance automatically (when desired) to provide aurally "flat" response at all listening levels in accordance with the Fletcher-Munsen hearing characteristics. This is accomplished in a manner which cannot be achieved by amplifier loudness or contour controls.

CIRCLE 10 ON READER -SERVICE CARD SEPTEMBER 1973 FEIERABENDHAUS much less evident today in popular music. It Ludwigshafen a. Rh. seems that people yearn nowadays for a world letters where their violent and sensual feelings would Donnersiag. den 14 Nosember 1936. abends not have to be confronted, and act as if these Einziges Kouzert forces could be eliminated at will. Mr. Lees seems to share these wishes-witness his admi- Early Magnetic Recording Londoner Philharmonischen Orchesters ration for girls who are "all pretty and frilly and feminine." In "75 Years of Magnetic Recording" [March Wow! As a psychiatrist, if I had a dollar for 1973) Robert Angus has written an exciting ar- Sir Thomas Beecham every woman who grew up with those values ticle, but I fear that for the sake of excitement and who suffers for it now, I would seriously he has necessarily distorted some points. I am Die W eeeee des Arisiophaues, Ooserilire V. %Mama consider retiring and becoming a columnist. particularly concerned with several wherein I u. Siolonie FsDur Nr. 39 W. A. !Nowt Jules R. Altfas. M.D. am personally involved. Alexandria. Va. The article states: "The romance surround- .. ing the discos cry of Magnetophons ... has so For more on this subject, see this month's "Lees captured the public imagination that the real a Nommernachl am Hub Side." facts have become obscured with the years. to Heim ersten Kudrudtsrul Int FrOhliog Fr. Delius The idea that tape was a strictls kept German Elnleilung and le.ilicner Zug son secret until 1945 remains. False though it is in ,.Der guide. Hahn- N. RimskhKornsokow The Futility of Criticism this respect. the story of how tape recording 'arrived' in this countryisnot without its I enjoyed Winthrop Sargeant's "Don't Speak Sinlonie Nr. a G.Dur op. MI A. Dvorak charms, and even its moments of truth." Else- III of the Classics" [July 19731 But Mr. Sar- where in the article. Mr. Angus makes refer- geant and HIGH FIDELITY readers should ence to the article I wrote for Billboard last au- Konietlie111111glinklungsaussehud der IIi. tarhen know that the article that prompted his obser- tumn. but he apparently failed to notice that 1 Ludwigshalen'IMinImmeinschalland der Mannhcmer vations-"The Futility of Music Criticism" by hunaertdoreklionIlan,11,almeisrer,MannheimIt 716 had made it quite clear that there had been Deryck Cooke-appeared originallyinthe earlier forms of magnetic recorders elsewhere That Beecham concert- January 1972 issue of Musical Newsletter. It in the world. The first important tape recording? was subsequently reprinted without acknowl- Mr. Angus also describes the Beecham edgment in Critic's Criteria, where Mr. Sar- recording made on the Magnetophon in 1936 gether what we were told by BASF at the time, it geant encountered it. as "the first modern tape of unquestionable appeared that the original I) was unployable. 2) For anyone interested in the Cooke article. musical importance." I have waited to write was recorded before the Ludwigshako concert. copies of that issue of Musical Newsletter are this letter until I was able to hear a copy of it. and 3) contained only the minuet. More recently still available at $1.00 apiece. provided by BASF. I can now say without a copy that BA SF appears to have made directly Patrick J. Smith hesitation that the quality of this recording is from,, the original, or from a .second-generwton Editor and Publisher exactly the same as those ss e heard during the copy of ». has been playedfOr/1.1. Ii contain. two Musical Newsletter war, made with DC (as opposed to high -fre- additional movements of Mozart, plus other Box 250. Lenox Hill Station quency) bias. The telltale signs are all there: works on the program- about half its content in New York. N.Y. 10021 very high background noise, excessive distor- whence sounds and applause give evi- tion,limited frequency range --inshort,a dence of its having been recorded during, rather Winthrop Sargeant's contribution not only recording inferior to contemporary 78 -rpm than befive, the concert: and the sound is con- makes good sense but is overdue. Too many of shellac records. No one. I dare say, even in siderably clearer than on the copies we had sour reviewers (and those of other publica- 1936. would have consideredit of profes- auditioned befiwe choosing one jOr duplication. tions) begin by "reviewing" the music of a sionally acceptable quality for radio broadcast So while our minuet cassette is audibly thICrior classical composer (whether Haydn. Mozart. or transfer to phonograph disc. "The first to contemporary 78s. we are now convinced Beethoven. Verdi. or Wagner). which I con- modern tape of unquestionable musical im- that the original tape was roughly on a par It ith sider an insult to my intelligence as a reader portance"? Indeed! discs of the period. (and as a reviewer. which I ant as well). More- John T Mullin over many reviewers appb a certain condes- Thousand Oaks. Calif. Rock and Violence cension to artists such as Wilhelm Furtwiing- ler. whom they have never seen or heard in a The article was not meant to imply that Mr. I was rather disturbed by Gene Lees's column live performance. Dated acoustics on a Mullin personally was unaware of the earlier de- "Whither Art in America?" [June 19731. for I recording are of course regrettable. but many velopments in magnetic recording: we had too have long maintained an interest in the in- record buyers, by insisting on stereophonic asked Mr ngus rather to correct the romanti- terrelationship between popular music and sound. miss almost all of the great performers cized version of the story as usually published. behavior (both group and individual).I be- of the past. Mono records without scratches or When the article talks of musical importance lieve he has greatly oversimplified the issues: it worn-out grooves can be highly educational- with respect to the /936 Beecham tape it means is hard for me to buy Mr. Lees's assertions that and enjoyable. just that: The .salient point is that the London rock music has caused an "epidemic of dope." Some sears ago. I recall, a large hook -pub- Philharmonic was, at the time. one of the and has brought on "violence, because the lishing house undertook researchto learn world's greatest orchestras and Beecham among music was filled with a kind of hostile tension whether books that are reviewed outsell books the most famous of conductors. We have been that . . . worked directly on the nervous that aren't. The result of the research, which unable to find any evidence that a recording of system." was limited to nonfiction and excluded school even remotely comparable musical importance Music, even with lyrics, is essentially a non- textbooks, was truly astonishing: Those books was made magnetically at an earlier date. We verbal form of communication, readily ex- that had been reviewed sold only a fraction of agree with Mr. Mullin's point that magnetic pressing unspoken feelings and attitudes. In one percent more than those unreviewed. The recording did not become a truly superior me- this context, the artist and his audience may be question is: Who reads reviews? dium for the recording of music until it achieved considered as one group and the resultant mu- Hans A. !Bing a degree of refinement that came only later. In sic an agreed -upon statement of their feelings. Los Angeles. Calif. using the word "modern" the article referred to Successful music thus "resonates" with some- the tape's physical properties-a magnetic coat- thing in the audience that was already there. Tebaldi in Concert ing on a supporting paper or plastic substrate- Artistic creation is not a unilateral enterprise. rather than to its sonic quality. Eliminating the artist and the music could not The brutal' t\ shown in Dale Harris' review of The sonic quality itself however. appears to erase the motives for their existence. the "Tebaldi in Concert" recital [July 1973) is be better than we had at first believed. The cas- It is currently fashionable to "put down" offensive. His choice of words indicates a lack sette of the Mozart minuet made for us by the rock music of the Sixties. Admittedly a of perspective when he reviews one of the BA SF -and presumably sent to Mr. Mullin. great deal of it was derivative and commercial, most adored artists (for nearly twenty-five fudging hr his description-was processed from but in the best of it there was a feeling of years) as if she were an ignorant novice. What- a copy of partially unknown history. Piecing 10- spontaneity and creation that in my view is ever one may think about Tebaldi's voice. her

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THE PLANETSNo obligation to buy anything! HOLST'S ASTROLOG .51 NPF( I AR "SEEMS TO HERALD A NEW ERA IN RECORDED SOUND" (STEREO REVIEW)Here's a fabulous opportunity! Listen Pee for 10 days to a complete concert of MICHAEL TILSON THOMAS CONDUCTS magnificent music ... played by the incomparable Boston Symphony Orchestra under four celebrated conductors... recorded by Deutsche Grammophon with astonishing stereo realism ...pressedin Europe on superior. silent -surfaced WINTER DREAMS discs. And if you act today. An Evening with the Boston Symphony Orchestra- TCHAIKO \ NINA :sI RS INA MI'llON. ROMAN I I( 100D -PAIN I IN(' three records boxed plus free bonus record plus big brochure filled with pictures AT ITS MOST BEAUTIFUL AND CAPTIVA I ING and articles about the music and artists-can be yours at 50% off our regular RAFAEL KUBELIK CONDU( I'S price to introduce you to the International Festival of Great Orchestras. Return the set after 10 days, or keep it if you wish for only $7.47 plus small postage/handling charge. (You save more than $3(/ off suggested list price of comparable THE MOLDAU records in retail stores!) NMI I:AN A'S POR I R All OF AN ENCHANTING RIVER. PLUS ITS RADIANT COMPANION. Then continue to save! For you also receive a 10 -day free audition privilege. FROM BOHEMIA'S WOODS AND FIELDS with no obligation to buy, on other exciting three -record concert programs (plus CL4 UDIO ABBADO CONDUCTSfree bonus LP). one sent every two months, by the world's great orchestras, like the London Symphony and Berlin Philharmonic. Return any set, or keep it at our low regular price of only $14.95 plus small postage/handling charge-a 5/2.97 DAPHNIS &CHLOE saving off comparable retail value! You may cancel at any time. Open your heart RAVELS SHIMMERING SECOND SUITE FROM THE BALLET. and ears to the ultimate in home listening pleasure! Mail the card right now: PLUS HIS TENDER PAIANE FOR A DEAD PRINCESS SEND NO MONEY! MAIL THIS COUPON IF POSTPAID CARD IS MISSING Extra! Free Bonus Record! s I II \BLRGCONDUCTS STRAUSS' Limited Opportunity! New Members Only! CHF-1 INTERNATIONAL FESTIVAL OF GREAT ORCHESTRAS ALSO SPRACH 333 North Michigan Avenue, Chicago, Illinois 60601 Please send. for my free audition. the three -record boxed concert program with brochure. An Evening with the Boston Srtnpluony OrcheAtra. plus bonus record. I may ZARATHUSTRA return all four records after 10 days and owe nothing. or keep them and pay only $7.47 (half your regular price) plus a small postage/handling charge (sales tax extra Famous dramatic theme musk: where required). I will also receive, at two -month intervals. further concert pro- from "2001: A Space Odyssey" in grams-three records plus bonus LP-by famous orchestras for my free 10 -day a triumphant performance audition. I may return any set. or keep it at your regular low price (only $14.95 complete plus small postage/handling charge).I am not obligated to buy any records whatsoever. and I may cancel this arrangement at any time.

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SEPTEMBER 1973 I 1 Italianate manner in this music has a validity that eludes Mr. Harris. As far as her technique goes. Mme. Tehaldi still delivers much that should he the envy of many younger singers. Mme. Tehaldi does not need to justify her presence to the likes of Dale Harris. The adu- lation she commands is still unequaled by any other artist. James Saidam youFeel New York. N.Y. what hear Weingartner Society I would like to announce the formation of a Felix Weingartner Commemorative Society. devoted to rescuing some part of his recorded legacy from extinction.Interested persons oSupe should contact me. Jack Calderon 234 S. Figueroa St. Los Angeles. Calif. 90012 Sten reophorexnes Finding Finnadar In your April 1973 issue. Alfred Frankenstein reviewed a disc of works by llhan Mimaroglu. on the Finnadar label. I have been unable to Try on a pair of Superex PRO -B VI stereophones and see what track down this label. Can you give me any information? happens to your body. It's a physical sensation you can't get with Richard Risse other stereophones. With the PRO -B VI, each earcup contains its St. Louis. Mo. own woofer and tweeter, plus a full crossovernetwork. This permits a glorious rush of music to enter each of your ears Finnadar Records are distributed hr Atlantic Recording Corp.. 1841 Broadway. New York, and travel right to your toes. The dynamic woofer has double N.Y. 10023. chamber acoustic suspension and damping. So you feel a drum roll down your neck. The coaxially mounted tweeter lets a flute send The Sound of Prokofiev shivers up your spine. And in each ear, you feel the range and purity Philip Hart's interesting review of the Marti - of a 15-22,500 Hz frequency response. 4-16 Ohm impedance. non recording of the Prokofiev symphonies on Feeling comfortable is another part of the PRO -B VI.This comes Vox [May 1973] is somewhat unjust in labeling from replaceable Con -Form ear cushions and a completely the sound quality of these records "a major adjustable headband. Plus 15 generous feet of coil cord, with a clip drawback." While admittedly not in the demonstration class of. say, a London Phase -4 that attaches the cord to you, and eliminates any tug on your head. record. this setis certainly better than Mr. In case you feel like dancing. Hart indicates-better in fact than a good For $60.00, you can feel more than you've ever heard. Superex number of higher -priced records I have pur- guarantees it for two years. Have a good listen. You'll hear why chased recently. The sound may be a bit "hard." but itis also full, detailed. well-bal- Superex is the best sound investment around. anced, and dynamically wide -ranged. I hope that Mr. Hart's unhappiness with the sound won't discourage prospective buyers from these Prokofiev sets, in view of the high PRO -B VI The Professiona quality and the most reasonable price. Dynamic Woofer/Tweeter Superex Stereophones J. M. Johnston Sugg. Retail Price $60.00 Stereophones Silver Spring. Md. Feel what you hear High Fidelity, September 1973, Vol23. No 9Pub- lished monthly by Billboard Publications. Inc. publisher of Stereo. Stereo International Modern Photography American Artist Billboard Vend Amusement Business Merchandising Week. Music LaboPhoto Weekly Gift A Tableware Reporter Record 8. Tape Retailer. RecordMirror.Discogralia inter naziona le.World Radio TV Handbook High FldelityiMusical America. Edition published monthly Member Audit Bureau of Circulations

Editorial correspondence should be addressed to The Editor. High Fidelity. Great Barrington. Mass 01230 Editorial contributions will be welcomed Payment for articles accepted will be arranged prior to publication Unsolicited manuscripts should be accompanied by return postage Subscriptions should be addressed to High Fidelity.

2t60 Patterson St . Cincinnati. Ohio 45214 Subscrip- tion rates High Fidelity Musical America In the U S A and its Possessions. 1 year S14. elsewhereI year 515 National and other editions published monthlyIn the U S A and its PossessionS 1 year $7 95 Subscription rates for all other countries available on request Superex Electronics Corp., 151 Ludlow St., Yonkers, N.Y. 10705 Change of address notices and undelivered copies In Canada, Superior Electronics Inc., Montreal. (Form 35791 should be addressed to High Fidelity Sub- scription Fulfillment Dept P O Box 14156 Cincinnati CIRCLE 59 ON READER -SERVICE CARD Ohio 452t4

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NAKAMICHI RESEARCH (U.S.A.) INC. 220 Westbury Ave., Carle Place, N.Y. 11514 (516) 333-5440 West Coast Office 1101 Colorado Ave., Santa Monica, Calif. 90404 "Dolby" is a Trade Mark of Dolby Laboratories, Inc CA CLASSICALCRISIS? Classical upsurge? Looking through HIGH speaking of FIDELITY'Sannual preview of forthcoming releases, about the most we can say is that the companies selling classical records records feel that people are still buying them. Clearly there is a repertory problem: It's just hard to find works with a ready-made market that haven't already been recorded ad nauseam. (Which doesn't mean that they won't still sell in the hands of a Bernstein or Karajan.) In recent years new areas of the repertory have been profitably explored. But in each case the music haseither shown limited staying power (e.g., Nielsen) or entered the standard repertory and received a O full complement of recordings (e.g., Mahler and Bruckner). The only potential "star" on the horizon is Rachmaninoff, whose centennial is being celebrated by a number of companies-notably RCA, with its mammoth release of all recordings with Rachmaninoff at the piano. What we have then is a typical mix of the familiar and the unfamiliar, from the Renaissance through 1973. That LP phenomenon, the passion for complete cycles, is becoming a mania: It would be impossible even to mention all the integrates beginning, continuing, or concluding this year. On the operatic front, the surprising news is the relative dearth of recordings of standard -repertory pieces. Apart from Philips' complete Ring cycle from Bayreuth (which should be out by the time you read this), the only Wag- ner opera scheduled is the long-awaited Walkure Act Iconducted by Klemperer (An- gel). The only Verdi opera listed (though there are a number of projects in the works) is a O reissue of the '30s HMV Aida under Sabajno-on Supraphon of all labels! Noteworthy novelties include Rossini's William Tell (Angel), Pfitzner's Palestrina (DG). Rimsky- zCd Korsakov's Tsar's Bride (Melodiya /Angel) and Golden Cockerel (Westminster Gold), Cornelius' Barber of Bagdad (Eurodisc), and Tippett's Knot Garden (Philips). Fans can hear their favorites in more standard fare: Price as Tosca (RCA), Sutherland and Ca- balle in Turandot (London), Sills in Norma and Puritani (Audio Treasury). There is even some recording activity on the home front. In addition to the few Ameri- can orchestras that have been recording recently (Philadelphia,New York, Boston, Chi- cago, Los Angeles), we will be hearing from the ClevelandOrchestra (a complete Proko- fiev Romeo and Juliet on London), Utah Symphony (the Tchaikovsky symphonies on Vox; completion of the Abravanel Mahler cycle on Vanguard), and Denver Symphony (Desto). The most dramatic development for the future of classical recording could be the ac- ceptance of four channel. Many industry people see it as salvation: Now they can re- record the standard repertory. This year for the first time we indicate all quadraphonic releases by a Q Nonesuch joins four -channel veterans Columbia, Connoisseur Society. RCA, and Vanguard (the latter's new releases are all four channel)-with others soon to follow. As in past years. a indicates reissues. There are certain to be substantial additions to the reissues listed here; several companies hadn't yet firmed their plans-reissues, after all, don't require the kind of advance planning that new recordings do. As always, there are bound to be surprises. Nominally this preview covers the full year; in practice, though, few companies are able or willing todivulge plans beyond December. Maria Callas: Arias I Lore. Vol. 2. rakh: New Philharmonia Orch.. M. Shosta- ABC Audio Treasury Mendelssohn:Violin Concerto in E minor. kovich. cond. Bruch:Violin Concerto No.I.Perlman: Tchaikovsky: Piano Concertos 13).Gilds: London Symphony Orch.. Previn. cond. New Philharmonia Orch.. Maazel. cond. Bellini: Norma. Sills. Verrett. Di Giuseppe. Popular Music of the Thirties. Menuhin and Villa Lobos: Bachianas Brasileiras Nos. 2. 5. 6. Plishka: New Philharmonia Orch.. Levine. Grapelly. violins. and 9. Mesple: Orch. de Paris. Lombard. cond. Prokofiev: Peter and the Wolf Britten: Young cond. Bellini:IPuritani.Sills. Gedda. Quilico. Person's Guide. London Symphony Orch.. Wagner: Die Walkiire: Act / and Wotan's Plishka: New Philharmonia Orch.. Rudel. Previn. cond. Farewell. Cochran. Dernesch. Sotin. Bailey: cond. Rachmaninoff: Piano Concertos NI: Paganini New Philharmonia Orch.. K lemperer. Rhapsody. Anievas: New Philharmonia cond. Angel Orch.. FrOhbeck. Atzmon. and Ceccato. cond. ARCHIVE Bach: Complete Variations for Harpsichord: Rossini: Guillaume Tell. Caballe. Bacquier. PRODUCTION Goldberg: Italian. Kipnis. Gedda. Mesple: Royal Philharmonic Orch.. Boyce: Symphonies (8).Menuhin Festival Gardelli. cond. Bach: Lute it arks. Yepes. Orch.. Menuhin. cond. Schubert: Symphonies Nos. 5 and 8. New Phil- Bach: Lutheran Masses. Dresden Philhar- Bruckner Symphony No.8. New Philhar- harmonia Orch.. Fischer-Dieskau. cond. monic Orch.. Fliimig. cond. monia Orch.. Klemperer. cond. Shostakovich: Violin Concerto No. 1. D. Oist- Dance Music at' the Earl'. Baroque. Konrad

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The word is getting around. Ragossnig, lute and guitar. and Austria (three discs). Music for a 20th Century Violinist. American Handel: Royal Fireworks Music; Concertos. Mahler: Das Lied von der Erde. Ludwig, works from the '40s.'50s, and '60s. English Chamber Orch., K. Richter, cond. Kollo; Israel Philharmonic Orch., Bern- Zukofsky; Kalish. Handel: Saul. M. Price, Armstrong, Davies, stein, cond. Rorem: Ariel; Gloria. Curtin, Vanni; instru- Bowman, Maclntyre;English Chamber ti Mormon Tabernacle Choir Sings "Stars and mentalists. Orch., Mackerras, cond. Stripes Forever" and Other Favorite Schoenberg: String Trio, Op. 45; Concerto for Monteverdi:Madrigals. Hamburg Monte- Marches. Columbia Symphonic Band. Quartet and Orchestra. Lenox Quartet; verdi Choir, Jiirgens, cond. Harris, cond. London Symphony Orch., Farberman, Ockeghem: Requiem. Josquin: Diploration Mozart: Piano Sonatas, Vol. 4. Gould. cond. sur la mort de Ockeghem. London Pro Can- Mussorgsky: Pictures at an Exhibition. Watts. tione Antigua, Turner, cond. tl Rheinberger: Two Organ Concertos. Biggs; Columbia Symphony Orch., Peress, cond. (includes Biggs bonus disc). ar..0 Schubert: Wanderer Fantasy; Piano Sonata in A minor, D. 784. Watts. Bizet: Symphony in C. Prokofiev: Classical Schumann:Davidsbandlertanze;Fantasie- Symphony. Academy of St. Martin -in -the Bach: St. Matthew Passion. Janovitz, Ludwig, stikke. Murray Perahia. Schreier, Laubenthal, Fischer-Dieskau, Fields, Marriner, cond. Tchaikovsky: Piano Concerto No. I. Watts; English Virginal Music. Colin Tilney, harpsi- Berry; Berlin Philharmonic Orch., Karajan, New York Philharmonic. Bernstein, cond. cond. chord and virginal. ti Tchaikovsky: Violin Concerto. Stern; New Goehr: String Quartet No. 2. Allegri Quartet. Beethoven: String Quartet. Op. 130; Grosse York Philharmonic, Bernstein, cond. Fuge. LaSalle Quartet. Piano Trio. Orion Trio. Jennie Tourel and Leonard Bernstein at Car- Handel: Organ Concertos. Malcolm; Acad- Berg: Lyric Suite; String Quartet, Op. 3. La- negte Hall. Recorded in concert March 2. Salle Quartet. emy of St. Martin -in -the -Fields. Marriner, 1969. cond. Berlioz: Symphonie fantastique. Boston Sym- Wagner: Operatic excerpts. Kollo; Staatska- phony Orch., Ozawa, cond. Music at Magdalen, Vol 3. pelle Berlin, Suitner, cond. (two discs). Schumann: Liederkreis, Op. 24; Liederkreis, Brahms: Piano Concertos (2). Gilds; Berlin Wagner: Orchestral Showpieces De -orches- Philharmonic Orch., Jochum, cond. Op. 39. Tear; Ledger. trated by Glenn Gould. Gould. Stravinsky: Mass. Poulenc: Motets. Christ- Debussy: Four -Hand Piano Works. Alfons GI Wagner: Preludes. New York Philhar- and Aloys Kontarsky. church Cathedral Choir; London Sinfo- monic. Boulez. cond. nietta, Preston, cond. Dvotak: Symphonies (9). Berlin Philharmonic Walton: Sonata for Strings. Prokofiev: Visions Orch., Kubelik, cond. fugitives. Academy of St. Martin -in -the - OnnOieqr Grieg: Peer Gynt Suites; Sigurd Jorsalfar. Ber- Fields, Marriner, cond. OC 1 lin Philharmonic Orch., Karajan, cond. Wolf: Morike Lieder. Luzon: Willison. Handel: Messiah. Donath, Reynolds, Bur- Bach: Partitas Nos. 1 and 2. Joao Carlos Mar- rows, Maclntyre; London Philharmonic tins, piano. Orch., K. Richter, cond. Beethoven: Violin Sonatas Nos. 5 and 9. Wil- Handel:Overtures. London Philharmonic CANDIDE- , komirska; Barbosa. Orch., K. Richter, cond. °x_i ti Brahms: Piano Works. Morton Estrin. Haydn: Symphonies Nos. 88 and 89. Vienna GI Chopin: Scherzos. Barbosa. Philharmonic Orch., 13Ohm, cond. Charpentier: Messe pour les instruments au 0 Franck:Violin Sonata. Szymanowski: Haydn: Symphonies Nos.93-104. London lieu des orgues. La Grande Ecurie et la Three Myths. Wilkomirska; Barbosa. Orch.. Jochum, cond. Chambre du Roy. 0 Mozart: Symphony No. 38. Dvorak: Slavo- Lehar: Die lustige Witwe. Kollo, Harwood, Debussy: Piano Fantasy; Clarinet Rhapsody; nic Dances. London Symphony Orch., Stratas, Hollweg, Kelemen, Grobe, Krenn; Saxophone Rhapsody. Luxemburg Radio Kosler. cond. Berlin Philharmonic Orch., Karajan, cond. Orch.. Froment. cond. Liszt: Hungarian Rhapsodies (complete). Szi- Dvotak: Mazurkas; Humoresques. Firkusny. don. Goetz and Von Bronsart: Piano Concertos. Mendelssohn: Symphonies (5). Berlin Philhar- Ponti; orchestras. monic Orch., Karajan, cond. Kalliwoda: Symphony No. I. Tomasek: Piano Davidovsky: Inflexions; Chacona. Mendelssohn and Tchaikovsky: Violin Con- J. Harrison: Five Songs of Experience; Ber- Concerto No.I. Peter Toperczer; Prague certos.Milstein; Vienna Philharmonic Symphony Orch., Rohan, cond. muda Triangle; Trio. Orch., Abbado, cond. Music in Spain from the Romanesque to the Ives: Celestial Country. London Symphony Mozart: Coronation Mass; Missa brevis; Ave Renaissance. Ars Musicae Ensemble. Orch.. Farberman, cond. verum. Bavarian Radio Symphony Orch:, Prokofiev: Piano Concertos Nos. 2 and 3. Tac- Partch: Bewitched. Perle: Toccata. Wolpe: Form and Form IV. Kubelik, cond. chino; Luxemburg Radio Orch.. Froment. Mozart: Symphonies Nos.25-27.Berlin cond. Wuorinen: Sonata. Wyner: Fantasies. Rob- Philharmonic Orch., Bohm, cond. ert Miller, piano. Mozart: Symphony No. 41. Schubert: Sym- Simons: Pied Piper; Set of Poems: Puddin- phony No. 8. Boston Symphony Orch.. Jo - Columbia tame. chum, cond. Street: Quartet 1972. Concord Quartet. Pfitzner: Palestrina. Gedda, Fischer-Dieskau, 0 Tryhfol: Coincidences- David Tryhfol. piano. Ridderbusch, Donath, Fassbaender; Ba- Bach: French Suites, Vol. I. Gould. varian Radio Symphony Orch.. Kubelik, Beethoven: Piano Sonata No. 7; 32 Variations; cond. Rage over a Lost Penny. Watts. DESTO Schubert:Duets.Fischer-Dieskau,Baker; Beethoven: Piano Sonatas Nos. 11 and 24: Moore. Fantasy in G minor. Serkin. Crumb: Songs. Drones, and Refrains of Death. Schubert: Songs arranged for several voices. Beethoven: Piano Sonata No. 14 (Moonlight). Sessions: Concertino for Chamber Orches- Fischer-Dieskau et al. Schubert: Four Impromptus. Horowitz. tra. Schubert: Symphonies (8).Berlin Philhar- Beethoven: Piano Sonatas Nos. 16-18. Gould. Ginastera: Milena. Chopin: Piano Concerto monic Orch., Bohm, cond. BHAJEBOCHSTIANNAS (Bach,rock. No. I. Curtin. soprano; Barrett, piano; Den- Schumann: Fantasy in C; Piano Sonata, Op. and original Newman pieces). Anthony ver Symphony Orch., Priestman, cond. 11. Pollini. Newman. Imbrie: Serenade for Flute. Viola. and Piano; Schumann: Kinderszenen; Piano Sonata, Op. Gregorian Chant. Amsterdam Schola Canto - Cello Sonata. 22. Kempff. rum, Van Gerven, cond. (three discs). Kupferman: Fantasy Sonata. Mann, violin; Sibelius: Symphonies (7). Berlin Philharmonic Hindemith: Piano Sonatas (3). Gould. Masselos. piano. Bassett: Sounds Remem- Orch., Karajan. cond.; Helsinki Radio GI Hoist: The Planets. New York Philhar- bered. Treger, violin; Sanders, piano. Symphony Orch., Kamu, cond. monic, Bernstein. cond. Mennin: Symphony No. 4. Czerny: Concerto R. Strauss: Don Juan; Till Eulenspiegel. Berlin Art of Igor Kipnis, Vol 2. Harpsichord and for Piano Four Hands. J. and K. Went- Philharmonic Orch.. Karajan, cond. clavichord music of England. Germany, worth; Camerata Orch.. Kaplan, cond. R. Strauss: Death and Transfiguration; Four

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SEPTEMBER 1973 17 Last Songs. Janowitz; Berlin Philharmonic Bart6k: Out of Doors. Schoenberg: Klavier- Are you ready Orch.. Karajan. cond. stiicke, Op. 33. Berg: Piano Sonata. Op. I. Stravinsky: Petrushka. Adam Fellegi. piano. Bartok: Piano Concerto No. 2. Kocsis; Hun- foraREAL garian Radio and Television Orch.. Lehel. cond. Bartok: Piano Rhapsody No. I. Tusa; Hun- Caruso: Complete Recordings. garian Radio and Television Orch.. Ne- Rachmaninoff: Symphonies (3). Leningrad meth, cond. Orchestra Suite No./. Hun- Philharmonic. Sanderling. cond. garian State Orch.. Ferencsik. cond. Bartok: Violin Concerto (performers to be an- nounced). Bartok: The Wooden Prince. Budapest Phil- harmonic Orch.. Korody, cond. Beethoven: Symphony No. 3. Hungarian State LO.A.S. 0: Orch.. Ferencsik. cond. Bruckner: Symphonies No.s.4. 5. and 7. Brahms: Hungarian Dances. GyOr Philhar- CONTROL Various orchestras; Konwitschny. cond. monic Orch.. J. Sandor, cond. Cornelius: Der Barbier von Bagdad. Geszty, Chopin: Piano Works. Csilla Szabo. Unger. Welk!. T. Schmidt; Hollreiser. cond. Haydn: Symphonies Nos. 39 and 47. Hun- CENTER? Lortzing: Der Wildschlttz.Mathis. Rid- garian Chamber Orch.. Tatrai, cond. derbusch: Bavarian Radio Orch. Haydn: Symphonies Nos. 67 and 68. Hun- Mozart: Piano Concertos. K. 466 and 467. garian Chamber Orch., Tatrai, cond. If you're a music lover looking for Vienna Symphony Orch.. Anda. piano and Haydn: Symphonies Nos. 82 and 94. Hun- more enjoyment from your music collec- cond. garian State Orch.. Ferencsik. cond. tion, we have a pleasant surprise for you. Orff: Carmina burana. Popp, Van Kesteren. M. Haydn: Vesperae in Festo SS Innocentum. Up to now you've enjoyed the few Prey;Bavarian Radio Orch., Eichhorn, Soloists; Gyor Philharmonic Orch.. Szab6. control functions on your tape deck, amp cond. cond. or receiver. But think what you could do Puccini: Madama Butterfly. Chiara. King. Hindemith: Viola Concerto; Viola Sonata. Op. with a discrete control center! Not a lo-fi Prey: Bavarian Radio Orch. 1I, No. 5. Barsony: Hungarian State Orch.. economy model, but the famous CROWN Saint -Satins: Samson et Dalila. Ludwig. King: Erdelyi. cond. IC150,withavarietyofversatilecon- Bavarian Radio Orch. Kodaly: Choral Works, Vols. 6 and 7. trols unavailable in any other model under Liszt: Choral Works, Vol. 3. Soloists; Buda- $300, and some models over $500. pest Chorus, Szabo. cond. Thisis the control center praised Liszt: Organ Works (complete). Gabor Le- by that dean of audio, Ed Canby: "This hotka and Endre Kovacs. Liszt and Brahms: Piano Works. Gabriella IC150 . . . is the finest and most versatile control unitI have ever used. For the first Torma. time I can hook a my equipment together Chopin: Piano Sonatas Nos. 1 and 3. Jakob Mendelssohn: Symphony No.3.Budapest Philharmonic Orch.. Korody, cond. at once. I find many semi -pro operations Gimpel. Mozart: Divertimentos. K. 136-138. K. 247. possible with it thatI have never before Chopin: Piano Works. Sergei Tarnowsky. been able to pulloff,including afirst- Godowsky: 12 Impressions for Violin and Pi- Liszt Chamber Orch.. Sandor, cond. class equalizationofold tapes viathe ano. Benno and Sylvia Rabinof. Mozart: Violin Concerto No. 4. Beethoven: smooth and distortionless tone controls. Goetz: Complete Chamber Works. Various Romances (2). Kovacs; Hungarian Radio I have rescued some of my earliest broad performers (two discs). and Television Orch.. Lehel, cond. cast tapes by this means, recopying them Goetz: Complete Songs. Nina Hinson; Kate Verdi: Don Carlo (excerpts). Soloists; Hun- to sound better than they ever did before." Whitney. garian State Opera Orch.. Korody. cond. The IC150 will do the same for y_Qt.l. Heller: Piano Works. Gerhard Puchelt. Verdi: La Forza del destino(excerpts). You could record from anyof seven Khachaturian: Piano Works. David Dubal. Soloists; Hungarian State Opera Orch.. Ko- sources: tuners, turntables, guitars, tape MacDowell: 12 Virtuoso Studies for the Piano. rody. cond.

could players,microphones,etc. You Adrian Ruiz. also tape with one recorder while listen- Raff and Liszt: Piano Sonatas. Ruiz. ing to a second one. Even run two copies Raff and Kiel: Violin Sonatas. Benno and Syl- Aiaree of the same source at once while mon- via Rabinof. Baroque Harpsichord. Wm. Neil Roberts. itoring each individually. How about using Reubke and Draeseke: Piano Sonatas. Ruiz. Baroque Lute Recital. Vol. 2. Toyohiko Satoh. the IC150's exclusive panorama control Reger: Variations and Fugue on a Theme of Baroque Recorder. Vol. 3. Linde. to improve the stereo separation of poorly Bach. Gimpel. Chopin and Liszt: Piano Works. Laura Nast produced program material or to correct Rosenhain. Berwald. and David; Cello Nicolaisen. that ping-pong effect with headphone lis- Works. Terry King: Doris Stevenson. Gershwin Plays Rhapsody in Blue. tening? It's all up to your creativity. Schulhoff: Piano Works. Ruiz. Massenet: Orchestral Works. City of Birming- tocopy You'llfeelperfectlyfree Servais and Leonard: Grand Concert Duo on ham Symphony Orch., Fremaux. cond. it and recopy through your IC150, since Two English National Airs. Vieuxtemps and Rachmaninoff Plays (III). creates practically no deterioration what- Servais: Grand Duo on Themes from Les Saint -Satins: Symphony No. 3 (Organ). Robin- phonoandhigh-level soever.Cleaner violin:Silberstein. son; City of Birmingham Symphony Orch.. circuits cannot be found anywhere. Har- Huguenots.Rosand. cello. Fremaux. cond. monic distortionispractically unmeas- Szymanowski: Etudes.Op.33:Mazurkas. Sullivan: Orchestral Works. City of Birming- urable and IM is less than 0.01% (typically Gimpel. ham Symphony Orch.. Sir Vivian Dunn. 0.002%). cond. Ofcourse,construction istradi- 10 -String Guitar Interprets French Classics. tional Crown quality, backed with a three- M acaluso. year warranty. The priceis$299. The enjoyment is unlimited. The opportunity isyours.Visit yourlocal Crown dealer to discoverif mu are ready for a =I tOYPOli control center, the IC150. Bach: St. John Passion. Soloists; Liszt Cham- RECORDS ber Orch., Lehel, cond. Bartok: Choral Works. Hungarian Army Male Albeniz: Iberia. De Larrocha. Chorus. Vasarhelyi. cond.: Bratislava Phil- Beethoven: Piano Sonatas Nos. 7 and 23 (Ap- 0 BOXcrown 1000. ELKHART, INDIANA 46514 harmonic Choir. Szab6. cond. passionata). Ashkenazy. CIRCLE 13 ON READER -SERVICE CARD HIGH FIDELITY MAGAZINE I 8 Straight talk about a rtylur

Listen carefully and you can still hear some audiophiles refer to the record stylus as ... "the needle." Although we arelot about to quibble over semantics, we would like to go on record, so to speak, as observing that the stylus of today bears no more resemblance to a needle than it does to a ten -penny nail. In fact, it is probably the most skillfully assembled, critically important component in any high fidelity system. It must maintain flawless contact with the undulating walls of the record groove - at the whisper - weight tracking forces required to preserve 'he fidelity of your records through repeated playings. We put everything we know into our Shure Stereo Dynetie Stylus Assemblies- and we tell all about it in an informa- tive booklet. "Visit To The Small World Of A Stylus." For your copy, write: Shure Brothers Inc. 222 Hartrey Ave., Evanston, Illinois 60204 In Canada A. C. Simmonds & Sons Ltd

CIRCLE 53 ON READER -SERVICE CARD SERI -EMBER 1973 19 Berlioz:Symphonie fantastique.Chicago Sym- brieli Quartet. phony Orch., Solti. cond. Mahler:Symphony No. 4.M. Price; London Ives: Symphony No. I.Elgar:Enigma Vari- Philharmonic Orch.. Horenstein. cond. ations.Los Angeles Philharmonic, Mehta. Prokofiev:Violin Concertos.Milanova; Bul- cond. garian Radio and Television Symphony Khachaturian:Piano Concerto.Franck:Sym- Orch.. Stefanov, cond. phonic Variations.De Larrocha; London Philharmonic Orch.. Frilhbeck de Burgos. cond. Mascagni:Cavalleria rusticana.Bjoerling. Tebaldi, Bastianini; Maggio Musicale Fio- ELAC/MIRACORD rentino, Erede, cond. 50H MARK II Messiaen:La Transfiguration de Notre Sei- Baroque Masterpieces for Trumpet and Organ. gneur Jesus Christ.National Symphony Vol. 2.Tarr; Kent. Orch., Dorati, cond. Davies:Eight Songs for a Mad King.Fires of The Elac/Miracord 50H Mark II Sherrill Milnes Operatic Recital. London, Davies. cond. with hysteresis synchronous Prokofiev:Romeo and Juliet(complete). Davies:Vesalii icones.Fires of London. motor. is certain to change Cleveland Orch.. Maazel. cond. Davies, cond. Puccini:Turandot.Sutherland. Pavarotti, Ca - your way of thinking about auto- Explorer Series material from Tibet. Burundi, bane. Ghiaurov, Krause, Pears; London Himalayas. Kashmir. Ireland. matic changers. Featherweight Philharmonic Orch.. Mehta. cond. Q Ives:Violin Sonatas: Largo.Zukofsky: pushbutton controls start Rachmaninoff:Corelli Variations: Etudes Ta- Kalish. stop, even replay a record bleaux.Ashkenazy. JanRek:Choral Works.Moravian Teachers' Schubert:Piano Sonata in G. D. 894.Ashke- without dropping the next. A Choir, Tucapsky, cond. nazy. Music for ThomasaBecket.Accademia Mon- gentle flick of the cueing lever Solti Showcase.Works by R. Strauss, Wagner, teverdi, Stevens, cond. floats the viscous damped arm up Rossini, Beethoven. Chicago Symphony New Music for Flute.Works by Korte. Kup- from the record and floats it Orch., Solti. cond. ferman, Davidovsky. Baron. down again in the same groove Tebaldi/Corelli Opera Duets. The New Percussion.Works by Varese. Wagner:Die Walkiire.Vickers. Nilsson. Cowell, Colgrass. others. New Jersey Per- or anywhere on the record. Also. London; London Symphony Orch.. Leins- cussion Ensemble, Des Roches. cond. effective anti -skate, precise dorf, cond. Raff:Symphony No.5. London Philharmonic tracking below gram. Walton and Stravinsky:Violin Concertos. Orch.. Herrmann. cond. variable speed control, built-in Kyung-Wha Chung: London Symphony 0Spectrum: New American Music.Vols. 4 Orch., Previn, cond. illuminated strobe. and a simple and 5.Bryn-Julson, DeGaetani; Contem- porary Chamber Ensemble. Weisberg, LONDON exclusive leadscrew with cond. built-in guidepost gauge for phase stereo 0 Vecchi: L'A mfiparnaso.TheWestern proper and critical stylus Wind. overhang adjustment! And lot! Art of the Flamenco Guitar.Paco Pefia. more' The Elac/Miracord 50H BachTranscriptions.CzechPhilharmonic Mark II! There is a difference in Orch.. Stokowski. cond. record players. See it. Hear it. Chopin:Piano Works.Ivan Davis. Great Overtures.Beethoven. Berlioz. Brahms. Today. Wagner. Netherlands Radio Philharmonic OINSSey Orch., Carlos Paita, cond. [LAC DIVISION BENJAMIN ELECTRONIC Herrmann (arr.):Four Faces of Jazz.Music by Steber; Colum- SOUND CO FARMINGDAI E N Y 11735 Berlioz:Nuits d'ete: Songs. Stravinsky. Milhaud. Gershwin, Weill. bia Symphony Orch..Mitropoulos and London Festival Recording Ensemble. Morel, cond. Herrmann. cond. Brahms:Symphony No. 4.Columbia Sym- Magnificent Sound of Baroque Brass.London phony Orch., Walter. cond. Festival Brass Ensemble, Howarth cond. Cherubini:Medea (excerpts).Farrell. Turp. Stokowski's Greatest Moments. Vols. I and 1. Flagello: Columbia Symphony Orch.. Includespreviously released and unre- Gamson. cond. leased material. Various orchestras. Chopin:Piano Concerto No.I.Gilds; MEJ10.111451 Philadelphia Orch.. Ormandy. cond. Donizetti:Lucia di Lammermoor.Pons, Tucker,Guarrera:Metropolitan Opera ..4., LEHI Orch.. Cleva. cond. ---iii MELODIYAANGEL Rampal: Veyron- -,...,. Handel:Flute Sonatas. 1111441144,4,-- Lacroix. ---,,, Rachmaninoff:Preludes.Richter. Puccini:La Boheme.Sayao. Tucker; Metro- Rachmaninoff:Vespers.Soloists;U.S.S.R. politan Opera Orch.. Antonicelli. cond. Russian Chorus, Sveshnikov, cond. Romberg:The Student Prince.Kirsten. Rimsky-Korsakov:TheTsar'sBride. Rounseville. Vishnevskaya, Arkhipova, Atlantov; Bol- Saint-Saens:Carnival of the Animals.Cow- shoi Theater Orch., Mansurov. cond. ard; Kostelanetz. cond. Walton:Façade. Shostakovich:Symphonies Nos. I and 2.Mos- Sitwell; Prausnitz. cond. cow Philharmonic Orch.. Kondrashin. Wagner:Tristan and lsolde: Love Music. cond. Falla:El Amor bru/o.Verrett; Philadelphia Shostakovich:Symphony No. 8.Moscow Phil- Orch., Stokowski. cond. RAF. harmonic Orch., Kondrashin, cond. DIVISION OF I EDITIONS DE ;BENJAMIN L'OISEAU.LYRE We put more engineering in... MI 1il l I i Or so you -get more music out. Brahms:Clarinet Quintet.Keith Puddy: Ga- Couperin:Organ Works.Cochereau. CIRCLE 19 ON READER -SERVICE CARD HIGH FIDELITY MAGAZINE AKAI's best...in black &white (you shouldseeand hear them in color!) You're in or a surprise if you thought featuresforunparalleledperformance. that AKAI only makes tape recorders. Sensitive and powerful, the AS -980 provides a continuous output of 120W (30 x4). Fact is, AKAI makes a full line of Plus 4 separate 4 -channel modes... Dis- audio and cape equipment. And we want crete, SO, RM, and CD -4 with individual to acquaint you w,th the ultimate model separation controls. AKAI's ultimate rein each product categcry. ceiver. Introducing from left to right... . D. AKAes CR-80D-SS discrete 4 - A. AKAI's GXC-46D stereo cassette channel cartridge tape deck. A fantastic deck. Neat distortion -free recordings are host of features include Automatic Stop possible thanks tc the combination of a ... Continuous Play ... Fast -Forward ... Dolby® Noise Reduction System with and Public Address System Convertibility. AKAI's unique ADRS (Automatic Distor- All surrounded by: tion Reduction System) and AKAI's exclusive GX head... virtually wear -free and E. AKAI's SW -175 (5 -way) speaker dust -free. systems. Each cabinet encloses 6 separate speakers. They'll take up to 80W of B. AKAI's GX-280D-SS discrete 4 - input power and prov"de excellent fre- channel tape deck. Magnificent musical quency response from 20 to 23,000 Hz. clarity and unique sound quality are the results of AKAI innovations. 4 separate Introduce yourself to the rest of our heads-including 2 AKAI exclusive GX family.In person at your nearest AKAI heads-and 3 outstanding motors make Dealer. You'll find that AKAI products this unit the professional 4 -channel deck. speak for themselves.

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SII'Il'\1R1K 1973 21 Dowland: Lachrimae. Philomusica of Lon- Brahms: Piano Sonata No. 2. Arrau. Take don. Dart. harpischord and cond. Brahms: Symphonies Nos. 1 and 2. Concertge- English Baroque Trumpet Music. Andre: bouw Orch.. Haitink. cond. Oiseau-Lyre Ensemble. Colombo. cond. Handel: Cantata Lucretia; Arias. Baker: Eng- Hummel and Crusell: Clarinet Quartets. The lish Chamber Orch.. Leppard. cond. ourshort Music Party. Handel: Concerti Grossi,Op.3.English Jacobean Consort Music. Jacobean En- Chamber Orch.. Leppard. cond. semble. Haydn: Organ Concertos. Chorzempa. Torelli: Concerti Grossi. Op. 8 ( 12). Oiseau- The Spectacular Heinz Holliger. Oboe works coursein Lyre Ensemble. Kaufman. cond. by Berio. Castiglioni. Krenek. Holliger. others. Kelemen: Orchestral Works. Various orches- ORION tras. Liszt: Piano Concertos Nos. 1 and 2: Town - Hi-Fi Baroque Variations Jar Organ and Harpsi- tan:. Brendel: London Philharmonic Orch., chord. John Hamilton. Haitink. cond. Bartok: Piano Sonata. Bloch: Visions and Pro- Mendelssohn: Violin Concertos: in E minor; in phecies. Franck: Prelude. Aria. et Final. Ga- D minor. Grumiaux: New Philharmonia briel Chodos. Orch.. Krenz. cond. Frescobaldi: Keyboard Works. Frederick Monteverdi: Madrigals, Books 111 and IV. Hammond. harpsichord and organ. Leppard. cond. Haydn: Divertimento in E flat. 11.11:13. San Mozart: Divertimentos. K. 136-138; Serenata Luis Obispo Mozart Festival Wind En- notturna. I Musici. semble, Swanson. cond. Zador: Wind Quin- Mozart: Divertimentos. K. 247 and 251.1 Mu- tet. Los Angeles Wind Quintet. sici. D'Indy: Symphony on a French Mountain Air. Mozart: Don Giovanni. Wixell, Ganzarolli, Poulenc: Aubade. Joela Jones. piano: Lon- Arroyo, Te Kanawa. Freni. Burrows: Royal don Symphony Orch.. Freeman, cond. Opera House Orch.. Davis. cond. Levitch: Quintet for Flute and Strings; Piano Mozart: Symphonies Nos. 38 and 41. BBC Sonata; Little Suite. Symphony Orch.. Davis. cond. Mozart: Piano Variations. K. 179. 265. 460. Mozart: Violin Concerto No. 5; Eine kleine 500. Bernardo Segall. Nachtmusik. 1 Musici. Reger: Waltzes (6). Op. 22; Pieces pittoresques Prokofiev and Khachaturian: Cello Concertos. (5). Op. 35; Stiicke (6). Op. 94. Sharon Gun- Walevska: Monte Carlo Opera Orch.. In- derson and Jo Ann Smith. piano. bal. cond. Rozsa: Duo. Op. 7: Variations on a Hungarian Schubert: Piano Sonata in A minor. D. 784: Folk Song; North Hungarian Peasant Songs Moments musicaux. Brendel. and Dances. Granat. violin; Pennario and Schubert: Piano Sonatas: in C, D. 840: in G. Herbst. piano. D. 894. Brendel. Rubinstein:PianoConcertoNo. 3. Schubert: Piano Sonata in C minor. D. 958: There's more to E -V catalogs Kabalevsky: Piano Concerto No. 3. Preston; Impromptus. Op. 90. Brendel. than simple product listings. For Westphalian Symphony Orch.. Freeman, Robert and Clara Schumann: Piano Trios cond. (complete). Beaux Arts Trio. instance, we tellyou how to Saint -Satins and Faure: Cello Sonatas. Kess- Shostakovich: The Execution of Stepan Razin. choose the right unmounted ler; Carmen. Leipzig Radio Orch.. Kegel, cond. Khacha- Schubert: Arpeggione Sonata.Berg:Four speakers for custom installations. turian: Spartacus Suite. Monte Carlo Opera Pieces. Douglas: Improvisations 111; Vajra. Orch., Van Remoortel. cond. And which patio speaker is best Bennett: Song. Richard Stoltzman, clarinet: R. Strauss: Wind Music. Netherlands Wind suited to your needs. P. Serkin and Bill Douglas, piano. Ensemble, De Waart. cond. Slonimsky: Chamber Works. Tippett: The Knot Garden. Soloists: Royal Travis: Chamber Works. Opera House Orch.. Davis, cond. We offer you a complete de- Travis: Passion of Oedipus (two scenes). scription of our EVX-44 Universal Soloists; Royal Philharmonic Orch.. Pop- per. cond. Four -Channel Decoder. And we Virtuoso Cello. Works by Chopin, Davidoff, RED SEAL show you how to use, and select, Faure, Saint -Satins. Weber. Mendelssohn. STEREO Popper. Joel Krosnick. the right condenser microphones Carmen Jones. Film soundtrack with the Wind Quintets by Francaix, Villa Lobos, and voice of Marilyn Home. for better tape recording. Downey. Woodwind Arts Quintet. Caruso (four discs). Ysaye:Violin Sonatas Nos. 3 and 5. Also Caruso's Greatest Hits. Vols. 1 and 2. Catalogs that teach. Our way works by Campo and De la Vega. Granat: Classic Film Scores of Bette Davis. National to help you to better sound. And Herbst. Zador: Studies for Orchestra. Westphalian Philharmonic Orch.. Gerhardt. cond. they're allfree for the asking. Symphony Orch.. Freeman. cond. Placido Domingo: La Voce d'Oro. Domingo and Manes: Favorite Arias. Milnes Send today. and Domingo. cond. PHILIPS Elizabeth and Essex: Classic Film Scores of Korn gold,Vol.2. National Philharmonic Orch., Gerhardt. cond. Messiaen: Vision de !'amen. Peter Serkin and Yuji Takahashi. gleeracc. Puccini: Tosca. Price. Domingo, Milnes: New Bach: Christmas Oratorio. Ameling et al.; Ba- Philharmonia Orch.. Mehta, cond. ELECTRO-VOICE, INC., Dept. 933H varian Radio Orch.. Jochum. cond. Rachmaninors Complete Recordings, Vols. 619 Cecil Street, Buchanan, Mich. 49107 Beethoven: String Quartets. Op. 18. Nos. 1 and 1-5 (three discs each). Includes some unre- 3. Quartetto Italiano. leased material. Berlioz: La Damnation de Faust. Veasey. (31 Rachmaninoff:TheBells;ThreeFolk aGulton Gedda. Bastin; London Symphony Orch.. Songs.Philadelphia Orch.. Ormandy, COMPANY Davis. cond. cond. CIRCLE 20 ON READER -SERVICE CARD HIGH FIDELITY MAGAZINE TX -666 `An auspicious entry from 11 (Quote from Hirsch -Houk Laboratories OnIW0 Test Report; March, 1973)

Furthermore, High Fidelity Magazine's conservative amplifier ratings... unusually experts (May, 1973 issue) joined Hirsch - accurate dial calibration. Houk (Stereo Review; March, 1973) in But, yours is the final expert opinion- praising this outstanding AM -FM stereo the judgement we value most. Please do receiver. Both subjected the TX -666 to this. See your dealer. Listen to the rigorous procedures. Both were impressed TX -666 and other outstanding products by the high quality construction, solidly in the Onkyo fine quality audio compo- built des.gn and the outstanding per- nent group-tuners, amplifiers, receivers formance characteristics; extraordinary and speaker systems. Send for these and phono overload capability... excellent other reports from major critics. You'll harmonic distortion ratings... flawless agree that Onkyo is "unquestionably, the FM muting... fine sensitivity ... quite world's finest sound."

Onkyo Sales Section 'Mitsubishi International Corp. ON ICYCO® 25-19 43rd Avenue, Long Island City. N.Y. 11101(212/ 729-2323 Artistry in Sound CIRCLE 42 ON READER -SERVICE CARD SEPTEMBER 1973 /3 Introducing Rachmaninoff:Piano Sonata No. 2: Preludes: Etudes Tableaux.Cliburn. The Great Rachmaninoff Transcriptions.Jorge Bolet. o Tchaikovsky:Nutcracker Suites: Sleeping 8 Beauty (excerpts): Swan Lake (excerpts). Philadelphia Orch.. Ormandy. cond. (one The first accurate speaker for rock music. disc each). Wagner:Operatic Scenes.Flagstad. Mel- Rock music freaks have always dug chior. Traubel (three discs). the powerful, deep bass that they could push out of AR speakers; and now, with the AR -8, we've combined that gutsy low - frequency response with a CSERAPH I new tweeter and crossover network to put out a really Britten:Choral Works.King's College Choir. hard and sizzling high end. Willcocks. cond. The AR -8 has the quick The Art of Chaliapin.Arias and songs. 1926- transient response that 33. makes rock sound right, Donizetti:Don Pasquale.Schipa. Badini. broad dispersion, and high - Saraceni: La Scala. Sabajno. cond. temperature voice coils to handle the power it takes to Puccini:La Fanciulla del West.Nilsson. Gi- really fill up a room. Sug- bin: La Scala. Mataeie. cond. gested retail price is $119. Schubert:Songs.Baker: Moore. Although the AR -8 sounds great on rock, it is still very much AR. Accurate clear STEREOTreaSurYSERIES sound, with wide frequency

response, minimal distortion, Il:ndn:Symphonies. Vols.7 andIS'. Philhar- and all the engineering excel- mania Hungarica. Dorati. cond. lence and care in manufacturing that has made AR the largest -selling and most respected name in high fidelity speaker systems. Suepraphori, ACOUSTIC RESEARCH. INC 10 AMERICAN DRIVE. Write for detailed literature. NORWOOD, MASS 02062

CIRCLE 1 ON READER -SERVICE CARD Bach:Orchestra Suites(4). Ars Red I\ i a. Bach:Violin Sonatas and Partitas. Nootny. Gaetano Bardini: Operatic Recital. Beethoven:Piano Concertos Nos. 2 and 4: other works.Panenka: Prague Symphony `A silent giant that's built Orch.. Smetatek. cond. BrucknerSymphony No. 5.Czech Philhar- monic Orch.. Mataeie. cond. to last -probably forever.: Dvotak:Slavonic Dances: Legends.V. and VI. Lejsek. piano (two discs). memo &mit" Imes Dvotak:Symphony No.8.Czech Philhar- The feel of,ecistpn machinery "Thety nsion is almost monic Orch.. Neumann. cond. ..rumble was Irdifile " o jarrin ." Dvotak:Violin -Piano Works.Suk: Holeeek. 04ier#41, 4:01101 Immortal Art of Frit: Kreisler. Mozart:Concert Arias for Soprano.Jonagova: osolutely n 11/4k) ac c feedbac Prague Chamber Soloists. Lukag. cond. er 331/3, 45 o. loudspe Mozart:Piano Concertos, K.467and 49/. Inieb Nosek Prague Chamber Orch.. Badura-Skoda. piano and cond. Mysliveeek:A bramo ed Isacco.Soloists: Prague Chamber Orch.. Maag. cond. Schumann:Fantasiestiicke.Franck:Trio con- certant.Foerster Trio. Stravinsky:Pulcinella: Orpheus.Czech Phil- harmonic Orch.. Danon. cond. Verdi:Aida.Giannini. Minghini-Cataneo. Model 598 II Pertile: La Scala. Sabajno. cond.

4UNE KEN

Bach:Cantatas.Vol.7 (Nos.24-27). Con- Write for yDur free "Empire aide to centus Musicus. Harnoncourt. cond. Sound Deign." Bach:Christmas Oratorio.Esswood. Equiluz: Concentus Musicus. Harnoncourt. cond. ENPIFEscientf Garden City, New York 11530 Beethoven:Middle Quartets.Vegh Quartet. Bruckner:Mass No. 2. in E minor.Schubert: CIRCLE 22 ON READER -SERVICE CARD 24 HIGH FIDELITY MAGAZINE Whateveryourworld of sound, find it inour world of tapes.

You're particular about sound. Consider "206" and "207" High You want the very best reproduction Output/Low Noise, our best open reel you can get. tapes. They provide an improvement And different types of recording of 6 db in signal-to-noise over standard call for different types of tape. oxide tapes. For cassette recording, There's music you record for consider High Energy. It's our finest background listening and there's music cassette and is designed to capture you record and listen to very closely the full spectrum of your favorite music. and very critically. Recording voices "Scotch" Brand, the overwhelming calls for a different kind of tape and choice of professional mastering studios. recording sounds may call for yet Whatever you're recording, there's another. Whatever you're recording, only one name you need to remember: "Scotch" makes a tape for it that's "Scotch" Brand. Available in open reel, unsurpassed. cassette and 8 -track. You're particular about sound. But no more than we. Buy two cassettes, get one free. Applies to LOW NOISE/HIGH DENSITY 3COMPANY and HIGH ENERGY cassettes (C -60's and C -90's) at participating -Scotch" Brand dealers as long as supply lasts. 'Scotch" Brand Tapes. Better tapes you just can't buy. .SCOTCM AND ''MPONLANDER API RE AISTOKO TRADEMARKS Of SM CO. German Mass.Soloists; Hamburg State Philharmonic Orch. Buxtehude and His Pupils: Organ Works. The Kleen Machine. Hans -Helmut Tillmanns. Debussy and Ravel: String Quartets. Danish Quartet. Debussy: Songs. Kruysen; Lee. Dutch Organs. Leonhardt. Frescobaldi: Cembalo Music. Verlet. Gesualdo: 5 -Voice Madrigals (complete). Ital- ian Vocal Quintet, Ephrikian, cond. (seven discs). Hindemith: Violin and Cello Concertos. Con- certo Amsterdam. Italian Recorder Music, Vol. 2. Briiggen. Josquin:Choral Works. Prague Madrigal Records and dust. Singers. If you enjoy one, must you suffer the Liszt: Missa Choralis. Bruckner: Motets. St. other? John's College Choir. Guest, cond. Not with the new Bib Groov-Kleen. Marcello: 5 Violin Concertos. Milan Soloists. Groov-Kleen is the most effective Peri:Euridice.MilanSoloists.Ephrikian, method yet devised for removing the cond. dust and dirt that accumulate on rec- Schumann: Piano Works. Engel (four discs). ord surfaces. Villa Lobos: Piano Works. Freire. Simple to use and install, Groov- Vivaldi: 4 Concertos for Two Orchestras. Mi- Kleen reduces record and stylus wear lan Soloists; Brussels Soloists. and improves reproduction without the use of any groove fouling liquids. Handsomely crafted in chrome and aluminum with black accents, Groov- rkyx Kleen has a built-in arm rest and an adjustable counterweight to reduce drag Albeniz and Turina: Guitar Works. Konrad and minimize speed variations. Ragossnig. The Kleen Machine is only one of Beethoven: Symphonies (9). NHK Symphony many quality phono and tape acces- Orch.. Hiroyuki lwaki. cond. sories from Bib. Britten: Ceremony of Carols. Smith: Bible Songs for Young Voices. Gregg Smith Sing- See them at your dealer now. ers. CIRCLE 50 ON READER -SERVICE CARD Crumb: Madrigals, Books I -1V. Dvotak: Piano Conc'erto. Ponti; Prague Sym- phony Orch., Rohan. cond. Dvotak: Symphony No. 8. Concertgebouw Orch.. Szell, cond. Liszt: Piano Sonata in B minor. Simon Ba- McIntoshCATALOG rere (with other Barere recordings). Mayr: Piano Concerto No. I. Ries: Piano Con- nd FM DIRECTORY certo. Littauer; Hamburg Symphony Orch.. Get all the newest and latest information on the new McIntosh Sol- Springer, cond. id State equipment in the McIntosh catalog. In addition you will Milhaud: Piano Concerto No. 2; Suite cisal- receive an FM station directory that covers all of North America. pine; Piano Works. Johannesen. Rochberg: PianoTrio.'mimic:Dandelion Wine. Waxman: Trio. Rochberg: String Quartet No. 2. Suderberg: Chamber Music II. Concord and Phila- delphia Quartets. Schumann: Overture, Scherzo, and Finale. Op. 52; Introduction and Allegro appassionata. Op. 92; Introduction and Allegro. Op. 134. Ponti; orchestras. Elisabeth SOderstrom: Songs by Scandinavian Composers. Trumpet Works. Maurice Andre. M X 113 Villa Lobos Conducts Bachianas Brasileiras FM/FM STEREO - AM TUNER AND PREAMPLIFIER No. 7 and Choros No. 6. Weber: Piano Concero No. 2. Hamburg Sym- McIntosh Laboratory, Inc. phony Orch.. Neidlinger. cond. East Side Station P.O. Box 96 Binghamton, N.Y. 13904 VANGUARD SEND G Bach: Cantatas Nos. 11 and 80. Palmer. NAME Forrester. Tear. Rippon; English Chamber Orch.. Somary. cond. TODAY! ADDRESS Bach: Mass in B minor. Same as above. CITY STATE ZIP Q Bach:Violin Sonatas and Partitas. J Zukofsky. If you are in a hurry for your catalog please send the coupon to McIntosh. G Baroque Music /or Trumpet and Organ. For non rush service send the Reader Service Card to the magazine. Berinbaum. Somary. 0 Beethoven: Piano Sonatas Nos. 6.7. 19, 20. CIRCLE 37 ON READER -SERVICE CARD 21 (Waldstein). Hungerford.

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111 Please enter a one year subscription to HIGH FIDELITY/MUSICAL AMERICA in my name. I'll receive 12 issues of HIGH FIDELITY, plus about 32 pages per issue of news and reviews of important musical happenings throughout the world-concert, opera, etc.-for only $14. Please enter my subscription to HIGH FIDELITY only.I want to take advantage of your special offer of 15 issues for only $9.47. New Subscription EJ Payment enclosed Renewal Bill me For the full story of music and music makers today, be sure to include MUSICAL AMERICA as Name part of your HIGH FIDELITY subscription. Address In 32 sparkling pages, MUSICAL City State Zip Code AMERICA covers the live musical scene completely. You'll get news, reviews and reports of im- For postage outside U.S.A., Possessions: Add $1.00 for portant musical events all over HIGH FIDELITY/MUSICAL AMERICA subscription (12 months); the world-written by critics who add $2.00 for HIGH FIDELITY subscription (15 months). 2 know the score and how to write about it with wit as well as au- thority. You'll meet today's outstanding conductors, composers and performers... learn how they

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Flip a switch and the Wollensak 8060 Wollensak in 8 -track decks. about sound -on -tape or has more preamp 8 -track deck records your What other outstanding features experience intape recording than 2 -channel stereo cartridges from any doesitoffer? When recording or 3M Company. Find out why at your sound source. Then plays them back playing, a Precision Digital Elapsed - nearest Wollensak dealer. through your own system. Time Counter tells you the available Special Offer from Wollensak Flip a switch and the Wollensak time in minutes and seconds. Its Logic When you audition Wollensak, your dealer 8060 records and plays back 2 -channel Control Circuitry features a "cuing" wilt give you a certificate that entitles you to stereo enhanced with the effects of control that makes sure the tape is an attractive, high -quality Director's Chair by 4 -channel matrix sound. (You'll need always at the beginning when you Telescopevalued at $19.95. Yours for only to add a stereo amplifier and two record. Dual illuminated VU meters $12.95 plus handling and shipping. No purchase necessary. Details at your dealer's. more speakers to your system.) with switchable automatic record level Flip a switch and the Wollensak help you produce superb recordings. 8060 plays back 4 -channel discrete You'll never accidentally erase Wollensak sound through a quadrasonic system. previously recorded programs Sound that's separated in four indi- while recording with the vidual channels coming through your unique automatic eject sys- Audition the system's amplifiers and reaching you tem. And a fast -forward new dimensions from four speakers. control helps you locate a in spirited sound All of these versatile capabilities particular selection easily. make the Model 8060 the ultimate Nobody knows more Wollensak 3M CENTER SAINT GAUL MINNESOTA 55101 31 CIRCLE 65 ON READER -SERVICE CARD A totallnew transport drive system

has produced the First cassette deck with record and playback wowand nutter of less than 0.07%! Measurably better than anyother cassette deck in the world. THE TEAC 1150 No other cassette deckcantouch it. TEAC can now announcea Dolbyized* cassette deck with record and playback wow and flutter of less than 0.07%! This WRMS measurement assures you a steady, flutter -free sound previously unheard of in cassette decks. The heart of this accomplishment is TEAC's new transport drive system -a system with all new parts and exceptional critical tolerances. It features a newly designed capstan with a critical tolerance of 0.15 microns -a perfect roundness that smoothens and steadies the tape flow. A new slip clutch has been critically machined to give perfect balance of tension between take-up reel and capstan. A hysteresis synchronous outer rotor motor has the outside revolving for greater inertia. A 93 -mm flywheel has twice themass of any other TEAC flywheel, dramatically increasing stability of the transport drive element which pulls the tape. Thus, the TEAC 450 gives you reel-to-reel quality with cassette deck convenience. What else does it give you? The first dual -function Dolby* system. Automatic timer circuit. Bias and equalization switches. Two mic inputs and two line inputs with slide control mixing. And more. The 450 is an example of TEAC technological leadership and incredible quality control. A beautiful example. TEAC® The leader. Always has been. Dolby is a trademark of IktlIty Laboratories. Inc. TEAC Corporation of America headquarters: 773:1 Telegraph Road. Montebello. California 90640. TEAC offices in principal cities in the 'nited States. Canada. Europe, Mexico and Japan.

CIRCLE 67 3N READER -SERVICE CARD Q The Dawning of Music in Kentucky. Music Model AT15S cartridge shown by Anthony Philip Heinrich ("The Beetho- in Model AT1009 tone arm. ven of Louisville"). Mahler: Symphonies Nos.1.5.6, and 10 (first movement). Utah Symphony Orch.. Abravanel. cond. Q Prokofiev:Peter and the Wolf Britten: Young Person's Guide. English Chamber Orch.. Somarv. cond.

cartridges. To give you. 1correct, long-lasting performance fromdiscrete 4 -channel records. And better soundfromany THE matrix record or present Alberni: Piano Works. Kyriakou. stereo disc as well. Chopin: Works for Piano and Orchestra. Si- Audio-Technica Dual Magnet mon: Hamburg Symphony Orch.. Beissel. OT TIP cartridgesarebrand new and cond. loaded with features. Like a sepa- Debussy: Orchestral Works. Vols.I and II. IS SHIBATA rate, independent magnetic sys- Luxemburg Radio Orch.. Froment. cond. tem fir each side of the stereo French Organ Music, Vol. VI. Darasse. Ray- _...and groove. And smooth response to naud. and Isoir. 45,000 Hz and beyond. Plus very German Organ Music, Vol. III. Lehrndorfer. audio-technica! low moving mass for superior trac- Italian Organ Music, Vols. 1 and II. Terni. The only phono stylus tip design- ing ability. Liszt: A tutees de pelerinage (complete). Jerome ed for the new discrete 4 -channel Get a tip from leading audio Rose. records is the new Shibata multi- showrooms throughout the Liszt: Organ Works. Janos Sebestyen. faceted stylus. country who are now stocking Reger: Chamber Music. Vols. I and 11. It's the stylus we include on ourand recommending theAudio- Schubert: Piano Sonatas. Klien. new AT14S, AT15S and AT2OSLTechnica Dual Magnet cartridges. Tchaikovsky: Symphonies. Utah Symphony Audio-Technica Dual Magnet* For every modern record you own. Orch.. Abravanel. cond. audio-technica. Patents pending WESTMINSTER GOLD AUDIO-TECHNICA U.S., INC., Dept. 93H. 1655 W. Market StFairlawn. Ohio 44313 CIRCLE 6 ON READER -SERVICE CARD Irina A rkhipova Recital. Dowland: Ayres for Four Voices. Golden Age Singers: Bream, lute. Dvotak:CelloConcerto.Rostropovich: U.S.S.R. Radio Symphony Orch.. Khaikin. cond. Gershwin: Porgy and Bess Symphonic Pic- ture (arr. Bennett).- .4n American in Paris. Pittsburgh Symphony Orch..Steinberg. cond. Gliere: Symphony No. 3 (Ilya Muromet.7) (complete): Red Poppy Suite. Vienna State Opera Orch.. Scherchen. cond. !folic* in Japan. Obernkirchen Children's Choir. Kiri Te Kanatva Sings. Why Electrostatic? Simply because Khachaturian: Spartacus(e.vcerpts). they are the most uncompromising U.S.S.R. Radio Symphony Orch.. Gauk. and reliable speaker systems. cond. Why Janszen? Because of Locke: Music for Voices and Viols. Golden performance, craftsmanship, Age Singers: Elizabethan Consort of Viols. quality and our continued David Oistrakh Concert. Prokofiev. Chaus- improvement of the electrostatic son. Ravel. element enabling us to unconditionally Paganini: Violin Concerto No.1. Kogan: guarantee them for 10 years. U.S.S.R. Radio Symphony Orch.. Nebol- That's why. sin. cond. Janszen electrostatic speakers available It -an Petrov Recital from $109.95 Puccini: Tosca. Dall'Argine. Scattolini. Co- We are convinced of our product. lombo: Vienna State Opera Orch.. Quadri. Lend us an ear. cond. Rachmaninoli: Piano Concerto No. 2. Rich- ter: Leningrad Philharmonic Orch.. Sand- erling. cond. JANSZEN Rachmaninotr: Piano Trio No. 2. Oborin. ELECTROSTATIC Oistrakh. Knushevitzky.

a . of Rimskv-Korsakov: The Golden Cockerel. ELLCTRONIC INDUSTRIES INC. Soloists: U.S.S.R. Radio Symphony Orch.. 7516 42nd Ave. No. Kovalev and Akulov. cond. Minneapolis, Minnesota 55427 Tchaikovsky: Swan Lake (soundtrack). Tchaikovsky: Symphony No. 6. U.S.S.R. Sym- phonv Orch.. lvanov. cond. CIRCLE 29 ON READER -SERVICE CARD Gainia Vishnevskara Recital.

3' HIGH FIDELITY MAGAZINE Your quadraphonic records will appreciate Dual precision even more thanyour stereorecords.

The next time you think about buying This experience bears out what Tonearm counter- a new component, chances are the first weight is elastically we've long said about Dual turntables: question on your mind will be whether or isolated from shaft to absorb any they have "more precision than you may not to "go four -charmer' Whatever you external shock, and ever need:' Which is the only way a is continually decide, you'll want to be sure that your odjustabie on turntable should be built. purchase will be compatible. vernier tnreads for perfect balance. As for the SQ matrix record, it does The receiver will take the most thought not require a special cartridge or make the because there are currently so many Gyroscopic same playback demands as the CD -4. gimbal approaches to the electronics of suspension of In all Duals, stylus However, the encoded SQ signal must be quadraphonic reproduction. 1229 and 1218 is pressure is applied derived f-om the groove accurately or such best known scien- around the pivot The speaker question will be much tific means for maintaining perfect Problems as phase differences and balancing preci- simpler. Two more speakers need merely dynamic balance sion instruments of tonearm. distortions in directionality will result. be added in the same room. that must remain balanced in oll planes of motion. What serious music lovers know. No question about turntables. 1229 tonearn is 83/4" from pivot, Prevision tracking is a function of The four -channel record does not to stylus, essentially eliminating many aspects of tonearm design: the present any new technical demands to the tracking error over-all geometry, consistently low friction while maintaining turntable, but the need for quality is Unlike conven- in the pivot bearing, perfect static and tional tonearms, one-piece stability. greater. Much greater. the 1218 and 1229 dynamic balance, and the accuracy of the track records at One of the country's leading music the original cut- calibrations for tracking pressure and editors discovered this for himself when ting angle. The anti -skating. 1229 parallels For perfect track- he set out to evaluate the discrete single records, ing balance in Serious music lovers, professional moves up to paral- quadraphonic record. In his published each wall of the and non-professional, know all this. Which lel changer stack. stereo groove, report, he said: The 1218 has a separate anti - is why they won't let anything but a fine similar adjust- skating calibra- "This system (CD -4) is more critical ment in the car- tions for conical precision tonearm touch their records. tridge housing. than SQ, more subject to distortion from and el'iptical And why the readers of magazines like styli are provided dust in the grooves or more heavily scored on all Duals. this one buy more Duals than any other passages. However, a personal problem make of quality turntable. I encountered in reproducing heavily Dual 1218, $169 50 scored brass passages...was not the al 1;14, $109 1-0 record's fault; the problem was resolved when a Dual 1229 was substituted for a (manual) turntable that had long given me satisfactory service for stereo. The reason? The new Dual simply tracked the groove better:'

Dual Duel 1216 $139.50

United AudioProducts, Inc., 120 So. Columbus Ave., Mt. Vernon, N.Y. 10553 Exclusive U.S. Distribution Agency for Dual. -, 411110- er- ' . Sony steadfastly refuses to let Brunhilde overpowerMimi.

Music comes in big, loud, powerful varieties directly and mix one or two stereo micro- and in small, weak, delicate types. So, as it phones. Function indicator lights and a happens, do FM stations. If you have your preamp-out/amp-in ccnnection are wel- heart set on listening to Mimi on a weak come conveniences. $499.50.* station, while some powerful, nearby station The 7055 has all the features of the on the dial is thundering out Wagner, relax! 7065 except mic mixing, function lights Sony receivers are dedicated to the and signal strength meter. A bit less power, proposition that the little stations of the world (35-+-35watts 20Hz to 20kHz with less than deserve their fair share of the MHz. And Sony 0.2% distortion), and an exceptional tuner is possessed of a rare talent for bringing in section. $399.50.* the weak sister stations. Our new STR-6046A represents a To bring in the weakest of stations new standard in its power output and price without intrusion by stronger ones, Sony's category. Output is 20±20W RMS (20Hz to FM front end includes newly developed junc- 20kHz) with THD less than 0.8%. A tuner tion FETs in its mixer and RF stages. The IF section with2.2 µV IHF sensitivity, and 1.5dB section has permanently aligned, solid-state capture ratio! Features include mic input filters and a high gain IC limiter for excellent and line mixing facilities, tape monitoring. selectivity and superb capture ratios. function indicator lights and choice of two And Sony receivers deliver clean, speaker pairs. $249,50.* distortion -free power from low, low bass Our under $200, STR-6036A is con- (where you need it) right through the highest servatively rated at 15+15W RMS (20Hz to frequencies. (We rate amplifier power in 20kHz). It has all the facilities of the 6046A terms of -continuous power output per except the mic mixing control and function channel with both channels driving 8 -ohm lights. A remarkable 1.5 dB capture ratio is loads within the entire audio spectrum"). a clue to the tuner's impressive perform- For example, from 20Hz to 20kHz for the ance. $199.50.* 7065, 7055, 6046A and 6036A receivers. An all-around, 4 -channel performer, Direct coupling means no output coupling the SQR-6650-SQ. the other matrix systems capacitors to get between you and the music. and discrete (with quad tape deck). It fea- Sony receivers satisfy a wide variety tures Double -Stacked Differential circuitry of listening needs. Our STR-7065 (60-- 60W for extra power in stereo. $329.50.* RMS from 20Hz to 20kHz with less than The only thing overpowering about 0.2% distortion) plucks stations from even Sony receivers is the value they offer. Hear the most crowded dials with its excellent them at yo.ur Sony dealer. Prices include sensitivity and remarkable 1 dB capture ratio! walnut finish cabinets. Sony Corporation You can click in your choice of three speaker of America, 9 West 57th St pairs, monitor two tape recorders, dub New York. New York 10019 SONY

CIRCLE 54 ON READER -SERVICE CARD SAP

than the front -panel power switch, we see no reason to expect problems even in turning these units on from an external timer. You don't mention disc or tape equipment, but turntables or transports can be dam- too hot aged by being left "in gear" with the power off.

to handle Young men and women in Japan can make high powered Receivers which Primates in our nation can not fix.I had to take a Re- ceiver for repair 4 times before it got fixed, and thenit wasn't fixed as good asit should have been. I see no point in getting a $600 four channel Receiver which our

Irecently purchased a Marantz 2230 re- circumstances, and you say you don't usu- fools in this nation can not fix, in case it ceiver and want to buy speakers for it.I like ally listen at high volume levels. The extra breaks down, to listen to Classical music the sound of the Bose 901, but two dealers power capacity in the Crown might clean which seldom gets broadcast. I am thank- told me that since I am mostly interested in up transients a bit, and its distortion is ex- ful that Sherwood has not gone ape for 4 classical music I wouldn't be happy with tremely low (as opposed to just very low for channel and still produces an honest and the Bose. They mentioned distortion and the AR). If the dealer insists that you will good 2 channel Receiver at a decent price. lack of definition in subtle musical pas- hear those differences, let him set up an You can have all that other 4 channel junk sages as the reasons. Another dealer told A /B demonstration for you, driving your and as long as you deal principally in it in me the Marantz did not have sufficient AR-3a's alternately from each amplifier at your magazine, you can keep your maga- power for the Bose. I realize that some of the volume levels you normally use. That's zine.-John Kalus, Cleveland, Ohio. these dealers don't carry the Bose and for really the only way to tell just what you'll Normally we edit our readers'letters, that reason would like to sell me some- hear. But the fact that you presently turn up where necessary, to tidy up the grammar; thing else. But are any of the above asser- your volume control "when showing off" but Mr. Kalus' plea comes so directly from tions correct?-Albert Slobodin, West- your system suggests that you're pleased the gut that we hadn't the heart to do more minster, Colo. by what you hear even when you drive it than omit a few redundancies. We don't We would agree with the dealer who said harder than normal. know what imported brands he's had the Bose should have more power behind it trouble with. Most of the major component than the 30 watts per channel at which the HF's favorable test reports on the Sony/ companies seem to have worked hard at 2230 is rated. But to imply that the 901 is Superscope TC-161SD cassette deck and establishing repair networks here to fore- inappropriate for classical music is non- Sony's CRO cassette tape [both in May stall his sort of complaint. His complaint sense to our way of thinking. In fact the 1973] told me quite a bit, but still did not about broadcasters is one we can only sec- breadth and spaciousness of its stereo im- answer objections I've heard: that the TC- ond. But even more interesting to us are his age-which obviously are of particular im- 161SD has excessive motor noise and that comments about quadraphonics. Readers' portance to symphonic music-are among chromium dioxide is highly abrasive even letters betray a great deal of interest in the the factors regularly cited by its admirers. to ferrite tape heads. Are these objections subject-even a disproportionate interest true or false?-John Draper, Vero Beach, in the light of component sales, only a rela- I'd like to reduce the tape hiss on eight - Fla. tively small percentage of which are in track cartridges. I've read that re-record- False, as far as we can tell. Our sample of four -channel gear. That's to be expected in ing with Dolby will not do the Job. How the TC-161SD was not excessively noisy by a subject as new and fast-moving as quad- about ANRS, DNL, or the DBX-117?-Larry any standard we can think of.If anything raphonics.It's also to be expected that J. Smith, Oklahoma City, Okla. the over-all transport noise during oper- many music lovers simply aren't ready for Of the systems you mention, only DNL will ationis somewhat lower than average the hassle of something new when stereo is do a good job of suppressing noise that al- among the decks we've tested, we'd both proven and available. (A few readers ready is in your recordings. (The rest-in- guess-though we have never tested spe- still are mono -oriented and are satisfied cluding the DBX compressor/expander, cificallyforthatproperty.And-once that they're getting better sound with fine when applied to this purpose-are intended again-testing by a number of concerns tubed equipment than they could expect to prevent the increase of noise during the seems to demonstrate that chromium diox- should they switch to a current solid-state recording -and -playback cycle.) The catch ide is not significantly more abrasive than stereo receiver.) So-since we can't very is that we know of no separate DNL unit for ferric oxides in cassette heads, though in well address this reply to ex -reader Kalus- use in playing back your cartridges; you high-speed transports (for video or data we'd suggest to those who remain that would have to copy them on cassettes and processing) head life can be sharply re- while quadraphonics is news and will, for then play back the cassettes through a duced by using chromium. Unfortunately. that reason, continue to claim an important deck equipped with the DNL feature. Du Pont's Crolyn was tested first at high position in our editorial content, only a speeds, since it was intended for these ap- jaundiced eye will miss the stereo content. I own two AR-3a's and drive them with an plications; and chromium dioxide cas- AR receiver. My taste tends toward classi- settes now are having a tough time living YesterdayI walked into the Sam Goody cal music and I do not play my system at down the undeserved reputation they have store in Livingston to buy some Ampex high volume levels (except occasionally, got from those tests. Dolby -processed open -reeltapes. The when showing It off). A local dealer Insists clerk told me that Ampex had recalled all that I could hear an audible Improvement I want to set up a clock -controlled hi -fl sys- their Dolby tapes without giving any rea- with a high-powered "super" amplifier like tem in the bedroom, using a good -quality son. Do you have any information on the Crown DC -300A. Granted that the 3a stereo receiver and two speakers. But I've this?-Douglas N. Brink, Hopatcong, N.J. needs a lot of power, but I would expect AR been told that most component systems Yes: It's untrue. Ampex has recalled some to build that power Into an amplifier that can't stand the sudden surge if they are early samples of one open -reel Dolby is- tends to be the preferred choice for playing turned on from an external switch, even sue-the London Tales of Hoffmann-for a any of their speakers. Could I really hear a with the volume control kept low. Is this processing defect. Side 4 of the two -reel difference?-Howard W. Ferstler, Talla- true?-Donald M. Simonds, Adelphi, Md. set somehow got through the Dolby B proc- hassee, Fla. We have never found it to be true. Your in- essing twice, making the sound much too Even allowing for the fact that ultimately formant may be thinking of the circuitry bright even when played back through the we're not in a position to predict what any builtinto some components toprotect Dolby circuit. But correctly processed given listener will perceive, we wouldn't some parts of the unit from surges origi- copies of this recording are available and really expect you to hear the difference. nating in others when the power is turned none of the Dolby issues has been with- The AR receiver has more than enough on. Since such protective devices normally drawn. The salesman should make a power to drive the AR-3a's under normal are controlled by the power itself rather greater effort to get his facts straight.

36 HIGH FIDELITY MAGAZINE KLH is well into its record decade of manufacturing with virtually any decert ampl fier or receiver. They're extraordinary high performance loudspeakers that don't handsome, featuring a new sculptured acoustically trans- cost an extraordinary amount of money. We've kept parent focm grille. Rugged. Aid best of all, incredibly costs down by making every loudspeaker ourselves. And by inexpensive. With the money you save, you might even selling a staggering number of them. trade -up to a better turntable or receiver, perhaps In short, we've had a lot of practice. even get into quadraphonic sound. The Thirty -Ones can And that's per'ect for you. help make it happen. A pair is at your KLH dealer now. For now you can own a pair of our new Model Listen to them soon. We're sure you'll agree that no one Thirty -One loudspeakers for just $89.95t. Think of it. has ever offered you a better value in sound. Two superb sounding full -range loudspeakers at a price And we've had a lot of practice. you might consider fair for just one! A pair of Thirty -Ones For more technical irformation, write to KLH Research deliver a truly inordinate amount of sound for their and Development, 30 Cross Street, Cambridge, Mass. modest size. You can drive them tr, h;o I;stening levels 02139. Or visit your KLH dealer. What doep it take to makean important new loudspeaker and sell it for $89.95 apair?

Practice. A whole lot of practice!

KIN RESEARCH AND DEVELOPMENT CORP. 30 Cross ft., Combridge, Mass. 02139

TSuggested retail ro.iicts-slightly higher in the South and West.

CIRCLE 30 ON READER -SERVICE CARD Si 1.1.1:N1141:R 1973 news and viewsA SuperTape bias current than that required for present ferric tapes, or 6 dB more than is required for chromium dioxide, and 70 -microsecond equalization for both chrome and onthe Way?iron-as opposed to 120 -microsecond equalization for ferric oxide. In layman's terms, this suggests that equipment to use the iron -particle tape would have separate bias positions for iron, chrome, and ferric, plus separate The laboratory and the marketplace often seem as far playback equalization for iron and chrome (comparable apart as Madrid and Peking, and sometimes the separa- to the separate chromium dioxide equalization position tion proves unbridgeable. This may be one of those already used on a number of the better cassette decks) times. and for ferric (the standard equalization of present According to a recent press release, labs operated by equipment). Philips of the Netherlands have produced samples of a Philips is obviously thinking in terms of the cassette; magnetic tape that appears to outperform anything on all data is shown for a transport speed of 11/4 ips. Since the market: some 7.5 dB more high -frequency signal-to- the release cautions editors against drawing any rash noise than chromium dioxide and 12 dB more than assumptions about ultimate commercial availability of standard gamma ferric oxide samples. The tape uses the tape, we assume Philips also is thinking in terms of finely separated metallic iron (rather than iron oxide) as one nasty behavior pattern of finely divided iron par- its magnetic medium. According to the release, the ticles: They have a way of exploding in air. Once they're coating thickness used was only about half that of sealed from oxidation by a binder, they should be en- present tapes, though the magnetic properties of the tirely safe; the problem-and one that appears to have metallic iron result in higher high -frequency output- turned past promising experiments of this nature into and hence the gain in S N. dead-end exercises-is to keep the manufacturing In order to obtain these results Philips used 9 dB more process safe as well.

ducting] leads Polydor to release this first single ever

What Are Technics? [our emphasis] on its classical label.. . . With the DG album already climbing the pop charts, and the single It you've been watching closely, you may have noticed sure to follow, Siegel-Schwall & Co, are blowing the that recently some of Panasonic's top component mod- blues away!" els no longer just say Panasonic on the front panel. The Obviously wnat Polydor had in mind was the release phrase now is: Technics by Panasonic. The fancier - of the first chart -oriented pop single on the prestigious sounding name is more than just window dressing as it DG label. And maybe if this one is a success DG will go turns out. back to issuing choice morsels on the lowly doughnut The Technics design group at Panasonic's parent company-Matsushita of Japan-has, we understand, been in existence for some years and has been respon- It's Guaranteed, Even If You Break It! sible for a number of products intended for the "purist" audiophile market and sold in Japan under the Tech- Readers of our May issue (see "Warranties: What Are nics brand name since their introduction. One example: Your Rights When the Sound Goes Sour?") will realize the SP -10 direct -drive turntable first exhibited here that warranties in the audio field range from average to about four years ago and, when we last checked, still in excellent. Thus we cocked a wary ear when the Beyer the Panasonic catalogue. It and other Technics prod- Div. of Revox Corp. told us of its new "unconditional" ucts have been included here in the regular Panasonic warranty on microphones. A thorough reading of the components line until recently. Newly introduced Tech- terms, however, proved this warranty an excellent in- nics products bear the new (to us) name, as do recently vestment for the serious microphone user. produced samples of other Technics products-for ex- The provisions are quite clear: "Should any difficulty ample the 1100A turntable reviewed in this issue. occur during the first year of use of any . . . microphone, no matter what the cause, Beyer will replace it immediately with a brand new microphone of identical type. This warranty covers both accidental damage and dam- How Quickly They Forget! age caused by misuse or overload." The warranty is good only for the original owner, who must pay shipping Those of us who cherish long -deleted Deutsche costs to return the unit. Grammophon and Archive 45s from the 1950s were If the mike fails outside of warranty, Beyer offers im- startled to read the following in a recent press release: mediate replacement with a factory reconditioned "Heavy FM, college and even r & b airplay of the model in perfect condition at a fee of $18, $26, or $40, Deutsche Grammophon album ["Siegel-Schwall Band depending upon the original purchase price of the mike. and the San Francisco Symphony," Seiji Ozawa con- CIRCLE 146 ON READER -SERVICE CARD

38 CIRCLE 44 ON READER -SERVICE CARD -ill. How Magnavox is helping to clear the air in Los Angeles.

I 1 ..... I I

11111.1 *4 , Mt. 41 t

The airwaves over Los signal is boosted 3yan Angeles are thick with signalsamplifier stage that typically from 78 FM stations, all delivers 50/50 watts rms (into squeezed into 20 MHz of 8 ohms) at only 0.5% distor- spectrum. tion. Direct -coupled output, of Other urban centersarecourse, for full damping at any no better. But Magnavox has frequency. found a way through the Other goodies: linear sound smog, to helpyou find phase lump -constant filters and pull in just the stationyoufor minimum distortionon want -even if it's butted up FM, an active tone -compensa- against one that's lots more tion network, full -function powerful. jack panel, 4 -channel matrix Our bright idea: the decoder, and a thermal 1500 Plus DTI, the first stereoprotection circuit that shuts FM/AM receiver with digital the set off if it's ever over- tuning. It counts, latches, loaded -then shows you why decodes and displays in large it shut off. glowing numerals the exact What price pure air? frequency you're tunedto - $399.95'.' Other Magnavox FM or AM-with the accuracyhigh-performance receivers, you'd expect froma digital with zero -center tuning meters, computer. Which, in fact, is start at $229.95'.' how we do it -after our Your Magnavox dealer MOSFET front end and ICs is listed in the Yellow Pages. clear the air. Visit him today, and hear Once in, the scrubbed what clear air sounds like. Magnavox.You heard right.

*Minimum retail price in fair-trade states. Optional with dealer in other states. Free FM/AM Station Guide. Write to: The Magnavox Company. Stereo Components Dept.. 1700 Magnavox Way. Ft. Wayne, Ind. 468:!4. The better the turntable the fewer the moving parts. Ours have onlyone.

The one is the Technics direct drive DC motor. The improvementis obvious.. . A DC motor to escape wow, flutter and hum. FREQUENCY SPECTRUM OF RUMBLE -40 A DC motor that is brushless and spins at co 331/3 or 45 rpm so it doesn't have the vibration -50 and noise problems of its faster competitors. >-60 La ittefirom"'"' WOW AND FLUTTER 20 25 30 40 50 60 80 100 200 +0.20 III BELT DRIVE DIRECT DRIVE FREQUENCY Hz +0.10 We make three direct drive turntables. 0 The SL -1100A, shown below, comes with a -0.10 professional -type tone arm, viscous -damped -0.20 4 cueing, illuminated stroboscope, variable BELT DRIVE DIRECT DRIVE TIME Min. pitch controls and a dust cover. And it has an analog feedback speed control The SL -1200 includes most of the same so it never suffers from frequency or voltage features at a more modest price. And the fluctuations. SP -10 is for those who insist on choosing their The drive system is just as important as own tone arm. the motor. And direct drive doesn't depend Either way. The concept is simple. on an idler wheel or belt. They had to go The execution is precise. The performance is because they show their age and lose their outstanding. The name is Technics. shape. Instead we put the platter right on the motor shaft. chnics 4by Panasonic

- 200 PARK AVE., N.Y., N.Y. 10017 FOR YOUR NEAREST AUT I {ORIZED' TECHNICS DEALER, CALL POLL FREE - 47 ?:' 800 447-4700. IN ILLINOIS, 800 322-4400. - equipment in the

newsBose markets its 1801 amp

Now you can buy that high-powered stereo amplifier that Bose has been using for some months to demonstrate its speakers. It's the Bose 1801, rated to deliver 250 continuous watts per channel into 8 ohms or 400 per channel into 4 ohms. Among the safety features built into the 1801 are a starting circuit to reduce power surges when the unit is turned on and a pair of VU meters plus two arrays of light - emitting diodes that indicate instantaneous output. The 1801 sells for $986-or $799 without the LED display or meters. CIRCLE 147 ON READER -SERVICE CARD

Three new cartridges from Stanton Stanton Magnetics has a new group of phono cartridges, designated the 600 Series, featuring reduced tip mass. The 600EE, with an elliptical tip, is suitable for use at tracking forces from 1to 2 grams and costs $55. The 600E, also an elliptical, is recommended for tracking forces of from 11/2 to 3 grams and costs $50. The 600A includes a spherical stylus, tracks at 2 to 4 grams, and is priced at $45. CIRCLE 149 ON READER -SERVICE CARD

JVC's top -of -the -line cassette deck

Among the many features tnat make the solenoid -operated CD -1669 JVC's top -of -the -line cassette deck are the company's ANRS noise - reduction system, memory stop and memory play capabilities, rated frequency respcnse from 30 Hz to 16 kHz, ferrite heads, and a remote -control unit, with a 15 -foot cord, that duplicates the play/ record, fast -wind, stop, and pause functions of the deck's pushkeys. The CD -1669 also can make automatically timed recordings (of a radio program, fo' example, that goes on the air while you are away from home) using a standard, commercially available AC timer. The CD -1669 costs $429.95. CIRCLE 150 ON REACER-SERVICE CARD

Two-way design in Pioneer headphones The SE -505 stereo headphones from U.S. Pioneer Electronics Corp. boast a two-way driver design in which both the bass and treble are produced by polyester film diaphragms. Each channel has its own volume and tone controls attached directly to the shell, and the unit has an aluminum die-cast headband with adjustable click stops. Earpieces are finished in black -tone leather. The SE -505 has a 16 -foot coiled cord and costs $59.95.

Connoisseur turntable comes to the U.S.

The Connoisseur BD/2 is a British -made two -speed (33 and 45 rpm) turntable that is now available here through Hervic Electronics, Inc. Driven by a synchronous motor. the unit comes with a SAU-2 tone arm. Other features include a damped hydraulic cueing device ana an antiskating compensator. The price, including walnut base, is $129.20. CIRCLE 152 ON READER -SERVICE CARD

CIRCLE 35 ON READER -SERVICE CARD 41 Thenew ADC -XT 10. If you believe, as we do, that the ultimate test of any speaker is its ability to produce a true audible analog of the electrical signal fed to it, you'll be very impressed with the new XT 10. The XT 10 is a two way, three driver, system employing a newly developed ten inch, acoustic suspension woofer with an extremely rigid, light weight cone and a specially treated surround that permit exceptionally linear excursions. Matching the XT 10's outstanding low frequency performance are two wide dispersion tweeters that extend flat frequency response to the limits of audibility (see accompanying frequency response curve) and significantly improve power handling capacity. All three drivers are mounted in a beautifully finished, non- resonant, walnut enclosure. And in place of the conventional grille cloth is an elegant new foam grille. An extraordinarily accurate transducer, the XT 10 is characterized by very flat frequency response, excellent high frequency It does precisely what it's told. dispersion and extremely low distortion. Finally, it is distinguished by outstanding transient 5dB response assuring exceptional clarity and definition. As a result, the ADC -XT 10 rivals and in many instances, sur- passes the performance of units costing several times as much. But why not experience for Frequency response 37Hz to 20KHz t 3dB yourself what a truly well behaved

20 100 1000 10K 20K1 speaker sounds like. Audition the Frequency respont.e (.n anechotc room) XT 10 at your ADC dealer now. For more detailed information on the ADC -XT 10 write: Audio Dynamics Corporation, Pickett District Road, New Milford, Conn. 06776.

AOC Audio Dynamics Tone bursts al,L.)0Hz 1200Hz. 15.000Hz Virtually identical waveforms from signal generator above Corporation and speaker below demonstrate superior transient response.

THE CONSUMER'S GUIDE newequipment TO HIGH FIDELITY EQUIPMENTreports

Teac's New Top Cassette Model

The Equipment: Teac 450, a cassette deck with Dolby B both ferric positions of the switch. The high position is noise reduction, in wood and metal case. Dimensions: appropriate for the rewer .ow -noise high -output cas- 17% by 61/8 by 91/8 inches. Price: $399.50. Manufacturer: settes; the lab tested it with TDK ED, and we also used it Teac, Japan; U.S. distributor: Teac Corp. of America, with such tapes as TDK SD and Maxell UD, all with ex- 7733 Telegraph Rd., Montebello, Calif. 90640. cellent results. The "normal" positions should not be considered normal for fine musical recordings; they are Comment: Until recently,all top -of -the -line cassette intended primarily for the older, less expensive tape for- decks seemed to cost $299.95. That list price was as mulations that require somewhat less bias and deliver much of a standard feature as Dolby B noise reduction. somewhat reduced frequency response. The owner's But times have changed. Radically new features are manual has a commendably-though by no means ex- pushing prices well above that old ceiling and, at the haustively-inclusive list o, tape/switch recommenda- same time, adding new potential to cassettes as a home tions. Working with signals that are wanting at the ex- recording (and playback) medium. The 450 is Teac's treme top to begin with, hcwever, you may be hard put case in point. to hear the difference between "normal" and "high" Like several other recent top entries, it is styled in a settings used with appropriate tapes. way that informs the eye immediately of its status as a The FM/copy and timer switches also require some new -generation deck. Teac has moved all the controls explanation. The FM/copy switch puts the Dolby cir- to the front, so that the 450 can be operated at eye cuitry into the playback mode while allowing recording. level-on a shelf for example-rather than from above; If you are listening to a Dolby -encoded FM broadcast, in fact its dimensions and styling match those of Teac's you can feed the tuner's signals to your 450 and listen to electronic components. The 450 can be placed on any its Dolby -decoded output via the monitor switch on your shelf allowing 91/2 inches of clearance (about the re- receiver or amplifier; if you wish to record the broad- quirement for adequate ventilation of the electronics) cast, the Dolby -encoded signal is fed to the recording for access to the cassette well at the top. head and the tape can tnen be played back like any The transport -control press keys at the left side of the Dolby cassette. Or a Dolby -encoded signal coming from deck are labeled at both top and front. To their right, on another cassette deck (though not open reel since the the front panel, are a three -digit counter and a tape -mo- relationship between sigr.al levels and Dolby reference tion indicator, then a series of switches: bias (chromium level is different, as explained in the owner's manual) dioxide/high ferric /normal ferric),equalization (the can similarly be recorded unaltered and monitored same three positions), Dolby noise reduction (on /off), via the Dolby circuit. This is the first cassette deck we've Dolby FM /copy (in/out), timer (in/out), and AC power tested with such a feature. (on /off). Nor have we seen provision for a timer before- The bias switch operates in recording only of course; though we expect to again. To use it you would need the the equalization switch affects playback equalization as sort of timer that will switch any AC -operated unit well. The 450 adopts the 70 -microsecond playback (lights, refrigerators, etc.) on or off. You plug your tuner equalization for chromium dioxide, making its operation or receiver into the accessory outlet on the 450, plug in this respect comparable to that of the Advent 201 and the 450 into the timer, plug the timer into the wall outlet, Harman-Kardon HK -1000, among others. (Many cas- and turn on the timer. Wi'h a blank cassette in place and sette decks, the Harman-Kardon CAD -5 and the Teac the 450 set for recording and pause, you adjust record- 350 among them, use the same playback equalization ing levels; then you turn the timer to off, adjust it for the for both chromium and ferric tapes, an approach that time you want recording to begin, and flip the timer makes less effective use of chromium dioxide's greater switch on the 450. As soon as the timer goes off, power high -frequency headroom.) Equalization is the same for at both the 450 and the electronics plugged into it go

Equipment reports are based on laboratory measurements and controlled listening :ests UniHss otherwise noted. test data and measurements

are obtained by CBS Laboratories, Stamford. Connecticut. a division of Columba Broadcasting System. Inc . one of the nation's leading REPORT POLICY research organizations The choice of equipment to be tested rests with the editors of HIGH '-'10EuTv Manufacturers are not permitted to read reports in advance of publication and no report. or portion thereof. may be reproduced foi any purpose or in any form without written per- mission of the publisher All reports should be construed as app'ying to the specific samples lasted. neither HIGH FIDELITY nor CBS Laboratories assumes responsibility for product performance or quality

SEP FEMBER 1973 43 off, but the 450 remains in pause and set to record; DIN PLAYBACK RESPONSE when the timer turns on, the AC power returns, firing up +5 (0 dB =--20YI the tuner and the 450. A moment later the pause control 0 is released automatically. When the tape runs out at the -5 -Left channel: +5, -0 dB, 40 Hz to 10 kHz end of the cassette, the 450 drive automatically disen- --- Right channel: +5.5, -0.75 dB, 40 Hz to 10 kHz gages (which it would do in any case), and the 450 turns off both itself and the electronics plugged into it. The RECORD/PLAYBACK RESPONSE timer switch can also be used to turn the system into a +5 (0 dB = -20 VU) glorified clock -radio -cassette player, but its ability to ca 0 ------record for you while you're away is particularly exciting. -5 CHROMIUM DIOXIDE TAPE. DOLBY OFF cr) -Left channel: +2. -3 dB, 24 Hz to 15 kHz Below these switches are three pairs of level sliders: --- Right channel: +2. -3 dB, 23 Hz to 15.5 kHz left and right channels for mike input, line input, and ,22, +5 output. Mike and line inputs can be mixed via these controls during recording. At the extreme left are phone 0 -5 FERRIC OXIDE TAPE. DOLBY OFF jacks for left and right mikes plus a stereo phone jack for - Left channel: +1.5, -3 dB, 24 Hz to 14 kHz headphone monitoring. Between these jacks and the --- Right channel: +2, -3 db, 24 Hz to 14 kHz level sliders are two large VU meters, and between the +5 meters are a pair of small pilots (actually light -emitting 0 diodes) that indicate, respectively, recording and peak FERRIC OXIDE TAPE. DOLBY ON -5 - Left channel: +1.5, -3 dB, 23 Hz to 13 kHz overload. The meters are of the peak -reading type and --- Right channel: +1.75, -3 dB, 23 Hz to 12.5 kHz are calibrated in a way that may seem "wrong" at first glance: A Dolby symbol, indicating Dolby reference 450/1 level, is shown at the + 3 -VU point-not at 0 VU as it is, 20 50 100 200 500 1K 2K 5K 10K 20K specifically or by implication, in some Dolby decks. FREQUENCY IN HZ Teac's intent-like that of other manufacturers who achieve similar ends though sometimes by different means-is to keep peak recorded levels several dB below the 0 VU of the Philips/DIN standard (which is only about 1 dB above Dolby reference level), and therefore HARMONIC DISTORTION CURVES from running afoul of the relatively limited headroom of cassette tapes. As a further hedge against distortion due to tape overload, the upper diode will light when- - Left channel: 1.3%, 50 Hz to 5 kHz ever instantaneous peaks-even those too brief for the --- Right channel: < 1.5%, 50 Hz to 5 kHz meter action to follow-pass what Teac characterizes 450/2 as "the onset of distortion." This diode, together with 20 50 100 200 500 1K 2K 5K 10K 20K the excellent meters, helps materially in producing first- FREQUENCY IN HZ rate cassette recordings. Live signals with spiky transients (bells or acoustic guitar, for example), tend to Teac 450 Cassette Deck Additional Data trigger the diode before over-all levels are high enough to drive the meters to the indicated 0 VU; conversely, typical FM signals-shorn of their spikes by the station's Speed accuracy0 1% fast at 105, 120 and 127 VAC limiting equipment-often can be driven to beyond 0 VU on the meter before the diode triggers. This system Wow & flutter playback: 0.07% therefore does a far better job of indicating the nature record / playback: 0.07% and requirements of the signals you are recording than Rewind time, C-60 cassette 1 min. 34 sec. meters alone can be expected to do in some cases. The cassette well at the top is very much like that on Fast -forward time, same cassette 1min. 34 sec. the Teac 350: Its lid protects the mechanism within from dust and reduces transport noise during use, but can be S /N ratio (ref. DIN 0 VII Dolby off) opened wide enough for reasonable ease in cleaning playback L ch: 54 dB R ch: 53 dB record; play L ch: 52 dB R ch: 51 dB and maintenance. To its right is a storage well to hold six cassettes without boxes. We judged this feature to Erasure (3373 Hz at normal level) 61 dB be easily the least useful in the 450. A separate, removable rigid dust cover (supplied) fits over the entire top Crosstalk (at 333 Hz) surface. record lett. play right 43 dB On the back panel are a DIN input/output jack plus record right, play left 43 dB three pairs of pin jacks: two in parallel for output (one Sensitivity (for 0 -VU recording level) pair may be used for monitoring while the second feeds line L ch: 0.36 mV R ch 0.36 mV directly to another recorder, for example), and one for mike L ch: 138 mV R ch 138 mV line input. In addition there are level controls to match Meter action(ref. DIN 0 VU) incoming signal level to the 450's Dolby circuits when L ch: 5 dB low R ch 5 dB low the FM/copy switch is used, plus the convenience outlet, which is controlled by the front -panel power switch IM distortion (record/play, -10 VU) when the timer feature is switched out, controlled by the L ch: 8.5% R ch: 8.5% tape drive when the timer feature is switched in. You Maximum ou.put (line, 0 VU) can therefore use this outlet in such a way that the en- L ch: 0.60 V R ch 0.63 V tire system will shut down should you doze off before the tape runs out.

44 HIGH FIDEL MAGAZINI. Performance measurements all confirm that this is an concentration of signal energy at high frequencies it excellent deck. Particularly attractive are the mid -range may be necessary to reduce recording level even below THD figures (all below 1%) and wow -and -flutter (at the point indicated by the meter/diode combination if 0.07% even in record/play, it is in a class only with the the copy is to retain all the z.ng of the original. This is to $1,100 Nakamichi among the decks we've tested). Fre- be expected in all cassette oecks we have worked with; quency response is very fine, Dolby tracking unfault- the 450 comes closer than most to preventing any high - able. In working with signals of normally available qual- frequency saturation losses even with "problem" sig- ity we were unable to hear a significant difference be- nals. tween original and copy, though we have said as much In sum, the Teac 450 is an extremely attractive prod- of other recent decks. With some signals of exceptional uct-ana one that strikes us as an excellent value, de- quality that had proved difficult to capture on other cas- spite its "high" price, because of its unusually high per- sette decks itis still possible to make exact -sounding formance and really useful special features. duplicates on the 450, though when there is an unusual CIRCLE 143 ON READER -SERVICE CARD

Technics High -Scoring Direct -Drive Turntable

The Equipment: Technics SL -1100A, a two -speed (33 mat; it weighs 4 lbs. 2 oz. A single -play ring adapter for and 45 rpm) manual turntable fitted with tone arm and handling large -hole 45s is supplied. Average flutter was mounted on integral base. Supplied with dust cover. Di- virtually nonexistent at 0.025 per cent; total rumble mensions: 20 1, 16 by 7 11 ,16 by 15 11 /32 inches. (CBS-RRLL standard), at minus 60 dB, is among the Price: $329.95. Optional walnut wood base or skirt: lowest ever measured and well below the audible level. Model SH-11-B-1, $19.95. Manufacturer: Matsushita, Turntable controls include a speed-selector/on/off Japan; U.S. distributor: Panasonic (Matsushita Electric switch, the 33- and 45 -rpm fine -pitch adjustments, and Corp. of America), 200 Park Ave , New York, N.Y. 10017. start and stop buttons. Tne outlet for the strobe lamp, when not used, may be covered by a small felt inset (supplied). Comment: From the standpoints of appearance, per- The Technics tone arm is a metal tubular type that formance, and operational handling, itis easy to wax provides simple and accurate adjustment for use with rhapsodic over this turntable, one of the products in even the most sophisticated of pickups. The adjust- Panasonic's Technics audio -components line. (See ments include balance, vertical tracking force, antiskat- "News and Views" in this issue.) A direct -drive turning, stylus overhang, and arm height. Lab measure- table, it is powered by a low -speed brushless DC motor ments showed the calibrated gauge for tracking force to that rotates at the same speed as the platter. An internal be dead accurate, and the antiskating scale to provide electronic -feedback control system obviates the use of the right amount of side -thrust compensation for the idlers or belts and has excellent speed accuracy, ex- various tracking forces chosen. tremely low noise and flutter, high starting torque, and The arm's head is removable via a knurled threaded other desirable characteristics. Its base, or plinth, rests attachment and the four pickup leads under the shell on four "audio insulated" legs that help isolate the en- are clearly marked for channel and ground identi- semble from external shock effects; these legs also may fication. The head has an ample -size finger lift and a se- be individually adjusted for leveling the unit. cure rest. The bult-in damped cueing device raises or Pitch controls (one each for 33 and 45 rpm) permit lowe's a platform that supports or releases the arm to you to vary the speed selected by an unusually gener- facilitate cueing. The device works very well, with no ous margin. CBS Labs found the 33 -rpm range to be side drift, but it takes longer than usual to lift off or set from plus 5.3 to minus 7 per cent; that for 45 -rpm from down. We clocked it at about 5 seconds each way. Arm plus 6.8 to minus 6.3 per cent. (This test measurement, friction is negligible; arm resonance is very low and well which betters the manufacturer's claim, is typical of all damped, showing a 6-cB rise at 6.2 Hz. the lab results obtained, which either meet or exceed The rear of the base has signal output jacks, a specifications.) With the unit adjusted for exact speed grounding lead, and another AC convenience outlet. In at either speed setting and 120 -volt AC, no measurable addition to the dust cover and the 45 -rpm adapter, the speed error could be detected at 105 or at 127 volts. SL -1100A comes with a low -capacitance signal cable The speed adjustment, by the way, is made with the aid that maintains high -frequency response to 40 kHz and of a strobe ring that is part of the platter. To illuminate it beyond (a necessity fo- playing the CD -4 discs quadra- you can plug in an optional lamp; an outlet is provided at phonically with a magnetic cartridge). But whatever the left front corner of the chassis. discs you play it, the new Technics turntable is one The platter itself is a dynamically balanced two-piece sweet piece of machinery. die-cast aluminum affair covered with a ridged rubber CIRCLE 141 ON READER -SERVICE CARD

SITLEMBER 1973 45 good dynamic range and confirm Heath's recommen- dation that the AS -104 should be used with amplifiers delivering at least 10 watts per channel. Obviously the speakers will handle considerably more (Heath lists no Newest power -handling spec), and in normal rooms we would suggest perhaps twice Heath's 10 -watt figure both to al- Heathkit low some headroom for loud listening levels and to discourage driving the AS -104 with a poor -spec, budget Speaker amplifier. The over-all sound of the AS -104 is what we have Offers come to expect in a well -designed, fairly conventional acoustic -suspension system: well balanced, with little Attractive intrinsic coloration other than a slight prominence in the midrange and a tendency to roll off at the extreme top Value end. In a normal room, high frequencies show somewhat less tendency to beam than one might anticipate from the anechoic-chamber curves; listening to test tones, we found that response and dispersion both hold up excellently to about 13 kHz. By 15 kHz the rolloff be- The Equipment: Model AS -104, a three-way bookshelf - comes apparent and beaming is just perceptible. size loudspeaker system in kit form, with wood case. Di- Higher tones fall off rapidly except on axis, where the mensions: 24 by 131/2 by 111/2 inches. Price: $89.95 (plus slope to inaudibility is more gradual. The bass too is shipping). Manufacturer: Heath Co., Benton Harbor, reinforced by room acoustics, so that response seems Mich. 49022. reasonably flat to 50 Hz in listening to test tones. As frequency descends, bass rolloff becomes apparent at Comment: The current Heath catalogue offers a greater around 40 Hz, though fundamental is still audible below variety of loudspeaker kits than it has at any time within 30 Hz. And the entire bass range is unusually free of memory. They can be separated into two broad cate- doubling for a speaker in this price class. Heath claims gories: those that are based on designs of companies distortion is less than 1 per cent at 50 Hz for a 10 -watt specializing in loudspeakers (AR, Altec, Bozak, JBL) input; our figures, while measured at 80 Hz, appear to and inkit form cost somewhat less than would be confirm this rating and our listening further tends to charged for a finished unit of similar design, and those confirm it. that are Heath's own designs and cost less than any of The settings of the midrange and treble controls on its specialist -brand products. The latter traditionally the back of the AS -104 make a clearly audible differ- have offered reasonably good value though they were ence to the sound, but the choice of "best" positions in not really intended to compete with the better products our room was not so clear. In comparing the AS -104 to from the major loudspeaker houses. The AS -104 falls other speakers, our opinion sometimes changed de - squarely on the borderline between these two groups. Its attractively tweedy grille cloth conceals a 10 -inch 100 acoustic -suspension woofer, a41/2 -inch midrange RESPONSE CHARACTERISTICS (1 watt output) driver in its own sealed subenclosure, and a 31/2 -inch 90 cone/dome tweeter. Nominal crossover frequencies are 500 Hz and 4.5 kHz. Knobs on the back panel control midrange and treble levels and have marked "flat" cm 80 positions. That for the midrange affects frequencies 70 from about 300 Hz to above 10 kHz; maximum effect of AVERAGE OMNIDIRECTIONAL RESPONSE a_ approximately plus 2 or minus 4 dB occurs in the range ( 5 dB. 48 Hz to 14 MHz re 77 dB) around 1 to 2 kHz. The treble control alters the sound c' 60 AVERAGE FRONT HEMESPHERIC RESPONSE somewhat below 3 kHz, but from that frequency upward ON -AXIS RESPONSE its effect becomes increasingly pronounced; in the AS104 50 neighborhood of 10 kHz its operating range is approxi- 20 50 100 200 500 1K 2K 5K 10K20K mately plus 4 to minus 7 dB. Also on the back panel are FREQUENCY IN HZ color -coded binding posts that accept bare wires, large spade lugs, or banana plugs. Heath's 8 -ohm impedance ratingisrealistic; CBS Heath AS -104 Speaker Harmonic Distortion Labs measured 7.5 ohms at the nominal rating point (about 100 Hz), with the impedance curve dropping be- Output Frequency low this value only by a hair and only above 10 kHz. Level 80 Hz 300 Hz (dB) % 2nd % 3rd % 2nd % 3rd Throughout the midrange and lower treble the curve is relatively flat and averages a bit over 8 ohms. Pairs of 70 0.28 0.50 0.40 0.50 AS -104s could therefore be paralleled without danger 75 0.22 0.50 0.38 0.45 to a typical transistorized amplifier. 80 0.22 0.50 0.38 0.48 The lab found that 8 watts was needed to drive the 85 0.22 0.56 0.38 0.48 90 0.33 0.60 0.40 0.48 AS -104 to the standard 94 -dB level (at 1meter) with 95 0.60 0.55 0.40 0.48 broadband noise; this represents the fairly low effi- 100 1.3 0.80 0.45 0.48 ciency typical of acoustic -suspension systems. At the 105 0.75 0.48 same time it accepted 100 watts of continuous tone (for 107.3 0.75 0.48 a 107.3 -dB output) at 300 Hz without undue distortion, 'Distortion data are taken on all tested speakers until distortion and pulses to the limit of the test amplifier at 240 watts exceeds the 10 per cent level or the speaker produces the spurious average, for 114 -dB output. These figures represent a output known as buzzing, whichever occurs first.

46 HIGH FIDELITY MAGAZINE pending on the speaker of comparison or the program cause lockwasher and nut illustrations are reversed on source. In general, however, we preferred the balance the parts -identification sheet; the mistake is quite ob- with both controls set to their nominal positions and did vious, however, and was quickly sorted out. This is, in most of our listening with them left there. With those set- fact, a good kit for the novice and our builder had tack- tings the sound isfairlyneutral, without any pro- led only one kit previously. As a result he worked delib- nounced characteristics, though the slight emphasis on erately but, even so, he finished the system in about the lower midrange does give the sound a shade more three hours. A seasoned builder should be able to body and warmth than that from some of the speakers knock it out in two with no sweat. with which we compared it. In our view the AS -104, while its cost cannot be called Assembling the AS -104 is easy, since the case is dramatically lower than that of comparable, assembled preassembled. The crossovericontrol board must be systems, does offer good value. If you enjoy building for wired, soldered, and installed; the drivers installed and its own sake, the saving will be welcome-particularly if wired; and the case stuffed with sound -absorbent wad- you want four identical systems for quadraphonic lis- ding. All the materials are supplied; the manual is both tening. short and explicit. Our only "problem" occurred be - CIRCLE 144 ON READER -SERVICE CARD

The KLH 55 A Low -Price Receiver with a Personality of its Own The Equipment: Model 55, a stereo FM/AM receiver in accept bare wires; remote -speaker outputs are pin wood case. Dimensions: 5'/4 by 161/2 by 121/4 inches. jacks. A binding post with a knurled nut is used for Price: $199.95. Manufacturer: KLH Research & Devel- grounding connections to other equipment (particularly opment Corp., 30 Cross St., Cambridge, Mass. 02139. the turntable), and the single AC convenience outlet is unswitched. Comment: If you've been scouring the market for a The amplifier section is rated at 13 watts per channel. moderate -cost AM/FM receiver, you may well have As CBS Labs data show, this is well below clipping; con- come to the conclusion that they're all alike. Well here's versely, the distortion at 13 watts is far below the 1% rat- one that isn't.It looks different, with a cleaner, more ing at most frequencies. Even at 20 kHz it only reaches function -oriented design than is typical of the breed. less than 0.5%, though in the extreme bass (and there- And the test sample generally exceeded KLH's specifi- fore beyond the range of normal musical signals) it rises cations foritby handy margins-rather than just so sharply that the lab could get no useful reading at 20 squeaking by the advertised numbers or even failing Hz and rated output. At halt power the harmonic distor- somewhat short of them. Among less obvious features, tion readings are-predictably-most attractive, and the Model 55 has (pedestrian -sounding) fuses, rather they hold up well even in the low -power curves. Other than the common (and glamorous -sounding, though of- readings for the amplifier section are similarly attrac- ten performance -limiting) electronic protection circuits tive. to keep output transistors from blowing when current The tuner section in particular exceeded the ratings drain is excessive. It all adds up to a unit that is designed supplied by KLH. Mono sensitivity, for example, meas- for use, rather than ad appeal-an approach we very ures 1.5 microvolts in the lab though KLH claims only 2 much admire. microvolts; the quieting curve approaches best values The AM/FM dial is flanked on the left by a tuning me- by the time it has reached 5 microvolts of input, though ter (centering for FM, maximum-detlection for AM). and KLH only claims full RF limiting at 10 microvolts; the lab on the right by the tuning knob. Across the bottom are measured ultimate S/N at 74 dB, though KLH only five knobs: source (phono.:FM / AM./aux), bass, treble, claims 60 dB. Taken together, these figures mean that balance, volume (plus power on off at the minimum po- mono performance of the cM section is better than the sition). To their right are seven pushbuttons: loudness, "good" rating that KLH's data would suggest. Unfortu- low filter, high filter, mode (mono/stereo), tape monitor, nately, stereo performance is not equally good. Though main speakers, and remote speakers. At the extreme distortion in stereo is not severe itis high enough to right is a headphone jack, which is live at all times. keep the stereo quieting curve-which retlects both The back panel has screw terminals for external (300 - noise and distortion factos of course-from descend- ohm) FM antenna and long-wire AM antenna. Jumpers ing below the 40 -dB mark. While such a curve is not un- are provided for these terminals when you prefer to use usual in our still -limited experience of this relatively new either the built-in FM antenna (the AC line cord) or the test procedure, it represents one area in which we can- pivoted loopstick AM antenna attached to the back not characterize the Model 55 as above par. panel. Standard pin jacks are provided for inputs (mag- Yet we do consider over-all performance above par netic phono, aux, and tape) plus tape-recording output. for a unit in this price class. It is, furthermore, an easy Main speaker connections are made via screw termi- unit to use and to live with. Its individuality of styling runs nals that are best used with spade lugs, though they will counter to the present habit of dramatizing the controls

SEP [EMBER 1973 47 0

-10 FM SENSITIVITY & QUIETING MONO SENSITIVITY STEREO SENSITIVITY (for 30418 quieting) 1.5 pV (mono) (for 30 -dB quieting) cc-20 1.61N at 90 MHz 13 IIV at 90 MHz o 10 (stereo) 1.5 IN at 98 MHz 10 pV at 98 MHz 1.6 uV at 106 MHz 101iV at 106 MHz E -30 as Square -wave response N -40

KLH Model 55 Additional Data -50 ___ ------

Tuner Section -60

Capture ratio 2.5 dB 55/1

1 10 100 1K 10K 100K Alternate -channel selectivity 66 dB RF INPUT IN MICROVOLTS S i N ratio 74 dB

THD Mono L ch R ch POWER OUTPUT DATA 80 Hz 0.23% 1.1% 1.3% CHANNELS INDIVIDUALLY 1 kHz 0.23% 0.72% 0.71% Left at clipping: 18.0 watts for 0.11% ND 10 kHz 0.23% 2.5% 2.5% Left at 1.0% THD: 18.6 watts Right at clipping: 18.0 watts for 0.11% THD Right at 1.0% THD: 18.6 watts IM distortion 0.2% CHANNELS SIMULTANEOUSLY 19 -kHz pilot -66 dB Left at clipping: 15.1 watts for 0.10% THD Right at clipping: 15.1 watts for 0.10% THD 38 -kHz subcarrier -67.5 dB POWER BANDWIDTH (tor 1.0% THD; 0 dB = 13 watts) Amplifier Section co 0 im -3 12 Hz to 34 kHz Damping factor 24

FREQUENCY RESPONSE Input characteristics (for 13 watts output) + 5 (for1 watt output) Sensitivity S N ratio phono 2.5 mV 64 dB 0 oc _5 +0.5, -3 dB, below 10Hz to 30 kHz aux 300 mV 72.5 dB 55/3 tape monitor 275 mV 75.5 dB 10 20 100 1K 10K 206 100K RIAA equalization accuracy FREQUENCY IN HZ ± 1.25 dB. 20 Hz to 20 kHz

0.6 HARMONIC DISTORTION CURVES 0.4 0.2 MONO FM RESPONSE ______/// +5 0 13 WATTS OUTPUT 0 -Left channel: < 0.48%, 40 Hz to 20 kHz --- Right channel: < 0.44%, 40 Hz to 20 kHz -5 +0.5, -3 dB, 23 Hz to 15 kHz 0.4 0.2

STEREO FM RESPONSE 6.5 WATTS OUTPUT -Left channel: < 0.32%, 20 Hz to 20 kHz - - - Right channel: < 0.33%, 20 Hz to 20 kHz 2, -5 -Lett channel: +0.25, -2.5 dB. 20 Hz to 15 kHz 0.2 --- Right channel: +1.75, -3 dB, 22 Hz to 15 kHz E -10 0 0.13 WATTS OUTPUT -Left channel: < 0.17%, 20 Hz to 20 kHz - 15 --- Right channel: < 0.18%, 20 Hz to 20 kHz 55/4 - 20 CHANNEL SEPARATION 20 50 100 200 -25 500 1K 2K 5K 10K 20K FREQUENCY IN HZ - 30 -35 - Left channel. > 30dB, 580 Hz to 4.2 kHz; > 20 dB, 120 Hz to 11 kHz --- Right channel: > 30 dB, 370 Hz to 3.7 kHz; 20 d8, 90 Hz to 15 kHz INTERMODULATION CURVES ,-' 55/2 0.4

20 50 100 200 500 1K 2K 5K 10K 20K RESPONSE IN DB g 0.3 so that budget units will appear as electronically sophis- 0.2 ticated as possible. KLH's grouping, while it actually includes a few more functions (both high and low filters 6 0.1 for example) than average for an inexpensive unit, gives uJ the impression of having less clutter and therefore 8 -ohm load: < 0.25%, 0.8 to 16.0 watts 0 4 -ohm load. < 0.50%, 0.4 to 19.3 watts fewer controls. As a result it is relatively easy to put your 16 -ohm load: < 0.17%, 0.4 to 11.9 watts finger right on the control you want. All in all, we find it to 55/5

be an attractive and truly user -oriented design. 1 2 3 4 5 7 10 20 3040 50 70 100 CIRCLE 145 ON READER -SERVICE CARD POWER OUTPUT IN WATTS

4)1 CIRCLE 23 ON READER -SERVICE CARD -31. FOR THOSE THAT CAN UNDERSTAND IT, THE SECRET OF EPI'S LINEAR SOUND: Most people would have neither EPI'S 1 -INCH "AIR SPRING" TWEETER. radiation of a nearly perfect hemi- the understanding nor the inclination If you've never heard of an "air spherical sound pattern throughout to read an ad like this. spring" tweeter, there's a very good the tweeter's entire frequency range, But that doesn't make it a waste ofreason for that: We made the name uP. from 1800 to 18,000hz -±3db. And as our money. Because the few people We had to. EPI's tweeter is Stereo Review Magazine that would read it are, by definition, unlike any other made. points out, wide dispersion the best prospects for our EPI Our air spring tweeter has a at all levels is the major loudspeakers. concave diaphragm which is factor separating an excellent The subject is linearity. driven around its full circum- speaker from a merely good On a frequency response graph, ference by a 1 -inch voice coil. one. (Stereo Review placed an EPI speaker records a remarkably This is coupled with a 14,000 - our EPI 400 in the "superb" linear curve, measured from both on - gauss magnetic field contained in category.) axis and off -axis (60°) positions. a 9 -ounce, permanently charged So, now that you know Why is that? magnet and suspended in a the secret of EPI's Linear It has a lot to do with the kind of conically -structured, air -sealed Sound, all you need to tweeter that goes into an EPI speaker. acoustic chamber, designed to create know is where it comes from: an equi-dispersed recoil effect. Out of eight great speakers, from The 1 -inch diameter permits -$55 to $1000, made only by Epicure -1....troducts Inc., Newburyport, ass 01950. THE LINEAR SOUND OF EPI.E Rend Must., Since Debussy and Ravel Ballets,movies, and other "pretexts" have led to some of the world's most creative compositions in the last 50 years. by Royal S. Brown

pound Marguerite being hoisted heavenward ac- PART 1-LES SIX companied by creaking pulleys, an off-key orchestra, and an incredibly adenoidal Faust, with the rhythmic applause French audiences generally grant indifferently to any performers who have the FRANCE HAS always been a country of paradoxes good taste to stay within traditional boundaries. where its musical life is concerned. On the one Arthur Honegger once referred to both the ever- hand, it has welcomed creativity in all schools as present warhorses and the audiences of France's witness the Paris of the Teens and Twenties. The musical life as "fossils." Even the well-known nov- city was alive with intense activity in all the arts, elist Andre Malraux, who had actively participated and this attracted young composers from the entire on the left in the people's revolutions of China and world. Many influential works, the most important Spain, was not exempt from fossilization when of which was Stravinsky'sRite of Springin 1913, Charles de Gaulle appointed him cultural minister. were launched in Paris during this period. Besides his generally weak -fish, conservative atti- Moreover, this creativity continues: There is the tude toward all the arts, Malraux's 1968 appoint- octogenarian Nadia Boulanger, who for several ment of nonavant-garde composer Marcel Land- decades has been giving private lessons in Fon- owski as music director of the Cultural Affairs tainebleau. Mlle. Boulanger's ability to bring out Bureau prompted one of Pierre Boulez's several re- an artist's full creativity has opened doors for com- nunciations of his fatherland. posers of diverse nationalities, not the least of A good deal of what has transpired in French whom is Aaron Copland. Then, too, there is the music in this century has therefore been, at least to state-controlled Office of the French Radio and some degree, the product of revolt against an entire Television (ORTF), which in Paris alone boasts two way of life and not simply against musical tradi- full symphony orchestras, a chamber orchestra, a tion. And so even though no French composer lyric company, and a chorus, and has proven to be since Debussy has been able to leave such an indel- an extremely open and fertile outlet for music of all ible mark on the art of composition, it is not surpris- types. Finally, there are experimental groups such ing that Debussy, himself no great admirer of the as the Ars Nova ensemble and the Domaine Musi- French listening public, was the target of a revolt cale. within two years of his death in 1918. On the other hand, the so-called "sophisticated" The rebels, who were dubbed"Les Six"by listening public in France-the very prototype of French music critic Henri Collet, pursued a battle the "discrete bourgeoisie"-offsets this picture of already begun by Erik Satie. This music primitive, musical vigor. If Paris produced theRite of Spring, whose naive harmonic audacities debatably had the same event also provoked one of this century's some influence on Debussy, had like Stravinsky more notable musical riots-both Stravinsky and caused more than one scandalized uproar, notably poet/playwright Jean Cocteau had to be protected at the 1917 premiere of his balletParade, witha from the hat pins of indignant ladies by the robust scenario by Cocteau and sets by Picasso.Parade French poet Guillaume Apollinaire. Until recently, grated because of its use of typewriters, steamboat audiences at the Paris Opera could be counted on horns, revolvers, and sirens in the score; yet Satie's to respond to the spectacle of a three -hundred - main sin against the fossils was his refusal to ap-

50 HIGH FIDELITY MAGAZINE proach "serious" music seriously. It was this One of the most famous works to grow from this dadaist aspect of his art that not only had immedi- aesthetic was Milhaud's balletLe Boeuf sur le toil, ate repercussions on the six composers but has also composed in 1919 beforeLes Sixwere officially caused Satie's revitalized popularity with today's baptized. Subtitled in English asThe Nothing generation. Doing Bar, Le Boeuf sur le toilwas inspired by Mil- Les Six-ArthurHonegger (1892-1955), Francis haud's two-year stay in Brazil and is based on di- Poulenc (1899-1963), Darius Milhaud (born 1892), verse popular tunes, tangos, sambas, etc., with the Germaine Tailleferre (born 1892), Georges Auric frequent off-key entrance of a flute immediately (born 1899), and Louis Durey (born 1888)-never signaling Milhaud's personal harmonic style. The shared anything resembling a common musical composer had intended the work to be a "cinema - technique. But they were atleast temporarily fantasy on South -American themes," perhaps to be bound together by an aesthetic of simplicity par- used for a Charlie Chaplin film (the French esteem tially aimed against the ether and fog of Debussy for the great comic and film maker has never and the Teutonic heaviness of Wagner. flagged). It was only later that Cocteau's rather sur- As expressed by Jean Cocteau-the group's liter- realistic ballet, which includes a policeman being ary mouthpiece-these aims were to bring back decapitated by a lowered ceiling fan in the bar, was "French" music, meaning a return to that special written for it. There is only one current recording brand of clarity the French like to consider their available ofLe Boeuf,but itis fortunately con- own and an overt use of the popular genres, partic- ducted by Milhaud himself. ularly those to be heard in the cabarets and music Moreover, this recording also contains another halls. Instead of the lush orchestrations one often of the composer's most important works,La Crea- associates with the French (and, it might be mention du monde,written in 1923 after Milhaud's trip tioned, early Stravinsky, whose music also served to to New York. Milhaud had studied Harlem jazz, an extent as a point of revolt), the basic sound of and it served as the basis for this creation -of -the - ensemble works became decidedly that of a small world ballet (scenario by French poet Blaise Cen- orchestra with the simplest of textures used to ac- drars). The ballet's costumes (by Fernand Leger, company straightforward melodies and dance who also designed the sets) imitated the animal dis- rhythms. guises worn by African dancers in their religious

About the Discographies King Karol 111 West 42nd Street The discographies that accompany this ar- New York, New York 10036 ticle list only the recommended recordings Discophile of music by the composers discussed. Out- of -print recordings are designated by an 26 West 8th Street "OP" following the listing. These record- New York, New York 10011 ings 'can sometimes still be found in spe- August Rojas cialty shops and are worth the search. 936 South Detroit Available tape editions are noted as: WS = Los Angeles, California 90036 open -reel; V. = 8 -track cartridge, and ft = cassette. Recordings marked with an Sounds Rare asterisk are foreign releases usually not P.O. Box 5650 officially distributed in the United States. Station A They can almost always be obtained, how- Toronto 1, Canada ever, from dealers who import foreign re- If all else fails, records in France can be or- leases. Some of your best bets are: dered from: E. Ploix, Musique Peters International 48, rue Saint-Placide (U.S. distributor for Voix de son Maitre 75006 Paris, France and Pattie) 600 Eighth Avenue M. Ploix always takes care to discount the New York, New York 10018 whopping French sales tax (23%) before exporting, and he caters to American cus- World Tone Music Inc. tomers. (U.S. distributor for Chant du Monde) Musical Heritage releases can be ob- 56-40 187th Street tained from Musical Heritage Society, 1991 Flushing, New York 11365 Broadway, New York, New York 10023.

SEPTEMBER 1973 51 LesSix shared an aesthetic of simplicity-though no common musical technique-expounded by their literary spokesman Jean Cocteau (seated at the piano). Members of the group were Darius Milhaud, Georges Auric (the drawing), Arthur Honegger, Germaine Tailleferre, Francis Poulenc, and Louis Durey.

ceremonies. Musical "primitivism" had found an- maxis built around a slowed -down version, played other direction. Written for a jazz orchestra of sev- in the low brasses, ofthewaltz from Gounod's enteen instruments,La Creation du mondecon- Faust.The entireMaries(inexplicably minus one tains. among other things, an involved fugue based of Milhaud's numbers) is available, complete with on a blues theme, and the ballet was one of the first dialogue and conducted by Darius Milhaud. If you large-scale "classical" works to use the jazz idiom. can't get that excellent French disc, the two num- AlthoughLes Sixnever were a cohesive group. bers by Poulenc can be obtained on a recording all but Durey did contribute short numbers for that also includes the composer's Sinfonietta. Cocteau's strange play/ballet entitledLes Maries The aesthetic ofLes Sixmade some deep inroads de la Tour Eiffel,first presented in June 1921.Les both within France and beyond the country's bor- Marieshas been called by Igor Markevitch one of ders. For instance, in addition to his trips to the the first examples of "pop art." It is a kind of anti- U.S. and South America, Milhaud traveled to Rus- bourgeois satire in which the various members of a sia where he conducted his own works and gave wedding party dance their roles while two actors two -piano recitals of new compositions with Jean dressed as phonographs speak the characters' lines. Wiener. These concerts certainly left their mark on The musical interludes generally provide mildly young Russian composers, including Shostakovich. sarcastic contrasts to the proceedings. Poulenc's Wiener (born 1898), it should be noted, still has contribution,Discours du General,an absurdly enormous influence as an animator of the French threadbare polka that opens as a dialogue between musical scene. A talented jazz pianist. he helped solo trumpet and trombone, precedes the speech by stimulate France's interest not only in that idiom that indispensable member of any family gather- but also in the works of diverse modern composers. ing, the military uncle (le General). And after the A composer originally very much in the line ofLes General has been eaten by a lion that has stepped Six,Wiener went on to write in an almost purely from the photographer's camera (instead of the four-square popular style that he employed partic- "birdie"), Honegger offers the most serious piece of ularly in a large number of film scores. A good ex- the entire work, aMarche funebre,which was ap- ample of his early style is theConcerto Franco- propriately the only part of the musical score to Americain(1922) for piano and string orchestra, please the critics. Yet nobody noticed that its cli- still available in (and from) France. Two more recent works, a rather baroque -sounding Accordion Concerto (1957) and the less interestingConcerto Recommended Recordings pour orchestre et piano principal (1970).have also been recently recorded in France. LES Six Les Maries de la Tour Eiffel (incl. pieces by Auric, Poulenc, Milhaud, Tailleferre, and Durey, Tailleferre, and Auric Honegger). Darius Milhaud, cond. ADEs 15 501*. OfLes Six,Durey. Tailleferre. and Auric have remained the most consistently close to the original Cocteau aesthetic. Durey, who has received the

52 HIGH FIDELITY MAGAZINE least attention of the six, carried the "popular" orientation into the realm of politics and has gained a certain amount of recent notoriety as a leftist com- Recommended Recordings poser with songs based on texts of, among others. Mao Tse-tung and Ho Chi-minh. In other works. GERMAINE TAILLEFERFtE (1892- ) such as his 1957 Piano Concertino, Durey tends to Concertino for Harp and Orchestra. Nicanor wax romantic in a rather nineteenth-century direc- Zabaleta, harp; Jean Martinon, cond. tion. DEUTSCHE GRAMMOPHON 2530 008 (with Germaine Tailleferre, one of the notable female works by Ginastera and Saint-Saens). composers of the twentieth century, offers a more Les Merles de la Tour Eiffel-SeeLes Six. supple and original romanticism often touched Quartet for Strings. CALLIOPE CAL 1803* with a warmer humor than one finds in her col- (with Bondon: Quartet No.1;Milhaud: leagues' compositions. A recording of her 1927 Quartet No. 12). Harp Concertino, superbly played by Nicanor Sonata for Harp. Nieanor Zabaleta, harp. COUNTERPOINT ESOTERIC 523 (mono, OP; Zabaleta, can be easily obtained, while a disc of her with other contemporary harp works). String Quartet (1917) has just appeared in France. Certainly more of Tailleferre's output should reach discs, particularly such works as the two violin so- GEORGES AURIC (1899- ) natas, the Harp Sonata once recorded by Zabaleta, Les Facheux. Igor Markevitch, cond. GUILDE and the delightful Concerto of vain words (1934), INTERNATIONALE DU DISQUE SMS 5227/28* based on a Jean Tardieu text, for two pianos, voice. (two -disc set: "Diaghilev at Monte Carlo"). and orchestra. Imaginees II, for Cello and Piano. Pierre Pe- According to many. Auric was one of the most nassou, cello. ARION 37180*. promising composers of his generation. He went on Les Maries de la Tour Eiffel-SeeLes Six. Trio for Winds. GOLDEN CREST GCS 4076 to write principally for the cinema, including scores (with works by Poulenc, Bergsma, and for most of Cocteau's films and, of course, The Kauffmann). Moulin Rouge with its widely popular waltz. Au- ric's concert works tend to sound bigger than their aesthetic merits, giving them an almost Slavic hue at times. This can be heard in his ballet Les Fitch- a "Boston" waltz) and becomes Tiresias while the eux (1924) on the "Diaghilev at Monte Carlo" al- husband is left to bear and raise 40,049 children. If bum. The album also includes the almost pure music -hall -style ballet by Milhaud, Le Train blue Poulenc played for straight laughs-such as in the off-key trumpet solo preceding the Presto-Lacouf (1924). the only recording with chorus of Poulenc's duel and in the hysterically silly duet between the Les Biches (1924), and music by Sauguet and Satie. proud papa and his 40,049 children-he also knew Auric's 1938 Wind Trio, whose lively first move- how to balance this humor with scenes whose mock ment is particularly effective, has been beautifully seriousness is all the funnier because itis played recorded by Golden Crest, and his recent and much relatively straight (such as the lament for Presto more "modern" Imaginees 11 for cello and piano, and Lacouf). It is one of those inexplicable crimes written for Rostropovich and marking Auric's re- of the record industry that the splendid disc of this turn to composition, has just been recorded by opera is no longer obtainable anywhere. Pierre Penassou. Besides his indisputable gift for musical humor, Poulenc also displayed one of this century's greatest lyrical talents. Full of unexpected harmonic Poulenc shifts, Poulenc's sometimes modal melodies nevertheless rarely stray far from the home key for very Although he branched out in other directions, Pou- long, producing rich but simple efects. These are lenc came to embody the spirit of Les Six and in admirably exemplified by the opening theme of the 1944 wrote a work that represents not only the 1945 Piano Concerto and the 1957 Flute Sonata, greatest product of the group's original aesthetic the best recording of which is by Rampal and Vey- but also one of the most delightful comic operas ron-Lacroix. Another excellent exampleisthe ever written, Les Mamelles de Tiresias. Based on poignant, nursery -tune theme of the second move- Apollinaire's 1903 comedy, perhaps the first sur- ment of the Two -Piano Concerto (1932), currently realist play, Les Mamelles not only offers a make - available in two excellent renditions-by Gold and love -not -war message butisalso pervaded by Fizdale or by Poulenc himself with Jacques Fey- strongly feminist overtones-the wife (Therese) al- rier. lows her breasts to float heavenward (to the tune of Not surprisingly. Poulenc left this century one of

SEP UMBER 1973 53 its most important bodies of art songs. They range chestral score. The opera has been beautifully re- from the ironic, as in the CocteauCocardes (1919) corded by Poulenc's favorite soprano. Denise Du- to the almost mystical, as in the beautifulMain do- val, also featuredinthe other opera albums. minee par le coeur(1947). based on a poem by sur- Conducted by Georges Pretre and once released in realist Paul Eluard. These two works and a number RCA's luxurious Soria series, this landmark disc is of other excerpts and cycles can be found on an ex- available only from France now. cellent anthology entitled "Poulenc et ses pokes." Poulenc should also be singled out for the impor- Poulenc also produced two more operas, both of tant body of religious music he left behind. Besides them serious and both of which have justifiably Dialogue des Carmelites,Poulenc's most effective been performed throughout the world. The tragic work in this area is. perhaps the deeply moving Sta- and rather MussorgskyanDialogues des Carmelites bat Mater (1950). The 1959 Gloria, which was criti- (1953-55), his only full-length opera, has one of the cized in certain circles as overdoing the joyous as- most hair-raising endings in all musical drama as a pects of this liturgical form. is one of the composer's chorus of nuns is gradually depleted to a duet, a most captivating works, and it has received an ex- solo, then silence through the device of decapita- cellent performance by the Robert Shaw Chorale tion. (Readers may remember the NBC Opera coupled with the StravinskySymphony ofPsalms, Company production on television.) The Angel with which the Gloria shares certain stylistic tics. mono recording is still in print. In LaVoix humaine (The Gloria's opening also owes a huge debt to the (1958), based on Cocteau's monodrama and a rare Hymn from Stravinsky's Serenade for Piano.) example of a single -character opera, Poulenc used Other important Poulenc works available on disc a more Debussyesque extended recitative that oc- include the Concerto for Organ, Strings, and Tim- casionally breaks into poignant semiarias, all of pani (1938) and theConcert champetre(1927-28) which is backed up by an extremely sumptuous or- for harpsichord and orchestra.

Recommended Recordings Dialogues des Carmelites. Denise Duval, Re- gine Crespin, Rita Gorr, et al.; Pierre Der- vaux, cond. ANGEL CL 3585 (three discs, FRANCIS POULENC (1899-1963) mono). Aubade, ChoreographicConcerto.Gabriel Gloria. Robert Shaw, cond. RCA RED SEAL Tacchino, piano; Georges Pretre, cond. LSC 2822 (with Stravinsky: Symphony of ANGEL S 36426 (with Piano Concerto). Psalms). Les Biches-See Auric: Les Facheux. -Georges Pretre, cond.-See Concerto for Concert champetre for Harpsichord and Organ. Orchestra. Aimee van de Wiele, harpsi- Les Mamelles de Tiresias. Denise Duval et chord; Georges Pretre, cond. ANGEL S al.; Andre Cluytens, cond. SERAPHIM 60029 35993 (with Two -Piano Concerto). (mono, OP). -Robert Veyron-Lacroix, harpsichord; Jean Les Merles de la Tour Eiffel-See Les Six. Martinon, cond. MUSICAL HERITAGE MHS -(pieces by Poulenc only)-See Deux 1595 (with Organ Concerto). Marches. Concerto for Organ, Strings, and Timpani, Quatre Motets pour un temps de penitence. inG minor.MauriceDurufle,organ; Georges Pretre, cond. ANGELS 36121 (with Georges Pretre,cond. ANGEL S Stabat Mater). 35953;4-128XS35953;WM4XS 35953 (with Sinfonietta-See Deux Marches. Gloria). Sonata for Flute and Piano. Jean-Pierre -Marie -Claire Alain, organ; Jean Martinon, Rampal, flute; Robert Veyron-Lacroix, pi- cond.-See Concert champetre. ano. MUSICAL HERITAGE MHS 906. Concerto for Piano and Orchestra-See Songs. Various singers. PATHE CCA 1098* Aubade. ("Poulenc et ses poetes"). Concerto for Two Pianos and Orchestra. -(four cycles) Gerard Souzay, baritone; Dal- Arthur Gold and Robert Fizdale, pianos; ton Baldwin, piano. PHILIPS 802 765. Leonard Bernstein, cond. COLUMBIA MS Stabat Mater. Regine Crespin, soprano; 6392 (with Shostakovich: Concerto No. 1). Georges Pretre, cond.-See Quatre Mo- -Poulenc and Jacques Fevrier, pianos; tets. Georges Pretre, cond.-See Concert Suite franqaise-See Deux Marches. champetre. La Voix humaine. Denise Duval, soprano; Deux Marches et un intermede. Georges Georges Pretre, cond. VOIX DE SON MAITRE Pretre, cond. ANGEL S 36519 (with Les CVA 918* (formerly RCA VICTOR LSS 2385, Manes; Sinfonietta; Suite francaise). OP).

54 HIGH FIDELITY MAGAZINE Recommended Recordings L'Homme et son desir. Milhaud, cond. CAN1 DARIUS MILHAUD (1892- ) DIDE CE 31008 (with Little Symphonies). Le Boeuf sur le toit. Milhaud, cond. NONE- Introduction et marche funebre-See Le SUCH H 71122 (with La Creation). Château de feu. Carnaval d'Aix. Milhaud, cond. CANDIDE CE Little Symphonies for Small Orchestra (6)- 31013 (with Percussion Concerto; Viola See L'Homme et son desir. Concerto). Les Maries de la Tour Eiffel-See Les Six. Le Château de feu. Serge Baudo, cond. Octet for Strings. Budapest Quartet. COLUM- CHANT DU MONDE LDX-A 78 325* (with BIA ML 4332 (mono, OP; with Quartets Nos. Suite provencale; Introduction). 14 and 15). Les Choephores. Leonard Bernstein, cond. -Parrenin Quartet; Bernede Quartet. VOIx DE COLUMBIA SPECIAL PRODUCTS CMS 6396. SON MAITRE C 063 11 631* (with Quartets Concertos for Cello and Orchestra, Nos. 1 Nos. 14 and 15). and 2. SUPRAPHON SUP 50864. Quartet for Strings, No. 12-See Tailleferre: Concerto for Oboe and Orchestra. Jacques Quartet for Strings. Vandeville, oboe. INEDITS ORTF 995 032'. Quartet for Strings, No. 14. Budapest Quar- Concerto for Percussion and Small Orches- tet-See Octet for Strings. tra-See Carnaval d'Aix. -Parrenin Quartet-See Octet for Strings. Concerto for Piano and Orchestra, No. 1. Quartet for Strings, No. 15. Budapest Quar- Philippe Entremont, piano; Milhaud, cond. tet-See Octet for Strings. COLUMBIA MS 7432 (with La Creation; Joli- -Bernede Quartet-See Octet for Strings. vet: Piano Concerto). Suite provengale. Charles Munch, cond. Concerto for Viola and Orchestra. No. 1- RCA VICTOR LDS 2625 (OP; with La Crea- See Carnaval d'Aix. tion). La Creation du monde-See Le Boeuf sur le -Serge Baudo, cond.-See Le Château de toit. feu. -(chamber version) Philippe Entremont, pi- Symphony No. 4 (1848). Milhaud, cond. MU- ano; Trio Francais-See Concerto for Pi- SICAL HERITAGE MHS 1089 (with Symphony ano. No. 8). Etudes for Piano and Orchestra. Paul Ba- Symphony No. 8 (Rhodanienne)-See Sym- dura-Skoda, piano. WESTMINSTER XWN phony No. 4. 18717 (mono, OP). Le Trair bleu-See Auric: Les Facheux.

Milhaud Charles Munch (it can still be obtained in a four - record set in France): another recording of the If the doors opened by Poulenc lead mainly to a Suite conducted by Serge Baudo is now available private universe containing a remarkable number only on the French Chant du Monde label coupled of minor masterpieces and one or two majorones. with the 1936Introduction et Marche liinebreand Darius Milhaud moved in directions thatoccasion- the important cantataLe Chateau de jeer(1954). allyhad more far-reaching consequences. Mil- The latter work grimly evokes the atmosphere of a haud's most influential experiments have been with Nazi concentration camp where a nephew of Mil- polytonality, in which two or more different keys haud's (Milhaud himself is Jewish) and two ac- are used simultaneously. either through the juxta- quaintances were murdered. A less convincing position of conflicting chords (usually triads). the work that nonetheless has some of theSuite proven- use of a melody in a different key from its harmonic cyle'sspirit is the Fourth(1848)Symphony (1947). accompaniment, or the simultaneous scoring of recorded by Milhaud along with the 1957 Eighth melodic lines in different keys. A passage from the Symphony(Rhodunienne).No doubt Milhaud's thirdPetite Symphonie(1921) has six separate most extreme example of polytonality is in his five melodic lines in five different keys at the same time! Etudesfor piano and orchestra (1920-21). One of Polytonality, almost a constant in Milhaud's Milhaud's most interesting experiments, his oeuvre.can also be heard in the rich. atmospheric Fourteenth and Fifteenth String Quartets opening chords of theSuite pmrencule(1936). (1948-49). which can also be played together as an which also makes strong use of the folk idiom of octet, has recently been recorded in France by the Milhaud's native Provence (an influence one can Parrenin and Bernede Quartets (the disc offers all hear in many of his works). RCA's lamented Soria three works, as did the now deleted performance by series included a fine recording of this work by the Budapest Quartet).

SEPTEMBER 1973 55 The originality of Milhaud's music, however, Six Movements for String Orchestra by French - goes far beyond the composer's distinctive har- Polish composer Alexandre Tansman. One might monic language, particularly in the earlier works. also mention a Supraphon album containing the Like many twentieth-century composers, he has ex- two cello concertos. plored in great depth both rhythms and the expanded possibilities of percussion instruments, and one of the outstanding results of his efforts can be Honegger heard in Les Choephores (1915-16), the second of the three operas of Milhaud's Orestian trilogy, Although his parents were Swiss and he is often based on the Paul Claudel translation. The only considered a Swiss composer, Arthur Honegger current recording of it (Bernstein's, now available was born and died in France, where he spent most from Columbia Special Products) should be ob- of his life. Nonetheless, unlike his fellow Les Six tained before it disappears altogether. Besides the composers-and in fact unlike most modern French extremely rich harmonic and rhythmic idiom, Les composers-Honegger never turned his back on the Choephores features exceptional choral writing and German tradition. While Milhaud in particular several incantatory passages in which Electra de- lashed out against Wagner. Honegger openly ad- claims passages accompanied by whistles and spo- mired him. Yet perhaps the biggest influence on ken chants from the chorus-all of this over diverse Honegger was Bach. and the dual French -German percussion effects. The first opera of the trilogy, pull on the composer can be heard in his attempts Agamemnon (1913), is less ambitious, but the final to "do with chords what Bach did with melodic one, Les Eumenides (1917-22), which picks up with the same eerie rhythmic declamation that closes Les Choephores, is a full, three -act work that should become a staple in modern opera repertoire. Milhaud's ballet L'Homme et son desir (1918) Recommended Recordings also effectively uses voice and percussion. Itis based on a Brazil -inspired scenario by Claudel, ARTHUR HONEGGER (1892-1955) whom Milhaud had served as a secretary while the Concertino forPiano andOrchestra. Walter famous Catholic poet/playwright was France's Klien, piano. TURNABOUT TV -S 34130 (with minister to Rio. This important ballet can be ob- works by BartOk, Janadek, Stravinsky). tained in an excellent version conducted by Mil- Concerto for Cello and Orchestra. Serge Baudo, cond. FRENCH CBS 75 863* (with haud together with the six Little Symphonies for Symphony No. 5). Small Orchestra (1917-23), which reveal the com- Le Dit des jeux du monde. Leningrad Phil- poser's unusual talent as a large-scale miniaturist harmonic Chamber Orchestra. MELODIYA D (he has also written three delightful "minute op- 026489-90*. eras"). Les Maries de laTourEiffel-See Les Six. Milhaud is an enormously prolific composer who Pacific 231. Leonard Bernstein, cond. Co- can score a work for full orchestra while sur- LUMBIA MS 6659 (with Rugby; Pastorale rounded by students practicing and orchestras re- d'ete; works by Debussy). hearsing; his total catalogue is approaching five Pastorale d'ete-See Pacific 231. hundred works,including twelve symphonies, Piano Works. Jurg von Vintschger, piano. TURNABOUT TV -S 34377. eighteen string quartets, and concertos for a wide Le Roi David. Honegger, cond. PLAISIR MUSI- variety of instruments. Since the concertos contain CAL 35 008/9* (two discs, mono). some of Milhaud's finest writing, an essential disc is -(incidental -music scoring) Charles Dutoit, the Milhaud -conducted Concerto for Percussion cond. MUSICAL HERITAGE MHS 1392/3 (two and Small Orchestra (1930), also containing the discs). First Viola Concerto (1928), and the Carnaval Rugby-See Pacific 231. d'Aix (1926) for piano and orchestra. The light- Symphony No. 2, for Strings. Jean -Francois hearted First Piano Concerto (1933). which like Paillard, cond. MUSICAL HERITAGE MHS 805 many Milhaud works manifests a neoclassical sim- (with Roussel: Sinfonietta; Schmitt: Janiana plicity in its basic structure, has been excellently re- String Symphony). Symphony No. 3 (Liturgique). Ernest Anser- corded by Philippe Entremont on Columbia along met, cond. LONDON CS 6616 (with Sym- with the piano quartet version of La Creation du phony No. 4). monde (and the pompous Piano Concerto by Andre Symphony No. 4 (Deliciae Basiliensis). Jolivet). The transparency of the 1957 Oboe Con- Charles Munch, cond. MUSICAL HERITAGE certo has been splendidly captured by Jacques MHS 981 (with Dutilleux: Cinq Metaboles). Vandeville on a new French release in the impor- Symphony No. 5 (Di tre re)-See Concerto tant Inedits ORTF series produced by the French for Cello. radio and offering works not otherwise available; this new issue also offers the impressive and somber

56 HIGH FIDELITY MAGAZINE lines." For an excellent example of the dense musi- But no matter what idiom he wrote in, Honegger cal sound produced by Honegger, listen to the awe- was first and foremost a musical dramatist. Almost some, somber chords opening the magnificent Fifth all of his compositions are marked by a strong emo- Symphony (Di tre re, 1950), no longer available in tionalism chiefly expressed by the composer's dy- America but recently released in France in a per- namic rhythmic language and his sometimes jar- formance by Baudo, a recording that also offers the ring interruptions of simple lyrical passages by subtle and melancholic Cello Concerto (1929). violent, dissonant outbursts. This obviously pessi- Honegger did go through an experimental stage mistic attitude became more marked as the com- that produced in particular two works. The first, for poser grew older, but Honegger's characteristic which Honegger admitted the influence of Schoen- style of contrasts can be heard even in such an early berg and Stravinsky, is his primitivistic ballet (with work as the dramatic oratorio Le Roi David (1921), narration a la Histoire du soldat) Le Dit des jeux du another of the composer's most famous pieces. It is monde (1918), which contains movements for per- available in several excellent versions, the best of cussion only. It has been recorded in the Soviet which are Honegger's own and the original, inci- Union, of all places, on the Melodiya label. But dental -music scoring conducted by Charles Dutoit. Honegger's most famous and influential (especially Other strongly recommended recordings of in Russia) work by far was an experiment in mathe- Honegger's music are listed in the Honegger dis- matically accelerated rhythms inspired by a huge cography. Inexplicably theFirst Symphony steam locomotive, Pacific 231 (1923). Bernstein's (1929-30) has never been recorded, and new re- Columbia performance of this "symphonic move- leases should definitely be made of some of the ment," on a disc that also contains the energetic chamber music, particularly the two extraordinary Rugby (1928), the serene Pastorale d'ete, and two violin sonatas and the three quartets. Symphonic works by Debussy, is the most attractive current poems such as Horace victorieux and Le Chant de recording. Nigamon also strongly merit attention.

indications (unfortunately not followed by com- PAR "1I I -AFTER LES SIX poser Francis Seyrig) for the types of music desired. Jean -Luc Godard. when not using music by classical composers such as Beethoven and Schumann, has inspired an incredibly large number of outstanding scores by giving almost completely free GLANCING BACKat the various works already men- rein to his composers_ The most remarkable of ioned, it's apparent that a large number are bound these are by Antoine Duhamel for Weekend (1967) up in extramusical references. This strong tendency and particularly Pierrot le fou (1965). Excerpts of in French music to make use of a pretext-as op- the latter's moody and lyrical music were once posed to a "program"-results more from French available on a Barclay 45 -rpm single, but this film artists' general awareness of all the arts rather than score, one of the finest ever written, definitely mer- from a desire to tell a story. Indeed, if the tech- its a complete recording. niques of Wagner's musical language had little ef- The "old wave" as well inspired its masterpieces, fect on most French composers, his aesthetic of a among them Maurice Jaubert's music for Jean synthesis of the arts reached into every domain of Vigo's L'Atlante (1934), some of which was re- French aesthetics-a late -nineteenth-century liter- corded on a now -deleted Vega disc. The cinema ary review having little to do with music per se was was also the impetus for such before -the -fact com- even called La Revue Wagnerienne. positions as Milhaud's Le Boeuf sur le toit, as dis- Interestingly, the areas in which the French have cussed above, and much more recently, a poeme perhaps applied their idea of a fusion of the arts cinematographique entitled Le Musicien dans la cite with greatest success in the twentieth century have by Yves Baudrier (born 1906). Recorded in the In - been the cinema and the ballet. Nearly every edits ORTF series, Le Musicien dans la cite mu- French composer, whether of major or minor sta- sically depicts a solitary musician wandering ture, has scored for films, a situation paralleled only through a nocturnal Paris and was intended to in- in Russia (where artistic evolution has more than spire, almost choreographically, the rhythm of a one element in common with France). film (which was in fact shot by Roger Kahane). The "new wave" directors in particular have But before the cinema, the ballet offered during been quite attentive to the musical element of their the first two or three decades of this century the art. Alain Robbe-Grillet's script for Alain Resnais' possibility of a total artistic communication Last Year at Marienbad (1961) gives quite precise through sets, story, lighting, choreography and mu -

SEPTEMBER1973 57 Characteristically French

Recommended Recordings However, the ballet was a strong force in French YVES BAUDRIER (1906- ) music before the avant-garde. Even when not intended specifically for the stage, any number of Le Musicien dans la cite. INton-s ORTF 995 twentieth-century compositions in France have a 022* (with Thiriet: Flute Concerto). strong ballet flavor, a fact rooted in certain basic ANTOINE DUHAMEL (1925- ) musical practices shared in varying degrees by a Pierrot le fou (excerpts). BARCLAY 70 869 great many French composers. (45 rpm, OP) The first of these is the affinity the French have always seemed to have for orchestral color in which PIERRE HENRY (1927- ) lightness, transparency, and clarity dominate, a Mouvement. Rythme. Etude. PHILIPS 6504 tendency that found fruition as early as Berlioz' 062*. La Reine verte. PHILIPS 6332 015*. Symphonie fantastique,which calls for five pianos Variations pour une porte et un soupir. PHIL- sounding four -octave unisons to create a chime ef- IPS 836 898* (formerly LIMELIGHT 86059, fect. (The Mitropoulos version on Odyssey OP) 32160204 is, I believe, the only one to use this scor- MAURICE JAUBERT (1900-1940) ing.) Although obviously not essential to the exist- L'Atlante (excerpts). Vega C30A98* (mono, ence of dance, this ability to produce striking and OP; with excerpts from film scores by Auric, unexpected shifts in instrumental color creates in- Sauguet, Milhaud, Jarre, Le Roux, and stantaneous effects especially suited to ballet. Al- Kosma). thoughLes Sixrevolted against this tradition, most of them-particularly Poulenc in his later years- could not consistently resist the temptation of "beautiful sound." sic-minuswords. Nonverbal communication has Perhaps more important is the French inclina- in fact been particularly important in France ever tion for episodic forms and structures. Through the since thecommedia dell'artemade inroads there in use of frequent motivic repetition, atmospheric os- the late seventeenth century and the more recent tinatos, and generally short sections within a given discovery of oriental practices has left just as strong work, French composers often create a kind of sta- a stamp. Who else but the French could produce a tic quality in their music. A kind of abstractemo- Marcel Marceau. tionalunity, often depending on cyclism a la Cesar The ballet has launched some of the most impor- Franck or variousidees fixesa la Hector Berlioz, tant works to come out of France in this century. may then replace the more dramatic technique of Even today, Maurice Mart's ballet troupe has thematic development. been responsible for the creation of a number of The Kipling-inspired symphonic poemLes important works, especially those of pioneer elec- Bandar -log(1939-40) by theprolificCharles tronic andmusique concretecomposer Pierre Henry Koechlin (1867-1951) offers an excellent example (born 1927). ForNijinsky, Clown of God,recently of the above tendencies. Recorded in a perform- performed in New York, Bejart used Henry's ance by Antal Dorati on Angel,Les Bandar -logis Mouvement. Rythme. Etude(Philips) along with part of an essential disc that includes two other parts of Tchaikovsky'sPathethiqueSymphony. stunning examples of French orchestral (and vocal, One of the most intriguing Bejart-inspired compo- for the Boulez work) color: Olivier Messiaen's sitions is Henry'sLa Reine verte (The Green Queen, Chronochromie (1960)and theSoleil des eaux can- 1963), recently re-released by Philips. Mart was tata (1948)by Pierre Boulez, who conducts his own even able to make a ballet out of one of this cen- work. tury's weirdest and most original works ofmusique Almost all the compositions by Koechlin pupil concrete,Henry'sVariations pour une porte et un Jacques Bondon (born 1927), one of the few com- soupir (Variations for a Door and a Sigh, 1963).In posers to derive constant inspiration from science this work Henry produced over the space of forty- fiction and fantasy literature, likewise offer almost five minutes an incredibly diverse and strangely quintessential forms of certain Gallic traits. moving series of variations (starting withSleepand Bondon's particularly insistent use of repetitions ending withDeath)using only the sounds of an ex- combined with a distinctive use of definite -pitch tremely gifted barn door, certain noises made by percussions and open harmonies often creates a human breathing, and a kind of musical saw. A rather oriental atmosphere. This can be heard im- "definitive" version ofthe Variations,written in mediately in his suiteKaleidoscope(1957, 1964). homage to the work ofa graphicartist (Arman), has Kaleidoscope,whose movements have such titles been recorded by Philips. After listening to this as Dream's DecorandThe Dancing Color,makes record, you'll never again be able to hear a creaking some solid use of the ondes martenot, an electronic door in quite the same way. instrument sounding rather like a theramin but

58 HIGH FIDELITY MAGAZINE of Provençal carols and hisDivertissement pastoral to accompany Christmas Mass are unfortunately Recommended Recordings no longer domestically available but would make a superb addition to anybody's Christmas collection. JACQUES BONDON (1927- ) Kaleidoscope. Bondon, cond. MUSICAL HERI- TAGE MHS 988 (with Landowski: Ondes L'Ecole d'Arcueil Martinot Concerto). Quartet for Strings-See Tailleferre: Quartet Besides Les Six,two other important groups for Strings. formed in France between thewars- L'Ecole CHARLES KOECHLIN (1867-1951) d'Arcueiland Lajeune France.The former, bap- Les Bandar -log. Antal Dorati, cond. ANGEL S tized in 1924 in homage to the Parisian suburb 36295 (with Boulez:Soleil des eaux:Mes- where Erik Satie lived, consisted of Henri Cliquet- siaen:Chronochromie). Pleyel, who achieved very little fame, Roger Desor- miere (1898-1963), who was particularly important HENRI TOMAS! (1901-1971) and influential as a conductor until paralyzed by a Concerto for Trombone and Orchestra. stroke n 1952, Maxime Jacob (born 1906), and INEDITS ORTF 995 023* (with Delannoy: Henri Sauguet (born 1901). Although he became a Concerto de mai). Benedictine monk in1930. Jacob continued to Concerto for Trumpet and Orchestra. MUSI- compose; the only work I have heard by him, the CAL HERITAGE MHS 829 (with Chaynes: Six Chants d'exil et de peinefor orchestra, is written Trumpet Concerto; Quatre Illustrations pour la Irate de jade). in a particularly rich post-Satie style that makes me Divertissement pastoral. DEUTSCHE GRAMMO- hope more attention will be paid to the music of PHON 136 374* ("Noel en Provence"). this unique composer. Provençal carols (arr.)-See Divertissement Henri Sauguet, on the other hand, became-even pastoral. more strongly than Poulenc-the most important inheritor of the Satie tradition. Much of Sauguet's work has the subtle ostinatos, the ambiguous harmonies, the threadbareness, the simplicity, and the refined popular elements found in Satie, whose made much more versatile through the use of a music represents the epitome of that static quality keyboard. Invented by Maurice Martenot, the peculiar to French music. strange tones of the ondes martenot can be heard in Les Forains(1945). the most popular of Sau- numerous modern French works (including Marcel guet's twenty-five ballets, is an homage to Satie, al - Landowski's 1954 concerto for the instrument recorded on the flip side ofKaleidoscope), butinter- estingly enough the instrument has attracted almost no composers outside of France. Recommended Recordings The late Henri Tomasi (1901-1971), who like Koechlin is woefully represented on disc, was an HENRI SAUGLET (1901- ) artist of strong humanitarian inclinations. Tomasi La Chatte-See Aucic: Les Facheux. wrote some of his most moving works in his last Concerto for Piano and Orchestra, No. 1. years, includinga Symphonie du tiers monde (Third - Sauguet, cond. CHANt DU MONDE LDX-S WorldSymphony, 1967) and aChant pour le Viet- 8300* (with Les Forains). nam(1969)-the latter inspired by a text of .lean - Concertino for Harmonica and Orchestra. Paul Sartre! One of Tomasi's absolute master- Claude Garden, harmonica. Initorrs ORTF pieces, incredibly never recorded, is the stark ballet 995 021* (with Two Movements). Noces de cendres (Ash Wedding, 1954), inwhich the Les Forains. Sauguet, cond.-See Concerto composer combines a rather Ravelian sense of for Piano and Orchestra, No. 1. Melodie concertante, for Cello and Orches- color and rhythm with a distinctive and moody har- tra. Mstislav Rostropovich, cello; Sauguet, monic style and some especially poignant themes. cond. CHANt DU MONDE LDX-A 78435* Tomasi also wrote several exceptional operas and (with Quartet No. 2) or MELODIYA/ANGEL SR concertos for a large variety of instruments, includ- 40180 (with Vlasov: Cello Concerto). ing a splendid Double -Bass Concerto (1970), which Quartet for Strings, No. 2-See Melodie con- was to be his last work. certante. The two concertos that represent him on disc are Two Movements for Strings in Memory of unfortunately not among his best works. The 1949 Paul Gilson-See Concertino for Harmon- Trumpet Concerto is, however, much more charac- ica and Orches!ra teristic of the composer's style than the 1956 Trom- bone Concerto. Tomasi's captivating arrangements

SEPTEMBER 1973 Gy though the style is more sophisticated and straight- of his domestically available compositions on disc forward than Satie's usually is.Les Forainshas is probably the String Trio (1933), beautifully per- been recorded by the composer along with the First formed by Heifetz, De Pasquale, and Piatigorsky. Piano Concerto (1934). The melancholy lyricism of In addition the recentL'Horloge de flore (1959)for this concerto immediately reveals Sauguet's per- oboe and small orchestra has been superbly personal idiom and balances the more airy aspects of formed by John de Lancie on RCA. the style. Melancholia plays an even stronger role In spite of his Parisian background. Ibert has in the extraordinarily beautifulMelodie concer- produced works marked by a more provincial, tantefor cello and orchestra (1964). written for peasantlike coarseness that makes its point best in Mstislav Rostropovich and superbly performed by humorous works such as the popularDiver- him on an indispensable Chant du monde release. tissement (1930),a suite from the music written for The same version of theMelodieis also available Labiche'sboulevardfarceAn Italian Straw Hat.Be- domestically on Melodiya/Angel but idiotically sides the famousEscales(1927). of which several coupled with a horrendous cello concerto by Vladi- good recordings exist (Munch's is probably the mir Vlasov. One can only hope that more of Sau- most attractive), an appealing Ibert work is the ele- guet's extensive catalogue, including the bitter- gant, Renaissance -style ballet suite fromDiane de sweet 1954 opera based on Musset'sLes Caprices Poitiers(1933), coupled with the impressiveUne de Marianne.will eventually be represented on Saison en enfer(after Rimbaud) symphony by disc. Henry Barraud (born 1900), one of France's most important representatives of the symphonic tradition. Ibert and Francaix

Revolving in somewhat the same orbit asLes Six La Jeune France andL'Ecole d'Arcueilbut of much less importance (in spite of their inexplicably greater popularity in It was Yves Baudrier who in 1936 initiated the the U.S.) are Jacques Ibert (1890-1962) and Jean Jeune Francegroup with Daniel-Lesur (born 1908), Francaix (born 1912). Francaix's basically urbane Andre Jolivet (born 1905), and Olivier Messiaen style, where everything seems to stay within a light- (born 1908) in reaction to musical doctrines of all hearted, slightly nostalgic midrange characterized sorts, from Cocteau's to Schoenberg's, as well as to harmonically by frequent chains of parallel thirds, the depersonalization and mechanization of mod- is best represented by strings; the most interesting ern life. The group's goals were to attain a "new musical humanism," and it was Jolivet and particularly Messiaen who found the most significant solutions to this idea. Daniel-Lesur, although less am- Recommended Recordings bitious than Jolivet and Messiaen, found a highly personal idiom marked by strong, insistent JACOUES (BERT (1890-1962) rhythms (frequently derived from dance patterns) Diane de Poitiers (ballet suite). Initorrs ORTF and an almost English pastoral quality lacking in 995 017* (with Barraud: Une saison en en- the style of the otherJeune Francecomposers. fer). Erato has released an extremely attractive disc of Divertissement. Jean Martinon, cond. Daniel-Lesur's music that Musical Heritage will STEREO TREASURY STS 15093 (with works hopefully bring out eventually. by Bizet and Saint-Saens). Escales. Charles Munch, cond. RCA Vic- Jolivet's approach to a new musical humanism was a redefinition of the incantatory and ritualistic TORLA VICS 1323;40a V8S 1033 (with works by Debussy and Ravel). potential of music. Although Jolivet's direct prede- Symphonie concertante, for Oboe and cessor for this type of primitivism was Stravinsky, Strings. John de Lancie, oboe; Andre Pre - he also benefited greatly from his teacher Edgard vin, cond. RCA RED SEAL LSC 2945 (with Varese. Along with the insistent but often complex Frangaix: L'Horloge de Fiore; Satie- rhythms and the obsessive repetitions (and the Debussy: Gymnopedies). sometimes excessive volume levels), there is a dis- JEAN FRANCAIX (1912- ) tinctive use of coloration in Jolivet. His harmonic language becomes more complex and decidedly L'Horloge de Fiore, for Oboe and Orches- less tonal in his later works (his most recent compo- tra-See Ibert: Symphonie concertante. sitions, which might be termed experimental, have Trio for Strings. Jascha Heifetz, violin; Jo- seph de Pasquale, viola; Gregor moved almost completely away from his original Piatigorsky, cello. RCA RED SEAL LSC 2985 aesthetic). (with Dvorak: Piano Quintet). One of the bestpost -Sucrecompositions is Joli- vet'sCinq Danses rituelles(1939). which can be heard along with a stunningly recorded and in -

60 HIGH FIDELITY MAGAZINE structures of Western music. The composer therefore turned to certain Hindu musical practices. in- Recommended Recordings cluding the use of various complex, unretrogra- dable rhythms (rhythmic structures that have identical patterns whether played forwards or DANIEL-LESUR (1908- ) backwards), and a technique of varied repetition in Pastorale for Seven Instruments, Timpani. which subtle changes in the ornamentation and and Strings; Serenade for Strings; Sym- textural context of a theme are of paramount im- phonie de danses. ERATO STU 70 514*. portance (rather than the development of that ANDRE JOUVET (1905- ) theme). The result is frequently the kind of hypnotic effect heard for instance in certain of the nine Cinq Danses rituelles. Jolivet, cond. MUSICAL "meditations" (suchas Les Bergers)of the early or- HERITAGE MHS 1371 (with Cello Concerto). Concerto No. 2 for Cello, String Quintet, gan workLa Nativite du Seigneur (1935). and String Orchestra. Mstislav Rostro- The totality of the vision Messiaen attempts to povich,cello;Jolivet, cond.-See Cinq communicate is manifest in the sometimes extreme Danses rituelles. complexity of much of his music. For example, one Concerto for Flute and Orchestra, No. 1. section ofChronochromie (1960)simultaneously Jean-Pierre Rampal, flute. MUSICAL (HERI- juxtaposes eighteen different thematic lines, each TAGE MHS 1015 (with Incantations; Suite en in a different mode, aesthetic, and rhythm. This concert). same type of multiplanar writing, in a less compli- Concerto for Harp and Orchestra. MUSICAL cated form, often gives rise to a unique kind of pol- HERITAGE MHS 1079 (with Ondes Martinot ytonality that can be heard in such an early work as Concerto). Concerto for Ondes Martinot and Orches- the popularTrois petites liturgies de la presence di- tra. Jeanne Loriod, ondes martinot-See vine(1944), for women's chorus, ondes martenot, Concerto for Harp and Orchestra. and orchestra. Incantations for Unaccompanied Flute. Yet Messiaen tempers his complexity-and the Jean-Pierre Rampal, flute-See Concerto jagged edges of his nontonal harmonies-with cer- for Flute and Orchestra, No. 1. tain quiescent passages in which long, dreamy Suite en concert, for Flute and Percussion. melodic lines seem to spiral slowly over opulent, Jean-Pierre Rampal, flute-See Concerto static harmonies that never resolve. Extended ex- for Flute and Orchestra, No. 1. amples of this can be heard in the fourth movement Symphony No. 1. Georges Tzipine, cond. ofL'Ascension(1932) and in the sixth movement. INEDITSORTF995008*(with Nikiprowetzky: Hommage a Antonio entitledThe Garden of Love's Sleep,of the gargan- Gaudi). tuan, nine -movementTurangalila-Svmphonie (1946-48), premiered by Leonard Bernstein in Bos- ton in 1949. Although well recorded by Ozawa, the better interpretation is on the mono -only Vega set conducted by Le Roux. TheTurangalila-Svm- comparably performed (by Rostropovich) version of the Concerto No. 2 for Cello, String Quintet, and String Orchestra (1966) on a Musical Heritage release. In this work Jolivet effectively incorporates someof the glissandos and tone clusters characteristic of certain recent styles with his own idiom. Jolivet is also responsible for one of the finest works for ondes martenot, the dynamic Concerto (1947). 1 would particularly like to see on disc the 1958 Percussion Concerto and the 1961 String Symphony.

Messiaen

If Olivier Messiaen also turned to a kind of musical primitivism, it was in a totally different direction- one of the most original and influential his century has produced. A religious mystic steeped in both Christian and Hindu philosophies, Messiaen has sought in much of his music to communicate the in- Olivier Messiaen (here with his wife, Yvonne Loriod) is one finite by redefining the often temporal -bound of this century's most onginal and influential composers.

SEPTEMBER 1973 61 strumental music. The firstis Jean Rivier (born 1898), whose seven symphonies represent, more Recommended Recordings than Milhaud's twelve or so, one of France's most important contributions to that genre. Unfortu- OLIVIER MESSIAEN (1908-) nately, current recordings exist only of the Third L'Ascension. Leopold Stokowski, cond. LON- (1938) and Fifth (1950). The stark and highly dra- DON SPC 21060 (with Ives: Orchestral Set matic Sixth(Les Presages,1958) in particular de- No. 2). serves attention from the record companies. Catalogue d'oiseaux. Yvonne Loriod, piano. The style of Messiaen pupil Serge Nigg (born MUSICAL HERITAGE MHS 1423/6 (four discs). -Jocy de Oliveira-Carvalho, piano. Vox SVBX 5464 (four discs). Recommended Recordings Chronochromie-See Koechlin: Les Bandar - JEAN RIVIER (1898- ) log. La Nativite du Seigneur. Simon Preston, or- Symphony No. 3. Georges Tzipine, cond. gan. ARGO ZRG 5447. VOIX DE SON MAITRE C 053 10 827M Trois petites liturgies de la presence divine. *(mono; with Symphony No. 5). ERATO STU 70 200' (formerly MUSIC GUILD -Jean -Francois Paillard, cond. ERATO STU 70 S 142). 135* (with Daniel-Lesur: Variations for Pi- -Leonard Bernstein, cond. COLUMBIA MS ano and Strings; Barraud: Four Preludes for 6587 (OP, with Roussel: Symphony No. 3). String Orchestra). Turangalila-Symphonie. Maurice Le Roux, Symphony No. 5. Georges Tzipine, cond.- cond. VEGA 28 001 /2' (two discs, mono). See Symphony No. 3. -Seiji Ozawa, cond. RCA RED SEAL LSC 7051 SERGE NIGG (1924- ) (two discs). Concerto for Violin and Orchestra. Christian Ferras, violin. DEUTSCHE GRAMMOPHON 139 171* (formerly HELIODOR HS 25058; with Constant: Vingt-quatre Preludes pour or- phoniealso displays another strong influence on chestre). Messiaen-bird calls. He has transposed and in- Visages d'Axel. INEDITS ORTF 995 030' (with corporated these natural musical intricacies with Martinet: Mouvement symphonique; Pro- great and surprisingly unobvious effect in numer- methee) ous works. The culmination of this is the huge, thir- HENRI DUTILLEUX (1916- ) teen -movementCatalogue d'oiseaux (1956-58)for piano. Messiaen's wife Yvonne Loriod and Jocy de Cinq Metaboles-See Honegger: Symphony No. 4. Oliveira-Carvalho [see feature review, page 79] Le Loup. Ducretet Thomson CTL 93086* both offer exceptionally good renditions while a (mono, OP). third version by brilliant Messiaen interpreter Rob- -(ballet suite) Georges Pretre, cond. ANGEL S ert Sherlaw Johnson is forthcoming. 35932 (with Poulenc: Les Biches; Milhaud: It has been argued that Messiaen's music would La Creation du monde). have little meaning if divorced from its various reli- Sonata for Piano.Jeffrey Siegel,piano. giousand/orornithological contexts. While this is ORION ORS 7299 (with Hindemith: Sonata quite debatable to begin with, it strikes me as ri- No. 3). diculous to insist that straight instrumental music Symphony No. 1. Jean Martinon, cond. INEDITS ORTF 995 028* (with Martinon: loses some kind of mystical purity when extra -mu- Symphony No. 2). sical references are brought in. Not only has Mes- Symphony No. 2. Charles Munch, cond. siaen attempted, like many of his compatriots, to ERATO STU 70 278* (formerly WESTMINSTER enlarge the frontiers of music, he has produced an WST 17119; with Roussel: Suite in F). entirely new concept of musical time that has had an enormous influence on present-day composers. JEAN MARTINON(1910- ) including Pierre Boulez-who, bless his heart, later Concerto for Violin and Orchestra, No. 2. blasted Messiaen's music (along with that of just Henryk Szeryng, violin. DEUTSCHE GRAMMO- about everybody else). PHON 2530 033 (with Berg: Violin Con- certo). Symphony No 2-See Dutilleux: Symphony No 1. Rivier, Nigg, Dutilleux, and Ohana MAURICE OHANA (1914- ) Of many "older generation" composers who could Signes; Syllabaire pour Phedre. MUSICAL be discussed, four must be mentioned because of HERITAGE MHS 1081 their important contributions, particularly to in-

62 HIGH FIDELITY MAGAZINE Jean Martinon has been an outstanding proponent of French music both as a conductor and as a composer.

1924) has undergone several metamorphoses. from been made of the First Symphony (1950-51), con- extreme atonality (under the influence of Schoen- ducted by Jean Martinon, whose own Second Sym- berg student Rene Leibowitz) through socialist phony (Hvmne a la vie. 1944) is on the flip side. (A realism and, most recently, into a rich, quite seri- more important Martinon composition is the Sec- ous, and rather post-Bergian idiom whose expres- ond Violin Concerto, interpreted by Szeryng on sive potential is as strong as anything I've heard. Deutsche Grammophon.) Dutilleux's moody ballet Nigg composed one of this century's finest violin Le Loup (1953). written for Roland Petit's Ballets concertos in 1957, and it has been beautifully re- de Paris, can be heard on an Angel disc in suite corded by Christian Ferras on a Deutsche form although the complete ballet was formerly Grammophon disc, once released here on Heliodor available through London Records on Ducretet/ (I have recently seen this deleted disc in several Thomson. Because of political difficulties encoun- New York stores, including King Karol). The Nigg tered by Mstislav Rostropovich, for whom Dutil- work is paired with the brilliantly orchestrated leux wrote his extraordinary 1970 Cello Concerto Vingt-quatre Preludes pour orchestre (1958) by (subtitledTout un monde lointain.after Bau- Marius Constant (b.1925), formerly the music di- delaire), this recent work will, alas, probably not be rector of Roland Petit's Ballets de Paris and the recorded until at least 1974. founder of the important Ars Nova ensemble. An- One composer of the older generation who has other equally effective work by Nigg is his Visages led French music in certain new directions is Mau- &Axel (1967), a symphonic work inspired by Vil- rice Ohana (born in 1914 in Casablanca). He has liers de l'Isle-Adam's foreboding nineteenth-cen- used the expanded possibilities of the percussion tury symbolist play. and various micro -intervals to particularly good ef- Like Nigg Henri Dutilleux (born 1916). a pains- fect. Ohana, who in 1947 formed a group called the taking craftsman with relatively few works to his Zodiaque with three other composers. is best repre- credit, has developed a rich, somewhat expres- sented on disc by his chamber opera Sllabaire sionistic style. This uses, in more recent works such pour Phedre (1966-67). performed this past season as the Cinq Metaboles, some atonality and a kind of by New York's Mini -Met. The Svllabaire exem- pointillistic instrumentation but never completely plifies particularly well the French affinity-ever abandons some form of tonality-frequently since Debussy's Martyre de Saint Sebastien-for us- modal. His music is also often marked by a careful ing the spoken voice in dramatic works: the opera balance between diverse classical forms and a sub- also employs a vocalizing coloratura soprano to dued lyricism combined with a perfect sense of in- create both mood and color. The flip side contains strumental nuance, whether inthe remarkable another important Ohana composition-this one 1948 Piano Sonata or in the Second Symphony (Le purely instrumental-entitled Signes (1965), which Double. 1956), a concertante work for chamber or- among other things calls for a one -third -tone cith- chestra and large orchestra. A new recording has ara.

SEPTEMBER 1973 63 on a text by contemporary French poet Rene Char (whose work is also set in Le Soleil des eaux). The second work is the even more complicated Ph selon Recommended Recordings pli (1960) for soprano, instrumental soloists, and orchestra, based on extremely hermetic poems by PIERRE BOULEZ (1925- ) Mallarme. Here, the structures for the three central movements are not based on musical concepts per Le Marteau sans maitre. Boulez, cond. CO- se but rather follow the strict sonnet form used by LUMBIA M32160. Pli selonpli.Boulez, cond. COLUMBIA M Mallarme. In his poetry, according to Boulez. one 30296. finds "that perfect equivalence of language to Le Soleil des eaux-See Koechlin: Les thought, admitting no attrition of energy." Substi- Bandar -log. tute the word "music" for the word "language" and Sonata for Piano, No. 2. Claude Helffer, pi- you have pretty much the aesthetic of Boulez him- ano. DEUTSCHE GRAMMOPHON2530 050* self. (with Berg sonata). More Music au courant

One of the most original works of the French avant-garde is likewise a piece in which nonmusical forms have a large bearing on the musical structures:Marius Constant's Chants de Maldoror Boulez (1963), which uses as a text Lautreamont's famous presurrealist work. In this work for narrator. The composer who, after Messiaen, has had the twenty-three improvisors. and ten cellos, the direc- most revolutionary effect on recent French music is tions followed by the instrumentalists are deter- Pierre Boulez. born in 1925 and originally trained mined by the movement of a dancer/choreogra- in mathematics (his basic musical training came pher who replaces a conductor. Another important from Honegger's wife. Andree Vaurabourg). With work by Constant is the 1966 ballet (written for almost incredible energy and arrogance. Boulez af- Petit). Eloge de lafolie (In Praise of Folk), a purely ter World War II almost singlehandedly set about instrumental work fully displaying Constant's abil- establishing a foothold for Schoenbergian dodeca- ityto manipulate orchestral color and having phony in France. a country that had generally re- movements with such titles as Advertising. Pep mained rather aloof from this type of music. But Pills. and War. Boulez outgrew Schoenberg almost as soon as he The French have also made remarkable contri- discovered him, moved on to Webern. and later. in- butions to the realm of musique concrete (one spired by certain Messiaen experiments, evolved to should not forget that Varese was of French origin). the point of total serialization of music-involving in which random nonmusical sounds are arranged. pitch, rhythm, instrumentation, and dynamics. He usually through electronic means and frequently later abandoned this technique as well. with some electronic accompaniment, into a musi- But no matter what period they come from. Bou- cal "composition." Besides the works of Pierre lez's compositions strike one immediately in two Henry already mentioned. a milestone piece in this ways: the manner in which what might be called genre is the Svmphonie de bruits (Symphony of "musical space" is extended to the furthest, densest Noises. 1948). by Pierre Schaeffer (born 1910). who point, and concomitantly. the way in which Boulez actually formulated a theory of musique concrete produces constant, kaleidoscopic variation, care- after World War II. Although the Svmphonie has fully avoiding themes per se and anything resem- not been put on disc, a representative recording of bling literal repetition. Boulez's sense of coloristic Schaeffer's music. including several "etudes." is and rhythmic variety can be heard even in a solo available in France on Philips. work such as the Second Piano Sonata (1948), re- The use of the human voice (generally in chorus) corded by Claude Helffer (with the Berg Sonata) on as a pure instrument has likewise been handled a Deutsche Grammophon disc incredibly never re- with great success by the French. Although the gro- leased in this country. tesque sounds the human voice can take may at Like most of his French predecessors. contempo- first seem comical to the listener, the expanded raries, and followers. Boulez has shown strong in- sonic possibilities afforded by voices not chained to terest in the confluence of music and nonmusical words have been the impetus for some of the most structures, and two of his best works represent set- successful compositions of the avant-garde. One of tings of poetic texts that helped shape the musical the best works of this nature I know of is Danoe forms [see feature review, page 81]. The first of (1970) for twelve vocalists and percussion by com- these, the celebrated cantata Le Marteau sans poser/theoretician Francois -Bernard Mache (born maitre (1954) for alto and six instruments, is based 1935).

64 HIGH FIDELITY MAGAZINE Another outstanding recording includes theSo- nate a 12(1970) by female composer Betsy Jolas (born 1926), whose parents are American, and the Recitatif, Air. et Variation(1970) by conductor/ composer Gilbert Amy (born 1936), who has studied with Milhaud, Messiaen, and Boulez. Some- what in this same line is the workNuits(1967-68) for twelve voices by Yannis Xenakis (born in Ru- mania in 1922 of Greek parents but now a French citizen), who has incorporated both computer -determined probabilities and the transference of certain architectural structures into his music. (Xenakis once worked as Le Corbusier's assistant.) The recording ofNuitsby Couraud's group also contains Messiaen's propheticCinq Rechants (1948) and a short excerpt from Xenakis'Medea, while Candide offers a complete version ofMedea Xenakis has used computer -determined probabilities and along with two other works including thePolytope the transference of architectural structures in his music. for "four orchestras scattered throughout the audience." I would also strongly recommend the discs of recorded contemporary music (of all ilks and not music by Jacques Charpentier (born 1933), who limited to French composers). Performances were like Messiaen has been strongly influenced by given by not only the various chamber, vocal, and Hindu music and philosophies, and Jean Guillou orchestral ORTF groups in Paris but also by impor- (born 1930), whose work for three organs must be tant ORTF ensembles from other cities of this rela- heard to be believed. tively small country. including the excellent There is, then, no lack of musical creativity in Strasbourg Radio Symphony Orchestra. By com- France today. During the two years I recently spent parison, the situation in the U.S. cannot even be there, rarely did a week pass when the French radio called sick, since one cannot diagnose a nonexistent did not broadcast several live performances of un- patient. 1E

GILBERT AMY (1936- ) Recommended Recordings Recitatif, Air, et Variation. Marcel Couraud, cond.-See Jolas: Sonate a 12. YANNIS XENAKIS (1922- )

MARIUS CONSTANT (1925- ) Medea. Marius Constant, cond. CANDIDE CE 31049 (with Polytope; Syrmos). Chants de Maldoror. ERATO STU 70 538* -(excerpt) Marcel Couraud, cond. MUSICAL (with Traits and Winds). HERITAGE MHS 1187 (with Nuits and Mes- Eloge de la folie. Constant, cond. MUSICAL siaen: Cinq Rechants). HERITAGE MHS 1029. Nuits. Marcel Couraud, cond.-See Medea Vingt-quatre Preludes pour orchestre-See (excerpt). Nigg: Concerto for Violin and Orchestra. Polytope. Marius Constant, cond.-See Medea. PIERRE SCHAEFFER (1910- ) Etudes. PHILIPS 6521 021* (with other JACQUES CHARPENTIER (1933- ) Schaeffer works). Pour le Kama Soutra. GUILDE INTERNATIONALE FRANCOIS-BERNARD MACHE (1935- ) DU DISOUE SMS 2 693* (with Chaynes: Concordances). Danod. Marcel Couraud, cond. INEDirs ORTF Recitatif, for Violin and Orchestra. INEDITS 995 013* (with Malec: Dodecamdron). ORTF 995 009" (with Symphony No. 3). BETSY JOLAS (1926- ) Symphony No. 3 (Shiva Nataraja). -See Recitatif. Sonate a 12. Marcel Couraud, cond. INEDITS ORTF 995 031* (with Amy: Recitatif, Air, et JEAN GUILLOU (1930- ) Variation). Symphonie initiatique. PHILIPS 6504 038".

SEPTEMBER 1973 h5 According to Audio Times, a leading it you can't enjoy the increasing publication devoted to audio manu- number of CD -4 discrete discs (the facturing and retailing: "No piece of true four -channel record) from leading audio equipment is as eagerly awaited recording companies like RCA, as the 'one four -channel unit that Warner, Atlantic, Elektra, and others. does everything - i.e., the receiver CD -4 is a 'must' for optimum quadra- with built-in circuitry for SO, RM and phonic listening enjoyment. CD -4 record decoding.' " Since the CD -4 circuit incorporates FET's and IC's, continuous, It's herel stable performance is assured. In Pioneer has taken another giant step addition, it uses a 30KHz subcarrier forward. Our new collection of similar to that used in FM multiplex 4 quadraphonic receivers - QX-949, broadcasting. The subcarrier is Total Capability Mode Switch - Fingertip QX-747, QX-646 - has this total demodulated by a Phase Lock Loop switching to CD -4, SO, RM quadraphonic capability. They reproduce CD -4, SO, (PLL) circuit for each channel. The sources, as well as two -channel stereo. RM and discrete four -channel sound result is optimum channel separation without adaptors, add-on decoders - absolutely necessary to achieve or demodulators. And they're specifi- the full, rich impact of quadraphonic Matchless performance with cally designed to fully meet all of the reproduction. Convenient and simple - powerhouse capabilities standards established for these to -use front/rear left and right matrix and discrete program sources. separation controls are on the front As is traditional with all Pioneer Bearing in mind that two -channel panels of all three models. receivers, the new quadraphonic units is, and will continue to be, a have power to spare. For example, tremendous source of listening SO and RM decoding my to the top model, QX-949, has a power pleasure for many years to come, the hidden ambience of matrixed output in four -channel operation, of these new units are designed for it, and stereo records 40 watts RMS/channel at 8 ohms, along with their total quadraphonic With built-in RM circuitry, you can 20-20,000 Hz, four channels driven. capabilities. The QX-949 and QX-747 experience new brilliance from your THD and IM distortion is only 0.3% reproduce two -channel with present collection of two -channel at 1 KHz. augmented power due to Pioneer's stereo records and tapes. FM broad- Switching to two -channel new Power Boosting circuitry. casts, too. Also, new vistas of operation, the new Pioneer Power enjoyment unfold when you play the Boosting circuit delivers 60 watts A whole new world of discrete _ouna RMS/channel across the 20-20,000 Hz with the built-in CD -4 demodulator new four -channel SQ matrix records being released by Columbia, Capitol, spectrum, with both channels driven, While many quadraphonic receivers Epic and Vanguard, to mention just a at less than 0.3% distortion. have limited degrees of four -channel few of the prominent SO record By using super -size power capabilities, Pioneer offers maximum producers. No matter what the transformers in the QX-949, in versatility with built-in CD -4. Without quadraphonic program source combination with four 10,000 micro - or the record label, Pioneer's farad electrolytic capacitors, this new quadraphonic receivers high power output is obtained at very flawlessly reproduce low frequency. And it's further insured them all. by direct -coupling in the output stage. No overload with speaker protector circu, Since direct -coupling feeds the signal directly to the speakers, an automatic

11111 , 'ilk

MP. MOO 4ir vu.4414 OWN MBA MIN I WM/ nonArrn . 00 OMSK 110.00111 source is in operation, the sound controls 'or front and rear channels, level of each channel can be funct on and mode selector with monitored by viewing the large scope - multi-colcred indicator lights. Further type level indicator on the top two refinemert is offered w th the models. Left and right front/rear QX-949's multiplex no se and high/ controls permit instant adjustment. low f lters, plus signal st-ength and Indicator sensitivity controls allow for center tunirg meters ii one housing. a maximum of -30dB adjustments Admiledly these new Pioneer at any sound level. The level indicator quadraphonic receivers, like fine may also be used to view CD -4 sports cars or cameras, are not channel separation adjustments made inexpensive. However they represent with the CD -4 separation controls. the high ficelity indugtri's most outstanding value. We have built Four -Channel Level Indicatcr - See what puts/ Outputs for total versatility then- with the same qual ty, precision you hear. Make instant adjustments with and performance you've come to left/right, front/rear level controls. Pioneer has endowed these models with terminals for a wide range of expect fron Pioneer stereo equip- program sources. The only limitation ment. WE offer them to you with the is your own listening interests and same pride and conviction that has electronic trigger relay system s always compelled you to say - used to protect the speakers fr3m DC your capability to experiment with sound. "Piciieer tie very best leakage or overload. - $699.95; QX-747 - Convenient features increase $599.95; QX-646 - $439.95 Prices New and excius ye listening enjoyment include walnut cabinets. Dower Boosting circuit Along with the total capability of J.S. Pioneer Electronics Corp., When switching from four -char nel to these receivers, Pioneer has incor- 178 Commerce Road Carlstadt, two -channel reproducticn, potter is porated a wide array of additional, New Jersey 07072 substantially increased with- the new meaningful features. All three West: 13303 S. Estrella, Los Angeles and advanced Fower Bopsting circuit, instruments include: loudness 902L.8 / Mi iwest: 150) Greenleaf, as described above. This exclusive contour, FM muting, an extra wide Elk Grove Village. III. 60307 circuit is built info both the QX-949 tuning dial, two sets of bass/treble Canada: S H. Parker Co. and QX-747 models. Another plus feature a-Aritiutable pecifications to the Power Boosting circuit is Amplifier C X-949 OX -747 OX -646 simplified switching from four -channel 4-ch. RMS power, 8 ohms, 43 watts/ 210 watts' 10 watts/ to two -channel operation. It cai be 4 channels driven, channel channel cannel (1KHz) instantly achie\.ed without the Jsual 20-20 K Hz re -connecting of speaker wires. This, 4-ch. IHF 240 watts (80) 160 watts (80) 8C watts (80) too, is a Pioneer exclusive. MI watts (40) 220 watts (40) 10E watts (40) 2-ch. RMS power, 8 ohms, 60 watts/ 40 watts/ 13 watts/ A tuner section the equp I of both channels driven, cannel channel channel (1KHz) separate components 20-20 KHz The FM tuner section of the QK-949 2-ch. IHF 150 watts (80) 120 watts (80) 40 watts (811) is truly an engineering accomplish- 230 watts (40) 170 watts (40) 54 watts (40) ok ment. It incorporates tw) dual -gate THD/IM Distortion C.3% 0.5% MOS FET's in tie front end, plus (20-20KHz) (x0-20K-lz) (1 KHz) three ceramic alters and 6 -stage FM Tuner FM Sensitivity (IHF) 1.8uV -.9uV 2.2uV limiters in a mcnolithic le, in the IF (the lower the better) stage. The rest It is superb sersitivity Selectivity 80dB 60dB *0dB and selectivity, and excellent signal (the higher the better) to noise ratio. Capture Ratio -dB 1dB 3dB (the lower the better) Advanced circuitry includes Dolby S/N Ratio 70dB 7OdB 65dB adaptor input/ output and 4 -channel (the higher the better) broadcasting multiplex outputterminal Inputs Phono 2 1 1 In anticipation of the future use of Tape Monitor 2 (4-ch.) 1 (4-ch. 1 (4-ch.) discrete quadraphonic broadcasting 2 (2-ch.) 1 (2-ch. 1 (2-ch.) the QX-949 and QX-747 incluce a Dolby adaptor input 1 (4-ch.) 1 (4-ch.i quadraphonic multiplex output Auxiliary 1 terminal. Depending on the s:Atem finally approved, all that ever will be Outputs required is a s mple adaptor unit. Speakers 2 (Front) 1 (Front) 1 (Front) And speaking of adaptor units, both 2 (Rear) 2 (Ream 2 (Rear) the QX-949 and QX-747 highl ght an Headset 1 1 1 input/output for a Dolby noise (Front/Rear) (Frort/Rear) (F-ont) reduction adaptor unit. Dolby adaptor output 1 (4-ch.) 1 (4-ch) Tape Rec. 2 (4-ch.) 1 (4-ch) 1 14-ch.) Un,rnse rh-r net hues? inOir-Mor 2 (2-ch.) 1 (2-ch.) 1 12-ch.) Regardless which quadraphonic 4-ch. MPX output 1 1 OD PIONEER' when you want something better CIRCLE 62 ON READER -SERVICE CARD the lees side Bad Days at the Black Rock by Gene Lees

America is great because America is good. "That's how it is nowadays, and you can't change When America ceases to be good, America it." That was before federal investigators began to will cease to be great. look into the matter, of course. Is there widespread ALEXIS DE TOCQUEVILLE, 1835 corruption in the record industry? Yes, of course. CBS itself doesn't know how much has been going THE OCTOBER 7,1967, issue ofBusiness Week on in its Black Rock building on Sixth Avenue. noted that the men heading three of the four divi- That's the reason the company has appointed a re- sions of the CBS Records Group had legal back- spected law firm as its own investigators. Rumor grounds. Goddard Lieberson, its president, was has it that perhaps as much as three million dollars quoted as saying that lawyers have "disciplined was involved in the rip-off of Columbia. I would and unemotional minds" that often permit a com- think more. pany to turn a profit where a more artistic approach Are these conditions new? No, they've just grown might lose money. worse. Five years ago, one of the most famous disc One wonders how Mr. Lieberson must feel about jockeys in New York City told a friend that he was it now. For one of those lawyers, Clive Davis, suc- making $50,000 in salary and another $100,000 in cessor to Mr. Lieberson as Group president, was ac- payola. Payola is tax-free. cused of misappropriating $94,000 of the com- Is organized crime involved in the record indus- pany's money and fired. Almost everyone in the try? Many people think so. Payola-which no record business believed that the charge of misap- record company will admit giving and no disc propriation was an excuse-that there was much jockey will admit taking-is a perfect way to sur- more to the situation than CBS was admitting. face and disperse cash profits from narcotics and The firing came during a Newark grand jury in- gambling. The profits from the sale of records by a vestigation of payola and drugs in the record busi- rock group backed by racketeers can then be used ness and of possible links between the business and for the further penetration of legitimate business. organized crime. Clive Davis, along with his former That, at least, has always been the theory, and the aide, David Wynshaw, were among those called to early investigations in New Jersey tended to add testify. By the time you read this, much more will considerable weight to it. have developed in the case, which even at this writ- When Goddard Lieberson made his statement ing shows signs of becoming the biggest scandal in about lawyers and their "disciplined and une- the history of the record industry. For details of the motional minds," I wrote in this magazine [January background-such as the trial of Patsy Falcone, for- 1968] a satiric skit in which I speculated on what mer manager of Sly and the Family Stone and of might happen if a lawyer with no knowledge of or Lynn Anderson, among others, on conspiracy and concern forhaute cuisine(Clive Davis has repeat- smuggling charges involving a multimillion dollar edly, almost proudly, said that he has no musical international heroin ring; the relationship between background) were given charge of a fine French Falcone and both David Wynshaw and Tony Ru- restaurant. He would, I suggested, turn it into a bino, director of administration for Columbia; in- string of hamburger joints. And that, more or less, vestigations by the FBI and the Federal Strike is what happened to Columbia under Clive Davis' Force Against Organized Crime-I recommend leadership. "Rock," theNew York Timesreported that you read theNew York Timesor the news - the day after Davis' dismissal, "moved from fifteen weeklies, which have been doing some first-rate reper cent of Columbia Records' volume to fifty per porting on the case. I would like to address myself cent under his guidance." Columbia became a to the background and implications of what has mass purveyor of the banal, the mediocre, and even been happening. the vicious. No matter to what extent Columbia First of all: Is the rock world involved with dope? may be proved to have been involved in the actual For God's sake, yes! Everybody in the business passing of dope to its artists and the disc jockeys knows it. Is dope used for payola? Yes! As a pro- and radio program directors it wanted to buy off, it ducer in Los Angeles said a few months ago, contributed (as of course did many other com-

70 HIGH FIDELITY MAGAZINE panies) to the propagandization of the young to the ment could hardly have been earned by alleged belief that stoned was beautiful, right, good. We see misappropriations for the redecoration of his Man- the results in crash pads and hospitals everywhere. hattan apartment and for the rental of a Beverly Payola is as hard to prove as arson, particularly Hills summer home. These are fairly legitimate ex- when in the form of drugs. In arson, the evidence penses, for a man who entertained on behalf of his burns. In drug payola, it is smoked, snorted, skin - company as much as Clive Davis did. No, there popped, or mainlined-and it's gone. It has no se- was more to the scandal. and everybody in the busi- rial numbers. But even the old and conventional ness knew it. Few of them however felt much sym- forms of payola-which still exist; the 1950s FCC pathy for Davis. He had earned for himself deep, probe only slowed it down a bit-are hard to nail ubiquitous dislike. When the story broke, show - down. I heard the top disc jockey on one of the most business people called each other to ask. "Have you powerful stations in the Midwest tell the represen- heard the good news?" More cautious souls, not tative of a struggling new label (who had asked him necessarily friends of Clive Davis, were not so joy- to play one of the firm's records), "That's a nice ous: George Mendelssohn of Vox, for one. thought little company you've got. I wish I had a piece of a the events might prove tremendously damaging to little company like that." He didn't get a piece of the company. And the record was never played. You can't use such evidence in court, of course. I know what the disc jockey meant, he knew what he meant, and you know what he meant. But in a court of law or in an FCC license hearing his words would mean nothing: He only expressed a wish. Thus the responsibility here must lie with the radio stations: Many of them have simply let their personnel run on too loose a rein. When, after the first payola scandal, the power to select records was moved from the disc jockeys to the program directors, the PDs-as they are called-became the men to pay off, that's all. It is conceivable that the top brass of CBS, Co- lumbia's parent company, didn't know what Co- Clive Davis-accused of misappropriating $94,000 of com- lumbia's people were doing. It is conceivable they pany money, he was fired as president of CBS Records Group. didn't even care-a point to which I will return. It is also conceivable that so long as things went well the entire industry, even his classical end of it. At and Clive Davis brought in a lot of money without RCA Records, according to insiders, there was fear getting the corporation into trouble, he would have and trembling. been allowed to continue in his position. It is fur- The pleasure at Davis' dismissal could not be ther conceivable that the real reason CBS has dis- waved aside as the satisfaction of the petty over the played shock and dismay and has disassociated it- fall of the mighty, although this form of schaden- self from such goings-on is that it is afraid of TV freude undoubtedly entered into it. Columbia had network licensing trouble with the FCC. become a kind of monster, trampling on the diver- Clearly Davis was allowed to run Columbia as he sity of American art. At a fifty per cent rock con- saw fit. And he ran it with an iron hand. He built tent, Columbia was ignoring much that was impor- himself into a public figure. It became apparent tant in American music. But then, the recording of that Columbia's publicity department was less in- a symphony doesn't get publishing rights that Co- terested in promoting product than in getting Clive lumbia could assign to its publishing subsidiary, Davis' name into print. Most record company exec- April-Blackwood-an aspect of the industry that utives are content to be anonymous and rich, but will be discussed at a later date. Davis evidently craved the limelight; he wanted to Clive Davis gave Laura Nyro five million dollars be famous, like the artists he signed, and so his in- to sign a recording contract with Columbia and a terminable statements on this or that (prepared by publishing deal with April -Blackwood. Columbia the publicity department), coming like the pro- staffers were astounded. Many said she could never nouncements of an oracle, were constantly there make the money back for Columbia. In fact, she for the reading in Billboard, Time, you -name -it. hasn't recorded a single album since then. At least Davis was fired by Bill Paley, the supreme mogul two other multimillion -dollar deals were made, in- of CBS. He was called to a meeting of CBS brass, cluding one with Neil Diamond. None of this vast and given the word. When he returned to his office, outpouring of money produced anything artisti- according to the New York Times, his belongings cally memorable, and there were stories coming out were already crated and ready to go. Such treat- of the Newark grand jury probe of dummy corn -

SEPTEMBER 1973 71 panies set up to receive money from Columbia. A (I can't remember who) said that "taste is the result more complicated pattern of rip-off apparently was of a thousand distastes." The young have not yet emerging. had time to discover what is passe, trite, or heavy- In a quip that, seemingly. circulated throughout handed. They were fed garbage, and told that it the industry in twenty minutes, a sometime pro- was art by record company press agents. An indus- ducer for Columbia put his finger on it: "Has there try that never even perceived-much less prac- been misuse of money at Columbia? Of course ticed-social and aesthetic responsibility as part of there has-just listen to the records." the complex of McLuhanesque electronic communications, sought the widest (and inevitably lowest) common denominator, and then turned its powers Greed Deeper Than Money of persuasion to the task of claiming this was "great,new,significant,unprecedented"-in a It would be unfair to accuse Columbia alone of a word, "heavy." And if, in the pursuit of profit, they dedication to mediocrity. If it was the leader in the allowed their stoned -out rockers to proselytize their movement, the other large companies were appar- sickness to the impressionable young, all well and ently happy to follow suit, leaving an interest in good in the corporate view. quality product to a handful of independent com- The rockers and their managers quickly turned panies and the European labels. The big American the situation to their advantage. With blandish- companies reduced their support for and interest in ments of dope ("It'll open your head") and chicks, classical music; they became largely indifferent to they brought some of these executives into their Broadway musicals (unless they were rock musi- world of illusion and sleazy sensuality, and the lat- cals, whose simplistic content their younger pro- ter thought they had found Shangri-La. Crimped, ducers could understand); and they almost com- cramped, emotionally stunted little men, products pletely abandoned jazz. Not only was the musical of Middle America, with accounting or law degrees public confronted with the spectacle of European and quite unable to handle the world of the senses, labels signing American symphony orchestras and discovered, they thought, Truth and Beauty and soloists, they saw jazz artists such as Count Basie Freedom in rock and weekend freak parties. It was and Oscar Peterson recording for European firms. pathetic to see these men already losing their hair What went wrong? "Greed," suggested an RCA discovering sex at the frontier of their middle age. Records staffer, who didn't want to be named. "A hunger for power. That had to be it." It most assuredly did-and it was a greed so deep that money And Now the Good News simply couldn't satisfy it; it could be slaked only by a public name, power over other men's lives, the There are some who think the Watergate investi- ability to make or break people with a snap of the gations are a disaster. Others-the wiser ones, I fingers. It is the most pernicious form of the disease. think-see them as America's finest hour, that mo- And it happened in a superpermissive society, a ment when the country proved that democracy is society that had apparently come to believe that not moribund, and that the American form of it anything-for-a-buck-or a win-is a perfectly ra- could begin its own revision and revitalization. tional philosophy. We were seeing the accelerating There are those who think the scandal at Columbia, decay of the fundamental decency and sense of so- which as I say will have spread much farther by the cial responsibility that once made the United States time you read this, is a disaster. In part, it will be. It great. This decay was in part reflected in and partly will for a time shake the industry. But many in the inspired by the record industry: a kind of feedback industry think it has long needed a shaking-that it of moral irresponsibility. The pursuit of status, had grown too fat, too arrogant, able to imprint the money, and raw power became manic. Even people most astonishing claptrap on plates of black vinyl who decried it-such as the Beatles and Bob Dylan and induce a gullible public to buy it. A certain re- and all the other "sincere" people who took the duction of output, and a renewed interest in music young for a ride-were themselves seekers after as music, may be the long-range result. what they affected to condemn. Rock music and its The first bit of hope to emerge is that Goddard variants, posing as the protester against the avarice Lieberson is again running Columbia Records. The of the times, were in fact an integral part of that ava- New York Times quoted Lieberson as saying he rice. "I've been had," said a Midwestern twenty- would return for only a few months, but in a con- one -year -old girl when news of Columbia's scandal versation with one editor, he said he'd stay "as long broke. If that conviction becomes widespread, it as I'm needed." At the moment, he assuredly is could indeed shake the financial foundation of the needed. record industry. Lieberson is a man of great intelligence, impec- Her comment indicated a possible dawning cable taste, deep musical knowledge and, some awareness of a betrayal in some ways more malign who know him best say, integrity. Whether he has than the mere undermining of musical values: the become disillusioned with lawyers and their "disci- betrayal of the trusting young. A French composer plined and unemotional minds" is unknown. This

72 HIGH FIDELITY MAGAZINE the same time, I had the constant suspicion that he did not himself believe the philosophy he argued so elegantly: It seemed to me that here was a sensitive man whose career lay in the disciplined rejection of softer sensibilities, and he had become damned good at it. But somewhere in the back of his mind heknew.I am indulging here in impressions, and if Mr. Segelstein tells me I am wrong, that he really is indifferent to media responsibility and genuinely does believe that TV and records are strictly busi- nesses whose sole function is to make money, then I will apologize for misrepresenting him. In that case of course he will be wrong, no matter how skillfully he can (and believe me.. he can) argue for the social irresponsibility of one of the most powerful communications complexes the world has ever known. Goddard Lieberson-how profitable have the "disciplined Irwin Segelstein is himself part of what went and unemotional minds" of lawyers turned out to be for CBS? wrong at Columbia. He sat at a dinner table amid stone walls and ancient armor and told me that the much is known: An enormous amount of good mu- record business was minor, unimportant. And this sic was recorded when Lieberson ran Columbia, attitude upstairs at CBS was precisely what allowed and it is not unreasonable to hope he may once things to go astray on the eleventh floor of Saari- again give priority to quality in the company's activities. nen's dark masterpiece. All that is being exposed of the behavior at Columbia was already going on back in New York even as he sat there and drank Who Is Segelstein? Dole wine with me and told me that records were small potatoes. But along with that good news, there was another Mr. Segelstein is an attorney, with a disciplined announcement: Irwin Segelstein, a vice president and unemotional mind. Now that he knows just of CBS -TV, was named chief of the CBS Records how important records are, if not to the public at division. least to CBS (its stock dropped again after the Most people in records do not know Irwin Se- Davis shakeup), perhaps that latent sensitivity I de- gelstein. I once spent the better part of three days tected will rise through the discipline. with him at the Golden Rose television festival in Which philosophy will prevail at Columbia-that Montreux, Switzerland. The festival is devoted to music is strictly a business and all that matters is the music and variety shows. CBS had made what I money it makes; or that music has mysterious pow- thought was an excellent submission. ers to soothe men's minds or to excite them to Mr. Segelstein spoke condescendingly of his idiocies, even slaughters? On this resolution will company's entry. He seemed to have a need to hinge Columbia's direction, and on that in turn will demonstrate that he was not impressed by art; and hinge much of America's musical future. And on he seemed, further, bored by the whole issue of ex- that will hang part of the nation's very destiny. cellence, or its lack, in television. TV was a busi- A cosmic view? A stretched analogy? We saw ness, he insisted. "IfPetticoat Junctionis what during the Sixties what music could do to manners America wants," he said, "that's what it's going to and mores and the collective psyche of a whole gen- get." He seemed lacking in any concept of the com- eration of people in their malleable years. We see munication media's responsibility, or even a clear the results in those living in their crash pads, pass- understanding of their influence on society. ing their dope like their mentors and idols, staying "You record business people," he said. "think in out of it, and occasionally dying while they listen to terms of a million sales. That's nothing to us. We the music Clive Davis gave them. have to think in terms of audiences of forty-five or I think Columbia will emerge with its reputation fifty million and more." It was quite clear to me that Mr. actually enhanced, for in a time of crisis it was Co- Segelstein had no understanding of the capability lumbia that took the moral lead. I doubt that inves- of popular music to bend, warp, distort, or inspire tigators will prove specific cases of payola It has been the public, particularly the ductile young. What he too carefully camouflaged. Even so, the very investi- did not understand is that a TV show is seen once gation and tightened control of corporate procedures and usually forgotten. A popular song is heard in will undoubtedly prove salutary. As an MCA vice hammering repetition, and its content is absorbed president said with a sigh, "We may get a few into the response patterns of the young. clean years." I liked Irwin Segelstein. He was genuinely charm- We'll see. These are critical days in the history ing. And I admired his surgical style of thought of the American record industry even as in the his- even though I disagreed with his conclusions. At tory of the nation itself. Oi

SEPTEMBER1973 73 What DoYou Do With All ThoseKnbs? Why all the tone controls even on equipment with "flat" response? They can enhance the sound if you know what you're doing. by Leonard Feldman

IFI HE PROLII-ERA] ION of controls on the front (and quency response resemble a camel or a dromedary rear) panels of amplifiers and receivers continues at (depending on the design approach) viewed in pro- its present pace high fidelity components will either file. And finally, as if to apologize for this endless have to grow to new dimensions or some of their variety of knobs, buttons, and levers, some manu- controls will have to spill around the sides of the facturers have taken to including tone -control de- cabinet. While circuitry elements become smaller feat switches on their equipment. (thanks to modern integrated Used indiscriminately, all these controls can front panels seem to be expanding. At the same transform your high fidelity system into a veritable time, some of the sprawling controls seem to run squawk -box: used intelligently, they can contribute counter to a basic dictum of sound reproduction: significantly to your sonic satisfaction. An under- that "flat" or uniform response over the audio standing of each control's function and limitations range is a desirable property-even a requirement will help you to use it to best advantage. for high fidelity. Among the controls that "bend" an amplifier's or receiver's inherently flat response curve are, of Tone Controls, Old and New course. conventional bass and treble tone controls. Some sets now have triple tone controls in which In the beginning there were bass and treble con- the third control alters mid -frequency response. trols. Each controlled the response of approxi- Some have five or more slider -type levers, each of mately five octaves of frequency-the treble control which changes the frequency response of a small operating over the range upward from 1,000 Hz: segment of the audio range. As if the built-in mul- the bass control operating below 1,000 Hz. Typical tiple controls were not enough, there are acces- range and action of these controls is shown graph- sories available that, when plugged into an ampli- ically in Fig. 1. Instruction manuals summarily cov- fier or receiver, offer further segmentation (up to ered operation of these controls by suggesting that twenty-four controls per channel) of the frequency response. More conventional bass and treble controls are sometimes accompanied by multiple -posi- 101.1111111111111111111111111111111111111111MPIN tion crossover switches that determine the fre- FIG. I: TONE CONTROLS quency above or below which the associated tone Max. bass boost -* Max treble boost--11,

0 control will alter the response curve. (,) Beyond tone controls. manufacturers also offer E -5 Max. treble cut low- and high -frequency filter switches that. when '3 -10 activated, can distort an otherwise straight-line re- -15 sponse curve until it resembles the cross section of a - 20 mesa. The ever-present loudness switch, used in conjunction with an otherwise innocent -looking 20 50 100 200 500 IK 2K 5K 10K 20K master volume control. can make the over-all fre- FREQUENCY IN HZ

74 HIGH FIDELITY MAGAZINE FIG. 3: MIDRANGE CONTROL FIG. 2: TONE CONTROLS FOR RANGE EXTREMES +10 co +10 a- Max. bass boost +5 Max boost +5 Max treble boos: N G 0 g -5 Max treble cut E2 -10 Max bass cut CC -15 -15

20 50 100 200 500 1K 2K 5K 10K 20K 20 50 100 200 500 1K 2K 5K 10K 20K FREQUENCY IN HZ FREQUENCY IN HZ

FIG. 4: MULTIPLE -SLIDER TONE CONTROLS fecting midrange or upper bass frequencies that Max "40 Hz" boost Max "1 kHz" boostMax. '15 kHz" boost may not require any compensation at all. Several j. Max "250 Hz" boost LMax "5 kHz" boost +15 products have included variants of this idea: "turn- 2 +10---- over" controls that will alter the tone controls' be- +5 aditi* havior from that shown in Fig.1 to that shown in -' 0 Fig. 2, usually with in-between steps as well. o._ _5 Another variant of the multiple -tone -control L-,-,-10 Max."40 Hz" cut idea involves the addition of a midrange tone con- -15 T Max "1 kHz" cut Max. "5 kHz" cut Max "250 Hz" cut trol. This control affects the mid -frequencies identi- Max. "15 kHz" cut fied with the human voice, as shown in Fig. 3. and is

20 50 100 200 500 1K 2K 5K 10K 20K therefore effective in influencing the prominence of FREQUENCY IN HZ vocalists or soloists-their so-called presence. Over- use of this control may lead to an exaggerated if your speaker system lacked bass response you midrange response that ultimately will disturb a could compensate for that deficiency by rotating knowledgeable listener conditioned to the sound of the bass control clockwise. Similarly, if your listen- live music. ing room was overly "bright" (hard, reflecting A more elaborate approach involves the use of walls, no carpeting or draperies), counterclockwise multiple controls, generally of the slider type. Each rotation of the treble control would solve the prob- control varies the response of only a small portion lem. Conversely, if draperies, acoustic tiles, and the of the audio frequency spectrum, permitting a like tended to "soak up" highs. boosting the treble more "tailored" approach to the correction of sonic might solve the problem. Used in moderation these imbalance. If only three sliders are included, you controls do in fact compensate for such environ- would expect their action to approximate the func- mental deficiencies. tions of bass, midrange. and treble knobs. A five - When extreme compensation is required, how- slider control arrangement is more common-for ever. two sonically degrading effects take place. example in some ofJVC's SEA equipment. It might Normally. such compensation might be required provide the adjustment ranges indicated in Fig. 4. only at the very extremes of the audio range (say. More segmentation of the frequency range is of- below 100 Hz for bass and above 8 kHz or 10 kHz fered by several accessory products that can be for treble). It is obvious from Fig.I that these con- added to conventional amplifiers (usually via the trols affect a much greater range of low and high tape -monitor jacks. which serve as a convenient cir- frequencies, so that the entire sonic balance is seri- cuit interruption point). These add-on products ously upset when the controls are rotated to max- from Advent. Soundcraftsmen. and other com- imum positions. Furthermore, extreme use of these panies. may afford ten or more separately adjust- controls may well lead to amplifier clipping and able segments. The more elaborate the device, the distortion. More about that shortly. more precise the adjustment-but. by the same to- Two solutions to these problems have appeared ken. the more confusing for casual use. Again, ex- on recently produced equipment. Twin sets of bass treme and uncalled-for compensation can totally and treble controls are featured in the new Pioneer alter the faithfulness of musical reproduction to a line of amplifiers. The main set of controls operates point bordering on the ridiculous. The most elabo- in conventional fashion (Fig. 1). The second set of rate are specifically intended for use in compensat- controls affects only the very extremes of the audio ing for nonuniformities in speaker response and, spectrum. as shown in Fig. 2, permitting the user to once "tuned" to the speakers. should not be played modify the ends of the response curve without af- with.

SEPTEMBER 1973 75 FIG. 5: FILTERS (6 dB /octave) FIG. 6: FILTERS (6 dB/octave) 0 0 High filter Low filter cl -5 Treble cut Low filter E -5 -10 1.61 -10 Bass cut Treble cut 2 -15 High filter E-20: o -15 tf, -20 Bass cut cc c` -25 -25

20 50 100 200 500 1K 2K 5K 10K 20K 20 50 100 200 500 1K 2K 5K 10K 20K FREQUENCY IN HZ FREQUENCY IN HZ

0 Highfilter Are Filters Redundant? m -5 - -10 Low filter In addition to the various forms of tone controls z -15 - Bass cut outlined, many receivers and amplifiers offer low ca,5 -20 and/or high -frequency filter switches. Normally, -25 FIG. 7: FILTERS (12 dB/octave) fixed positions are provided and the stated purpose of such filter circuits is to reduce audible noise: 20 50 100 200 500 1K 2K 5K 10K 20K rumble and speaker feedback with the low filter. FREQUENCY IN HZ record surface noise and FM or tape background hiss with the high filter. As illustrated in Figs. 5 to 7 (each of which also shows minimum bass and treble FIG. 8: FLETCHER-MUNSON EQUAL -LOUDNESS CURVES 120 a LOUDNESS LEVEL settings for comparision), much depends upon how 120 IN PHONS the particular filter is designed. In Fig. 5 both the Co 110 low and high filters are not much more effective loo 90 than ordinary tone controls. While the filters do re- cri 80 duce rumble and hiss, they also materially affect 14. 80 70 musical balance since their gradual slope severely cam 60 attenuates important midrange musical fre- 60 quencies as well as the extreme frequencies associ- 50 40 ated with rumble and hiss. The rate of attenuation "1 40 shown is 6 dB per octave, one octave representing a 30 20 doubling (or halving) in frequency. Such a gradual 20 a_ slope would be less detrimental to musical repro- 10 0

duction if the starting points were extended toward u.)c' 0 the frequency extremes, as shown in Fig. 6, thereby not "biting into" the music quite as severely. At the same time, the filtering action can be made more 20 50 100 200 500 1K 2K 5K 10K 20K effective by adopting the somewhat more costly fil- FREQUENCY IN HZ ter characteristic shown in Fig. 7. where the rate of slope is 12 dB per octave. equipment but rather with our own hearing charac- Multiple filter settings are sometimes featured on teristics. Fig. 8 represents the famous "equal loud- higher -priced products, permitting the user to em- ness" curves developed by Fletcher and Munson ploy only that degree of filtering required to more than forty years ago. Each curve indicates the counter the particular problem at hand. amount of compensation or boost required to provide the aural sensation of flat response at various listening levels. At relatively loud listening levels, The Compromised Loudness Control little compensation isrequired. At increasingly lower levels more and more bass emphasis is It is common knowledge that at low volume levels needed. The extreme high frequencies should have music seems deficient in bass and, to a lesser de- similar, though smaller. augmentation. The loud- gree. in the extreme treble end of the audio spec- ness control on most amplifiers and receivers is so trum. Perhaps this accounts for the relatively loud arranged that when volume controls are full up re- levels at which many high fidelity devotees do their sponse isflat. As volume is reduced, increasing listening. The fault lies not withthe electronic amounts of bass boost-and. in some designs. treble

76 HIGH FIDELITY MAGAZINE boost-are introduced in an effort to compensate for the "Fletcher -Munson Effect." FIG. 9. LOUDNESS CONTROLS Ideally, if maximum volume -control settings cor- +10 +5 A responded exactlytolive -concertlevels,such co simple controls would be entirely valid. Unfortu- gm 0 5 nately, there are many other variables in a high fi- Ce, delity component system: phono-cartridge output level, speaker efficiency, original recording level, En+10 and so on. So full clockwise rotation of the volume g` +5 B control hardly ever corresponds to the sound levels C of a live concert. Consequently the compensatory -5

settings arrived at by lowering the volume control 20 50 100 200 500 1K 2K 5K 10K 20K and actuating the loudness switch are totally arbi- FREQUENCY IN HZ trary and, more often than not, incorrect in terms of desired compensation. More elaborate units sometimes feature additional input -level controls for all program sources. Such additional level controls, used in conjunction with the master volume con- A FIG. 10: PHASE SHIFT AND HARMONICS B trol, do permit proper adjustment of all signal sources, so that "full volume," as represented by a 3 kHz maximum rotation of the master volume control, can be made to correspond to concert level. In the absence of such additional adjustment facilities, the typical poor -man's loudness control found on 6 kHz most equipment becomes just another bass -boost control. Careful examination of Fig. 8 discloses that very

little treble emphasis is required when listening to COMPOSITE lower -than -live -level music. Even at some 30 dB below the relatively flat 100 -dB acoustic contour curve, thedifferencein treble response at 10 kHz is a mere 4 dB. Many manufacturers tend to go over- board in their loudness control designs and mistak- enly offer nearly as much treble compensation as is provided in the bass region (Fig. 9A). Still others troduce differences in our perception and inter- offer no treble compensation whatever (Fig. 9B). pretation of a given complex waveform. Of the two alternatives, the latter is actually more Fig. 10 illustrates why this may be so. In Fig. 10A valid if we are to be guided by the Fletcher -Mun- a 3 -kHz fundamental tone is added to its second son studies. In most cases, however, a listener might harmonic (6 kHz) to produce the waveform shown. do better to adjust his separate bass and treble con- Fig. lOB shows what might happen if an extreme trols for low-level listening tonal balance rather treble cut were introduced, so as to reduce the fun- than depend upon the arbitrary compensation af- damental tone by 6 dB (half the amplitude repre- forded by the current, compromised version of the sented by its voltage) while the harmonic, being at so-called loudness control. a higher frequency, is cut by 12 dB (to one-fourth its previous amplitude). The 6 -kHz component of the waveform is also displaced relative to the 3 -kHz Phase Shift fundamental because of the tone -control circuitry. The resultant waveshape differs in over-all ampli- All of the tone -compensating controls discussed so tudeandshape compared with the original signal far have one thing in common: phase shift. Musical shown in Fig. 10A. It is difficult to believe that our sounds are much more complex than single, pure aural impression of the two complex waveforms test tones. They contain harmonics, or multiples of would not also differ substantially, despite what the the fundamental frequency. The use of tonal com- experts have said. pensation controls not only alters the relationship between the amplitudes of a fundamental tone and its harmonics but their time (phase) relationships Boost and Distortion as well. While many experts have maintained that the human ear is insensitive to phase shift, some The indiscriminate boosting of bass or treble can now conclude that this time displacement does in - lead to serious distortion problems referred to ear-

SEPTEMBER 1973 77 tier. Fig. 1 showed that, in general, bass boost capa- One such recent addition to my collection is a bility of conventional tone controls is around 10 dB Deutsche Grammophon issue containing three of at 100Hz. While this sounds like an innocent Beethoven's sets of variations for the piano (DG enough number, a change of 10 decibels represents 2530 249). Next to the human voice, I find the pi- a power change of ten to one! That means that if ano the most difficult instrument to reproduce with you are supplying an average of 10 watts of electri- complete accuracy. and in this particular recording cal power to your loudspeaker's woofer from your I found that the upper notes of the keyboard take favorite 50 -watt amplifier and you suddenly decide on a shrill coloration that does not sound like a pi- to boost the bass as far as it will go you'll be asking ano to my ears. I have no qualms about turning my that amplifier to supply 100 watts of low -frequency treble control down to about ten o'clock for this power to the woofer-a feat that it just cannot per- one. DG tends to make the over-all piano sound a form. The result: severe waveform clipping and bit too remote, or distant, for my ears; I do have a distortion. midrange control, and I've found that the pianist The fact that many amplifiers are unable to pro- sounds a lot nearer with the midrange set at about duce as much power at the bass end of the spectrum three o'clock. as they can at mid -frequencies makes the situation My collection of quadraphonic discs is growing that much worse. And high orders of distortion too, and a recent addition is an RCA Quadradisc of may develop even if the amplifier is operated Debussy's LaMerrecorded by the Philadelphia within its power -output capabilities. Loudspeaker Orchestra under Eugene Ormandy (RCA ARD 1- systems too have their limitations when it comes to 0029). This music is, for the most part, quiet and power -handling ability. In order to reproduce bass subdued. Add the fact that this Quadradisc is re- frequencies, the cone of a loudspeaker system's corded at somewhat lower levels than ordinary low -frequency driver is called upon to move stereo discs, and I find rumble beginning to creep greater linear distances than are required in the re- into what I hear when Iturn up my volume to production of midrange and high frequencies. where I think it ought to be. Turning on my low fil- Overemphasis of bass response in your electronic ter really helps-and hardly hurts what bass pas- equipment (either by the use of excessive bass - sages the music does contain. boost settings, or improper use of the loudness con- Interestingly enough, playing an older Ormandy trol or combinations of both) can cause a woofer recording (Hindemith'sSymphonic Metamorphoses cone to move so violently that its travel exceeds the of Themes by Weber.Col. MS 6562), I felt that the limits of linear motion imposed by the speaker sound was too prominent in the upper middles and structure, resulting in severe distortion or even highs. This called for cutting back on my treble "bottoming" of the voice coil against the speaker's control (from flat to about the ten o'clock posi- magnetic structure or other restraining elements. tion)-and all sounded balanced and pleasing once again. Actually, there are many variables involved in Discs Aren't Flat Either playing records-shadings of difference in the response of pickups and speakers. not to mention During their processing today's recordings are sub- speaker -response equalization and the whole mat- ject to even more tonal manipulation than is avail- ter of room acoustics. It would be impossible to able on home -reproducing equipment. In profes- catalogue, and prescribe for, all these variations; sional jargon, it's called equalization; such terms as but the above examples should indicate the kind of sweetening, brightening, and the like describe the tonal manipulation you can indulge in to improve objectives of this equalization. The end product- your enjoyment of recordings played on your the disc you buy-is after all the reflection of the lis- equipment and in your listening room. tening tastes of the performers and the recording engineers and producers. Often their taste may not correspond with yours, and tone controls can be re- Everything in Moderation markably effective in restoring your idealized (if opinionated) conception of how the music should All of the controls found in a modern solid-state sound. amplifier, then, do serve a useful and legitimate My own speaker systems are not deficient in bass purpose and are more than mere window (or dial - reproduction. nor is my room overly live or dead, so panel) dressing.Like the modern automobile I am generally content to leave my tone controls in speedometer, the oven thermometer, or a steam - their nominally flat positions. Yet, in playing cer- pressure gauge in a locomotive-all of which are tain records of my collection, I have found that calibrated far beyond their expected or intended moderate amounts of tonal compensation give me use-the wide flexibility and range of these modern the kind of musical reproductionIbelieve the amplifier controls is not necessarily an outright in-

record producer should have achieved. vitation to overdo their use.

78 HIGH FIDELITY MAGAZINE 11111MMIM Mute

Messiaen's Wonderful World of Birds Jocy de Oliveira-Carvalho and Vox offer his enchanting Catalogue d'oiseaux.

by Andrew Porter

BIRDSONG PLAYS an important role in many of Olivier [long -short -long] of the redstart with its white breast and Messiaen's compositions: the Catalogue of Birds black throat, the incantatory repetitions of the thrush. (1956-58) is the most recent of the four works specifi- For a long while the garden warblers tirelessly pour out cally concerned with it-the others being The Blackbird their sweet virtuosity. The chiffchaff adds his jerky' wa- (Le Merle noir). for flute and piano: the Dawn Chorus terdrops. UntroHbled. carefree memories of gold and of (Wreil des oiseaux), for piano and orchestra: and the rainbow: The sun seems to he a golden emanation from Exotic Birds (Oiseaux ex-01*es). for chamber ensemble. the oriole's song.... " The Catalogue is a series of thirteen pieces for piano Even Sharpless in Mathuna Butterfly. who never stud- solo, symmetrically arranged as a long cycle in seven ied ornithology. would find this irresistible. But there is books, containing in turn 3-1-2-1-2-1-3 pieces. The cen- more, much more, to the Catalogue than just a transcrip- tral piece. The Reed ttnrbler (No. 7. Book 4). is also the tion of birdsong. Messiaen did his field work with note- longest (over half an hour). spans twenty-seven hours of books. capturing interval,rhythm. and timbre-the birdsong, and gathers together the largest number of thrushes' "magnificently detailed. extremely melodic se- singers. The contents of the whole are succinctly de- quences. the woodlarks' chromatic seconds. the black- scribed on the title page: "Songs of birds of the French caps' warbled preludes and powerful fluted refrains"- provinces: each soloist is presented in its habitat. sur- and also the cries of buzzards. eagles. seabirds. and owls. rounded by its landscape and by songs of other birds that In his composition he sought to render not only the solos frequent the same region." Before each piece there is a and counterpoints of birdsong. and not only the settings "scenario" that specifies time. season, and place. de- in which he heard them, but also the whole complex of scribes the scenery, and identifies the cast in order of ap- emotions experienced while listening, feelings of joy and pearance. That to No. 2. The Oriole. one of the prettiest delight and terror. of all. can serve as an example: Thus in The Rock Thrush. which opens in the May "Gardepee toward 5:30 a.m.. Orgeval toward 6. Les moonlight amid the fantastic rock formations of the Maremberts in the full midday sun. The oriole, a beau- Cirque de Moureze, the female eagle -owl calls in "a tiful golden bird with black wings. whistles in the oaks. sinister, mocking rhythm that melts into the listener's Its song. fluent, golden. like the smile of a foreign frightened heartbeat": when dawn arrives, the boulders prince, evokes Africa and Asia. or some unknown planet take on the aspect of "a group by Max Ernst: hooded filled with light and rainbows, filled with Leonardo da stone phantoms bearing a woman whose hair drags on Vinci smiles. In the gardens. in the woods. other birds: the ground." The final piece. The Curlew. is set on an the rapid, resolute strophe of the wren. the robin's con- island off Cape Finisterre: "... gradually, night and fog fiding caress,the blackbird's brio. the amphimacer spread over the sea." Amid the jagged rocks a foghorn-

SIT II SII4VK 1973 79 no. not a foghorn; Messiaen is specific-the foghorn of I like both performances very much. If I had to make a the Creac'h lighthouse booms forth. The lament of the straight choice between them-decide which album I curlew disappears into the distance. "Cold; total night; would be cast away with on a (birdless) desert island-it the noise of the surf. . . ." would be the Loriod: A variety of small reasons add up The composer assures us that all the birdsong mel- to a feeling that there is more picturesqueness in her in- odies and rhythms of theCatalogue"are authentic. ex- terpretation. a keener realization of detail; and the musi- cept for occasional stylizations and idealizations." Au- cal structure of the pieces actually becomes clearer when thentic too are the counterpoints: and also-here the all the details are presented as vividly as possible. Miss word seems to change its meaning-"the landscapes Loriod plays across a wider dynamic range than does themselves. with their visual, auditory. olfactory. and Miss Oliveira-Carvalho. For example. in a wonderfully thermal components." A different kind of "transcrip- evocative passage ofThe Alpine Chough,Miss Loriod tion" is involved when tumbling chords evoke tumbling more magically evokes "the majestic flight of the royal boulders, or an undulant theme depicts willows reflected eagle, borne aloft on aerial currents; a motionless, mys- in water: when "contracted resonance" is used "to repre- terious ascent." and then in the subsequent measures she sent orange and red sunsets." or "the fourth mode of lim- more sharply distinguishes between the f inf. and fff ited transpositions in its fifth transposition" depicts "the cries of the great crow (marked "raucous and fierce"). black -edged purple of the sun dying in the pool," or "un- Her reflected willow trees, inCetti's Warbler,sway more conventionally nuanced durations suggest fear and gracefully; her kingfisher flight is more brilliantly jew- darkness." eled. To the tumbling, craggy passages she bringsa TheCataloguebears a double dedication: to the fiercer attack. "winged originals." and to Yvonne Loriod. Miss Loriod. But the other performance is considerable too. There the composer's wife, gave the first complete performance is little to choose between the two pianists as they weave of theCataloguein 1959. in Paris. at one of the concerts the ravishing song -tapestry ofThe Oriole(and in this organized by Pierre Boulez: her recording is available in piece one notes that Miss Oliveira-Carvalho has a wider this country on Musical Heritage. She is a brilliant, for- stretch; Miss Loriod has to break the left-hand chords of midable. and precise pianist. the foremost interpreter of the triad refrain when they span a tenth). In the final her husband's music. Jocv de Oliveira-Carvalho, who number.The Curlew.Miss Loriod's more extreme dy- has now recorded theCataloguefor Vox. is Brazilian - namic range is the more impressive, but in the utterance born: she studied in Paris and is at present on the music of the "tragic and desolate" curlew cry-the same rising faculty of the University of South Florida. (A third com- glissando that we hear in Britten's church parableCur- plete recording of the('atalogue.by Robert Sherlaw lew River-MissOliveira-Carvalho is more affecting; Johnson. issued in England on Argo. is not yet published Miss Loriod comes down hard on the accented first note in this country.) each time, which may be authentic but is less poetical in With the Musical Heritage album comes an introduc- effect. tion by Messiaen. and the "scenarios" of each catalogue The Musical Heritage recording is extremely reso- entry in English translation. The Vox Box has a fine es- nant: Loud, sharp staccato chords echo on to an extent say by my colleague Royal S. Brown, at the end of which that suggests the recording was made in a church or has the scenarios are paraphrased in summary: and there is been subjected to electrically aided resonance. From this more musical comment on each piece.I mention the point of view. the Vox recording is more natural, though program notes first, since they suggest different ways of the piano tone is also a shade less immediate. The Musi- approaching the music. Ideally, the listener should at cal Heritage album presents the pieces in sequence; Vox some point get hold of the published scores (Alphonse has reordered them to achieve sides of roughly equal Leduc. Paris-and rather expensive). since they alone length (ranging from 161/2 to 21 minutes), and has di- contain the identifying "subtitles." "stage directions." vided the longReed Warbleracross two sides (a pity: and "lighting plot." set out phrase by phrase with the Miss Loriod's account, 30 minutes, 13 seconds long, is notes. They verbalize the colors that the player must complete on one side. and the sound quality does not evoke-and it is easier to "hear.' sag. the jeweled flash of seem to suffer). Surfaces are pretty good on both copies. blue and green as the kingfisher darts by. once we know though a few ticks and tocks on my pressing of the Vox exactly where to listen for it.I idler set of album notes set-a case of Vox Tox?-made me start. can then serge as a reminder of the main program ele- A last word must be one of exclamation at the beauty ments ill each piece: those of the Musical Heritage al- of theCatalogueand at the genius-the word is not too bum are rather more detailed. strong-of the man who assembled it. On so many levels The simplest ley el of response to theCatalogueis to it represents a major contribution to the piano repertory: enjoy the picturesqueness of the music ---letting ear and in its manifold picturesque aspects; in piano writing that mind's eye together hear. "see." and feel the scenes and increases the expressive range of the instrument; in har- the songs. Messiaen placed value on ornithological pre- monic and rhythmic innovations that fertilize and exist cision. (He thought it would he helpful to the performers beside more traditional procedures. Greek metrics and of his Evoth. Birds to know the appearance and action of Indiandee/ia/asplay an occasional part in the structure. the birds they mimic without actually expecting the Common triads exist beside nonsystematic harmonies percussionist to tyy eak his tail and cock his head to one suggested by the timbres and "natural harmonics" of the side before pattering out a call on s' loplrone.) I find that bird calls. One seems to lose oneself in a kind of "world my own response to the (.a/a/ogue is most intense when I music" that takes all sound as its province. Amazing know what eyerY thing represents. but that listening in a auditor, dreamer, and technician who could hear all this more generalized way also brings its rewards. The musi- and then order its elements into an art that makes his cal form of the pieces. the very subtle construction of the visions accessible. strophes. the patterns of refrain. variation, and remini- MEssiAni: Catalogue d'oiseaux. Jocy de Oliveira-Car- scence. can readily be perceived and enjoyed on a valho, piano. Vox SVBX 5464, $9.95 (four discs). Comparison "purely musical" level. lonod Mus. Her. MHS 1423/6

80 HIGH FIDELITY MAGAZINE The Two Chapeaux of Pierre Boulez

World War [see "French Music Since Debussy and Ra- vel." page 50] which have led us to our present position. The small group of works he wrote in the years 1945-60 have done much to change our attitudes about music- not only in reference to "what it sounds like." but to our very conception of what rightfully constitutes a musical "composition." Moreover, these are works that, in view of the somewhat chaotic and mercurial nature of compositional developments during this period, are notable for their consistency in quality and the seriousness with which they attempt to deal with the basic musical questions of the time. Two recent Columbia releases, containing four works that span this period, provide convincing documentation for this. Charles Rosen's recording of the First and Third Piano Sonatas is especially interesting, for it offers authoritative performances of two works that occupy privi- leged positions in Boulez' compositional evolution. The Sonata No. 1, written in 1945 when the composer was only twenty years old, is the work that first established Boulez at the forefront of the younger postwar composers. It is a composition of extraordinary originality and vitality. The importance of Webern in the musical thinking of Boulez' generation is well-known: but what is most evident on hearing this sonata is how completely it succeeds in establishing its own musical identity. The influence of Webern is there, of course, but its presence is felt only in regard to the most general aspects of the compositional approach -an approach that can be described as "structural" as opposed to "intuitive." But Composer Boulez: the actualities of the piece are far removed from We- bern. both in the density of the textures and in the dra- Why does a composer of such matic force of the compositional gestures. The two - movement work establishes a subtle network of motivic obvious talent stop composing? correspondences, gradually unfolded by means of a highly individualized conception of musical development. Already one notices Boulez' lasting concern for by Robert P. Morgan the interrelationships of differing rates of speed. Both movements deal with the opposition and ultimate recon- THE CASE OF BOULEZ as composer is one of the real puz- ciliation of contrasting tempos and the relationship of zles of recent music history. For the past ten years or so these tempos to the character of the musical events that what limited time he has devoted to composition he has embody them. The result is a musical dialectic that pro- apparently been content to allocate to the reworking of ceeds with impressive logic and force. controlled with old pieces. Why does a composer of such obvious talents uncanny skill and assurance by a composer still in his and such original inclinations suddenly stop producing student years. music before he reaches the age of forty-at a point when The incomplete Sonata No. 3 dates from the late 1950s many composers are just beginning to reach their crea- and already gives evidence of the compositional hes- tive maturity? Certainly one factor has been the meteoric itancy that has plagued Boulez in more recent years. Of rise over this same period of Boulez as conductor-from the five movements originally projected. only the second an occasional performer specializing in advanced and third have been completed and published (and of twentieth-century music to one with a secure place in the these. the third has been published in only one of its two top ranks of the international "repertoire" conductors. possible forms). Boulez' conception of the piece, as he Yet there have been other composers-one thinks of has pointed out, is very much influenced by Mallarme. Mahler and Strauss-who managed to undertake an ac- particularly the Mallarme of theLitre.a book in which tive conducting career without sacrificing their own crea- the individual pages were not to he hound together. thus tive work. The answer to the puzzle, surely. lies deeper enabling them to be rearranged in different order for dif- than that-deeper in the psyche of Boulez. as well as in ferent readings. Similarly. the five movements of the so- the peculiar circumstances of our present musi- nata were to be constructed so that they could be played cohistorical situation. in more than one order-namely, either forward or back- It is apparent that Boulez played a seminal role in the ward. The only movement that would be fixed was the musical developments of the years following the Second third.Constellation,which would always be placed in the

SEP-I ENIBLR 1973 81 center, but which could be played either forward or in a of possible continuations gives rise to constant ambig- mirror version, depending upon the over-all direction of uities, fashioning a beautiful example of that mazelike a given performance. complexity so characteristic of the art of our time. It is a The two existing movements, both of which are in- work that repays effort, that gives up new and fascinating cluded in Rosen's recording (the third movement is secrets with each additional encounter. played in its published, mirror version), contain a similar Rosen is one of very few performers active in the gen- kind of variability. Trope-which immediately precedes eral concert area who concern themselves consistently or follows Constellation, depending on whether the for- with difficult new music. (Normally we hear such music ward or backward order of movements is used-consists played only by "specialists.") The depth and scope of his of four sections arranged in a circular fashion so that the musical interests have a decided effect upon the way he performer may begin with any one. Once this decision plays these pieces: He brings to them something that has been made, however, he must then proceed around goes well beyond the notes on the page-the ability to re- the "circle" in the prescribed way (with one exception, late them to the larger performance tradition of virtuosic which need not concern us here). In other words, the or- piano music. Despite the incredible difficulties of both der is set, although-as in a circle-there is no single start- these works, he evokes a sense of complete security, both ing point. In the Catholic liturgy a trope is an addition to technical and interpretative. There is only one previ- a Gregorian text, which serves to comment upon this ously available recording of either of these works-Da- text; and in this movement there are musical inter- vid Burge's Candide version of the Sonata No. 1. Burge, polations to the basic text that similarly comment upon, unlike Rosen, is very much a specialist; and although he and thereby modify, the underlying musical structure. plays the sonata extremely well, a comparison with (The titles of the four sections are themselves indicative Rosen is revealing. To take the first movement as an ex- of this procedure: Texte, Parenthese, Glose, and Corn- ample, Burge rushes through it in an effort to keep up mentaire.) These interpolations are combined with the with Boulez' tempo indications, to the extent that the basic text in two ways: They may be inserted as "paren- music almost gets away from him. His performance is theses" into the main argument, or they may be inte- admittedly very exciting, but it tends to be under - grated into that argument, in which case they are super- articulated. Rosen, on the other hand, makes much more imposed over the original. The additions are differ- of the contrasts. It is not just a matter of speed, although entiated by greater freedom in regard to their perform- this is partly it; it is also a question of a more relaxed and ance (particularly as this affects the individual durations) flexible handling of the slower sections in relation to the as well as by their musical content. machinelike precision of the faster ones. One final point, Constellation, the middle movement, isyet more of little consequence given the fragmentary state of the "open" in regard to its formal structure. Boulez has de- Sonata No. 3, but nevertheless a matter of curiosity: Of scribed it as a "map to an unknown city" in which "the the eight possible orders in which the five movements itinerary is left to the interpreter's initiative." The score can be played, not one permits the order found on this is rather like a large musical "mobile," with musical disc (Trope followed by Constellation- Miroir). fragments serving as its components. Thus the performer Le Marteau sans maitre, written in 1954 and revised in may choose his own"route" as he moves from fragment 1957, is unquestionably Boulez' best-known work, and it to fragment. His direction, however, is not left com- is not difficult to see why. It has an immediate surface ap- pletely to chance; there are only a limited number of peal (largely missing, for example, in the piano sonatas), possible continuations allowed at the end of a given and it moves with an easy elegance that is at once arrest- component (never more than four), and all fragments ing and hypnotic. The unusual choice of instruments is must be played once each. Furthermore, the work is di- especially telling: All of these roughly match the range vided into five main sections (plus a sixth, which itself of the alto voice, so that the music seems to float without forms a small constellation mirroring in microcosm the base-i.e., bass-in what seems like a rarefied, nongravi- form of the movement as a whole, much as the latter tational field. The contrast between the hard, short me- mirrors the form of the total sonata), and each of these tallic sound of the percussion instruments and the more must be completed before passing on to the next. The sustained, lyrical quality of the alto flute, viola, and voice sections are of two clearly differentiated, alternating gives rise to ever-changing textural combinations of ex- types: "points," in which the notes are heard as more or otic beauty. less independent units; and "blocks," in which several Once again Boulez is under the influence of literary notes are always lumped together to form sonic aggre- considerations. Although the texts (by Rene Char) ap- gates. (In the score these are distinguishable by different pear in only four of the nine movements, they supply the colored inks, which creates a very striking graphic pres- framework for the entire work: All five instrumental entation.) Thus the larger shape of the movement is rela- movements are "commentaries" on these texts and on tively easy to follow, although it takes several hearings to their musical settings, thus anticipating procedures used accustom oneself to the somewhat disjointed character of again-if somewhat differently-in the second move- the larger rhythm of the piece. The latter is controlled to ment of the Sonata No. 3. Le Marteau is, I think, one of a considerable degree by the performer, although only the real masterpieces of its period, a work that stands out within boundaries defined by the composer. As Rosen like a jewel among the countless grey manifestations of points out in his excellent liner notes: "The real freedom total serialism. of the performer-as in all music-lies in the imposition This is Boulez' third recording of Le Marteau. The of continuity by the inflection of the phrase, and of dra- first, with alto Marie -Therese Cahn on Westminister matic clarity by articulation and spacing." (now out of circulation), was marred by the poor sound The sonata, even in its present truncated form, is a re- quality and the singer's less than precise intonation. The markable work that faithfully reflects the universe of second, with Jeanne Deroubaix, isstill available on relative motion suggested by its formal structure. The Turnabout, but is clearly inferior to the present one. The fact that each musical event carries with it a multiplicity big difference is that Boulez now takes the music much

82 HIGH FIDELITY MAGAZINE slower (well below the tempos indicated in the score). Parrenin Quartet (on Mainstream 5009). According to the and as a result the ensemble is considerably cleaner and liner notes on the present disc. "Boulez no longer ac- the individual voices are much more clearly differ- knowledges" the earlier version. It is a minor work in entiated. (In this respect the less resonant sound of the any case, although I find the present version a consider- Columbia disc helps.) Furthermore, Yvonne Minton able improvement. The performance by the New Phil- sings with much more assurance than does Mlle. Derou- harmonia strings is not in the same class as that ofMar- baix and has a stronger lower register. Finally, the in- teau,but it is nevertheless quite serviceable. strumentalists are more at home with their parts and consequently play with greater attention to details and to BOULEL Sonatas for Piano: No. 1; No. 3 (Trope and Constel- the over-all effect of the ensemble. (The exception here lation-Miroir). Charles Rosen, piano. (Thomas Z. Shepard, is the alto flute, which is particularly good on the Turn- prod.) COLUMBIA M 32161, $5.98. about recording.) The old Robert Craft version on Co- Bout.=Le Marteau sans maitre; Livre pour cordes. Yvonne lumbia, now available as a reissue on Odyssey. was. I be- Minton. mezzo-soprano (in Le Marteau); Ensemble Musique lieve, the first recording. and I am still very fond of it. It Vivante (in Le Marteau); Strings of the New Philharmonia Or- has a sort of devil-may-care excitement about it that is chestra (in Livre), Pierre Boutez, cond. (Paul Myers, prod.) Co- quite attractive, although it does not approach this new LUMBIA M 32160, $5.98. Quadraphonic: MO 32160 (SO -en- version in terms of clarity. coded disc), $6.98; MAO 32160 (0-8 cartridge), $7.98. Comparison-Sonata No. 1: Livre pour cordes isa rewriting of a work for string Burge Can. CE 31015 quartet that originally dated from the late 1940s. The lat- Companions-Le Marteau sans maitre: Deroubaix. Boulez /Ensemble Turn. TV -S 34081 ter. entitledLivre pour quatuor,has been recorded by the MacKay, Craft /Ensemble Odys. 32 16 0154

"Prospective Encounters" in Greenwich Village all have their shortcomings of environment, planning, and execution. while yet serving some useful ends. When Boulez is in town, at any rate, interesting and stimulating things do happen: his impact on the New York scene is tan- gible. and probably salutary. When it comes to performance. one's reservations can be more specific. On the plus side, certainly, has been a noticeable improvement in the orchestra's playing: often during the last two seasons, it has sounded like a first - rank group. Some personnel deficiencies have been mod- Conductor Boulez: ified. with good consequences for both sound and disci- When he's in town, interesting pline. At the same time. Boulez has his limitations as an interpreter-no doubt partly due to the fact that he is still things happen. in the process of mastering a repertory, and further complicated by his own musical taste. In his pre -star -conductor days. he made no secret of by David Hamilton his lack of sympathy for a good deal of older music (and not a little of the contemporary output as well). Now, his words on such matters are muted-but his actions some- PIERRE BOULEZfirst two seasons as music director of the times speak at the proverbially higher dynamic level. New York Philharmonic are now complete. and the sat- One can hear from his concerts that certain music isfaction of the management (at least) has been attested doesn't interest him-or doesn't interest him for the same by the renewal of his contract. Audience and critical re- reasons that it interests the rest of us. The special classic - actions have been-predictably-mixed. with respect romantic relationship of phrase. sentence, and para- both to his programming innovations and to his per- graph to underlying pulse. and its essential role in the formances. In the first category. objections have been musical discourse of much-although certainly not all- made to the retrospective surveys of individual compos- of the literature of that period is apparently less impor- ers-Liszt and Berg the first year. Haydn and Stravinsky tant to him than considerations of sonority and sheer the second-but thereis no doubt that the Philhar- momentum. Thus his Haydn is often simply boring. monic's programs these days have greater variety than however neatly played: Nothing disturbs the steady tick- before. There is a lot of "modern" music, too-but tock of the meter from beginning to end, and his left mostly from the first half of the century rather than from hand intervenes only occasionally. with karate -chop mo- recent years; in particular. contemporary American or- tions that hardly contribute to the shaping of phrases. At chestral music has been less well served than at some other times, particularly when the program includes a earlier times, under Mitropoulos and in the first Bern- very difficult twentieth-century work. Philharmonic au- stein years. diences have had to suffer through palpably under - Boulez' other ideas for extending the Philharmonic's rehearsed, even downright sloppy performances. reach and stimulating audience interest have been less Columbia isn't recording the Philharmonic as much controversial, possibly because they are, so to speak. these days as they used to. and the Boulez sessions have not compulsory for the subscribers: The preconcert concentrated on fairly standard literature: the complex chamber music recitals, the "Informal Evenings" where contemporary works are done in London. as a rule. Such contemporary classics are discussed and dissected, the collections as the present Berlioz and Ravel discs are ob-

SEPTEMBER 1973 83 viously planned well in advance, their component ele- learned to open their ears and listen. ments carefully scattered through the New York pro- There is no other current recording of these songs- grams; it was possible to predict from the programming Bethany Beardslee's finely spun performance, in Robert that a disc of Wagner overtures is on the way. It's too bad Craft's Berg album for Columbia, having vanished from that we won't have on discs the quite remarkable Phil- the catalogue. The new one fills the gap admirably. harmonic reading of Schoenberg's Orchestral Vari- Less admirable, however, is Columbia's pinch -penny ations, or the brilliant, even hilarious rendition of Li- coupling: the third act from Boulez' complete Wozzeck geti's A ventures from this season's "Encounters" (with recording. that frustrating amalgam of dazzling orches- the incomparable vocal ensemble of Phyllis Bryn -Jul - tral work and maddeningly inaccurate singing. It's hard son, Jan DeGaetani. and Richard Frisch). to imagine many prospective purchasers of the songs And my recollection is that the Berg Seven Early who will not already have (or wish to acquire) this or Songs were more smoothly played when Heather Harper some other complete recording of the opera. Berg made sang them in New York than they are on the new disc, a suite from Wozzeck, to serve as an introduction to the made in London with the BBC Symphony. Boulez put work; why could we not have that (which Miss Harper these on his first Philharmonic program in the spring of sings brilliantly, much better than Isabel Strauss), or- 1971-a program that was obviously intended to make a better still-Der Wein, of which there is no proper point, comprising early works of the second Viennese recording available? In the circumstances, however, I trinity, all pre -twelve-tone and distinctly in the late Ro- must commend Columbia for providing a leaflet with mantic orbit. Miss Harper sang them gorgeously, as she full texts and translations, including a synopsis of the op- does on the record, and there is nothing strenuous about era's first two acts. the expressive language that Berg uses here-yet a steady The Berlioz disc is quite brilliantly played, although a stream of auditors made for the exits during the per- bit coarsely recorded, with tubby bass and rather shrill formance! They were, I take it. reacting with their eyes. strings and winds-one only has to compare the "Royal to the names on the program. rather than with their ears. Hunt and Storm" in Colin Davis' complete Troyens This phenomenon has waned since-some objectors (Philips 6709 002) to see, for example, where the piccolo have probably dropped their subscriptions, others have really belongs in the textures of the climax; it is not a

The Tragic Art of Kathleen Ferrier

phrase." Mahler, as revealed by Walter, gave her self- knowledge; he made her aware of her own capabilities. Mahler called forth a profound kinship in her. The composer's somber emotions, the regret for lost happiness. the mood of sustained poignancy found their ideal medium in Ferrier's dark, plangent timbre, her nobility of expression, her tragic personality. Now, twenty years after her death, London offers a memorial tribute to Ferrier in the form of six Richmond LPs (the five under review, plus the 1952 Das Lied von der Erde with Julius Patzak and the Vienna Philhar- monic under Walter, which will be reviewed in a future by Dale Harris issue). These records, along with the collection of Bach and Handel arias conducted by Sir Adrian Boult and the Mahler Ruckert songs conducted by Walter (the latter DEATH STOPPED Kathleen Ferrier (1912-1953) very occupied Side 4 of the original two -disc Das Lied; I hope early. Her entire career lasted only ten years. and for the it soon finds its way back into print), represent the cream first three of those her renown and standards were purely of Ferrier's work for English Decca. For a really compre- local. Despite her creation of the title role in Britten's hensive view of her commerical recording career, you Rape of Lucretia at Glyndebourne in 1946, it was not un- will also need Seraphim 60203 (reviewed in March til the following year-when she first appeared with 1973), which includes songs, arias, duets with Isobel Bruno Walter-that she achieved genuine eminence and Baillie, and the Mahler Kindertotenlieder conducted by the artistic confidence that comes with it. Walter. Further amplification of her achievement is of- It was singing the music of Gustav Mahler under the fered by Rococo 5265, which features rare broadcast ma- leadership of Walter that transformed her into an inter- terial (for example, Monteverdi's "Lasciatemi morire"), national artist. Walter immediately saw her quality, rec- and by two indispensable issues from the Bruno Walter ognized "that here was potentially one of the greatest Society (Box 921, Berkeley, Calif. 94701), on which she singers of our time, a voice of rare beauty. warmth of ex- sings Schubert. Schumann, and Brahms Lieder with pression, and an innate understanding of the musical Walter at the piano.

84 HIGH FIDELITY MAGAZINE solo instrument here! Throughout, one would like more turn his very Lisztian, very idiomatic piano writing into repose in the playing-even the phrase -end ritards in the equally idiomatic orchestral sonorities remains a source Roman Carnival'scor anglais tune are on the rigid side, of continuing amazement. I hope Boulez will go on to and so broad that they impede real continuity. I am sur- complete the Ravel orchestral canon-particularly inter- prised, too, that Boulez fails to make as much of the last esting would be aBoleroplayed with his kind of control statement of this tune as did Toscanini; in the latter's and precision of chording. The sound on this disc seems recording (now on Victrola VIC 1244), the brass's partic- to me better than that accorded Berlioz-more spacious, ipation in the accompanying rhythm is very clear and if also a bit echo -ridden. electrifying. On the other hand, Boulez' almost imper- ceptible accelerando in the allegro section is effective BERG: Seven Early Songs; Wozzeck: Act Ill. Heather Harper, and masterfully controlled.Stiffnessisparticularly soprano; BBC Symphony Orchestra (in Songs); Isabel Strauss apparent in the little entr'acte fromBeatrice,a charming (s), Marie; Walter Berry (b), Wozzeck; Paris Opera Orchestra sicilienne that comes out sounding rather brusque here. and Chorus (in Wozzeck), Pierre Boulez, cond. (Paul Myers Make no mistake, these are competent, often dazzling and Thomas Z. Shepard, prod.) COLUMBIA M 32162, $5.98 performances, but they miss the warmth that Davis (Wozzeck: from COLUMBIA M2 30852, recorded1966). Bent=Orchestral Works. New York Philharmonic, Pierre brings, especially to the quieter passages. Boulez, cond. (Andrew Kazdin and Thomas Z. Shepard, prod.) In Ravel, on the other hand, Boulez seems to me peer- COLUMBIA M 31799. $5.98. Tape:*IF, MA 31799. $6.98; less. TheValses noblesare full of gracious phrasings and We MT 31799, $6.98. Quadraphonic: MO 31799 (SQ-en- stylish rubatos. Harold Gomberg quite rightly gets a coded disc), $6.98; MAQ 31799 (0-8 cartridge), $7.98. liner credit for the impeccable oboe solos in theTom - Benvenuto Cellini: Overture. Lea Troyena: Royal Hunt and Storm. Beatrice et Benedict: Overture; Entr'acte. Roman Carnival Overture. beau de Couperin(why none for Thomas Stacy in theRo- man Carnival,I wonder?). And the orchestral version of RAVEL Une Barque sur l'ocean; Valses nobles et sentimen- tales; Le Tombeau de Couperin. New York Philharmonic, the thirdMiroir, Une Barque sur !'ocean, isa welcome Pierre Boulez, cond (Andrew Kazdin, prod.) COLUMBIA M bonus-overlooked in most of the Ravel literature, this 32159, $5.98. Tape: we MT 32159, $6.98. Quadraphonic: MO has been previously recorded only by Cluytens, I be- 32159 (SO -encoded disc), $6.98; MAO 32159 (Q-8 car- lieve; Boulez does very well by it, and Ravel's ability to tridge), $7.98.

Five Richmond reissues recall the English contralto's brief but gloriouscareer.

As this material readily reveals, Ferrier was one of the gives little indication of the passions at work in the most gifted singers of our time. The voice is immediately young girl's heart. InFrauenliebe and LebenFerrier is striking. From the earliest to the last recordings, it issues too overbearing in manner, too noble; she holds domes- from her without apparent effort: a smoothly produced, tic bliss at arm's length. The more convincing version of dark instrument, even in scale from top to bottom of its this music available from the Bruno Walter Society indi- more than two -octave compass, rich, full of shadows and cates that under Walter's guidance and with him as an half -lights, perhaps the last true contralto sound to have accompanist she was learning how to surrender herself been heard on the international circuit. to the dethands of simple, direct emotionalism. But this Though Ferrier is able to lighten her timbre at will, its never became easy for her. The nature of her gifts was predominantly sable coloration always militates against not suited to the straightforward expression of human lightheartedness. So, curiously enough, does the absence passion. of vibrato. What we hear is essentially a voice for the ex- Even at the very end of her career, when under Barbi- pression of sadness or tragedy rather than of joy or play- rolli she had learned to sing Gluck's Orfeo with an in- fulness. Ferrier's performances of folksongs and English sight and profundity she could not have brought to the art songs (by Quitter, Stanford, Parry, Warlock, and the music before, she was not so much a suffering figure as a rest) don't on the whole convince. They sound arch, even noble one. She gave utterance not to the pain of an indi- coy. In real life she seems to have been a warm, natural, vidual but to the pain of the world. She was hieratic, unpretentious person, but in her singing we discover that grave, majestical-the embodiment of a tragic view of the intimacies of small occasions do not suit her very life. For all that her greatest achievements were in Ro- well. She has little idea of how to relax and therefore of mantic music, Ferrier was really a classical artist. Her how to achieve spontaneity. There are, of course, mag- sensibilities were best fitted for the depiction not of ical moments throughout these recitals, like the melis- earthly struggles but of the understanding and the wis- matic opening ofHave you seen but a Whyte lily grow,but dom that succeed those struggles. her most successful folksong performances are those like It was, as noted, the somber songs of Mahler that best Blow the wind southerly wherethe bleak chill of mortal- suited Ferrier's personality. Brahms suited her in this ity can be felt behind the simple words. way too. Not the Brahms of the folksong arrangements, Nor does the confined world of German Lieder suit but Brahms the brooding pessimist. TheFour Serious her much better.Gretchen am Spinnradeis equable in Songsdraw wonderfully rich tone from her; in theAlto mood, resigned rather than agitated.Die junge Nonne Rhapsodyshe sounds transfixed by sadness. There is

SEPTEMBER 1973 85 much to admire along the same lines in Ferrier's Bach Songs Vier ernste Gesange. Sapphische Ode, Botschatt; Gestillte Sehnsucht (with Max Gilbert viola). Getstliches Wiegenlied (with Max where, despite the English translations and the conduc- Gilbert vicla) tor's air of politeness, she overcomes the limitations of the earnest English oratorio style through the calm radi- KATHLEEN FERRIER: Lieder Recital. Kathleen Ferrier, alto; Phyllis Spurr and John Newmark, piano. RICHMOND ance of her manner. The two arias fromElijahare partic- R 23184, $2.98 (mono; from various London originals). ularly successful in achieving solemnity without sancti- SCHUMANN: Frauenllebe und Leben; Volksliedchen; VVidmung. Soca- moniousness, though the effect is still rather bland. sawn Gretchen am Spinnrade; Die junge Ronne; An die Musik; Der Mu- sensohn. Woo: Verborgenheit; Der Gartner; Auf ein altes Bild; Auf Far more satisfying musically is Ferrier's Purcell. es- eater Wanderung. peciallyMad Bess of Bedlamfrom the fourth book of Choice Ayres and Songs.She handles with utter convic- KATHLEEN FERRIER: Arias. Kathleen Ferrier, alto; Jac- tion what is in effect a long dramatic ques Orchestra, Reginald Jacques, cond. (in the Bach); scenadepicting the London Symphony Orchestra, Malcolm Sargent, cond. course of madness and its alternations between calmness (in the Handel and Gluck); Boyd Neel Orchestra, Boyd and agitation. Her enunciation of the text, formal and Neel, cond. (in the Mendelssohn). RICHMOND R 23185, elaborately conceived, is particularly memorable. Even $2.98 (mono; from various London originals). so, it is a pity that no words have been included with this SACS: St. Matthew Passion: Du lieber Holland Du...Buss' und Reu': Ach, nun ist mein Jesus hin; Erbarme dich, mein Gott; Erbarm' es record. Gott Konnen Tranen meiner Wangen; Ach, Golgotha. . .Sehet. In the matter of texts London has been very arbitrary. Jesus hat die Hand. MANDIL: Rodelinda: Dove sei, amato bane? Serse: Ombra mai Au (sung in Italian). GLUCK: Orteo ed Euridice: Che tarn There are none for any of the English songs, none for the sense Euridice? MIINDILSSOHN: Elijah: Woe unto them; 0 rest in the Bach-Handel-Gluck-Mendelssohn recital, none for the Lord. (All sung in English. except as indicated.) Alto Rhapsody,though the rest of the Brahms is provided KATHLEEN FERRIER: Song Recital. Kathleen Ferrier, for. The notes-some by Cedric Wallis, someanony- ICI alto; Phyllis Spurr, piano (except as noted). RICHMOND R mous-are brief but good, though resolutely British in 23186, $2 98 (mono; from various London originals). Ri Tem: Ma bonny lad; The Keel Row; Blow the wind southerly; I have a their terms of reference. In a way, this is only fitting: Fer- bonnet trimmed with blue; My boy Willie; I know where I'm going; The rier was the first British singer to achieve international Fidgety Bairn (John Newmark, piano); I will walk with my love; Ca' the yowes (John Newmark, piano); 0 Waly, Waly; Willow. Willow; The Stut- standing after World War II. She was part of the age that tering Lovers; Ye Banks and Braes; Have you seen but a whyte lily finally produced a National Theater, a Royal Ballet, and grow; Drink to me only; Down by the Sally Gardens; The Lover's Curse. QUILTS!: Now sleeps the crimson petal; Fair house of joy; To daisies; a group of native composers of more than local distinc- Over the mountains. tion, and she is therefore even now quite justifiably cause for immense pride. KATHLEEN FERRIER: Recital. Kathleen Ferrier,alto; B Phyllis Spurr and Frederick Stone, piano. RICHMOND R 23187, $2.98 (mono; from various London originals). Bums: Alto Rhapsody; Songs. Kathleen Ferrier, alto; R PuncaLL: Mad Bess of Bedlam. The Fairy Queen: Hark the echoing air. Phyllis Spurr and John Newmark, piano (in the songs); H : Atalanta: Like as the love-lorn turtle; Admeto: How changed London Philharmonic Orchestra and Choir, Clemens the vision. STANFORD: The Fairy Lough; A Soft Day. : Love is a RKrauss, cond. (in the Alto Rhapsody). RICHMOND bable. VAUGHAN WILLIAMS: Silent noon Samoa: Go not, happy day. WARLOCK: Sleep: Pretty ring -time. TRAD: Come you not from New- R 23183, $2.98 (mono; from various London originals). castle: Kitty my Love

BACH: French Suites (6), S. 812-817: Ca- to the subjective opinion of the performer to classical priccio in B flat, S. 992. Huguette Dreyfus, decide which instrument would suit the char- harpsichord. ARCHIVE 2533 138 and 2533 acter of the music best. In my opinion, Bach reviewed by 139, $6.98 each. probably made no sharp distinction in his own ROYAL S. BROWN French Suites: No. 1, in 0 minor; No. 2, in C minor; No. 3, mind and would have played most of his in B minor; No. 4, in E flat (2533 138). French Suites: No. ABRAM CHIPMAN 5, in G; No. 6, in E; Capriccio (2533 139). "Klavier" works on whatever instrument was R. D. DARRELL Comparison-French Suites: at hand. Still, a consensus does seem to exist Dart (clavichord) Olseau SOL 60039 among most historians, who feel the English PETER G. DAVIS Suites and Partitas are best suited to the harp- SHIRLEY FLEMING The so-called French and English Suites were sichord, while the more intimate character of ALFRED FRANKENSTEIN composed during Bach's COthen years. a time the French Suites calls for the gentle and ex- KENNETH FURIE when he was almost entirely concerned with pressive clavichord. In this case Iagree, instrumental music, since no church music CLIFFORD F. GILMORE though I wouldn't be rigid about it: These was required of him there. These two sets, as three sets together represent the ultimate and HARRIS GOLDSMITH well as a third set of suites (called partitas by most perfect manifestation of the baroque DAVID HAMILTON Bach) written a few years later in Leipzig, are suite and are among Bach's finest keyboard DALE S. HARRIS ' all collections of short dance movements: each works-and they remain just that whether PHILIP HART contains an allemande. a courante, a sara- played on a harpsichord, clavichord. or kazoo bande and a gigue. Various other dances such consort. PAUL HENRY LANG as menuets, gavottes. bourr&s, and polonaises ANDREA MCMAHON are inserted before the final gigue. In addition. ROBERT C. MARSH each of the English Suites and Partitas is pref- Explanation of symbols ROBERT P. MORGAN aced by a more or less elaborate prelude, Classical: ANDREW PORTER whereas the French Suites, which are smaller- scaled and simpler works than the other two Budget H. C. ROBBINS LANDON sets, begin immediately with the allemande. Historical JOHN ROCKWELL Since in Bach's day the German term "Kla- IHI SUSAN THIEMANN SOMMER vier" was applied indiscriminately to harpsi- 'RI Reissue chord. clavichord, spinet, and even organ. it is Recorded tape: often difficult to determine just which instru- Open Reel ment composers of the time intended. If there are no forte and piano instructions and no pas- 'IP 8 -Track Cartridge sages that clearly require two keyboards (both t Cassette of which would indicate harpsichord). it is left

86 HIGH FIDELITY MAGAZINE Archive is now offering a handsomely produced and recorded harpsichord version of theFrenchSuites played by Huguette Dreyfus. Her performance is well prepared and accurate and occasionally exciting, especially in several of the concluding gigues. She knows about baroque performance practices and gives us a fair number of graceful orna- ments, particularly in the repeats. as well as a registration change at every double bar. It's difficult, in fact, to fault her performances on any details except to say that they are not very satisfying-in that altogether too proper. stodgy, and humorless Teutonic manner that was fashionable a few years ago. Still, it's a faithful reproduction of the score and nothing is distorted. Fortunately, there is a superb alternative in Thurston Dart's 1961 clavichord version on Oiseau-Lyre (stilllistedinSchwann, but rather difficult to locate, I'm afraid). Dart plays with all the sparkle and charm that Dreyfus suppresses, and, as he often did, he il- Herbert von Karajan-music `rom Egmont smoothly played. luminates the compositions themselves with a brilliant analytical searchlight. With a little ru- spoken narration (in German) to bridge the unusual Beethoven: Here and in the violin bato here, a touch ofBebungthere, and an ex- gaps between musical numbers. Karajan concerto he seems to have added to his usual pressive emphasis placed briefly on one line or makes no attempt to provide any musical or arsenalasublime lyricism (not that there's another, Dart was able to project clearly the dramatic context. Since I find the narration in- anything deficient about his tunes normally). essence of each piece and make usknowjust creasingly bothersome on rehearings. the most But teddy bears? K. F. why Bach was one of the greatest of all com- sensible solution seems to me good. clear liner posers. Dart's, then, are clearly the finest avail- notes that set the context of each number. Un- able recorded performances of these works. fortunately the English translation of the DG BENDA.. Sonatas for Violin and Continuo: in It's necessary to point out, however, that he notes is largely gobbledygook. (There are texts A; in F; in A minor; in G. Vaclav Snftil, violin; plays none of the repeats. getting all six suites and translations of Clarchen's two songs and ZorkaZichova,piano. SUPRAPHON 11 1 0976, onto one disc (Dreyfus plays all repeats and the melodrama.) The Vienna Philharmonic $6.98. includes the charming earlyCapriccio on the (under Szell) is more closely recorded, with departure of his beloved brother,which neces- less resonance but more detail-particularly in Frantiek (Franz)Benda was a member of a sitates two discs), and his Thomas Goff clavi- the strings-as well as some vocal eruptions Czech family of musicians actually more ac- chord didn't record very well-it sometimes from Szell. Karajan's typical preference for a tive in eighteenth -century Germany than in sounds like a tinny guitar (keeping the volume more distant perspective puts his excellent or- their native Bohemia; five other Bendas- low helps). But any amount of effort necessary chestra at a severe disadvantage in such sec- brothers, sons, sons-in-law, and nephews of to find this magnificent record will be greatly tions as the persistent string sixteenths in Frantikk-are listed by Slonimsky inBaker's rewarded. C.F.G. Entr'acte I or the end of Entr'acte II with its Biographical Dictionary,and two of his daugh- staccato triplets in the violins alternating with ters married important musicians. After train- BEETHOVEN: Egmont (incidental mu- viola and cello trills. Perhaps the singer will ing in Prague, Vienna, and Dresden, Frantikk Rsic), Op. 84. Gundula Janowitz, so- help you choose: the pure voice of Janowitz Benda settled in Berlin as violinist and later as prano; Berlin Philharmonic Orchestra, with its quick, narrow vibrato vs. the lush concertmaster of the Prussian court orchestra. Herbert von Karajan, cond. DEUTSCHE sound of Lorengar (London) with her wide vi- He was a prominent violin soloist and most of GRAMMOPHON2530 301,$6.98 (from brato. Both happen to be favorites of mine, his music was composed for that instrument- Deutsche Grammophon 2720 011, and they're both in good representative form. twenty-two concertos, numerous duos and 1970). The twoArchdukerecordings bring to- trios, and 157 sonatas for violin with continuo. Comparison: gether six outstanding soloists. What sort of Very little of his music has been published, Lorengar, Szell/Vienne Phil. Lon. CS 6675 chamber music results? In the case of though his autobiography, in English trans- BEETHOVEN: Trio for Piano and Kempff/Szeryng/Fournier, somewhat disap- lation, was included in Paul Nettl'sForgotten Strings, No. 7, in B flat, Op. 97 (Arch- pointing. Their styles are basically dissimilar- Musicians.Although this record has been is- duke). Wilhelm Kempff, piano; Henryk Kempff rather four-square and soft -grained. sued in Supraphon's Musica Antica Bohemica Szeryng, violin; Pierre Fournier, cello. Szeryng classically angular, Fournier lyrical- series, the music it contains shows little specif- DEUTSCHE GRAMMOPHON2530 147, and in the course of their meetings in the stu- ically national flavor: The eighteenth century $6.98 (from Deutsche Grammophon dio they don't seem to have settled on a uni- was a period of great cosmopolitanism in mu- 2720 016, 1970). fied approach. Tempos are extremely free and sic, and explicit national elements did not as- BEETHOVEN: Trio for Piano and apt to change suddenly (as in the sudden sume importance for another century. Wil- BStrings, No. 7, in B flat, Op. 97 (Arch- speedup at the entrance of the second subject liam S. Newman, in his comprehensive survey duke). Emil Gilels, piano; Leonid Ko- of the opening movement). Within this Ro- The Sonata in the Classic Era, groupsBenda gan, violin; Mstislav Rostropovich, mantic framework the reading is still a per- among the North German composers of his cello. WESTMINSTER GOLDWGM 8225, suasive one-a good alternative, if this ap- time! $2.98(mono; from Monitor MC 2010, proach is to your taste, to the superbIstomini The sonatas of Benda offer considerable 1957). Stern/Rose version (Columbia MS6819). historical interest. For one thing, they repre- The Westminster Gold virtuosos are no less sent a transition from baroque to classical style The twoDG discs, now issued as singles for individualistic than their DG counterparts, that should be of great interest to the musi- the first time, should interest many buyers not but they form an astonishing ensemble. Ko- cologically inclinedlistener. Newman de- tempted by the big Beethoven Edition sets in gan and Rostropovich in particular take pains scribes Benda as a typical early classic com- which they first appeared. The RussianArch- to match their techniques (e.g., rate of vi- poser whose treatment of the emerging sonata dukeis part of Westminster Gold's initial re- brato). The first movement is a shade brisk for style was considerably less adventuresome lease of records drawn from the Melodiya my taste. But this is definitely a performance than that of C. P. E. Bach. Additional interest catalogue. worth resurrecting, and since the undoctored in Benda's violin sonatas arises from the fact Karajan offers a smooth, well -paced ac- mono sound is perfectly acceptable the disc is that in many of his manuscripts he set out in count of Beethoven's incidental music for a good buy. The jacket cover features a trio of detail the "colored" ornamentation reflecting Goethe'sEgmont.Unlike Szell, who uses a teddy bears (so help me). Yes, theArchduke is the performance practice of his time. The so -

SEPTEMBER 1973 87 natas recorded here are not from that group. was obviously widely known by then, Ifeel For a feature review of recordings of these but the notes state that Snitil has ornamented that a lighter and brighter sound would have works, see page 83 their text in accordance with Benda's notation been more appropriate. elsewhere. Snitil, who is a member of the Vlach Quar- All of these sonatas are in three movements, tet, plays with fine musicianship and impres- a departure from baroque practice toward the sive technical command and, with the caveat BERLIOZ: Orchestral Works. For a feature re- classical, but the sequence of tempos varies already mentioned, is ably seconded by Zich- view of recordings of these works, see page 83. somewhat: Three of them open with a moder- ova. ate tempo. followed by a slow movement, and This welcome recorded representation of concluded in fast tempo. The solo part is quite Benda provides a rare documentation of the elaborate, while not emphasizing virtuoso ef- musical culture from which the great Viennese BIZET: Carmen (excerpts)-See Gounod: Faust. fects at the expense of the musical substance. sonata style emerged. In such good perform- The slow movements are quite expressive and ances itis therefore of considerable musi- often elaborately decorated. The continuo is cological importance-though of somewhat basically confined to accompaniment: in a slighter musical interest. P.H. Swot Viola Works. Ernst Wallfisch, record of such musicological interest, how- B viola; Lory Wallfisch, piano. MUSICAL ever. I question the use of a modern piano. HERITAGE MHS 1486, $2.99 (Musical Benda died in 1786. and though the pianoforte BERG: Seven Early Songs, Wozzeck: Act Ill. HeritageSociety,1991 Broadway, New York, N.Y. 10023). Suite for Viola and Piano: Meditation and Processional: Suite hebraique: Suite for Solo Viola.

An acquaintance of mine once referred to the viola as a "mature instrument for mature musicians." Though such a generalization leaves unexplained why even great composers who were themselves violists (e.g., Dvoilk) treated it with such unseemly neglect, it does suggest why bad music for the instrument is so hard to find. The excellent music on this record spans four decades of Ernest Bloch's career. One full side is devoted to the 1919 suite for viola and piano (which exists in an orchestral version as well). It is cast in the turbulent, nightmarish. brooding style of the First String Quartet and the piano quintet. The piece rarely breaks into song in a readily memorable sense. It is rather a series of terse, deeply unsettling declama- tions, biting dissonances (to 1919 ears), and frenetic rhythms. By contrast, the 1951 Suite hibraique contains a deep vein of rich, wistful lyricism with as much exploitation of the viola's guttural and poignant sensuousness. (Avoid the inferior violin -and -orchestra version. once available on Crossroads). Meditation and Proces- sional are roughly contemporaneous and were once intended to be part of the Suite hebraique. The unaccompanied suite dates from 1958, when Bloch was ailing. Its formal idiom pays conscious or unconscious homage to Bach, but its five sections are quite short, almost perfunctory. In issuing this recital, which has been available for some time on the German Camera Magna label, MHS has plugged a major gap in Just for the record, the domestic catalogue. Once upon a time, a Primrose mono recording of the accompanied there'san easier way. works was available on Capitol. Folks who bought that record aren't inclined to give it up, There's a much easier way to clean, and record counters everywhere. not only because of the music and Primrose revitalize and restore the brilliant Elpa Marketing Industries, Inc., but for the cover art, which is a masterpiece of sound of your records. And lots more New Hyde Park, New York 11040 / its kind (showing a gold figurine of a praying, bearded Jew against a deep purple back- effective, too. It's the Watts Record Scottsdale, Arizona 85253. ground). Care Kit. Here's The plainer -looking MHS compensates by everything you need adding the solo suite (written after the Prim- to remove deep "Professional rose disc was made). Its stereo sound offers down dust, dirt and methods for better balance between the two instruments. static charge from record care and the Wallfisches mold a more flowing, record grooves. and use" coherent line in the big works (Primrose and Only $22.50 his pianist, David Stimer, were comparatively episodic). The two violists share honors for in- Watts Record tonation and articulation. There is a differ- Care Kits & equip- ence though intheir conceptions of viola ment are available sound: Is this a tenor voice of the string family at hi-fi dealers (Wallfisches bright tone, small in size, and Record Care Kit somewhat magnified by reverberant acoustics) AVAILABLE IN CANADA THROUGH SMYTH SOUND EQUIPMENT LTD. 88 HIGH FIDELITY MAGAZINE MAMAS PIAND CC rCEF TOS NOS &2 G11113 SERIN 3H LHARMON1C ..00HUM

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CIRCLE' 4 ON READER SERVICE CARD

SEPTEMBER 1973 C(1 or a deep. throaty contralto (Primrose's gutsy ically and musically static. In some sense. I Di Stefano in the tenor lead, but (in the tactful low register)? A.C. fear, Boito wasn't quite a composer. His melo- phraseology of Francis Robinson's liner note) dic imagination is constricted, and most of his "for reasons of his own he never finished it." tunes clearly grow out of chord sequences, and Mario del Monaco stepped in. The BolTo: Mefistofele(excerpts). rather than breathing on their own. He could present excerpt disc, in effect.. salvages the Marghenta Renate Tebaldi (s) come up with striking harmonic ideas, but "out takes" with Di Stefano, and includes Martha Lucia Danieli (a) didn't know how to develop them, merely how most of Faust's music, except for the two Sab- Faust Giuseppe di Stefano (t) Wagner Piero di Palma (t) to repeat them; rhythmically, there is a similar bath scenes. Some of the non -Faust material Metistotele Cesare Siepi (bs) problem. In a very good performance. the op- here (e.g., Siepi's "Son lo spirito") is identical Chorus and Orchestra of the Accademia di era can be made to "work," for the best ideas with the complete recording as issued. Santa Cecilia, Rome, Tullio Serafin, cond. are good, and the scoring, if sometimes vulgar. Mefistofele without the Prologue is a bit like LONDON OS 26274, $5.98. has daring and imagination. Lucia without the Mad Scene, so this record ActI:Sediam sovra quel sasso..Dai campi, dai The only complete stereo recording-and hardly competes with London 25083, the prati...Fin di stanotte. Act II, Scene 1. Act III. Epilogue. such a score really demands stereo-is the late - "highlights" disc from the complete set. It is, Fifties Serafin version (London OSA 1307), a rather, for Di Stefano fanciers, who will find What a curious opera is Boito's Mefistofele- creditable job on the whole, registered in some their hero in slightly over -the -hill condition. high-minded inits faithfulness to Goethe's of London's most plangent sound. It now de- beginning to agonize over the top notes and large plan, verbally elegant, but often dramat- velops that this recording was first begun with sliding around with an obtrusive portamento. Between his laissez-faire rhythm and Del Mo- naco's stricter but unrelentingly stentorian delivery, 1 would not like to have to choose: neither does anything like full justice to the part. especially inthe lovely "Lontano" duet LIVE FROM BAYREUTH ( among electrical recordings, only the old Tas- sinari-Tagliavini version of that comes near to the ideal). The others are. naturally. much as in the complete set: Tebaldi sympathetic or urgent as required. if not very specific in her characterization, Siepi roughin tone but WAGNER'S RING forceful in manner. Serafin allowed Di Ste- fano more liberty of tempo, which robs certain .CONDUCTED BY KARL BOHM episodes (notably the Epilogue) of desirable tension. The sound seems lessfull and spacious than that of the complete set, perhaps Featuring: because over sixty-three minutes of music Birgit Nilsson have been squeezed onto the disc. No texts or Cd translations are supplied. just synopses.D.H. Wolfgang Windgassen Theo Adam BOULEZ Sonatas for Piano; Le Marteau James King sans maitre; Livre pour cordes. For a fea- Martti Talvela ture review of recordings of these works, see page 81. Gustav Neidlinger Anja Silja BRAHMS: Quintet fr Clarinet and Strings, in DER RING DES Leonie Rysanek B minor, Op. 1,1 Yona Ettinger, clarinet; Thomas Stewart Tel Aviv Quarte . OISEAU-LYRE SOL 146, $5.98. Annelies Burmeister Cornparisions: niBELunGEn Oppenheim, Budapest Quartet Col. MS 6226 Vera Soukupova Boskovsky, Vienna Octet members Lon. CS 6234 Geuser. Drolc Quartet Mace S 9029 K EI2E1EIMIMTE1 Gerd Nienstedt De Peyer, Melos Ensemble members Ang. S 36280 Michaels, Endres Quartet Vox SVBX 578 Kurt Bohme Leister, Amadeus Quartet DG 139 354 Lancelot, Munich Quartet MHS 767

Nearly every established international en- Der Ring des Nibelungen semble seems to have recorded this master- (16 record set) 6747.037) piece. (The above listing includes only those versions currently available in this country.) Das Rheingold This new version stacks up very favorably in- (3 -record set) 6747.046) deed. Ensemble is smooth and accurate, articulation full of bite and excitement, and the Die Walkiire whole performance warmly committed. Ettlinger is an extremely fine clarinetist. His (4 -record set) 6747.047 legato is lustrously smooth, his breath control Siegfried even, his tone round and full-bodied. He is not as much of a colorist as Leister of the Berlin (4 -record set) 6747.048 Philharmonic or Wright of the Boston. nor does he phrase with quite the distinctive indi- Gotterdammerung viduality of Kell or De Peyer. On the other (5 -record set) 6747.049 hand,Iexpect many to be won over by Ettlinger's musicianly. unmannered playing- especially since his style is quite free of vibrato. PHILIPS The Tel Aviv Quartet are apt partners for A Product of Phonogram Inc. theirforthright,unpretentiousclarinetist. Again. it is possible to feel that a few passages CIRCLE 46 ON READER -SERVICE CARD

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Lafayette Radio ElectronicsP.O. Box 10, Dept. 19093, Syosset, N.Y. 11791 FREE Send my FREE "_AFAYETTE 1974 Catalog to: 19093 The World's Largest Name Consumer Electronics Catalog Address Your One Complete Buying Guide For "Everything In Electronics" City State Zip CIRCLE 33 ON READER -SERVICE CARD SEPFEMBLR 1973 91 could have been shaped with a bit more sub- the point that his vibrato makes me wince (it serious challenge to the new disc. Leister/ tlety and flexibility. that certain pianos and also picks up extramusical noises like squeak- Amadeus is given sound midway between the pianissimos might have been softer (and that ing chairs), and a lack of flow. Boskovsky's proximity of the new Oiseau-Lyre and the much more magical). But such gradations are stereo remake has less poise and compactness wrong -end -of -the -telescope Angel perspec- well-nigh impossible to achieve with such a than his long -deleted mono. I find his current tive. The Amadeus play with more porta- close pickup. and the direct impact and razor- performance (and.in a different way. the mento and thicker vibrato than the Israelis, sharp clarity of the sound have advantages as Geuser/Drolc) a bit tepid and uneventful. and Leister does have a more personal. solois- well. The group does not observe the first - though certainly competent. De Peyer's Angel tic view of the central portion of the Adagio movement exposition repeat. which seems a disc suffers from a very reverberant. gim- than Ettlinger. (He also plays around more pity since they sustain the momentum ad- micked -sounding pickup that lets you hear ev- with his little phrase in the third variation of mirably despite a rather leisurely tempo for ery inner line with antiseptic clarity. The per- the last movement.) The Amadeus version. by that section. formance emerges as more of an autopsy than the way. observes that first -movement repeat All the recordings listed have something to a re-creation, though it is polished to the hilt. (as do the Geuser and De Peyer). Whether or offer. The most disappointing is the Oppen- Michaels/Endres goes to the other extreme. not you prefer the less detailed, more inte- heim /Budapest-a conceptionofinspired and with Vox's overly close, strident sound. grated DG to the more proximate. less "inter- breadth and insight blemished by miserably the vigorous, well -prepared playing comes preted" Oiseau-Lyre is a personal matter. seedy -sounding string playing. a raunchy. wa- across as harshly stolid and devoid of subtlety. The Musical Heritage disc is a splendid bar- very reproduction of Oppenheim's sound to The two remaining versions offer the most gain at $2.99: it even offers as a bonus a fair performance of Schumann's Fai' Tales.. In many respects the Lancelot/Munich is the most interesting of allthe versions. Stylis- tically.itis a successful cross-pollination of two seemingly divergent traditions: Lancelot's reedy. oboelike. very cool clarinet tone with a typically Gallic preference for lucidity and fast tempos coalesces with a very warm. ,..i,Ltoing German string group. The results are. to my mind, highly persuasive. For the moment I prefer the Oiseau-Lyre: by the time this appears in print. I may well have wavered to the DG or MHS! H.G.

BRAHMS: Symphonies. New York B Philharmonic,LeonardBernstein, cond. (John McClure, prod.) CoLum- R BIA D3M 32097, $11.98 (three discs; from various Columbia originals). No. 1, in C minor. Op. 68: No. 2, in D, Op. 73: No. 3. in F, Op. 90; No. 4. in E minor. Op. 98. Comparisons-Symphony No. 1: Munch / Boston Sym Victr. VICS 1062 Stokowski /London Sym. Lon. SPC 21090/91 Setyourspeakers free! Walter, N.Y Phil. Odys. 32 36 0007 Comparisons-Symphony No 2' The 400 will unlockmusic Beecham Royal Phil. Sera. S 60083 Your amplifier is probably Klemperer Philharmonia Ang. S 35532 too weak to break the chains you never dreamed existed in Steinberg Pittsburgh Sym. West. WGS 8153 your favorite records. See your Comparisons-Symphony No. 3: that bind your speakers. Sanderling 'Staatskapelle Dresden Euro. 85782 Listen to Julian Hirsch of dealer for an auditionsoon. Toscanini .. NBC Sym. Victr. VIC 6400 Stereo Review: "Anyone using Comparisons-Symphony No. 4: SPECIFICATIONS Gerdes Berlin Phil. DG 139 423 a low efficiency speaker system Haitink Concertgebouw Phi. 6500 389 with an amplifier in the 30 to Power-Greater than 200 watts/ 50 watt class cannot approach a channel RMS both channels driven This album hears witness to the drawbacks of realistic listening level without into 8 ohms. "voting a straight ticket" where a series of re- severe clipping." Harmonic or I.M. Distortion-Less lated works is concerned. In contrast to the The key to the solution is a than .25%; typically less than three Brahms cycles I reviewed in the July is- high-powered .05%. sue. Bernstein's varies so from one symphony amplifier, Protection-Patented protection to another-both in quality of interpretation specifically, circuit monitors output voltage and and character of sound -that it's fortunate in- the Phase current, shuts down amplifier indeed to have still available most of the "sin- Linear 400. stantly if safe operating levels gles" from which the current setisre- are exceeded. packaged. To the collector wishing to as- semble his Brahms one -at -a -time. then. the Hum and Noise-Better than 100 following remarks are directed: db below 200 watts. S...mphom No. /. The following conversation Stability-Absolutely stable with was overheard in a record shop some dozen all speaker loads including electro- years ago when MS 6202 (still available) first static units. appeared: Warranty-Three years, parts and JoE: Bernstein's is the definitive conception Phase Linear 400 labor for normal use. of the Brahms First! 400 watts RMS direct coupled solid state stereo power amplifier. Price-$499.00. Cabinet: $37.00 moE: Bernstein has no conception of the First! The truth lies. of course. somewhere in between. The rendition is vigorous, bright-eyed. (7). free of stuffiness. and saves the rhetorically ex- eitirt4,/f/neali 400 aggerated gear changes for the later pages of THE POWERFUL DIFFERENCE the finale. I am. in fact, less offended by anything Bernstein does with tempos than with PHASE LINEAR CORP., P.O. BOX 549, EDMONDS, WASHINGTON 98020 the harmoniumlike sonorities of Stokowski's less pulled -about reading. There are other ro- CIRCLE 45 ON READER -SERVICE CARD HIGH FIDELITY MAGAZINE They're talking about Capitol 2 recording tape.

Musicians, high-fidelity perfectionists, Reel-to-reel bugs get excited about music lovers of all sorts, are talking about being able to buy a tape that's as good as Capitol 2, the world's best iron -oxide tape.the best tape the recording studios Cassette users rave about the frequencythemselves use. response (20-22,000 Hz), the backcoating And 8 -track cartridge people are that makes the cassette jamproof, and the delirious with the Capitol 2 Audiopak® new package (Stak-Pak'') that ends High Output/Low Noise cartridge, already cassette clutter. a standard of the music industry. It's Everyone's giving the Stak-Pak special even available in a newly engineered mention. Probably because it's without 100 -minute playing time. a doubt the world's ultimate cassette Visit your favorite tape store, and try storage method. Stak-Paks come with twothe new Capitol 2 tape. So that the next Capitol 2 cassettes, and they slide or snap time your friends start talking about tape, together to form a tiny chest of drawers, you'll have something significant to add each with its own two labels. to the conversation.

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CIRCLE 11 ON READER -SERVICE CARD

SEPTEMBER 1973 93 mantic tricks to play too with the C minor. formance of no precedent -shattering insights. the best. Happily. it is obtainable as MS 6909. Folks who like the lyric theme of the finale su- Fortunately, the Second of the Brahms four- with a good Academic Festiva/ (excluded from perslow and expressive will get a bargain in some is best able to speak for itself. Among the current package). By contrast to the rigor- Munch's Victrola issue. My own special favor- separately obtainableeditions,Klemperer ously structural approaches of Sanderling or ite has long been Walter's with the New York and Steinberg easily outclass the competition. Toscanini (both available only in sets). Bern- Philharmonic (now an indivisible part of the though either of Monteaux's stereo versions stein goes all out for the coloristic elements of three -disc Odyssey set)-a wild and shaggy would more than give them a run for the the Third. The New York wind players display thing, played as if the symphony were hot off money if restored to circulation. I hope Hai- a geniality that calls to mind German rustic the presses. tink's forthcoming entry will duplicate some band sound. The brass (especially the swelling Symphony No. 2. MS 6374, the first record- of the ruddy musicality and joyous sonority trombones in the very opening bars) are dark ing made in Philharmonic Hall. has since been that his predecessor in Amsterdam. Eduard and imposing. The strings play with generous deleted (in sonic embarrassment?). I'm glad van Beinum, brought to this music on a tonal richness (e.g.. the climax of the An- Columbia has now resisted the temptation to memorable Epic mono disc. The extant Bee- dante). Bernstein's almost Chopinesque ru- "enhance" itfor this reissue, which would cham LP fails dismally to duplicate the bub- bato (particularly. but not exclusively. in the doubtless have created the effect of an "echo bling mirth of that conductor's own 78 -rpm Poco allegretto) is strikingly apropos to this chamber of horrors." Here is very dry, but classic. mysterious. undulatingly passionate music. honest and clean enough sound, mated to a Symphony No. 3. This, the most recent and Symphony No. 4. Also on MS 6479. this somewhat deliberate but decently played per- richly recorded of the Bernstein series, is also Fourth, despite some nice low string detail. is a Friday -afternoon runthrough, though more agreeably recorded than the Second. Among

11 the competition by which this is buried alive is We've got Gerdes'plush,neonineteenth-centuryap- II proach-easily the current best of its type. The the best polar opposite-generally rigorous and analytic, with no hanky-panky about tempo anti -skating changes in the finale-is Dorati's recently deleted disc (Mercury SR 90503). which is worth looking for. The recent Haitink (included in device ever... the July Brahms roundup) occupies the none at all "centrist" position. A.C.

Master records are made by ma- BRAME: Variations and Fugue on a Theme chines that drive the cutting head in a of Handel, Op. 24; Variations on a Theme of straight line across the record. But Schumann, Op. 9; Theme and Variations when you play your disc with a conven- from Sextet for Strings, Op. 18. Daniel Barenboim, piano. (Gunther Breest, prod.) tional pivoted arm system. the revolv- DEUTSCHE GRAMMOPHON 2530 335, $6.98. ing groove pulls the stylus towards the center. This is called. skating force': Comparison-Handel Variations: Klien Turn. TV -S 34165 Skating force causes wear on the inner wall of thegroove and the stylus. Comparison-Schumann Variations and results in a loss of separation as well as distortion levels simplynot Klien Vox SVE1 5430 acceptable to the serious listener. Brahms's ability to accept the major formal Most good pivoted arm systems do have anti -skating devices But they types inherited from the classical tradition and can only be set for -average'. skating force.. and an anti -skating device that then make them his own, infusing them with remains constant cannot fully compensate for all of the varying forces new life drawn from the technical innovations exerted during the playing of a record Even the total elimination of tracking of the later nineteenth century. is nowhere more evident than in his variations. There are error does not eliminate the inherent problem of the pivoted arm-- skating several major sets for piano. and Barenboim force brings us two of these, as well as the rarely The RABCO pickup moves in a straight line The record is playedpre- heard piano transcription of the theme and cisely as it was originally cut There is no anti -skating device forone simple variations from the string sextet, Op. 18. reason The RABCO system eliminates skating force The earliest of the three is the set of Schu- mann Variations, Op. 9, written in 1854 while We want to tell you more about how we eliminate both skating force and Schumann was still alive and dedicated to his tracking error Drop us a note and well send full information straightaway. wife, Clara. (Or, as the original simply read: "Variations on a Theme by Him Dedicated to Her.") The work, which is based on the first of Schumann's Bunte Blaster, owes much to the earlier composer: Particularly in the frequently casual relationship between variation and theme one hears echoes of the Sym- phonic Etudes for piano. The Op. 24 Handel set, based on the well- known Air from the B flat Suite for Harpsi- chord. follows the formal structure of its tune much more rigorously and builds with inexorable logic to the extended fugue that forms its finale. The transcription from Op. 18, also dedicated to Clara, was undertaken in 1860, The RABCO SL 8E The RABCO ST -4... shortly after the completion of the sextet from arm A pr anal turntable which itis taken, although it was not pub- with itRABCO lone arm system lished until 1927. Like the Handel Variations it follows its theme (which is original in this in- DEPT H stance) closely, but here the formal growth RABCO 55 Ames Court proceeds to a point approximately halfway t,,(1(potation Plainview New York 11803 Continued on page 98 CIRCLE 47 ON READER -SERVICE CARD

9.; CIRCLE 43 ON READER -SERVICE CARD -0. Separation savedour marriage thanks to Marantz speakers. "Where's the flute Henry?" my wife compla ned con- sounds that are as pleasing as a nibble on the ear. stantly.I was about ready to leave her. Then we saw a Marantz We bought the Marantz Imperial 5G Two Way Speaker dealer. He told us that separation of sound is a true test of a for just $99. Perfect for our budget and it delivers fine sound speaker system. He suggested we put Marantz and separation even with minimum power equipment. And there other popular speakers to toe test by listening 51,Mk are five other quality Marantz speaker models to a familiar recording so we'd be able to hear starting as low as $59 and all are available for ourselves that it's the speaker and not the with the new Marantz acoustically trans- recording that makes the difference. Oh, what parent foam grill. a difference Marantz made! What we thought Whatever your power and budget were two oboes were clearly an oboe and a requirements, keep this in mind Marantz flute. And that barberstop quartet. ..well spea',cer systems are built by the people woo they're really a quintet. make the most respected stereo and 4 -chan- The proof is in the listening. And that s nel equipment in the world. wnere Marantz design concepts come into To find out ncw much better they sound play. The transducers in Marantz speaker sys- go to your nearest Vlarartz dealer and listen tems are engineered to handle an abundance of continuous power, so you get distortion -free We sound better.

1973 Marant/ CoInc a sulasichary ol SupeisOope IncP 0 Box 99P. Sun Valley Calif 91352 In Europe Supersope Europe S A Brussels. Belgium Avadatle in Canada Prices and models sublect to changewithout notice Consult the Yellow Pages for your nearest Marant dealer Send for tree catalog CIRCLE 43 ON READER.SERVICE CARD Contemporary American Chamber Music with a Classical Bent by Robert P. Morgan

THESE TWO RELEASESin Turnabout's series. a letdown however; it consists mainly of busy who first recorded one part and then added "The Contemporary Composer inthe but empty figuration, the only characteristic the second while listening to the first through U.S.A.," form an interesting pair. They con- melodic material being a brief, frequently re- headphones. The work is very simply, though tain compositions by four composers-David peated figure that is strongly reminiscent of effectively, constructed. After an introduction, Diamond, Virgil Thomson, Robert Palmer, Hindemith. the basic pitch material of the piece, consisting and Lukas Foss-who have been closely asso- Although all three of the Foss works in- of an ascending scalewise passage,is ciated with the neoclassical movement in cluded on the second disc were written rela- presented and developed by means of various American music. Diamond. Thomson, and tively recently and clearly reflect the influence contrapuntal techniques (canon, trans- Palmer have all remained essentially true to of new musical procedures, one is immedi- position, fragmentation, augmentation, and their styles up to the present time; and al- ately struck by the way his basically classical diminution-the last two occurring at widely though Foss's music has come under the in- orientation still comes through unmistakably. differing rates of speed). After one inter- fluence of more recent musical developments, Despite the unfamiliar quality of the sounds, ruption, which brings about a contrasting he too still betrays more than a little of his ear- phrases are clearly defined, rhythmic patterns middle section, this is developed to a climax. lier conservative orientation. tend to remain constant over extended peri- which is suddenly broken off to give way to a Of the three works on the first record, Dia- ods, and the formal organization is always less active, more fragmentary final section that mond's tightly constructed, economical quin- simply conceived and immediately apparent recalls earlier material and serves as a coda for tet (1937) strikes me as both the most inter- to the listener. Elytres ("wing -sheaths" in the entire piece. Some thirteen minutes in du- esting and the most successful in finding fresh French) is scored for a chamber ensemble of ration, the work hangs together very well and applications for conventional formal patterns. some eighteen instrumentalists and consists of evokes most effectively the sense of the title The opening movement, a succinct sonata twelve phrases, each of which is played twice (literally "neither noise nor speed"-a com- form, and the finale, with its simple, folklike to complete the piece. Although each instru- mon traffic indication in France). The percus- melody, both generate a strong rhythmic ment has a part to play in each phrase, the idea sive effects produced from the interior of the thrust and considerable textural variety. The is that the first time through only some of these piano are sonically interesting and effectively writing for the instruments is idiomatic and as- will participate (the choice may be made spon- employed. sured, and the over-all effect is brilliant. Only taneously, if desired), while during the second The final work on the disc, Jan Williams' the middle movement, a Romanza. fails to ful- pass, only those instruments previously Dream Lesson, is mainly interesting as a lesson fill the promise of its pretty, songlike opening, omitted in a given phrase perform. The result. in what happens when one uses similar mate- which is gradually built up to a forced and at least in the particular version here recorded, rials without Foss's sense of formal control. ponderous climax, before returning in its orig- has little real character, although it is certainly Williams is the excellent percussionist who inal form to bring the movement to a close. pleasant and innocuous enough. performs with Foss on Ni bruit ni vitesse, and Thomson's serenade (1931) consists of five More interesting is Paradigm, scored for his composition, scored for solo percussionist miniatures (the entire set lasts only a bit over percussion (the percussionist also doubles as playing (again) inside the piano, uses similar six minutes) entitled March, Aria, Fanfare, conductor), electric guitar, oboe, viola, and sounds. But here these occur as isolated events Flourish, and Hymn. Although two of these- harpsichord. Much of the piece is character- in a work that fails to cohere as a unified musi- the March and Flourish-seem misnamed to ized by the use of spoken texts, which are frag- cal statement. me, the pieces make an attractive set. The mu- mented into short phrases, words, and syl- The performances of all these works are of sical idiom, as usual with Thomson, is un- lables and are spoken (or shouted and very high quality, and I recommend both of complicated and straightforward, but the writ- whispered) by the performers in different these discs most warmly to all interested in ing for the flute and violin is most effective. rhythmic patterns. Two of the four move- twentieth-century American music. Taken to- Thomson is particularly apt at deriving sur- ments-the first and last-generate an extraor- gether, they provide a sort of miniature an- prisingly full textures from his limited instru- dinary amount of rhythmic impetus (created thology of an important phase in the musical mental forces. in part by a constantly twanging musical saw) history of this country during the past forty The largest and most ambitious of the three and manage to achieve real excitement. The years. piecesisRobert Palmer's quintet (1952), middle movements seem much less successful which commands the entire second side of the to me. The second is a kind of aleatory melo- DIAMOND: Quintet for Flute, String disc. Consisting of four movements, it is less drama, consisting of a "poem" whose words Trio, and Piano, in B minor. THOM- compact than the Diamond, which it resem- are read individually in an order partially de- SON: Serenade for Flute and Violin. bles however in several other respects-no- termined by the performers, with musical ac- Flimsies: Quintet for A Clarinet, tably in instrumentation and in the use of the companiment and/or comment for each one. String Trio, and Piano. David Gilbert, piano and wind instrument in an essentially The result is basically strophic in structure and flute;Arthur Bloom, clarinet; Mary ensemble framework. The most individual static in effect. The third movement consists of Louise Boehm, piano; Kees Kooper, movement is the first, a modified sonata form nothing more than a series of rather ordinary violin; Paul Doktor, viola; Fred Sherry that develops its two principal melodic ideas chords, whose only unusual feature seems to (in the Diamond) and Warren Lash (in over a considerable stretch of time, leading to be that each player has three pitches to choose the Palmer), cello. Turnabout TV -S a climax that breaks off in a series of brief ca- from for each sonority. 34508, $2.98. denzas, after which the opening material is Ni bruit ni vitesse is the most impressive. It Foss: Elytres; Paradigm; Ni bruit ni recapitulated. Following a lively scherzo is scored for two pianists and two percussion- vitesse. WILLIAMS: Dream Lesson. (added by the composer to the original three ists, the latter confining themselves to playing Lukas Foss, piano (inNi bruit);Jan movements in 1963), there is a contrapuntally inside the piano (although they do Ilse a few Williams, percussion (inNibruit and conceived Andante, the most complex of the small objects, such as cowbells, jars, and Dream Lesson); New York Philo- movements, woven out of extended lyrical triangle beaters, to aid them in their task). This musica Chamber Ensemble, Lukas melodic strands presented in the various in- recording however was made by only one pi- Foss, cond. (in Elytres and Paradigm). anist (Foss himself) and one percussionist. Turnabout TV -S 34514, $2.98. struments. The lighthearted finale then seems *MI

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Startlingly true,full frequency ticatedlogic control systemin con- response and unbelievably noise free sumer tape recording history -15 inte- recording-even at 33/4 ips. And com- grated circuits doing the work of almost pletely professional results at 71/2 ips. 700 transistors of yesterday's technol- The 9000X is limited only by the quality ogy-to provide flawless,foolproof, of the tape you use. fingertip push-button control. You may Of course, we've provided full facili- forget something, but 9000X remembers ties for sound -on -sound mono mixing, what modes and functions you've echo, A -B test, and everything else so- chosen and carries them out,allin phisticated tape recording demands; in- proper sequential order. cluding your choice of two -track heads, TANDBERG 9000X ',km.,I aiw head. ink iuding TANDBERG OF AMERICA, INC. Labriola Court, Armonk, New York 10504 We're our only competitor A. Allen Pringle Ltd., Ontario, Canada CIRCLE 60 ON READER -SERVICE CARD Si I'll \Nil R 19'3 Continued from page 94 nates in the energetic. brilliant finale. Klien performers realize their respective concep- plays the work with remarkable clarity, pin- tions convincingly, but on balance. I would through, from whence there is a decrease in point accuracy, and an explosive rhythmic opt for the Klien. Compared with his reading energy until the end. drive that seems literally to propel the piece Barenboim's is somewhat bland in certain Barenboim plays all three sets with impres- from one variation to the next. Barenboim, on variations, particularly the more aggressive sive skill and musical understanding. His ap- the other hand, seems interested in invoking a ones such as Nos. 4 and 15; and Barenboim proach here tends to be subdued and intro- restrained. lyrical quality. Yet despite the loss fails to hold together as successfully the verted: Tempos are consistently on the slow of some of the forward thrust, he manages to "paired" variations, such as Nos. 7 and 8 side, considerable attention is paid to matters hold the work together remarkably well. The (where his abrupt tempo change creates a sep- of detail, and all three works are conceived in finale, however, takes on a completely differ- aration of the two) and Nos. 16 and 17 (where an intimate, essentially contemplative frame- ent sense in his reading: Played much more a long pause interrupts the clear connection work. slowly, it gains in clarity of detail but loses in formed by the overlapping bass line). On the This is most readily apparent in the Handel dramatic effect; indeed, it appears more like a positive side. Barenboim does capture better Variations, which are usually performed as poetic-and verybeautiful-afterthought, the tentative. misterioso quality of No. 6. much more of a pianistic display piece than is rather than the culmination of a pianistic tour Barenboim's approach seems ideally the case here. If one compares the Klien ver- de force. matched to the Schumann Variations. Al- sion, for example. one finds there a much As to preferences, here it clearly depends though his version is, surprisingly, the only stronger sense of forward thrust, which culmi- upon how you wish to think of the piece. Both one of this work currently available on a single disc-the favored coupling with the more popular Handel Variations is the Paganini Vari- ations. Op. 35-Klien can again be heard, in Vol.I of his two -volume, six -disc set of the "complete" piano music (which, by the way. does not include the sextet transcription). Here Barenboim emerges the clear winner. He more effectively achieves the almost impro- visatory character of the work and more successfully projects the over-all plan. which in this case closes quietly with a fragmentary, "transcendental" section particularly suited to this pianist's gifts. Especially impressive are his renderings of the syncopated second variation and the aphoristic eighth; and although he misses the tightness of Klien's No. 5. which IS again fast and brilliant, he more than compensates with the over-all fluidity of his playing. As for the sextet transcription, this movement suffers as an independent piece. since it so clearly forms part of a larger conception. The Beogram 3000 Indeed, the work really doesn't seem to end at One part of a system developed to reproduce sound as it is. all, and DG wisely places it at the beginning of a side, so that itis followed by the Op. 9. The Beogram 3000 is an integrated, automatic turntable Barenboim plays it well, although Brahms's offering utter simplicity of operation and elegant, under- rather literal transference of the original to stated design. All functions are handled by a single master keyboard tends to emphasize his inclination control: the choice of record size automatically selects the toward heaviness of touch. R.P.M. correct speed (33 or 45 rpm), a slight touch of the center disk places the stylus tip in the first groove of the record. When the selection is completed, the tone arm automatically returns COUPERIN: Les Nations. Neville Marri- to its rest position and shuts off the unit. R ner and Carl Pini, violins; Desmond The tone arm pivots on hardened steel bearings for low Dupre, viola da gamba; Thurston Dart, horizontal friction. An ingenious system of inclined planes harpsichord and dir. OISEAU-LYRE OLS automatically applies the correct amount of anti -skating 137 / 8, $11.96 (two discs; from force as the tone arm travels across the record. A pendulum Oiseau-Lyre S 251 and 60014, 1963). suspension system isolates the stylus from external vibra- La Francolse: L'Espagnole; L'Imperiale; La Piernontaise. tions and acoustic feedback. As a turntable must operate in concert with the cartridge, Most people know Couperin by his famous the Beogram 3000 has been engineered to utilize Bang & harpsichord pieces. introduced to the modern Olufsen cartridges. The integration of tone arm and car- world-at least for many of us-by Wanda tridge provides a lower dynamic mass, thus reducing the Landowska. But Couperin had other sides to his musical personality as well; foremost, his force required to move the stylus tip, and eliminates unwanted style when composing religious music; there resonances. Bang & Olufsen cartridges have been acknowl- we have Couperin, the grand French baroque edged as being among the world's finest. master of vocal music, an inheritor of a great tradition. There is a third side to this fascinating man too, and that is Couperin the follower of the Italian baroque instrumental school. When he published this present set of four Or- 3,6 dres in 1726. the works were entitled "Les Na- tions. Sonades [sic] et Suites de Simphonies en Trio" and Couperin wrote a preface in which we read inter alia: Bang&Olufsen Some of these Trios were composed a few years ago; manuscript copies have been Excellence in engineering-Elegance in design available. but I mistrust them, knowing the Two traditions from Denmark negligence of copyists. From time to time I have increased their number and I think Bang & Olufsen, 2271 Devon Avenue, Elk Grove Village, Illinois 60007 that they will satisfy lovers of true music. CIRCLE 8 ON READER -SERVICE CARD

98 CIRCLE 32 ON READER -SERVICE CARD -O. A breathtaking performance de4rve[sabreathtaking performance. ,

Frank Duncnd/Op era News Corporot on

Slip on a pair of Koss Quadrafones left ear cup. In Speciolist for a live K2+2 Duadrafones' and feature volume - 4 CHANLLCM the 4 -channel demonstration. Or write slip .nto the closest h rg 4o balance controls position, two for our free full -co or aive performance yoCII on each ear cup, 11/2-incF catalog, c/o Virginia ever hear. Because urlil.e you'll have any dynamic driver Lamm. The Sound of Koss speckers, the Koss K2+2 seat at the opera elements in Quadrafones will take your m.xes 311 four channe s in a- your fingertips. A twist each ear cup deliver breath away, but tie orice your head instead o' or o: your fingers wi Iput breathtaking guadr3rhcnic won'- ... from $45 to $85. the wclls of your living you front row cen-er one sound from either matrix Irons K2+2 Quadrafones room. So what you'll hear minute and in the middle or discrete systemsli tie is a 4 -channel soi.nd 30 of the opera house the 2 -channel position, both b-eathtaking, you'll fiel next. And all without drivers in each ear cup are the deepest bass oII the moving from the comfort connected in parallel fcr way town to your toes cf your easy chair. an unparalleled sound of and tFe highest h ghs But even more 2 -channel stereo. Bther rJrmirg up and dowr importantly, Koss has added way, the switch to Koss your >pine. a 2 -channel to 4 -channel Quadrafones is worth it. And because all

t mir Words ormusic? We'll be glad to tell you all about the millivolts and dB's and watts in Altec AM/FM Stereo Receivers. Or talk to you about things like low distortion and sensitivity and separation. Because when it comes to the specification The Altec 725A AM/FM Stereo Receiver word game, our receivers stand toe to toe with thevery best of them. But as important as good specs are, what you really end up buying when you get a stereo receiver is its sound-the unique way it translates the complex information on today's dynamically recorded source material into music that truly satisfies your ear. That's why we invite you to compare Altec AM/FM Stereo Receivers with any other comparably priced receivers on the market. Compare specifications, to be sure. And features. And dollar for dollar value. But most of all, compare sound. The sound of experience 1515 S. Manchester, Anaheim, Calif. 92803AL-rac, For complete information on Altec AM/FM Stereolleceivers, please write to the Audio Information Group at Altec. CIRCLE 4 ON READER SERVICE CARD tunes. All these musicological questions are may well retort, needs a musical reminder of brilliantly and stylishly resolved on these two the sea when surrounded, even imprisoned. by fine records, which by the way hold up "sonic- an ocean? With the release by RCA of the first ally" (that awful word) much better than many quadraphonic version. itis now possible for another record of the early 1960s. (This is no the listener to be surrounded by the sea with- doubt because chamber music is less beholden out being shipwrecked or exiled. to good stereo "separation" and the like than To be sure. I had to hear the latest Ormandy works of a bigger instrumental spectrum.) reading on two -channel equipment. Even in The covers are in the immaculate taste for an audio salon. I could not "unfold" the rear which the Editions de L'Oiseau-Lyre have channels as RCA's discrete method requires long been famous. Thurston Dart's notes are disc playback equipment which is apparently rather short but authoritative. H.C.R.L. not yet on display anywhere in my (Boston) area. By the time this appears in print. that may all change. For most readers, though. I Dosussr La Mer: Prelude a l'apres-midi wager it is enough to report that the sound is d'un fauna. RAVEL: Daphnis et Chloe: Suite broadly luxuriant even in the "antiquated" No. 2. Mendelssohn Club Chorus of Phila- stereo mode. That point being disposed of. I delphia (in Daphnis); Philadelphia Orchestra, turn to the musical meat of the matter. George Szell Eugene Ormandy, cond. (Max Wilcox, prod.) In its general outlines. Ormandy's new La A La Mer second to none RCA RED SEAL ARD 1-0029, $5.98 (compat- Mer is much like his Columbia recording of a ible Quadradisc). Tape: , ARS 1-0029, dozen years back. Basically. the conductor sor by more sensitive (i.e.. less bland and oily) $6.95; ge ARK 1-0029, $6.95; 0-8 cartridge: takes every legitimate opportunity to "milk" wind solos and cleaner violins. ART 1-0029, $7.95. the piece: There is a pervasive deliberation One La Mer that cannot be remade for the Dasussy: La Mer. RAVEL: Daphnis et through most of the last six or seven pages of new technology isthe 1963 Szell. whose Chloe: Suite No. 2; Pavane pour une the first movement (not just the horn chorale reissue on Odyssey has been eagerly awaited. Rinfante defunte. Cleveland Orches- leading to the crescendo). The quiet middle (Columbia has however refurbished the al- tra, George Szell, cond. ODYSSEY Y part of the finale (No. 54 et seq. in the IMC ready fine Epic sound. The new incarnation 31928, $2.98 (from EPIC BC 1263, score) calls for rubato, and Ormandy obliges- has to he heard to be believed.) I have less to 1963). perhaps overzealously. On the other hand, the say about it first because there is nothing to Comparisons-La Mer: suave and easygoing handling of from No. 33 quibble with (virtuosity of execution and fi- Ansermet /Suisse Romande Lon. CS 6437 to the climax of the scherzo is more flagrantly delity to the score are both unimpeachable) Boulez/New Philharmonia Col. MS 7361 Ormandy Philadelphia Col MS 6077 wide of the mark (Debussy calling for anima. and also because I and so man of my col- Comparisons-Daphnis: en animam beaucoup. and finally fr'es anima)! leagues have already sung its praises. It is sec- Ansermet (complete ballet) Lon. CS 6456 ond to none on records for ferocity and power Boulez (Suite No. 2) Col. M 30651 The big moments generally could do with Toscanini (Suite No. 2) Victr. VIC 1273 greater rhythmic urgency and dynamic range. (the finale's storm music. Nos. 49-53). At the Sforzandos in the brass are usually impressive. same time. the most delicate passages come My "Dozen Records for a Desert Island" have as is the plenitude of woodwind and percus- off incomparably (witness the enormously always included Debussy's La Mer. Who, you sion detail. RCA improves over its predeces- tricky balance of the English horn and first -

'714

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The Altec 710A AM/FM Stereo Receiver stand cellos between Nos.13 and 14). As more impassioned. statement to my particular technic skills of the string player. and or- things stand now. Szell would be one of three liking is the Reiner (Victrola VICS 1199). A.C. ganized into a three-part structure much like La Mer conductors competing for my "desert those of the composer's concertos. Argo seems island" slot. The others are Boulez (strangel DELtus: Sonata for Cello and Piano; Three to be its lone champion on records, having deliberate in the scherzo, taut and driving in Preludes for Piano; Five Piano Pieces. made a mono version of it some twenty years the end movements) and Ansermet (in any of PROKOFIEV: Sonata for Cello and Piano, ago (once available on Westminster) and now his ineffably poetic. undulatingly idiomatic Op. 119. George Isaac, cello: Martin Jones, issuing a modern replacement in this gentle. versions). piano. ARGO ZRG 727. $5.98. wisely restrained performance by George In the Daphnis et Chloe Suite No. 2. Szell Comparison-Prokotiev: Isaac. I say "wisely" because the lush tone and omits the optional chorus. while Ormandy Piatigorsky. Firkusny RCA LSC 2875 throbbing portamento that a Jacqueline du employs one. Marvelous as Szell's La Mer is. Pre would bring (and, in fact, did to her Angel his Daphnis stands perhaps even more em- The novelty here is the half side devoted to the recording of the cello concerto) would be a phatically above the crowd. Going over a rarely played piano music of Delius. What crushing weight indeed for this (or any other dozen or so recordings of this music score in Martin Jones presents on the issue at hand is a Delius) score. hand. I reached the striking conclusion that generous sampling of that genre. which will It may be surprising to find Prokofiev's Op. not Toscanini. nor Ansermet. nor Kousse- presumably satisfy the curiosity of all but the 119 sharing a disc with miniatures of Delius. It vitsky, nor even Boulez (also with the Cleve- most voracious fanatics. Delius was not an in- is even more astounding that these two un- land Orchestra. and also known for his "ob- spired melodist at every single moment. Con- heralded British artists-presumably faculty jectivity" and analytic approach in this liter- trapuntal erudition was not his bag. and he members at University College. Cardiff-more ature). but Szell alone totally heeded the could have cared less about the capacity of any than hold their own opposite the version of complex of tempo interrelationships speci- instrument for virtuoso display. The color and Piatigorsky and Firkusny. Isaac has a steady fied for the Pantomime section. and got precise texture of the orchestra were his favored mate- bow arm, gets smoothly around the display articulation of the thirty -second -note ar- rials. and he fashioned from them with be- passages, and produces a solid and luminous peggios at the beginning of Daybreak. Warm dazzling brilliance. To make a long story tone at both ends of the register. He is. more- and tender though the new Ormandy may be short, the three preludes are far less substan- over. quite at ease with the burly irony. the (incidentally. by my count thisishisfifth tial than. let us say, Gershwin's essays under lilting grace. the typically Prokofievian bitter - recording of this music). Odyssey has clearly this same rubric. The Five Pieces have their sweetness that fills the pages of this splendid returned to print the definitive statement of moments but one could mistake them for mu- work. Similar degrees of perception. flexibil- the piece. sic by any of several other composers. Thus. ity, and adroitness are found in Jones, and the Brief and quiet pieces conclude both jacket annotator Anthony Payne's statement two collaborate with obvious relish. The records. Ormandy does a capable Apres-midi, that the third and fourth of this series are "in- scherzo is a good place to sample the two cur- one of a very crowded held where Boulez' stinct with Delius' unforgettable personality" rent versions comparatively-RCA rather fast piquant and forthright rendition (on the same is questionable in both fact and syntax. for a moderato and with nose -to -the -grind- disc as his La Mer) is the only really remark- Chamber music is more familiar as an as- stone sobriety. Argo ever so more leisurely. able entry at present. Szell's Ravel Pavane is a pect of Delius' output. The one -movement with tongue-in-cheek nuance. May Argo (and strictly formal affair, done much like a min- cello sonataisa rhapsodic,lovely thing. London imports) bring us more of these fine iature horn concerto. An equally elegant. and geared to the cantabile rather than the pyro- artists! A.C.

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CIRCLE 31 ON READER -SERVICE CARD SEPTEMBER 1973 103 DURUFLE: Requiem, Op. 9. Helene quiem is even more understated, save for the performances and recorded sound are good. B Bouvier, mezzo-soprano; Xavier De- "Lihera me" section. Like many modern com- although neither vocal soloist particularly ap- praz, bass; Marie -Madeleine Durufle- posers. particularly in France. Durufle re- peals to me. R.S.B. Chevalier,organ;PhilippeCaillard turned to one of the earliest forms of Western and Stephane Caillat Chorales; La- music. Gregorian chant, whose melodic and moureux Orchestra, Maurice Durufle, rhythmic patterns dominate this work. With FINE: Symphony 1962; Toccata Con- cond. MUSICAL HERITAGE MHS 1509, these chants as a point of departure. Durufle IRIcertante; Serious Song for String Or- $2.99 (from EPIC BC 1256, 1963; Mu- develops them in diverse ways. one of those chestra. Boston Symphony Orches- sical Heritage Society, 1991 Broad- most characteristic of his writing being the use tra, Irving Fine (in Symphony 1962) way, New York, N.Y. 10023). of lilting, almost barcarolesque ostinatos as and Erich Leinsdorf (in the other accompaniment. as in the opening "Introit" or works), cond. (Richard Mohr. prod.) From the size of the forces involved. one the Sanctus. DESTO DC 7167, $5.98 (from RCA VIC- would think that the 1947 Requiem by French Although I must admit not liking this work TOR LSC 2829, 1966). organist/composer Maurice Durufle would be now as much as I did when I first heard it sev- grandiloquent affair a la Berlioz. Instead. it eral years ago. Durufle's Requiem represents This release restores to the catalogue the most seems to be a part of that same universe of an excellent and often deeply moving example important recording to date of the music of childlike innocence one feels in listening to the of the kind of liturgical music the French have one of this countn's worthiest academic com- Requiem by Faure. If anything. Durufle's Re- all but monopolized during this century. The posers. Irving Fine was born in Boston in 1914. He was educated at Harvard and studied with Nadia Boulanger. He taught at Harvard from 1939 to 1950 and then served as professor of music at Brandeis University and as chair- _44 what is aJR-200Mto an man of its School of Creative Arts until his un- timely death in 1962. Fine's style was never entirely free from the expected influences of his milieu, but within those limits he created mu- audiophile sic of impeccable craftsmanship. enormous verve, and undeniable individuality. The Toccata Concertanteistheearliest piece here, dating from 1947. and it shows Fine in his best Stravinskian-neoclassic vein. The Serious Song: Lament for String Orches- tra was first performed in 1955 and reflects a more romantic, determinedly tonal idiom. Symphony /962-from the year of the composer's death-is his largest and longest work and reveals a blend of tonalism and the individually employed sort of serial writing that concerned him in his last years. The performances on this record sound as if they are all that one might ask for. If you're wondering about the august Bostonians recording for a small label like Desto, they didn't-and therein lies a laudable tale. This record originally appeared on RCA Victor. and was deleted several years ago. Essentially. the Desto is a straight reissue, with largely the Sound is to the audiophile what salt same notes and a pressing simultaneously is to pepper, diamond's to a girl, or an crisper but more hiss -ridden than the original. oasis to a desert.Each has a most Apparently the major companies now look important relationship. That's why an kindly on the re-release of their more obscure audiophile, a real sound expert prefers materialby worthy but noncompetitive TRUSONIC JR-200M's magnificent stu- smaller labels. Desto officials say that, while this record is an isolated instance, other mate- dioquality reproduction. Clean,un- rial from the RCA archives may be forthcom- distorted sound from this 12" 3 -way ing. and that RCA has been most gracious speaker system again demonstrates about co-operating in such ventures at no cost the incomparable electronic technol- to Desto apart from composer royalties. And. ogy of TRUSONIC. THE PRICE? You previously. Desto was able to secure similar items from Columbia. as in the Jack Beeson can pay twice as much, but you won't find a better studio quality opera Hello Out There, which appeared as DC system. Write TRUSONIC for complete information on JR-200M. 6451 after a previous incarnation as Columbia ML 5265. Obviously a trend to be encouraged. Just a few of JR-200M's impressive engineering features are J.R. 12" woofer for distortion -free low frequency bass performance 5" mid -range speaker for clean voice and horn reproduction, GOUNOD: Faust. B Marguerite Eleanor Steber (s) and a horn -loaded dome radiator tweeter for high frequency. Sieber Margaret Roggero (msi A carefully engineered crossover network, plus individual level Marthe Thelma Votipka Is) IR Faust Eugene Conley (t) controls to adjust midrange and tweeter sound independently, Valentir Frank Guarrera (b) are included. Size is: 24" x 151/4" x 12" deep. Finish: Hand - Mephistopheles Cesare Sep, (bs) rubbed oil finish, Walnut veneer. Wagner Lawrence Davidson (b) NET $149.95 Metropolitan Opera Chorus and Orchestra,

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t, Woodside. New ..24 ELECTRONIC D.'_,1Rwu utts REGULAt MATRIX vdrx.,..,,ver 9, B C SANSUI ELECTRIC CO . LTD., Tokyo. Japan S.antut Audio Europe S. A, Antwerp. Belgium. ADVERTISING INDEX Key No. Page No. Fausto Cleva, cond. ODYSSEY Y3 32103, free, ringing voice, singing with exceptional 1 Acoustic Research, Inc 24 $8.94 (three discs, mono; from COLUMBIA SL rhythmic accuracy and only occasionally 2 A.D.R. Audio 127 112, recorded May 1951). mauling the line with sobs. Valdengo makes a Akai America Ltd. 21 4 Altec 100. 101 PUCCINI: Madama Butterfly. warm. resonant Sharpless. Madeira a plummy 5 Angel Records 102 Butter -0y Eleanor Steber (s) but sympathetic Suzuki. The real surprise is Audio Dynamics Corp. 42 Kate Pinkerton Thelma Votipka (s) Steber's Butterfly, a very committed and artis- 6 Audio Technica, U.S.. Inc 32 Suzuki Jean Madeira (ms) tic piece of work. The part is well suited to her 7 Audio Warehouse Sales 121 IR B F Pinkerton Richard Tucker (t) Alessi() de Paolis (t) voice at the time (even the top D flat of the en- 68 Avid Corp 110 Goro Sharpless Giuseppe Valdengo (b) trance is within reach), and the technical prob- 8 Bang & Olutsen of America, Inc 98 Yamadon George Cehanovsky (b) Bozak 17 Bonze Melchiorre Luise (bs) lems that surface in her Verdi arias, recorded a 9 British Industries Corp. 7 Imperial Commissioner John Baker (bs) year later, are not exposed by this writing. The 10 BSR (USA) Ltd 118 Metropolitan Opera Chorus and Orchestra. minor parts are capably handled. though the 11 Capitol Tape 93 Max Rudolf, cond. ODYSSEY Y3 32107, $8.94 chorus is ragged. Rudolf is no ball of fire on 12 Carston Studios 127 (three discs, mono; from COLUMBIA SL 104, the podium, but he does a reasonable job. Christian Children's Fund 117 recorded May 1949). Which is more than one can say of the Classified Ads 128, 129 Faust, where Cleva's tempos are unfirmly fast. 13 Crown International 18 Comparisons-bargain editions 69 CTI Records 121 Dal Monte, Gigli Sera113 6059 the playing and choral work distinctly poor. Tebaidi, Campora Rich RS 63001 Again. Steber does a pleasing job. although 14 Deutsche Grammophon Records 89 Motto. Valletti Victr. VICS 6100 15 District Sound 120 her French pronunciation. like everyone 16 Dixie Hi Fi Wholesalers 126 BIZET:Carmen (excerpts). else's, is provincial. The most convincing char- 17 Dual 33 B Carmen Rise Stevens (ms) Micaela Nadine Conner (s) acterization is Siepi's Mephistopheles, distin- 18 Dynaco Inc 115 Don Jose Raoul Jobin (t) guished by a certain mordancy of delivery and 19 Elac Division Escamillo Robert Weede (b) considerable rhythmic vitality, plus plenty of Benjamin Electronic Sound Co. 20 Metropolitan Opera Chorus and Orchestra, forceful if rough sound. The other men are 20 Electro.Voice, Inc 22 21 Elpa Marketing Industries, Inc. 112 Georges Sebastian, cond. ODYSSEY Y 32102, routine: Guarrera thickin tone, Conley Elpa Marketing Industries, Inc 88 $2.98 (mono; from COLUMBIA ML 4013, re- squeezed at the top and ponderous in fast mu- 22 Empire Scientific Corp 24 corded December 1945 -January 1946). sic. Except in the Church Scene. where Steber 23 Epicure Products Inc. 49 Prelude; Habanera; Seguidilla and Duet; Gypsy Song; and Siepi muster some dramatic conviction. Toreador Song; Flower Song; Card Song: Micaela's Aria: Fisher Radio Cover II,I the whole affair reeks of the studio. Final Duet. GTE Sylvania Inc. 131 For both of these sets, Odyssey provides 24 Heath Co 111 Perhaps spurred on by the publicity attendant stock Met librettos-in the case of Faust, a text 25 Icelandic Airlines 114 upon DG's new "original -cast" recording of that differs from the version recorded (in those 26 days. the Met omitted the Illinois Audio 127 the Metropolitan Opera Carmen, somebody at Walpurgisnacht International Festival of Great Columbia has remembered those complete - scene, and a few other small cuts are not indi- Orchestras 9.11 cated in the libretto). I'm afraid that, even at 27 International Hi Fi Distributors opera sets the Met made back between 1947 120 budget prices, neither of these sets hold much 28 International Hi Fi Expo 119 and 1953. Here are two of them-and Odyssey appeal unless you are an avid fan of one or an- 29 Janszen Electrostatics 32 promises (or threatens, depending on your point of view) to reissue the whole lot: The other of the singers. There's no other budget 36 Kenwood Cover IV Faust. to be sure, and neither of the full -price 30 KLH Research & Development Corp 37 liners of the present sets refer to eight. but in 31 KLH Research & Development Corp 103 fact there were ten. And the same impulse has 32 Koss Corp. 99 also resurrected a set of Carmen highlights would turn its attention to the forty -year -old 33 Lafayette Radio Electronics 91 made in 1945. on the heels of Rise Stevens' HMV set with Marcel Journet as the devil, a 34 London Records 109 first Met performances of the opera. performance permeated with a sense of Gou- nod style nobody has since duplicated. As for 44 Magnavox Co 39 The Columbia Met series was not one of the 43 Marantz Butterfly, each of the three competing versions 95 more distinguished batches of opera record- 37 McIntosh 26 ings. For one thing. in those days exclusive listed in the heading has marked points of su- 38 Midwest Hi Fi 129 periority to the Odyssey reissue. contracts really were exclusive, and RCA Vic- 39 Nakamichi Research (USA) Inc. 13 tor controlled many of the top -line Met regu- The Carmen package doesn't stand up well, 40 Nova Audio 116 either. Stevens recorded the complete opera lars(e.g..Albanese. Milanov, Bjoerling. 41 Olson Electronics 119 about five years later, under the rather livelier Peerce. Merrill. Warren). Thus the casting of 42 Onkyo 23 baton of Fritz Reiner-not an overwhelmingly the Columbia sets sometimes bore only a faint 35 Panasonic 40 Parisian performance. but convincing on its 45 Phase Linear Corp resemblance to what was actually going on at 92 own terms; that set is still listed by RCA (LM 46 Phonogram. Inc. 90 the corner of Broadway and Thirty-ninth 6102). Jobin's Flower Song is a stylish piece of 47 Rabco Street. The Butterfly represents perhaps the 94 work. but there's little else here to recom- 48 Rabsons 57 St. Inc. 116 nadir of such irrelevance; neither the conduc- 49 Radio Shack 123 tor nor the soprano ever performed the work mend-certainly not Nadine Conner's pallid 50 Revox Corp 26 Micaela. There is a chorus. but no supporting 70 Rotel of America 118 in the house, either before or after the recording. while Tucker appears to have dropped singers in the Gypsy Song or Card Scene. and 51 Sansui Electronic Corp. 105 several excerpts have been trimmed to fit the 52 Sherwood Electronic Pinkerton from his Met repertory after a single performance in 1947! So this isn't quite the 78 sides. If you are after an introduction to Laboratories, Inc 15 Carmen. try the highlights discs from the 53 Shure Brothers Inc. 19 "living document" of Metropolitan history 54 Sony Corp. 34.35 that the liner notes would have you think. Beecham or Friihbeck sets. which give a far 63 SonyiSuperscope, Inc 132. Cover Ill Faust, on the other hand, sports a typical cast better idea of the score-well worth the extra 55 Stanton Magnetics. Inc 2 dollars. D.H. 56 Stereo Corp. of America 120 of the 1950-51 season, if hardly the strongest 57 Stereo Wholesalers 126 possible one. 59 Superex Electronics Corp 12 Furthermore. Columbia didn't choose to HANDEL: Royal Fireworks Music (original 60 Tandberg of America, Inc. 97 record many of the things that the Met was scoring); Water Music (excerpts). English 58 TDK Electronics Corp 4.5 doing pretty well during those years-say. Sa- 67- Teac Corp of America 30. 31 Chamber Orchestra, Johannes Somary, lome under Reiner. or Tristan under Busch. cond. VANGUARD VSD 711 76, $5.98. Quadra- 21 Thorens 112 Later, in the early Bing years. some recordings 3M Company 25 phonic: VSQ 30020 (SO -encodeddisc), 61 Tokyo Shapiro 127 representedrealproductions (Fledermaus. $6.98. 64 Trusonic 104 Cosi. and The Rake's Progress) and benefited Comparison: 17 United Audio Products, Inc 33 thereby, but the standard -repertory record- Marriner/Acad. of St. Martin Argo ZRG 697 62 U.S. Pioneer Electronics Corp. 66.69 ings didn't have this kind of cohesiveness to 9 Venturi 7 recommend them, especially when cast from Handel's two outdoor suites continue their Watts 88 the second rather than the top drawer. well -deserved popularity as being among the 65 Wollensak 29 Surprisingly, the Butterfly is a plausible. if finest-and certainly jolliest-orchestral com- 66 Yamaha Audio Products 113 less than idiomatic performance. Tucker is in positions of the baroque era. This of course

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Circle #165 on the reverse side for information on the Annuals published by High Fidelity. means more and mire recordings. and Jo- JOPLIN: "Great Scott! Ragtime on the Harp- hannes Somary's comes on the heels of several sichord." Wm. Neil Roberts, harpsichord. others reviewed in recent issues of HIGH FI- (Harold L. Powell, prod.) KLAVIER KS 510, DELITY. Somary uses here the original version $5.98. NEW of the Fireworks suite, for a mammoth wind Peacherine Rag. The Easy Winners: Harmony Club Waltz: Maple Leaf Rag: Heliotrope Bouquet. Pine Apple band-an ensemble forced upon Handel by Rag; Sunflower Slow Drag; Bethena; Swipsey Cake Walk: royal command. He did not like it and on the Elite Syncopations, Stoptime Rag. first opportunity restored the strings to the or- JOPLIN: "Ragtime Harpsichord, Vol.2." BUDGET chestra while removing a battalion of winds. Wm. Neil Roberts, harpsichord. (Harold L. To my ears the Marriner recording (reviewed Powell, prod.) KLAVIER KS 516, $5.98. in November 1972). with a normal baroque - Paragon Rag; The Entertainer; Something Doing; The size orchestra (the superb Academy of St. Cascades; The Chrysanthemum; Scott Joplin's New Rag: RELEASES Martin -in -the -Fields). conveys the spirit of the Original Rags: Solace; Lily Queen; Pleasant Moments. Magnetic Rag; Rag -Time Dance. out-of-doors more faithfully than this noisy THE COMPLETE SYMPHONIES and unbalanced "original" version. Perhaps if Curiouser and curiouser. "Great Scott!" had OF HAYDN-Vol. 7 performed in Yankee Stadium the monster been lying around for a month or so while I :Symphonies Nos. 20 to 35) wind band would sound fine, but on a record- The Philharmonia Hlungarica ing-a very close-miked one at that-it is just tried to figure out what to say about it. when -Antal Dorati "Ragtime Harpsichord. Vol. 2" arrived! At earsplitting and rough. One side drum can STS 15257/62 (6 rocots) least this time we get a clue as to what it's all make enough of a racket for Siegfried's fu- KARAJAN FAVORITES about. In Vol. I. Mr. Roberts does tell us that neral music, two of them could topple the Tchaikovsky: Excerpts from this is a "fun album." But in Vol. II. producer walls of Jericho. I find it amusing that the title The Nutcracker, Swan Lake, Harold L. Powell tells us: "The exceptional The Sleeping Beauty. on the jacket announces the performers as the musicianship of Wm. Neil Roberts combined J. Strauss: Die Fledermaus "Augmented wind ensemble of the English -Overture and Ballet Music. Chamber Orchestra." Well, that fine little or- with the tonal resources of a modern harpsichord bring to Ragtime a refreshing elegance Grieg: Excerpts from Peer Gynt. chestra must have been "augmented" by The 'henna Philharmonic Orchestra and ease." about twenty-two oboes, ten bassoons. seven -Herbert von Karajan Well, that's one way to putit.But no trumpets. and seven horns, not to mention the STS 15208 amount of musicianship can overcome the two serpents and two contrabassoons. No Dvorak: harpsichord's unsuitability to the music. On wonder it does not sound its usual self. SEXTET IN A MAJOR (Op. 48); The Water Music goes much better. The the most basic level, the harmonic sense of the QUINTET IN E FLAT MAJOR (Op. 97) syncopations characteristic of ragtime is lost: sound is pleasant. but some of Somary's tempos Members of The Vienna Octet Since the harpsichord can't sustain the synco- STS 15242 are a bit hell-bent and the double -dotting is pated note, part of the new harmony is miss- Chopin: 51 MAZURKAS too sharp. Indeed, our champions of "correct" ing. And it happens that Joplin was a great pi- Magalot (piano) performance of baroque music are so enam- ano composer. All you have to do is sit down STS 15146/8 (3 records) ored of this French specialty that they are get- and play a few bars of a Joplin piece to realize Rimsky-Korsakov: SCHEHERAZADE ting close to triple -dotting. Somary also makes what he could do with the sound of the instru- The London Symphony Orchestra up his own Water Music suite by drawing se- -Pierre Menteux ment. That's why the instrumental -ensemble lections from two of the existing three suites; STS 15158 arrangements in The Red Back Book (done in he claims that this was done in Handel's time. THE ORGAN AT Joplin's time), recorded by Gunther Schuller Yes, it was done, but we must not forget that CHESTER CATHEDRAL and the New England Conservatory Ragtime there were two Hanadels: the creative composer Parry: Fantasia and Fugue in G Major; Ensemble on Angel S 36060 (reviewed by of staunch integrity, and the impresario, always Howells: Fugue, Chorale and Epilogue; John S. Wilson in the July "Jazz" section). are ready to butcher what he had so painstakingly Sairt-Satins: Fantaisie in E Flat Major; fun to listen to but pale reflections of the mu- Roger-Ducasse: Pastorale; created. However. thisisa matter for the sic. The tinkly sound of the harpsichord makes Mulet: Carill3n-Sortie. psychologists to explain; musicians should this all sound like a music box. Roger Fisher (organ) stick by the composer and his original ideas. I STS 13241 Which is a pity, because Roberts' approach would add only that the superb Marriner disc to the music is to my taste: decidedly moderate Shostakovich: SYMPHONY No. 1; includes the complete Water Music. P.H.L. in tempo and with a firm rhythmic pulse-very' 1HE AGE OF GOLD-Ballet Suite much like Joshua Rifkin's playing on his first the London Syniphony Orchestra -Jean Marmon HAYDN: Symphonies: No. 93, in D; No. 94, in Nonesuch Joplin disc (H 71248). which re- STS 11180 G (Surprise). New York Philharmonic, Leon- mains the essential Joplin record. Rifkin un- Beethoven: PIANO CONCERTO No. 3 ard Bernstein, cond. (Richard Killough, fortunately seems to have listened to some IN C MINOR; prod.)COLUMBIA M32101,$5.98. critics before making his second record RONDO IN B FLAT MAJOR Tape: to MT 32101, $6.98. (H 71264). which generally goes much Julius Katctien- quicker. K.F. comparison-um coupling: 1 The London Symphony Orchestra Szeit/Cleveland Col MS 7006 -Pierino Gamba KALKBRENNER: Grand Quintet for Pi- STS 15111 Bernstein deserves commendation for record- multi ano. Clarinet, Horn, Cello, and Bass. Borodin: ing Haydn in a period in which few major SPOMS: Quintet for Piano, Flute, SYMPHONY No. 2 IN B MINOR; American orchestras or conductors are doing Clarinet, Horn, and Bassoon, Op. 52. SYMPHONY No. 3 IN A MINOR; so. My only regret is that this coupling dupli- Mary Louise Boehm, piano; Arthur PRINCE IGOR OVERTURE cates another Columbia record. There is noth- Bloom, clarinet; Howard Howard, L'Orchestt e de I i Suisse Romande ing that Bernstein can do in music of this pe- horn; Fred Sherry, cello (in the -Ernest Ansermet riod that the late George Szell couldn't do Kalkbrenner); Jeffrey Levine, bass (in STS 15149 better. So one has the contrast between Bern - the Kalkbrenner); John Wion. flute (in RUGGIERO RICCI SOLO RECITAL stein's muscular. direct performances and the the St5ohr); Donald MacCourt, bas- Bart6k: Sonata for Solo Violin; refinement and subtlety of the Szell approach. soon (in the Spohr). TURNABOUT TV -S Stravinsky. Elegie; Prokoliev: Son ]la for Solo Violin; in which things that get heavy-handed treat- 34506, $2.98. ment from Bernstein are given suave and Hindemith: Sonatas for Solo Violin (Op. 31,, Nos. 1 & 2) imaginative handling with a very light touch. A good old axiom is that the best works of STS 15153 The third movement of the Surprise is the key lesser composers often are more significant to it all. Szell is marvelous. unconventional. music than the lesser works of the best com- and exactly right: Bernstein is leaden, met- posers. Here are two examples. The Kalkbren- ronomic. and dull --despite his sincerity. There ner sounds like Schubert, and indeed Schu- are plenty of further examples of the same bert wrote a good deal of music less interesting STEREOTreasurY thing. The Cleveland Orchestra, moreover. re- than this. The Spohr is a more individual work ceives far more attractive recorded sound. in style. although clearly characteristic of the LONDON'S GREAT BUDGET SERIES R.C.M. early romantic period. On the whole it is the CIRCLE 34 ON READER -SERVICE CARD

SEP !EMBER 1973 109 more successful piece. although both scores and has always been known as an English Maprnow: Symphony No. 5; Field Mass. are pleasant discoveries, and the perform- composer. Ariadne, a dramatic monologue for Toodor Srubar, baritone; Vaclav Jan Sykora, ances are of the quality to make this a most soprano and orchestra, was first performed in piano;MiroslavKanpelsheimer,organ; welcome record. 1971. but like so much British neoromantic Chorus of the Vit Neidly Army Ensemble; The appeal is attractive melody, good tunes music it sounds as if it could have come from soloists of the Czech Philharmonic Orches- handled with imagination and craftsmanship any time inthis century. Actually Miss tra, Bohumir Liska, cond. (in the Field Mass); that roll along on the support of a lively rhyth- Maconchy does make use of a passing disso- Czech Philharmonic Orchestra, Karel Ancerl, mic foundation. There is an easy-going zest to nance or two. But what is most conservative cond. (in the symphony). EVEREST 3329 the music, touched by sentiment but essen- about her piece is its most basic assumptions $4.98 (rechanneled stereo). tially positive, outgoing, singing. The Spohr is and the poetic notions it sets about to clothe in Miami: "Jazz -Inspired Compositions." well -integrated chamber music withfair refined musical dress. This is well -schooled Various soloists; Prague Wind Quintet; Lubo- shakes for all voices. The Kalkbrenner is a sort writing, certainly, and a grateful vehicle for mir Panek Singers; Prague Symphony Or- of chamber concerto with mini -orchestra, and the soloist. Whether it will survive its own chestra, Zbynek Vostrak, cond. SUPRAPHON 1 the piano has all the best lines. time-or even its own country-is another 10 1014, $6.98. Mary Louise Boehm's playing is light and question. Jazz Suite; La Revue de cuisine; Trois Esquisses; Sextet bright, filled with the virtuosity both compos- The two Walton pieces here, both for voice for Wind Instruments and Piano; Shimmy Foxtrot; Le Jazz. ers demand, and completely in the spirit of the and piano, were composed thirty years apart. works. Her colleagues are generally skilled Comparison-symphony: Three Songs dates from 1932 and takes three Whitney/Louisville Orch. Lou. S 663 and sympathetic, although they do not always poems by Edith Sitwell (two of them from Fa- have very interesting material to play, and the cade) and sets them for singing voice (as op- over-all effect of the performances is most posed to rhythmic declamation). The effect, Czech -born Bohuslav Martina was one of a agreeable. with its music -hall insouciance,is amusing large number of composers of diverse nation- I am not sure how well this music will wear. enough, and might interest people who like alities who, during the first two or three dec- but the first couple of playings offer a pleasant Facade itself. A Song for the Lord Mayor's ades of this century, left their native land and sense of discovery that may well grow in time. Table is actually six songs drawn from eight- settled in Paris. In fact, Martine became a part R.C. M. eenth -century poems and popular verse. It was of a group known as the Ecole de Paris. also first performed in 1962 by Elisabeth Schwarz- consisting of Hungarian -born Tibor Harsanyi, MACONCHY: Ariadne (dramatic mono- kopf and Gerald Moore, and in 1970 Walton Polish -born Alexandre Tansman. Swiss -born logue). WavroN: Songs. Heather Harper, so- came out with an orchestral version. This is at Conrad Beck. Rumanian -born Marcel Mi- prano; Paul Hamburger, piano (in the Wal- all times unexceptionably pretty music, lack- haloviciandRussian -bornAlexander ton); English Chamber Orchestra, Raymond ing some of the wit and character of the earlier Tcherepnin. Leppard, cond. (in the Maconchy). OISEAU- songs but clearly the product of a mellow Like almost every other composer living in LYRE SOL 331, $5.98. craftsman. France at the time. Martina was bitten by the WALTON: A Song for the Lord Mayor's Table (song cycle). Heather Harper's soprano sometimes Three Songs: Daphne: Through gilded trellises; Old Sir jazz bug. which led him to write a number of Faulk. sounds a bit constricted, but generally her per- "jazz -inspired compositions," six of which are formances are sympathetic ones, and they are included on the Supraphon release. Besides Elizabeth Maconchy was born in Ireland in incontestably British. which in music such as ragtimes and blues harmonies and rhythms. 1907 but came to London at the age of sixteen this seems really the most important thing. J.R what the Europeans generally called "jazz" What's the gimmick with newAvid Speaker Systems?

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110 HIGH FIDELITY MAGAZINE The Heathkit AR -1214 has everything you everwanted in a quality stereo receivermincluding a low price

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AJ-1214 SPECIFICATIONS - AM Output: 0.6 V nominal. FM output: 1 V Nom- AA -1214 SPECIFICATIONS - GENERAL - AC outletsockets:2,one un- inal. Power requirements: 120-240 VAC, 50/60 Hz, 10 W. Dimensions: Overall. switched. 350 W max. Power requirements: 120/240 VAC, 50/60 Hz, 100 W 37/4" H x 123/4" W x 13" D. All other specifications same as Tuner Section at full output with no load on accessory outlets. Dimensions: 37/a" H x 123/4" of AR -1214 Receiver. W x 12" D. Other Specification:. same as Amplifier Section of AR -1214. The FREE 1974 Heathkit Heath Company, Dept. 8-9 HEATH HEATHKIT ELECTRONIC CENTERS-ARIZ.: Phoe- Catalog has Benton Harbor, Michigan 49022 nix. CALIF.: Anaheim, El Cerrito. Los Angeles, over 350 easy - Schlumberger Pomona. Redwood City, San Diego (La Mesa). to -build kits - Please send FREE Heathkit Catalog. Woodland Hills; COLO.: Denver; CONN.: Hartford inall price (Avon); FLA.: Miami (Hialeah); GA.: Atlanta: ILL: ranges - that Enclosed is S plus shipping. Chicago, Downers Grove; IND.: Indianapolis: KAN- offer better Please send model(S) SAS: Kansas City (Mission); MD.: Baltimore, Rock- performance ville; MASS.: Boston (Wellesley); MICH.: Detroit: features for Name MINN.: Minneapolis (Hopkins); MO.: St. Louis: less money - N.J.: Fair Lawn; N.Y.: Buffalo (Amherst), New York and the Address City, Jericho: L.I.: Rochester: OHIO: Cincinnati satisfaction of (Wood lawn), Cleveland; PA.: Philadelphia, Pitts- building your City State Zip burgh; R.I.: Providence (Warwick): TEXAS: Dallas. own. Send for Houston; WASH.: Seattle; WIS.: Milwaukee. your copy. Mail order prices; F O.B. factory. HF-275 CIRCLE 24 ON READER -SERVICE CARD SEPTEMBER 1973 was a wide assortment of popular and music - style of these goes back to Debussy-the sec- Martina fans, however, will want to have hall dance rhythms, such as the fox-trot, the ond Esquisse, for instance. more of a habanero the dramatic and occasionally ominous Field tango. the so-called "Boston" waltz, and the than a tango. immediately brings to mind the Masson the flip side of the Everest disc. In this Charleston, set for small combos usually in- Debussy prelude La Puerta del vino. They are work.written in 1939 for Czech volunteers in cluding one or two pop instruments, such as well played, however, by Zdenek Jilek. The France, Martina uses reduced orchestral the banjo and three saxophones one hears in Supraphon engineers have produced some forces --winds, percussion. piano, and harmo- Martina's Le .1[1::. And while these styles gave realistic sound on this record, in spite of some nium- -to create a martial atmosphere that rise to some novel and intriguing works by fuzzy highs. gives the Mass a particularly foreboding sig- composers such as Stravinsky. Ravel. Mil- By the time he completed his Fifth Sym- nificance. As in the Fifth Symphony. the Field haud. and Honegger. they also prompted phony in 1946. Martina had been living in the Mass benefits from a strong interpretation, al- compositions in which the so-called jazz ele- United States for several years. and the sym- though the baritone is not one of the better ment was used rather academically. Certainly. phony's style is characteristic of both the hest ones I've heard. And again. Everest's sound Martina's Jazz Suite for small orchestra and and worst in the composer. The work opens. leaves something to be desired -a solid, un- Le both from 1928. show that the com- for instance, with a mysterious, dissonant, and doctored mono transfer of the original, to he poser had assimilated the idiom well. Yet both foreboding introduction that seems to be gath- precise. R.S.B. produce a rather heavy-handed effect, some- ering enormous momentum and leading thing like that of an opera singer trying to do toward an overpowering allegro. Instead, the her thing in a nightclub. The brief introduc- composer suddenly lapses, as he so often does tion of a few vocalists singing their "da-da- (the Sixth Symphony is almost a carbon copy). MENDELSSOHN: Choral Works. Gillian Weir, das" in Le for instance, seems almost into an innocuous neo-Dvotak idiom, written organ; Heinrich Schutz Choir and Chorale, ludicrously square. The Jazz Suite, one might in a solid major key and appropriately de- Roger Norrington, cond. ARGO ZRG 716, add, owes quite a large debt to Milhaud. Some scribed in the liner notes as "sunny." While $5.98. of the fault in these works may lie in the per- Her mein bitten (with Felicity Palmer, soprano); Six Aph- the rest of the movement does include a few orisms; Beati mortui; Psalm 22 (with Ian Thompson, formances; but the better part of the blame modernisms and some attractive orchestration tenor); Veni Domini; Ave Maria (with John Elwes, tenor). must be put on Martina for not somehow cap- and intriguing rhythmic patterns, the letdown turing the spontaneity and spark of an idiom has been so total that it becomes difficult to see Probably the most distinguished composer of that is much more a performer's art than is so- the composer's incessant repetitions of non - Protestant church music since Bach. Men- called classical music. thematic material as anything but marking delssohn wrote a considerable body of strictly On the other hand. the short Shitilltli- Fox -- time. The second -movement scherzo, al- church music, much of it for the Lutheran Trot from Martina's ballet Who Is the Most though perhaps twice as long as it needs to be. Berlin Cathedral. though he also set Latin Powerful in the World? (1922-23) and the succeeds better at maintaining some kind of texts suitable for Catholic as well as Protestant 1927 suite La Revue de cuisine (fir clarinet. momentum, while the elegiac lyricism of the services. ( Brahms of course was also a Protes- bassoon. trumpet. violin, cello, and piano) third movement's lento section reaches a certant. but his German Requiem, like Elijah and have much more life to them, while the 1929 tain degree of intensity. Karel Ancerl per- Si. Paul, is religiously oriented concert music sextet for winds and piano represents a me- forms the symphony with much more convic- rather than music intended for church serv- lange of Martina's more recognizable classical tion than Whitney on Louisville: but Whitney ice.) So far as I can determine. this record is style with jazz elements presented less has not been scuttled, as has Ancerl. by Ever- the first substantial representation of Men- straightforwardly. As for the three Esquisses est's phony stereo, and for that reason, of the delssohn's church music and therefore fills an de danses modernes for solo piano (1927). the two versions his is the easier to listen to. important gap in his recorded repertory.

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CIRCLE 66 ON READER -SERVICE CARD SEPTEMBER 1973 113 First off, there is much to admire in the fine moved from the Reformation era, the less in- PROKOFIEV: Sonata for Cello and Piano- performance of this British choral group:I tense his strictly church music becomes: The See Delius: Sonata. would like to hear it sing music by the com- best religious expression in nineteenth-cen- poser for which it is named. It is not a large tury music seems more personal, more ori- chorus, though adequate for the requirements ented to the concert hall than to the church, as PUCCINI: Madama Butterfly-See Gounod of the music, and it has good body. excellent in Beethoven or Brahms. This is not neces- Faust. ensemble. and fine intonation. Norrington sarily a Protestant phenomenon, as one can conducts with vitality and sensitivity, and the hear in Gounod's church music. organ accompaniments, as needed, blend Of the six selections here. 1 found the earlier RAVEL: Daphnis et Chloe: Suite No. 2; Pa- well. The British have long produced fine cho- settings of Latin texts-composed in Rome in vane pour une infante defunte-See De- ruses. and this is one that has shaped its sound 1830-considerably more effective than those bussy. La Mer. and style in a modern manner quite unlike the composed in the 1840s for the Berlin Ca- old "oratorio" tradition. thedral. The six anthems and the psalm set- I must confess, however, that none of this tings for eight -part chorus seem unduly elabo- RAVEL: Orchestral Works. For a feature re- conveys great religious feeling to me. as does rate and rather stilted, as if Mendelssohn were view of recordings of these works, see page the music of such masters as Bach. Schutz. discharging an official duty in the Prussian 83. Mozart. Haydn. or Beethoven. Actually.it capital. where the composer was director of would seem that the further a composer is re- the music section of the Academy of Arts. P.H. RIMSKY-KORSAKOV: Antar,Symphonic Suite, Op. 9 (Symphony No. 2); Capriccio espagnol, Op. 34. Moscow Radio Symphony Orchestra, KonstantinIvanov, cond. ME- LODIYA/ ANGEL SR 40230. $5.98. Comparisons-Antar: Gould /Chicago Sym. RCA LSC 3022 Abravanel /Utah Sym. Card. 10060 Comparison-Capriccio: Kondrashin iRCA Sym. RCA LSC 2323

Neither the beautiful -sounding but overfultry 1968 Gould version nor the too prim and proper one by Abravanel in Vanguard's Car- dinal series has been able to make Rimsky's picturesque predecessor of Schehera:ade as well known and admired as it should be. But if anyone can do that, it surely will be Ivanov-a conductor who can do full justice to A ntar's dramatic power as well as its kaleidoscopic coloring. His Moscow orchestra can't command the opulence of the Chicagoans. of course, but it plays very well and is recorded with even more dazzling vividness and wider dynamic range. Then, to prove that all this is no lucky acci- dent. Ivanov brings comparably fresh gusto and excitement to the warhorse Capriccio espagnol. There have been versions boasting more polished executant bravura, but for me Ivanov's is the most satisfying interpretation since Kondrashin's memorable 1960 reading. which inevitably now remains less sonically Next time you plana trip scintillating. R.D.D. SIBELIUS: Symphony No. 2, in D, Op. 43. to Europe, make sure you Philadelphia Orchestra, Eugene Ormandy, cond. (Max Wilcox, prod.) RCA RED SEAL ARD 1-0018, $5.98 (compatible Quadra- visit the unique country. disc). Tape: ARS 1-0018, $6.95; I* ARK 1-0018, $6.95. Comparisons: Where can you find: Europe's largest waterfalls? Kamu Berlin Phil. DG 2530 021 KoussevitskyiBoston Sym. Victr. VIC 1510 Europe's blondest blondes? Monteux London Sym. St. Tr. STS 15098 Szeil Concertgebouw Phi. 835 306 Europe's highest geysers? Toscanini ,NBC Sym. RCA LM 6711 Europe's greatest glaciers? I am on the verge of an important musi- And where can you find moonlike craters where the astronauts trained? cological discovery. It is not generally known More volcanos than anywhere else on earth? Historic landmarks of the that "Symphony No. 2 by Sibelius" refers not world's oldest continuous parliament? Celebrations marking Europe's to one, but to two distinctly different works! youngest republic? "A" is the creation of a high -romantic. pos- The answer to all of these questions is-ICELAND. Next time you plan sibly Slavic. composer who, like Tchaikovsky a trip to Europe, make sure you visit Iceland. and Berlioz. wore his heart on his sleeve and The only thing it may cost you is time well spent. Because you'll save had a decided bent for lush orchestral effects. enough money on Icelandic's lowest jet fares from New York to Luxembourg to pay for your stopover in Iceland. Or, you can hop over from New York on rhetorical repetition. and prolonged climaxes. a deluxe weekend package tour for $190 this winter. This symphony abounds in interminable Next time you plan a trip to Europe, ask your travel agent about swells and sforzandos from the strings. ritards Icelandic Airlines. Or phone Icelandic Airlines, for folders about Iceland that occur so often as to leave one wondering and lowest jet fares to Europe. In New York State, phone (212) 757-8585. about their logical function in the structure. Elsewhere in U.S., phone toll free (800) 221-9760. and monumental pauses that all but impede CIRCLE 25 ON READER -SERVICE CARD 114 HIGH FIDELITY MAGAZINE .-4,1141PARIPX1:114,131i 1R4=00-31..nv

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SEPTEMBER 1973 115 rhythmic flow. Its first major phonographic Orchestra, Otakar Trhlk, cond. SUPRAPHON 1 champion was Serge Koussevitsky. and there 10 1127, $6.98. have subsequently been important versions by Stokowski,Karajan,Maazel.Bernstein. Anything that Richard Strauss wrote before Kamu, and (on several occasions apiece Bar- Don Juan, Op. 20 (1888, aged twenty-four) The Brightest Supe Star birolli and Ormandy. must be regarded as the work of a very tal- In Stereo Today "B" seems to be from the pen of a more tac- ented young composer who had yet to find his iturn artist, possibly a Northern European. It true métier. Aus !fallen (1887) is the last of At Last! is crisper in texture than "A," with less elabo- these early compositions and. despite its pro- rate accentuation and dynamics in secondary grammatic bow to Liszt and Wagner. itre- MAIL ORDER motifs and accompanying figures. The form is mains essentially rooted in the conservative - Plus - taut and sinewy and less broken up by tempo tradition in which Strauss was brought up. SERVICE changes, rhythmic stresses, and the like. The fi- Strauss was in many ways the "golden boy" - Plus - nale, unlike the pitying dirge that ends "A," is of the music of his time. Thanks to his father's FINANCING a crackling heroic march. Its composer could second marriage into the wealthy Pschorr - Plus - well have been the same fellow who was revis- family of Munich brewers, he never knew fi- TOP MAJOR ing En Saga at the time, and shows promise of nancial hardship. Moreover, hisfather's BRANDS having developed later into the proud and prominence as the leading horn player of his Nationwide Financing laconic author of the bleakly stoical Fourth time assured him a sound musical education Also Bank Americard & Mastercharge Symphony, the neo-Mozartean perfection of and entrée into the music profession. That We carry all the Fair Trade Brands the Sixth, and the chill, clutching terror of Ta- education was extremely conservative, for piola. Thrilling recordings exist of "B" under Whenever Possible these makes Franz Strauss was convinced that anything are quoted 'In Systems' Toscanini and Szell. with honorable mention composed after the third movement of the for, among others. Monteux and Hanakainen We quote on ALL Major Brands Beethoven Seventh Symphony was radically (on a deleted Crossroads disc). modern. The elder Strauss's well-known Large complete inventory on The reason so few have suspected the abomination of Wagner undoubtedly delayed everything we sell double identity of Sibelius' Second is that "A" Richard's coming in contact with the "music We provide our own and "B" are virtually identical in melodic ma- of the future" in his formative years, but it Factory Authorized Service on terial, harmony, development, and orches- should be remembered that Franz was a suf- everything we sell tration! The mystery is compounded by my ficientlyresponsibleprofessionaltohave difficulty in tracing authenticated scores of YOU CAN TRUST USI played the solo horn parts of Tristan und both works. Every published source I have Isolde and Die Meistersinger beautifully Write for our price and quotations on complete systems or individual consulted seems to correspond to work "B"! enough to win the grudging gratitude of the Items. Whatever your needs, The above -named performances of "A" must composer himself. we'll fill them and SAVE you money, be from privately owned manuscripts, or other time and worry! Probably the best of young Richard's early unfathomable locations. works were the wind serenade. Op. 7 (1881) 2940 A Prosperity Ave. RCA has done us a service by keeping avail- and the Burleske for piano and orchestra Merrifield, Va. 22116 able in undoctored mono the prototypical per- (1885). The former so impressed Hans von 703) 280-4500 formances of both rival pretenders to the Si- Billow that he engaged the then inexperienced CIRCLE 40 ON READER -SERVICE CARD belius Second title: Koussevitsky's of "A" and young man as his assistant with the great Toscanini's of "B." As the only label to offer Meiningen orchestra in 1884-85 and arranged both works in one -channel sound, it is fitting for Strauss to remain in charge of it for an- that RCA now gives us the four -channel pre- other year after he left. There Strauss had his miere. at least of "A." Ormandy, even more first chance to conduct and was present when than in his two older Columbia versions, has Billow prepared the premiere of the Brahms THIS gone whole hog for the more romantic of the Fourth Symphony. A us Italien, the result of a two symphonies. His reading is as melodra- trip to Italy in 1886. shows the benefits of this OVER 67 YEARS matic, turbulent, and portentously inflected as experience in its handling of the orchestra. any on discs. The young Finnish Karajan- .14,4itkater,OFRELIABILITY Its programmatic content owes as much to prize winner, Okko Kamu, has been the most the memory of Mendelssohn asit does to impressive recent contender. But the Philadel- Strauss's newly formed friendship with Alex- phians on RCA are vouchsafed even more ander Ritter, a dedicated member of the Wag- glowing sonics than the Berliners on DG, so if ner circle. It was Ritter who, by implanting IS WHY STEREO & HI-FI you want an up-to-date edition of "A" in a to- philosophical and literary ideas in Strauss's tally committed interpretation, here is your BUYERS CAN BE SURE OF musical approach, helped the young com- heart's delight. poser break away from the domination of his If you want "B," in the absence of a four - father. After his Meiningen stay, Strauss re- channel version, the Monteux offers a budget turned to Munich to hold a three-year post on price and a fine stereo spread. The Szell is the staff of the Court Opera. There he com- SAVINGS terrificallyexciting and stunningly played posed Don Juan. Macbeth. and Tod und Ver- by the Concertgebouw -a recording of both klarung. the works with which he finally found AT RABSONS clarity and depth. his own highly distinctive musical style. Inasmuch as Sibelius' reputation is so in AtRabsons CompetitivePrices,Reliabilityand Aus Italien has neither the traditional disci- PersonalServicehavebeenbywordsforover flux nowadays, it behooves us to come to an pline of the earlier serenade and Burleske nor 67 years. accurate assessment of his creative output. To It'sso EASY and SAFEtodeal with Rabsons. the concentrated impact of the later tone As close asyour telephone - as near asyour this end we must be on the alert to detect er- poems. Musically it depends much on Schu- mailbox Fast Air Mail Response on Quotation satz works bearing his name and/or corrupt mann and Mendelssohn, but it lacks their con- Requests Franchised Distributor for Hi Fl Lines editions thereof. The identification and pro- All merchandise brand new in factory sealed cise thematic development. The program- cartons,shippeddouble -packed, fullyinsured mulgation of whichever turns out to be the matic basis seems to have encouraged the kind promptly from our warehouse Greater savings "true" Second Symphony is of the most vital on complete systems Export packing 220 of garrulity that later cropped up in such Volts, 50 Cycle merchandising a specialty Free importance! A.C. works as the Symphonia Domestica without listof monthly specials. providing a compact psychological scenario BEFORE YOU BUY GET A RABSONS comparable to those of Don Juan or Till Eu- SPOHR: Quintet-See Kalkbrenner: Grand lenspiegel At his best here, as in the Sorrento QUOTE...YOU'LL BE GLAD YOU DID! Quintet movement, Strauss evokes atmosphere with considerable success. But he had yet to absorb RABSONS57 ST. INC. the purely musical elements of Wagner along 119 West 57th Street, New York. N. Y. 10019 STRAUSS, R.: Aus Italien, Symphonic Fan- with the philosophical ideas implanted by Rit- Tel. Area Code 212- 338 8546 tasy in G. Op. 16. Ostrava State Philharmonic ter. CIRCLE 48 ON READER -SERVICE CARD

116 HIGH FIDELITY MAGAZINE Consequently Aus Iralien has never won firm place in the Straussian canon; other eark, works appear more frequently in concert or on records. My only previous hearing of it was from an early LP record by Clemens Krauss and the Vienna Philharmonic, still available in Europe. Welcome as this first stereo representation is. the present release cannot be heard without considerable misgiving. Though Aus may not make the orchestral demands of the later tone poems. even the Schumann or Men- HUNGER delssohn tradition would tax this orchestra. According to my atlas. Ostava is a provincial capital in north central Czechoslovakia. near the Polish border. The orchestra, as recorded IS ALL in the Prague studios of Supraphon. does not sound very large: its string tone is quite thin. Though it often plays with considerable en- SHE semble accuracy, the performance is by no means free of ragged entrances: the brass is especially poor-especially the prominent first HAS EVER trumpet, which has serious intonation problems. Nor does Trhlik appear to be a very inspiring conductor: without pretending to re- KNOWN call the Krauss reading at this time.I am reasonably sure that it was a better one, or- chestrally and in its direction. This, then, is but a stopgap in the Strauss discography. of interest primarily to those who must have everything he wrote. P.H.

Svimbov: Kursk Songs; Music for Chamber Orchestra. Marina Valkovskaya, mezzo-soprano; Anatoly Lagutkin, tenor; Motya Zlatopolsky, bass; RSFSR Russian Chorus; Moscow Philharmonic Orchestra, Kiril Kon- drashin, cond. (in Kursk Songs). Moscow Chamber Orchestra, Rudolf Barshai, cond. (in Music for Chamber Orchestra). MELO- Margaret was found in a back lane of Cal- Hard-pressed by the natural disasters DIVA / ANGEL SR 40224, $5.98. cutta, lying in her doorway, unconscious and phenomenal birth rate, the Indian from hunger. Inside, her mother had just government is valiantly trying to curb Georgey Sviridov grew up in the Kursk region died in childbirth. what Mahatma Gandhi called "The Eter- south of Moscow, not far from the Ukraine. You can see from the expression on nal Compulsory Fast." Born in 1915, he studied in Leningrad with Margaret's face that she doesn't under- But Margaret's story can have a happy Shostakovich. According to the liner note, his stand why her mother can't get up, or why ending, because she has a CCF sponsor compositions have been well enough received her father doesn't come home, or why the now. And for only $12 a month you can to have won him the Lenin Prize. From the dull throb in her stomach won't go away. also sponsor a child like Margaret and music on this record, probably the first to be What you can't see is that Margaret is help provide food, clothing, shelter- heard in this country, he represents a con- dying of malnutrition. She has periods of and love. servative "official" style of composing. fainting, her eyes are strangely glazed. You will receive the child's picture, The Music for Chamber Orchestra reveals Next will come a bloated stomach, falling personal history, and the opportunity to considerable feeling for coloristic and textural hair, parched skin. And finally, death exchange letters, Christmas cards-and effect with an unusual combination of strings, from malnutrition, a killer that claims priceless friendship. horn, and piano. However, his musical ideas- 10,000 lives every day. Since 1938, American sponsors have melodic, harmonic, and structural-do not Meanwhile, in America we eat 4.66 found this to be an intimate, person -to - match his tonal invention. Now and then there pounds of food a day per person, then person way of sharing their blessings with are flashes of Prokofievian influence, but the throw away enough to feed a family of youngsters around the world. general personal profile is low. six in India. So won't you help? Today? In the Kursk Songs, Sviridov has created a If you were to suddenly join the ranks Sponsors urgently needed this month for rather overblown symphonic song cycle based of 11/2 billion people who are forever hun- children in: India, Brazil, Philippines, on folk material from his native region. I as- gry, your next meal might be a bowl of Indonesia and Guatemala. (Or let us sume that the originals were basically simple rice, day after tomorrow a piece of fish select a child for you from our emergency solo songs, and find nothing here to justify the size of a silver dollar, later in the week list.) these arrangements for solo voices, chorus. more rice-maybe. and orchestra, which are elaborate without adding any special musical interest. As a song Write today: Verent J. Mills symphonist, this composer is hardly a Mahler. Box 2651d1 nor is he a folklorist comparable to Bartok or CHRISTIAN CHILDREN'S FUND, Inc. Richmon, Va. 23261 Dvotak. Apparently the group of seven songs I wish to sponsor a E boy E girl inName_ is intended cumulatively to describe the life of (Country) a Russian peasant woman before the Revolu- Address Choose a child who needs me most. I willCity tion, but I found little musical continuity in pay $12 a month. I enclose my first payment the series. of $ Send me child's name, story, State Zip The songs are performed by a rather over- address and picture. I cannot sponsor a childRegistered (VFA-080) with the U.S. Government's powering aggregation. capably led by Kon- Advisory Committee on Voluntary Foreign Aid. Gifts but want to give $ 0 Please send me are tax deductible. Canadians: Write 1407 Yonge. drashin. Barshai leads his excellent forces in a more information. Tcronto 7. HF3690 considerably more impressive reading of the

SEPTEMBER 1973 117 Music. The recording is adequate studio sound typical of much recent Russian record- BSR 810. For the record. ing. P.H.

WALTON: Songs-See Maconchy: Ariadne.

recitals and miscellany

IIRAFGHANISTAN: MUSIC FROM THE `BjCROSSROADS OF ASIA. Members of the Afghanistan Radio Orchestra, Kabul. (Peter Ten Hoopen, prod.) NONESUCH H 72053, $2.98. SOUL OF MOIRA: Traditions of the BShona People of Rhodesia. (Paul Berliner, prod.) NONESUCH H 72054, $2.98.

Two more intriguing additions to Nonesuch's The BSR 810 starts as a record player, a machine to spin discs and ever-growing Explorer Series. Afghanistan is generate music. in all respects a crossroads country. both tradi- It's a pretty special machine, loaded with engineering advances, design tionally, given its pivotal geographical posi- innovations, and all kinds of fancy hardware that impresses even tion between Persia and India. and contempo- professional audio experts who don't impress easily. The 810 looks raneously. caught up as it is in the process of classy, runs smoothly, keeps quiet, and is probably more reliable than any other record changer you can buy. transition between old indigenous ways and the apparently inevitable onslaughts of mo- The 810 is all of these things; it fills many complex needs for many kinds of people. But if you just want to play dernity. Unlike many of Nonesuch's Explorer records, it's just fine. You shouldn't settle for anything BSR records (including the Rhodesian one, below), less ... and you just can't find anything more. this Afghanistan effort was not recorded in the BSR (USA) LTO . field. Instead, it represents the official "orches- BLAUVELT. NEAT ARK 10913 tra" of Radio Afghanistan in Kabul. and as CIRCLE 10 ON READER -SERVICE CARD such epitomizes the conflicts which currently crisscross the country's art. There is first of all RA -1210 the long-established blend of Persian and North Indian styles characteristic of Afghan music, both vocally and instrumentally, with the lutelike robab and tanbur and the santur- It, 10.1) la a dulcimer-alternating with the Indian sa- rinda and sarangi. But there is also a strong whiff of Iranian and Soviet popular music, dta and of Indian film scores. The results might 44'. 3-510 not warm an ethnological antiquarian's heart. but they do genuinely represent the folk idiom prevalent in the country today. and they do CZ THE STEREO AMPLIFIER: RMS power, 60W/ channel with have their own sort of charm, combining the both channels driven into an 8 ohm load. Two separate herky-jerky bumptiousness of Middle Eastern L1-1 power supplies each with Its own power transformer. Power music with the softer, more meditative kinds Bandwidth of from 5-50KHz and a THD of below 0.3% from of sounds we associate with the Indian sub- -1 20-20KHz. Add to this 2dB step controls, 3 stage differential continent. pre -amplifier,adjustableinput sensitivity/impedance on The Rhodesian record is an altogether more phono 2, plus tape monitoring and dubbing for two sets of "authentic" effort. complete with on -location tape recorders. village sounds and sing-alongs. The mbira is L1J the featured instrument here. played in four characteristic styles of the Shona people. The READ THE APRIL '73 STEREO REVIEW FOR mbira itself is a type of keyboard instrument A DEFINITIVE CRITIQUE ON THE RA --.2- 0 consisting of curved, tonguelike keys (any- H where from eight to fifty-two of them) fixed to a soundboard and resonated by a shell -em- bossed gourd or bottle. When the keys are plucked the effect is of a soft. chunking, buzzing xylophone. The music here ranges widely in mood and purpose. but is generally accompanied by singers and drummers and retains the expected rhythmic complexity and infec- tiousness of ethnic African music. J.R.

BAROQUE-SACRED AND PROFANE. Dietrich THE EVERYTHING LINE FROM ROTEL Fischer-Dieskau. Dantone, Jean-Pierre ROTFL of America, Inc2642 Central Ave., Yonkers, N.Y. 10710 Rampal, flute; Robert Veyron-Lacroix, harpsichord; Jacques Neilz, cello. (Suvi Raj Grubb. CIRCLE 70 ON READER -SERVICE CARD prod.) ANGEL. S 36904. $5.98.

HIGH FIDELITY MAGAZINE TELEMANN: Ihr Volker. hort (Cantata for the Festival of the Three Kings). RAMEAU: Thetis. HAIM= Rinaldo Cara sposa. BACK: Cantata No. 13: Achzen and erbarmlich VISIT NEW YORK'S Weinen. Cantata No. 123: Kein H011enfeind-Lass' o Welt. While it's true we don't expect much more thanthis vacuous note -spinning from FREE Rampal, it's surprising to find the likes of a Fischer-Dieskau drawn into such apparently hastily thrown -together and grossly distorted performances as these. Fischer-Dieskau. I'm 1974 111-F1 convinced. is incapable of offering a "bad" Free Audio Primer performance of anything. but compared to his usual standards not much is happening here to all visitors. even with him-it's as though he were doing a terrific job of sight -singing in the recording LOG The first place to visit when studio. CAT starting or upgrading a hi-fi The highlight of the record is Rameau's system is the International little chamber cantata Thetis: even though the Hi-Fi Expo. See and hear the Rameau scholar. Cuthbert Girdlestone. dis- misses it as an uncharacteristic early work, it is finest and largest selection of a captivating piece deserving of at least one hi-fi equipment from the good recording.Its chances of getting that world's leading manufacturers. recording (with the obbligato line played by a You operate the components violin as Rameau specifies. instead of a flute as yourself. recorded here) are now probably greatly di- Bring your favorite records. minished! Compare their sound on The aria from Bach's Cantata No. 13 is even more insensitively disfigured: in one of Bach's A41 different equipment. . most brilliantly inspired moments he specified No pressure to buy. Sell yourself that the obbligato line here should be taken by .- and buy from your favorite a violin and two recorders, all playing in uni- et audio dealer. son. The effect is one of incredible, ethereal Hear the latest 4 -channel beauty (anyone who has heard Leonhardt's re- equipment at your leisure. cent recording of the whole cantata on Tele- best Exhibitors: Altec, Bose, Bozak, funken SKW 4 will surely agree). Rampal SAVE onthe Benjamin, Concord, Dual, Elac,, breezes through with his hard -edged. modern and Electro-Voice, Garrard, Dynaco, metal flute. ignoring every one of Bach's care- inHI-FI fully indicated phrasing instructions, as if it Kenwood, JVC, Jensen, Koss, RECORDING were just another pretty tune. The jacket an- TAPE Lee, Martin, Miracord, Onkyo, notator. James Ringo. misleads the unwary on Ortofon, Marantz, Pioneer, tells us, for instance, that it Tie BEST of the NAME BRANDS Rectilinear, Sansui, Sony was written in about 1740 and that the text is AR AKAI AUDIO-TECHNICA Superscope, Superex, by an anonymous author. If he had checked CONCORD DUAL ELECTR 0- VOICE Tandberg, TEAC, Toujay, any history books later than Spitta's or FISHER GARRARD KOSS Schweitzer's. he would have learned that it MIRACORD PIONEER SANYO Reibach, Wharfedale, Earzilay lEAC TELEDYNE WOLLENSAK Headquarters for SAC 'Society was first performed on January 20. 1726. and Audio Consultants. that the librettist was the court librarian at A superstore of electronics at your finger- Darmstadt. Georg Christian Lehms. tips!244colorful,full-size pagesfilled It'strue the catalogues arefull of un- with interesting, accurate, HONEST descrip- scholarly. uninspired, and sloppy perform- tions of the newest and best audio prod- Looking for a career ucts of the year, plus hundreds of parts, ances by unheard-of artists on obscure budget accessories and staple items.It's an "at in audio? labels; from big-time stars and major record home" department store you'll use all year SAC/Society of Audio Consultants' companies we expect a lot more. C.F.G. to order exciting audio products by mail at professional hi-fi course is the lowest prices around. available to audio salesmen and CORONATION AND BANQUET MUSIC SERVED audiophiles. Successful completior BY THE BOSTON BAROQUE ENSEMBLE. Elinor with one year minimum practical Preble,flute;Ray Toubman and Wilfred experience leads to certification. Burkle, oboes; John Miller, bassoon; Ralph The SAC Certification Board com- prises internationally recognized Pottle, horn; Robert Brink, violin; Olivia Toub- authorities whose articles appear man, cello; Daniel Pinkham and James 43:herIVnAeLeU\eEcII:and'ecrs :::°eu:9137 in leading hi-fi publications. N.Y. Weaver,harpsichords. CAMBRIDGE CRS residents: Visit your audio dealer 3825, $5.98. Olson electronics Dept. GK for Hi-Fi course applications to Minna: Sonata No. 5, for Two Oboes. Bassoon, and Saturday sessions at HI -Fl EXPO. Continuo. in F. TELEMANN: Concerto 'Or French Horn. 260S. Forge St., Akron, Ohio 44327 Others, send for details oi Home Flute. Harpsichord, and Bassoon. in F BOMMONTIEN: Concerto for Flute, Violin. Oboe. Bassoon, and Continuo. Send me my FREE 1974 Olson Study course. $1.00 covers mailing in E minor. and handling for Audio Primer. Catalog (Please Print)

Deep in the heart of every musician, it seems. Name Apt is a strong desire to play chamber music. Very INTERNATIONAL often players involved primarily in symphonic Street music like to get together for private chamber - music sessions, and occasionally this private City State HIER entertainment is brought before the public in Send an Olson Catalog to my friend concert or on records. What such a group may Name Apt lack in ensemble experience and precision is Dal sometimes compensated for by the enthusi- Street asm of first-rate players doing what they love 443 Park Ave. So., N.Y. 10C16 (at 30th St.) City State Zip Hours: Tues. thru Fri. -11-5: Sat. 11-4 to do. Such was the case with the late Boston Baroque Ensemble: a group of superb inch - 4411/Mai NM M. INN memil CIRCLE 28 ON READER-S.RVICE CARD CIRCLE 41 ON READER -SERVICE CARD

SEPTEMBER 1973 I19 vidual players obviously having a profoundly good time playing together. Bassoonist John Miller's virtuosic fireworks are particularly DISCOUNTS %SE breath -taking. but each member makes his BRAND own strong contribution. All the music in- soosVMOUS cluded here is pretty boring-but what's ex- WASH. D.C. pected of music written as background for an COMPONENTS occasion such as a banquet? The perform- HAS NO FAIR STEREO ances are what count here. though. and they TRADE are all infectiously entertaining. C.F.G. LAWS! ON DISCOUNTS ON NATIONALLY ADVERTISED KATHLEEN FERRIER: Recitals. For a feature review of these recordings. see page 84. STEREO TURNTABLES CARTRIDGES COMPACTS RECEIVERS AMPLIFIERS TAPE RECORDERS FRENCH MUSIC FOR WINDS. Jean COMPONENTS WholesalePrices!Audio WarehouseSales. B Casadesus, piano (in the Poulenc): oneoftheCapitol'slargest DorianQuintet.TURNABOUT TV -S PLEASE REQUEST stereo wholesalers will fill and deliver all your mail orders 34507, $2.98. Prices for your choice of promptly in factory sealed cartons, at prices PotmeNc: Sextet for Piano and Woodwind Quintet. MEAT: Changers, Receivers, Tape that will amaze you. Trois Pieces breves. BOW: Scherzo. Op. 48. Rumpus: Recorders, Speakers, etc. Quintet. Write for quote on Famous Brand, PROMPT DELIVERY Stereo Components. A first reason for having this new Turnabout IN FACTORY We guarantee satisfaction. release is the near -perfect recorded sound. It is SEALED an enormous pleasure to hear a wind quintet- CARTONS. particularly of the Dorian Quintet's tonal cali- ber-sound like a wind quintet. A second reason is the beautiful perform- DISTRICT AUDIOSALES ance of the Poulenc sextet, for which the late Jean Casadesus joined the group at the piano. WAREHOUSEAVE.N.E. Casadesus seems, in fact, to have been the INC. NEWYORK guiding light behind the over-all excellence of 2316 Rhode Island Ave. N.E. 3310 D.C.20002 N ASHINGTN, this rendition. The verve and wit of his ap- Washington,D.C.2 0 0 1 8 32 proach to the sextet'stoccatalike opening 202-832.1900 (20'2.)8-1616 theme and to the third movement's jazzy beginning are matched by the winds in superbly CIRCLE 15 ON READER -SERVICE CARD CIRCLE 7 ON READER -SERVICE CARD balanced performances of incredible elan. Casadesus and the Dorian Quintet also make the Poulenc work sound like a convincing whole, a not altogether easy task considering its episodic nature. The sextet strikes me as ba- SAVE MONEY sically avirtuoso succession of rhythmic. melodic. instrumental. and stylistic ideas-all of them ingratiating. Toward the end of the ONduivaco BIC slow section of thefirst movement (each movement has extended passages in tempos quite different from the opening ones). for in- DISC U stance. Poulenc has indulged in a hit of quasi (and perhaps tongue-in-cheek) impression- STEREO COMPONENTS ism. using in the process a theme also employed in the two -piano concerto, which was Largest selection of top name composed around the same time (1932) that brands try us and see the sextet was begun. (The latter work was not completed until 1939.) Elsewhere. Poulenc of- - - 101111111", ten uses themes and harmonies that seem to blend the best of Chopin and the music hall. Its worth a call After the roughhewn Poulenc sextet with its Shamelessly Low Prices. many surprises and unexpected shifts.the (301)488-9600 Ibert Three Short Pieces are almost jolting in As one of America's largest wholesale dis- their smoothness and polish while lacking. at tributors.we'reguiltyofshamelesslylow the same time. the boldness and originality of prices.Our buying volume has made our prices thelowest. We seriously doubt you the Poulenc work. But Ihert has delineated canfind . . each piece remarkably: The first, for example. one lower andthatwe're I, proud of.What's more,atS.C.A. you can moving rapidly from arialike passages to a select fromhundreds of NEW. Factory pastiche of a large-scale waltz. struck me as a Sealed.Full Warrantee. Brand name. Hi-Fi IC))) Stereocomponents. Ifits in the kind of parodical mini -opera without words. Audio field we haveit! In contrast, the second. principally a flute - Write for a lowest of the low quote or clarinet duet using frequent strettos. has a even better come down and seeforyour- 11 lovely folksong quality to it. while the third is a self . . . we're not ashamed. much more integrated scherzo.

6330 Frankford Ave. Bozza's short scherzo, a kind of Flight -of- Baltimore, Md 21206 the -Bumblebee perpetuum mobile, isdaz- STEREO CORPORATION of AMERICA zlingly executed by the Dorian Quintet. Only All mail answered within 24 hours Dept H F 2122 UTICA AVENUE in the Francaix quintet does the group seem to BROOKLYN, NEW YORK 11234 Phone Daily 9 AM to 9 PM lose some of its spark. and 1 can't say I blame (212) 338-8555 the Dorians. Francaix has frequently struck In L. 11180 HEMPSTEAD TPA. UNIONDALE Saturday 9 AM to 4 PM Phone (301) 488-9600 me as a pauper's Poulenc: but rarely does his general mediocrity seem as numbing as here. CIRCLE 56 ON READER -SERVICE CARD CIRCLE 27 ON READER -SERVICE CARD

HIGH FIDELITY MAGAZINE Where Poulenc, for instance, uses repeated os- of-doorsy nonreverberant ambience. Don't are bursting with infectious brio and songful tinato figures to move his music in unusual miss it! R.D.D. fervor. One's ears wincingly proclaim the bad harmonic directions or to lead into a strongly RUSSIAN OPERA OVERTURES. Bolshoi The- news. Probably the hard-pressed players are defined melody. Francaix brings them in so ater Orchestra, Yevgeny Svetlanov, cond. gratuitously that one becomes annoyed in a mainly at fault but their sonic coarseness in MELODIYA / ANGEL SR 40221, $5.98. the fortissimos is undoubtedly exacerbated. by matter of seconds. Furthermore, one often has °UMW Ruslan and Ludmilla: Overture. BORODIN: Prince the impression that he wished he had been Igor Overture. MUSSORGSKY: Khovanshchina: Pre:ude to the sharp -edged and spotlighted recording it- writing for orchestra instead of wind quintet. ActI (Dawn on the Moscow River. arr. Shostakovich). self. And since the frequent shrillness isn't RIPASKY-KORSAKOV: Sadko: Introduction (Sea Episode); A merely the result of high -frequency boosting. while all of the other pieces on this disc make May Night: Overture; The Tsar's Bride: Overtuie; The full use of the five separate voices and timbres Maid of Pskov: Overture. itisn't susceptible to tone -control ameliora- of the wind quintet. Only in the theme -and - tion. And yet over-all there is so much full- variations third movement. particularly in the I'm forced to fall hack on the good-news/bad- blooded theatrical excitement (the Prince Igor atmospheric third variation, does Francaix es- news cliché here. Very good indeed is the pro- Overtureinparticularisan ultrabravura cape vapid mannerisms. gramming. at once representatively "Russian" house -bringer -downer) and it's so good to But this disc would he attractive if it con- and far-ranging enough to include several hear the neglected Rimsky curtain -raisers. tained only the splendid Poulenc perform- works likely to be unfamiliar to most Ameri- that it's well worth bracing one's ears to with- ance. With the !ben and Bozza works as a can listeners. And quite good too are most of stand the sheerly aural strains of playing and bonus. it is well worth having. R.S.B. Svetlanov's readings. which, once past a replaying everything except the inexcusable brutally fast and jerky Ruslan and Luchnilla. Glinka performance. R.D.D.

LITTLE MARCHES BY GREAT MASTERS. Neth- erlands Wind Ensemble. PHILIPS 6599 172, $6.98. C. P. E. BACK: Marches: in D. W. 185. No. 1; in C. W. 185. No. 2; in F. W. 185. No. 3; in G, W. 185, No. 4: in E flat. W. 185. No. 5: in D. W. 185, No. 6. in F. W. 187, No. 1; in D, W. 187, No. 2. F. J. HAYDN: March for the Derbyshire Cavalry Remember what that Regiment, No 2. in C. H. VIII: 2; March for the Prince of Wales. in E flat, H. VIII. 3. M. HAYDN: Turkish March, in C. expensive sound system of yours is all ROSETTI: March from Partitain B flat.BEETHOVEN: Marches for Military Band: No. 1. in F: No 2, in F: in C (Zaptenst retch). DRANICKY: Marches in the French Style. about? No. 1, in C; No. 2, in F; No. 3, in C. Hunting Marches in the French Style: No. 1, in D: No. 2. in C. Little Marches: No. 1. in B flat; No. 2. in E flat; No. 5, in B flat; No. 6, in D minor. It's all about the records and tapes you

Conducted by Edo de Waart in their earlier play on it. Tweeters, woofers and am- recordings. the seventeen young Netherland- plifiers can't make a record or tape ers are on their own here. playing with the same relish and exuberance that characterize sound any better than it's made to their posing in period military costume for the jacket photograph. If they don't attempt as sound. specialized ahistorical anthology as the 1685-1820 Royal Prussian Court program on CTI records and tapes are, engineered Telefunken SLT 43104 (Sept.1969).their choice of brief marches, many for woodwinds only, of prime late -eighteenth- and early - those sophisticated components of nineteenth -century vintage has much wider appeal. yours. Make your own test, with some Only the three Beethoven examples (rather routine) and possibly the two by Josef Haydn of the latest music on CTI: (cheerfully easygoing) are likely to be familiar even to specialists. The rest of the music will be new to most American listeners, as may be SEBESKY even the names of those seldom -acknowl- edged "great composers" Francesco Antonio GIANT Rosetti. or Franz Anton Riissler (1746-92) and BOX Antonin Vranicky (or Anton Wranitzky as Grove's has him:1761-1820). ROssler. a Czech. has been occasionally represented on discs before the present pastoralish Largo from his Wind Partita in B flat: but Vranicky. Stanley Turrentine: Deodatt : Don Sebesky: Deodato 2 Giant Box a Moravianviolinist/conductor/composer Don't Mess With who had the incomparable good fortune of Mr. T. studying with both Haydn and Mozart. is as new a name to me as is the music of these nine These are just some disarmingly charming little marches-none of which apparently calls for any percussion. of the top artists who are on CTI- Haydn's brother Michael is considerably less distinctive in the swaggering but repetitive where they sound best. Turkish march. which depends entirely for its "Turkish" elements on ostinato tom-tom drumming rather than the usually associated cymbals. But Bach's second son. Carl Philipp Emanuel, provides the big surprise and irresistible attractions of the entire program in the batch of eight wholly delectable little marches for woodwinds only from around 1775. They reveal facets of his genius and personality that I. for one. had never credited him with before. The Netherlanders' crisp, zestful. and only The Artist's Choice rarely overemphatic playing is transparently yet vividly recorded in an appropriately out- CIRCLE 69 ON READER -SERVICE CARD

SEPTEMBER 1973 121

4 -channel discs/tapesBY ROBERT LONG

Best Foot. I was surprised-and, I must on the demodulator produces an effect 31398, two Q-8 cartridges, $15.98), but admit, a little disappointed-to find that like the stereo/mono switch on an FM similar observations can be made about "Mancini Salutes Sousa" (RCA APD1 tuner: Background noise levels are au- other baroque music. The operative fact 0013, $5.98) contains very few marching dibly higher when the number of chan- is the sharp contrast of heavily accented effects or other evidences of the gim- nels is doubled. rhythmic figures that are separated spa- mickry that quadraphonics is heir to. The separate demodulator may soon tially within the display-a common fea- True, the cover says, "The concert band be a thing of the past, however. Most ture of this sort of music. sound of Henry Mancini" (emphasis new CD -4 equipment for playing Quad- The Newman Brandenburgs are a nat- mine), but I had expected that the temp- radiscs puts the demodulator either into ural for quadraphonics because of the tation toward special effects would have the receiver or into the turntable assem- conductor's fresh and even iconoclastic lead Mr. Mancini down paths that Mr. bly. Including it-along with matrix de- approach. (See HF review, January Montenegro has so ingeniously blazed coder or decoders-into the receiver cer- 1973.) And-quibbles to come aside-I for Quadradiscs. tainly simplifiestheinterconnections find them very effective heard "in the The emphasis is instead on the playing necessary to "get into business with round." You're really inside the music- of Sousa in the best Mancini manner: quadraphonics" in your living room; in- and that's right where Newman appears polished but not to the point of emascu- cluding it with the turntable assembly to want you to be. Not only does he es- lation. There are enough rough edges to bypasses worries about lead capacitance. chew the blaring orchestral spread of make you feel that this is a real band Either way, I think the new equipment is Koussevitzky (for one) in favor of cham- playing; but there are enough deftly to be preferred-if for no other reason ber -music textures, but he presents inti- turned phrases to make you aware that it than that it encourages a relatively per- mate instrumental balances that smack is not jest any band. And the brass trills manent and predictable matching of ele- far more of the isolation-plus-multidub (listen to the opening measures of The ments rather than the sort of ad lib ex- techniques used in recording rock than Thunderer for example) are something perimentation that the separate de- they do of a recital in the concert hall else. It is a Sousa spectacular if not a modulator tempts one to. as such. quadraphonics spectacular. But the A typical placement might put the solo quadraphonics do lend an undeniable They Call It Logic. A comparison of the violin at the front left and distribute the immediacy to the band sound. cartridge and SQ-disc versions of some continuo around the back of the room. This is a hard disc to reproduce well, recent quadraphonic baroque releases Predictably.instrumentalplacements however. The massed brasses, the per- turns up some disturbing differences. are well defined when you're listening to cussion, and-in the brief marching se- Perhaps I should say at the outset that the cartridge, somewhat less well defined quences-the whistles are just the kind of the comparison is not entirely fair be- in listening to SQ via the simple decoder. thing that will distort if your Quadradisc cause I'm still using a discontinued SQ The SQD-2000's logic does seem to give setup is incorrectly adjusted. I used the decoder (the Sony SQD-2000) in my an extra clarity to the SQ placements. JVC 4DD-5 demodulator with a JVC setupforthe"full -logic"treatment. but in strongly accented passages the magnetic cartridge and the Heath four - Logic, as quadraphiles should all know "beat" of the continuo can audibly pull channel amplifier. The sound was very by now, is a circuit refinement that selec- the solo violin out of position. Once one good until I rechecked control settings in tively alters quadraphonic balances in signal (such as that of the violin) has an attempt to make it excellent. Appar- the interests of greater apparent separa- been established, a sharp outburst in ently I didn't do a careful enough job: I tion between channels and therefore less other channels will trigger the logic and ended up with more distortion than I fuzziness in placements within the sound the resultant alteration in channel bal- started with. image. The first logic decoders used the ances can be heard as a shift in the first technique only on a limited scale; the signal. In some music the outburst will Toward Fuss -Free Quadradlscs. My SQD-2000 used it to enhance both front- mask the original signal. and hence the problems with the Mancini/Sousa to -back and side -to -side separation. shift;in the crystalline textures of ba- Quadradisc are not the disc's fault; More recent refinements (in Sony's own roque music it may not. The more I lis- partly, they appear to be the result of us- SQD-2020 or the Lafayette LR-4000 re- ten. the more strongly I prefer the stable. ing leads that are not ideally low in ca- ceiver, for example) appear to be subtler if slightly fuzzy. placements of the pacitance between tone arm and demo- and more sophisticated in their use of simple decoder. dulator. When I switch to the Panasonic logic. But the logic concept is still taken While the placements are best with the SE -40S demodulator and solid-state as the last word in SQ-decoder tech- cartridges, the listening is not. Whereas Technics cartridge-which does not put nology. the disc sides break between concertos the premium on low capacitance that the The comparison was three-way: the or, at worst, between movements, the magnetic cartridges do-much of the discrete -quadraphonic cartridges vs. the inexorable requirements of the tape loop problem evaporates. SQ discs played through the SQD-2000 force Columbia to break cartridge "pro- But with the Panasonic setup (and all vs. the same discs played through the grams" in the middle of movements- other things being equal: normally nonlogic decoder in the Heath AA -2010 something Ifind even more disturbing meaning the Heath amplifier and four amplifier. Most telling were those made than a peripatetic solo violin. And there Onkyo speakers) there still is a residue of using the Newman recording of Bach's is audible tape hiss on the cartridges. of noise and distortion that I can't alto- Brandenburg Concertos (Columbia course. So my choice still is the SQ ver- gether remove. The 4/2 -channel switch M2Q 31398, two SQ discs, $13.98; QMA sion. a

122 HIGH FIDELITY MAGAZINE The Realistic QTA-751 is the kind of 4 -channel receiver that has a future! Available exclusively at Radio Shack.

4 -Channel Everything No -Skimp Circuitry Value -Wrapped Beauty Here's what we mean by a receiver with FET FM front end and ceramic IF filters Gold -color brushed aluminum front a "future": Aux -4 inputs for discrete give high sensitivity and ideal selectivity. panel. Edge -lighted linear dial. Glowing 4 -channel tapes. SO for records and FM Wideband AM tuner gives you the best yellow dial pointer. Plus a custom -fit encoded by any matrix system. sound AM can deliver. OTL audio for oiled walnut veneer enclosure - at no Quatravox" synthesizer for 4 -channel wide power bandwidth. Perfect extra cost. The 4 -channel receiver you realism from any stereo source. And a Loudness" for proper bass -to -treble can afford to live with. Forever. detector output jack for a discrete balance at any listening level. FM 4 -channel FM adapter when the FCC center -channel and AM/FM signal Come in for a demonstration. says "Go". strength meters. Specifications Controls for Everything Power at 8 Ohms: 100 watts 1 dB 80 Glide -Path" sliding controls for volume watts IHF. 60 watts RMS. Harmonic And Stereo "Two" Distortion: under 0.8% at full power settings you can see and feel. Front and Response: 1 dB 20-20,000 Hz Power Using the four aux inputs, and remote Bandwidth: 20-25,000 Hz. FM Sensitivity: rear balance. Pushbuttons for tape 33 uV INF FM Stereo Channel Separation: monitoring, loudness, front and rear speakers, you can play two different 30 dB at 1000 Hz FM Capture Ratio: 2.5 dB AM Sensitivity: 6 ,V for 30 dB Sit/ speakers, mono. Clutched bass and stereo sources in two different rooms at Speaker Connections: Phono jack and treble for separate front and rear the same time. It's like having two stereo screw terminal Size: 53/4x19x13" adjustment. 17, in all. systems in one.

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220 -1=EAL/St7C__ FREE 1974 CATALOG 180 pages! Audio, CB, Ham, Kits, by Parts, More! Ratko lhaek Name Apt. # and ALLIED RADIO STORES A TANDY CORPORATION COMPANY Street P.O. Box 1052, Fort Worth, Texas 76107 City State Zip MOOD 'Price may vary at Individual stores 4- -1 CIRCLE 49 ON READER -SERVICE CARD 123 SI 1'1 INI111 R 1973 Waters and Otis Spann. with several of the the lighter side young blues performers who have been influenced by them. Of these younger players, Michael Bloomfield's guitar and Paul But- terfield'sharmonicaareespeciallynote- worthy. This is an exceptional release, and reviewedby Chess is to be thanked for bringing it back into circulation. M.J. MORGAN AMES ROYAL S. BROWN PERRY COMO: And ILove You So. R. D. DARRI,LL Perry Como, vocals; arranged by Ber- HENRY EDWARDS gen White and Cam Mullins. Aubrey; I Believe in Music; For the Good Times; MIKE JAHN seven more. (Chet Atkins, prod.) RCA JOHNS WILSON APL 1-0100, $5.98. Tape: ffe... APS 1-0100,$6.98;ft APK 1-0100, $6.98.

I don't know how Perry Como does it, how he Bo D loom%The London Bo Diddley Ses- hangs in.Buthe surely does, singing as calmly. sions. Bo Diddley, vocals and guitar; vocal easily. honestly as ever. In no way does he and instrumental accompaniment. Don't kowtow to the market; yet he makes it work Want No Lyin' Woman; Bo -Jam; sevenmore. for him. (Esmond Edwards, prod.) CHESS CH 50029, It's Impossible-definitely was. Everyone $5.98. knew it couldn't possibly be a hit except the RCBLUES AVALANCHE, VOLS. 1 & 2. Bo public. Then there was another-I forget the Diddley, vocals and guitar; Koko Tay- title. I don't say that Como sells as many sin- Perry Como lor, vocals; Willie Dixon, bass; Muddy gles as Neil Diamond, but both sell. Como's Timeless, comfortable, in tune Waters and T -Bone Walker, vocals recent success is And I Love You So (the title and guitars; vocal and instrumental tune of this album), written by Don McLean accompaniment. / Hear You Knockin'; who also wrote American Pie and who is Phil Ramone, prod.) COLUMBIA KC Baby What You Want Me to Do; I Got young enough to be Mr. Como's son and then What It Takes; Stormy Monday; ten 32280, $5.98. Tape: :! CA 32280, some. $6.98; 3E CT 32280, $6.98. more. (Esmond Edwards, prod.) The first reason that Perry Como can sing CHESS 2CH 60015, $6.98 (two discs). contemporary songs in a timeless way and This second solo album by Paul Simon indi- FATHERS AND SONS: Muddy Waters, make them work is that he chooses extremely vocals and guitar;Otis Spann, pi- cates that the man is definitely a lasting part of well and appears to like what he sings. An- pop music, and a vastly significant part. While ano; Michael Bloomfield and Paul other reason is that Como has always been little here is flashy or spectacular, Asbell, guitars; Paul Butterfield and every bit is inordinately true to his material. This is pre- lovely. endearing, and substantial. The LP Jeff Carp, harmonicas; Sam Lay and cisely the reason that singers such as Steve grows on you with each listening, and if it Buddy Miles, drums; Phil Upchurch Lawrence cannot sing contemporary songs and Donald "Duck" Dunn, bass. Mean doesn't ever grow as eminent as "Paul Si- convincingly. Lawrence became successful by mon," the first solo album, who's to complain? Disposition; I'm Ready; Long Distance putting style ahead of song, the how before the My favorite is a ballad, American Tune: the Call; Baby Please Don't Go; Got My what. It worked beautifully until the public's Mojo Working; ten more. (Marshall Dixieland -spiced Take Me to the Mardi Gras is sense of vocal style changed, at which point a great deal of fun. Simon continues to experi- Chess, album supervision.) CHESS Lawrence stopped selling records. One cannot ment with reggae. on a self-explanatory tune 2CH 50033, $6.98 (two discs). be stylish with today's songs. Como hasno called Was a Sunny Day. The contribution of fixed style. That is his style. This heavy blues release from Chess, perhaps the Dixie Hummingbirds vocal group and the He includes the exquisiteAubreyby David Onward Brass Ensemble is much to beappre- the label most qualified to do a heavy bluesre- Gates of Bread; Killing Me Softly with Her lease. contains two new recordings andone ciated. This LP opens no new doors, but it Song; For the Good Times. There are ten in all; does make for some very agreeable listening. old one. "The London Bo Diddley Sessions," you get less music for more money these days; M.J. some of which was actually recorded in Chi- so nu? The orchestrations are vanilla models cago, is the latest in the Chess series designed of original versions. Como is not trying for in- to capitalize on the fact that Americans still ventiveness. He leaves that to the younger. MELISSA MANCHESTER: Home To Myself. seem more willing to buy apeprecord if it more restless guys. Melissa Manchester, vocals; instrumentalac- comes from England. Unlike the Chuck Berry Como is comfortable. He also sings in tune. and Muddy Waters "London Sessions." how- companiment. It It Feels Good (Let It Ride); with no wavers on the ends of notes. He looks Easy; Something to Do with Loving You; ever, this one has no Ringo Starr, no Steve fantastic. seven more. (Hank Medress and Dave Appel!, Winwood-in fact, no "names" at all. It starts One more thing. From Dennis Day to Elton strong, with a magnificent reading of Don't prod.) BELL 1123, $5.98. Tape: M81123, John, all pop -music artists face the same di- $6.98;if M51123, $6.98. Want No Lyin' Woman, but like all Bo Did- lemma: how to stay in business. As the pace of dley, soon becomes repetitious and a bit tire- life speeds up. the task becomes evenmore some. This debut disc has certainly aroused plenty of difficult, so that almost no pop artist stays on curiosity. The most talked -about new "Blue Avalanche" is much better, a master- top for more than three or four years now. per - ful two -disc album recorded live at the 1972 Perry Como gets seven gold medals for sheer Montreux Jazz Festival. It's hard to pinpoint endurance. M.A. any one element that's more outstanding than Explanation of symbols the others, but I'm especially fond of Koko Taylor's singing with Muddy Waters. The col- PAUL SIMON: There Goes Rhymin' Si- exceptional recording laboration of Waters and T -Bone Walker on mon. Paul Simon, vocals and guitar; Stormy Monday and one other tune also isex- vocal and instrumental accompa- citing. Recorded tape niment. Kodachrome; Take Me to the Open Reel "Fathers and Sons" is a reissue ofa late - Mardi Gras; One Man's Ceiling Is An- * 1969 Chess release carrying the same title. It is other Man's Floor; American Tune; e. 8 -Track Cartridge a two -disc set, and a fine one. It pits two major Was a Sunny Day; Love Me Like a se Cassette figures from the Chicago blues scene. Muddy Rock: three more. (Paul Simon and

124 HIGH FIDELITY MAGAZINE former of the year has been Bette Midler. That adults as well as children. The story is really I do miss Philipe's subtle and much more talk has not only centered around Bette but for children in the sense that it extols child- youthful narration, particularly in the open- has encompassed all of the members of her hood. and one of the story's principal themes ing. I also am rather partial to the original mu- musical organization. including her female is the contrast between a child's vision of exist- sic by Maurice Le Roux used on the French vocal backup trio, the Harlettes. When Me- ence vis-à-vis an adult's-a traditional theme disc, as opposed to the Mozart somewhat arbi- lissa Manchester left the Harlettes. Midler treated with great freshness, humor, and sim- trarily superimposed on Ustinov's reading. al- fans (and that includes just about everybody plicity. though the Mozart does add an emotional who follows popular music) decided to sit One finds some delightful satireinthe depth not captured by Le Roux's more sci-fi- back and wait. Exactly what was Melissa up opening, in the narrator's recounting of his oriented sounds. But once the Ustinov version to? frustrating childhood encounters with the gets underway. it becomes totally absorbing, The composer/performer eventually- signed world of grownups. The satire becomes some- and I strongly recommend it as a different way up with Bell Records, and Bell and the rock what more explicit as the Little Prince leaves to spend an evening en famine. The recorded publicity concern. Gibson and Stromberg. his own asteroid and visits the solitary inhabi- sound could be better. R.S.B. launched ahard -drivingpre -debut -album tants of other tiny asteroids: a king who feels publicity campaign. One could thinkthat he rules over all the stars, a businessman who Manchester was either going to make the most feels he owns them, a drinker (or tippler, as JUDEE SILL: Heart Food. Judee Sill, vocals, sensational recording debut in the history of the extremely English translation used here songs, keyboards, and guitar; arranged, or- the music business or was merely riding the would have it) eta). And like a child Candide. chestrated, and conducted by Judee Sill. The crest of a wave of overwrought hype. Armed the Little Prince listens in amazement as he Kiss; The Vigilante: The Phoenix; six more. camps formed even before the disc was re- hears of the things grownups find important. (Henry Lewy and Judee Sill, prod.) ASYLUM leased. determined to herald Melissa as a But along with the narrator, whose plane crash SD 5063, $5.98. Tape: ..8T 5063, $6.97; brilliant new talent or condemn her as some- in the desert has led him to meet the Little CS 5063, $6.97. one trying to cash in on M idler's hard-earned Prince, the Little Prince also discovers the pain and well -deserved fame. of living as a child and "seeing with the heart," Leslie is my gauge to underground music. She The release of "Home to Myself- has en- as the Fox says, and the simple poignancy of is the fifteen -year -old daughter of a friend- abled one to take a more rational point of this aspect of the story beautifully counterbal- naturally musical and already an artful con- view. Manchester is a gifted and expressive ances the more humorous elements. sumer. Leslie knew about Judee Sill before I vocalist and a legitimately competent com- Several things make this English -language did (and I keep up pretty good). poser. This disc. a mixed blessing. indicates (as opposed to American -language) version of Ms. Sill's first album received warm critical that she does have a bright future in store as a Le petit prince extremely appealing and attrac- praise. It seemed that anyone who took the solo artist. On occasion. the recording sparkles tive. To begin with, Peter Ustinov offers here a time to listen to her ended up loving her. Un- with brilliance: it is also tinged with the medi- complete version of the story, whereas Gerard derground or not, sales were lukewarm. (The ocre and is not helped by the Hank Medress- Philipe's splendid reading in French on the underground doesn't spend. which is how they Dave Appel' production job-too speedy. and French Festival label (FLD 22S) is unfortu- stay down there.) Many Sill fans, including lacking in the steel-edged discrimination nec- nately abridged. Thus non -French-speaking me. swore there was a hit in that first album. a essary to discard the chaff from the truly capti- listeners are in luck: Not only does Ustinov tune called Jesus Was a Cross Maker. vating wheat. give us the wry experiences of the narrator as a Recently the Hollies recorded it and proved us Melissa shines, for example. on Easy. a sexy child-an essential framework sadly lacking in right. song sung to sexy perfection. The disc's Philipe's version-he also introduces the entire This is the much anticipated second album of Saint-Exupery's characters,only from Ms. Sill. In this one she not only sings, the composer/performer at her best. This some of whom appear on the French release. plays. and writes everything, she also co -pro- number is one of those romping up -tunes: It is Unlike Philipe. Ustinov reads the whole story duces (with engineer Henry Lewy) and even tastefully arranged and sung with the full- himself: in the French version. the roles of the orchestrates and conducts. It would be diffi- bodied perfection that makes this kind of tune Little Prince, the Rose. the Lamplighter. etc. cult to make a more personal statement. preferable to some of those tortuous efforts so are read by other actors. In doing his solo ver- Ms. Sill's voice is a velvet rope with a spur many of the better-known female singer/ sion. Ustinov delineates the characters other on the end of it. There are moments when- songwriters are inclined to. Unfortunately. the than the narrator either with tone of voice. with the unmistakable help of engineer number is marred at its very conclusion by a such as the slight falsetto for the Little Prince. Lewy-she gets a mystical tone, completely vi- corny echo effect: and it is reprised at the end or by making splendid use of diverse English bratoless. dead center on pitch. with a sort of of Side I. where it is subjected to Chris Deed- accents: Liverpool for the Businessman, Scot- sforzando attack. She is a laid-back singer, rick's hysteria -tinged arrangement of the New tish for the Lamplighter, Cockney for the leaning heavily backward into the tempo. All York Strings-too precious for anyone's good. Switchman. Ustinov's stuffy old Geographer these elements combine sometimes to make Would that everything were as good as is also a delight. the tape sound as if itis playing backwards these two songs. The title selection. Be Happy (The Donor). The effect is fascinating. Now, and Jenny all deal with more subtle mat- Yet there is something passive about this ters and those matters have all been reduced to new set. Good as Ms. Sill is. I'm a bit disap- cliches during the writing process. On these pointed that she has not taken all that musi- tunes. Melissa's voice even seems thinner, as if cality into a new space. Nowhere is there a to acknowledge that the writing has slipped. new harmonic notion. Only on Soldier of the Here is an artist in progress. Sometimes she Heart does the artist even approach the energy sounds uncomfortably like Barbra Streisand level of the earlier Jesus Was a Cross Maker. Is and Bette Midler. and her writing occasionally this Ms. Sill's whole bag of tricks instead of a resembles bad Laura Nyro. Nevertheless. Me- place from which to expand and grow? lissaisa real talent who could easily and The most interesting trackis The Donor. swiftly become a major one. H.E. featuring a long. loose, and heartfelt Kyrie eielson passage. Lewy has added a hit of magic with the variable speed oscillator. lowering SAINT-EXUPERY: The LittlePrince. Judee's voice into "bass" range to balance her Peter Ustinov, narrator. ARGO ZSW out in her own "choir." While we're atit, 520/1, $11.90 (two discs). Lewy has also done some very sensitive vocal double -tracking throughout. Antoine de Saint-Exupery's Le petit prince is As a yricist. Ms. Sill is carefully mysterious. certainly one of the most popular children's She explains: "To teach a great truth, drape it stories written in France in this century. But in a veil of secrecy: and entice the listener into like the fairly tales of Oscar Wilde. The Little learning." In mysticism. holy hooks such as Prince is surrounded with a warm, humanistic the Bible are said to work this way, occurring aura. typical of the works of author/pilot Peter Ustinov on several levels of meaning at once. Terrific, Saint-Exupery. that cannot help but reach Totally absorbing Little Prince if your truths are that heavy. To he sure. Ms.

SEPTEMBER 1973 125 Sill has some wonderful moments as a lyricist. ing with the tone of the performance but also But she is mortal. Many of her lyric ideas seem quite different from anything the standard energized by their first line, not the middle nor Dixieland pianists might play. Despite the end. In short they grow out of nice riffs Jimmy's status as guest and Marian's position rather than deep truths. Which is as it should as hostess (and unadulterated soloist on two be. Heavy -truth pop songwriters rarely have numbers), the most fascinating performer on fun or project it. Sometimes "veiled truth" is the disc is Hank Berger. a trombonist with a only vagueness, and vagueness has to do with gruff, swashbuckling vigor that suggests the delayed commitment toexactly whatis sublime Jimmy Archey, while Jack Maheu on thought or felt. clarinet adds a lot of bubbling vitality to the Before I put us all to sleep. let me say that faster tunes. J.S.W whenever Judee Sill is ready to write a direct lyric. I'm ready to love it. One lyric. When the Bridegroom Comes,iswritten by Omer BILLIE HOLIDAY: 55 Original Hits by Bearden. to whom the album is dedicated. Billie Holiday. Billie Holiday, vocals, One of them must be giving the other lessons. with various groups. / Cover the Wa- for they both write in the same passive, private terfront; Yesterdays; God Bless the way. speaking to each other and to God more Child; fifty-two more. ADAM VIII 8002, than to us out here. $8.95 (four discs, mono; available In her orchestrations. Ms. Sill's musical in- Yes, it does! We're one of the from Adam VIII Ltd., 17 W. 60th St., country's largest Mail Order stincts are impeccable as always-her sense of New York, N.Y. 10023). Houses of Stereo Equipment and harmony and line. phrase and fragment. But components. We pass our volume she needs work at the mechanical end-that is. Until the TV record packagers came along buying power right along to you. knowledge of that precision tool which is the with their collections of greatest rock hits, orchestra. The string lines are lovely, for in- greatest swing hits, greatest bits of nostalgia, stance. but they are written too low, in mid -pi- and other odds and ends that could be ped- ano range. giving a muddy effect where sun- dled with the help of an ecstatic and possibly term light is needed (The Kiss). well-known salesperson, record companies On the other hand, congratulations to Judee usually resisted the idea of having their discs Sill for taking on the challenge of orches- mixed in with those of another company. olesalers tration, almost a no -woman's land in record- Records sold by mail-which isthe TV WRITE OR PHONE FOR QUOTATIONS ing (never mind trim and Muzak -y Anita method-are however apparently viewed by AND OUR LATEST FREE CATALOG Kerr). I look forward to hearing what Ms. Sill the companies differently from those sold 7A Aylesbury Road writes once she has a real working knowledge through stores, since they still hold out for TimoniumMd.21093 301,252-6880 of the instruments of an orchestra. She already company purity in their regular store -distrib- has everything else. uted product. The merit of label -mingling. CIRCLE 57 ON READER -SERVICE CARD "Heart Food" is an honest, earnest album. from a jazz enthusiast's point of view, is that It is rich with taste and talent even if it is a bit this is the only way in which really representa- timid. Let's wait for the next set, the one in tive sets by Duke Ellington or Louis Arm- SAVES YOU which Judee Sill really cuts loose. M.A. strong or Dizzy Gillespie or Charlie Parker or almost any jazz star can be assembled. MORE The TV packagers have concentrated on catchall collections, overlooking the possibility of focusing on one performer (except for BY MAIL! a Nat "King" Cole collection, which was ON NATIONALLY ADVERTISED jazz scarcely a breakthrough because Cole made all but a handful of his records for one label. BRANDS HI-FI COMPONENTS! Capitol), until Morris Levy-an old jazz hand THE MCPARTLAND$: Live at the Mon- who was once one of the owners of Birdland ticello. Jimmy McPartland, cornet; and the Embers and who is still head of Rou- /1 KOSS Hank Berger, trombone and banjo; lette Records-used his Adam VIII TV pack- JackMaheu,clarinet;Mariar aging label to create this monumental Billie McPartland, piano; Sal Sparraza, flu- Holiday album. These four discs, totaling gelhorn; Rusty Gilder, bass; Mike Ber- fifty-five selections, are drawn from her great- geron and Larry Bell, drums. Avalon; est period: the Columbia records from 1935 to Wolverine Blues; Basin Street Blues; 1942 with combos led by Teddy Wilson that four more. HALCYON 107, $4.98. included most of the great sidemen of the Sa---9C:g SONY J Swing years; her two periods with Commo- GARRARD DYNACO The musical and personal lives of Jimmy and dore (1939 and 1944); and a few of her earlier Write Today for Our FREE Marian McPartland. which coalesced when he records with Decca between 1944 and 1949. Wholesale Audio Catalog married her during World War II and she The set cuts a brilliant swathe through her 'DIXIE,oneofthelargeststereowhole played piano in his Dixieland band for a work for all three labels. It includes What a salers,fillsallyourorderspromptly.At prices actually LOWER than "Discount- while, were separated during the '50s and '60s Little Moonlight Can Do and These Foolish ers". See ourexciting new Wholesale only to come together again in the '70s. In the Things from Columbia; Strange Fruit and Price Catalog, or write for quotes. Choose thefamous brandstereoequipment and spring of 1973 they played their first regular Fine and Mellow from Commodore; Lover accessories you desire.Everythingshipped engagement together in fifteen years. at the Man and Easy Living from Decca; as well as factory -sealed. Royal Box of the Americana in New York an unexpected entry, / Can't Get Started with DIXIE HI -Fl WHOLESALERS City. But leading up to that was an evening in the Basie band, taken from a 1937 airshot 5600 Second St N E . Washington. D C20011 Rochester when Marian was playing in the when she was Basie's vocalist. DIXIE HI -Fl WHOLESALERS Monticello Room and Jimmy flew in to join With this as a precedent, maybe there is I5600 Second St. N EWashington 0C 20011 her for this recording. The result is a pleasant hope for those all-inclusive sets by top jazz Please rush me your FREE Wholesale Audio Catalog and complete information. I under- mixture of solid Dixieland and the lightening stars that never seemed possible before. To be Istand there is no obligation. touch of Marian's more contemporary piano. realistic, however, it is doubtless only because IName The balancing effect of her piano is partic- of the current interest in Billie Holiday gener- Address ularly noticeable in an old standard such as ated by the film Lady Sings the Blues that this ICity State Zip Royal Garden Blues. when the usual Dixie set was put together. So the first step is to get a :2-635-4900 routineis suddenly moved from itspre- movie made-which makes Charlie Parker the dictable path by her piano solo, quite in keep- next in line. J.S.W. CIRCLE 16 ON READER -SERVICE CARD l Is HIGH FIDELITY MAGAZINE JIMMY RUSHING: Who Was It Sang That Song? Buck Clayton, trumpet: Dickie Wells, trombone; Julian Dash, tenor saxophone; Sir Charles Thomp- SAVE! son, piano; Gene Ramey, bass; Jo MONEY TIME FREIGHT Jones, drums: Jimmy Rushing, vocals. Baby. Won't You Please Come Home: QUALITY STEREO EQUIPMENT MOUNTS I Surrender. Dear: Ail of Me; three AT LOWEST PRICES. more. MJR 8120, $5.50 (available bk. YOUR REQUEST FOR QUOTA- 111-F1 SYSTEMS from Master Jazz Recordings, Box TION RETURNED SAME DAY. COMPONENTS 579, Lenox HillStation, New York, FACTORY SEALED CARTONS- N.Y. 10021). GUARANTEED AND INSURED. KITS COMPACTS Among the heritages that Jimmy Rushing left SAVE ON NAME BRANDS LIKE TUNERS AMPLIFIERS us when he died in June 1972 was a record A.D.C. KLH RECEIVERS TURNTABLES company that has proven to be one of the A.R. SHURE more astute creators and distributors of swing- SPEAKERS TAPE RECORDERS DYNACO KOSS ing mainstream jazz. Rushing did not actually Franchised Distributors for over 70 mfrs. found Master Jazz Recordings. but he in- FISHER SONY Largest selection in the country Full manufacturers warranty protection spired it and helped launch it.It came into AND MORE THAN 50 OTHERS Only bra nd new, factory sealed components existence because Bill Weilbacher. an adver- Fast, fully insured shipments BUY THE MODERN WAY Double -boxed cartons where possible tising man and an unquenchable Rushing en- Same day reply to your inquiry thusiast. threw a jazz party featuring Rushing BY MAIL-FROM Ertra savings on complete systems in 1967 and then so regretted not having re- Lowest possible prices it corded that he took Rushing and some WRITE FCR OUR QUOTE AND SPECIALS BULLETIN friends into a studio. This resulted in the first VISIT OUR NEW MODERN WAREHOUSE MJR record. A second Rushing party was re- FREE AMPLE PARKING AT PREMISES corded live, and part of the music produced then was released on MJR 8104. "Gee. Baby. Ain't I Good to You.- a superb evocation of the Kansas City small -group sound and sty le. illinoit audio ErAR-STON This new disc is more of that same session. and it shows that Weilbacher did not put all Department 217H 146 OLD BROOKFIELD RD. (NOM) his goodies in that first package (or perhaps 12 E. Delaware Place DANBURY, CT. 06810 nothing played at this party was less than ex- Chicago, Illinois 60611 DA NINNY, CT. 12031 744-6421 cellent?). At this session. Rushing was hus- 312-654-0020 N. I CITY 12121 369-6212 banding his rough. leathery voice. coasting A through the early parts of a piece but always CIRCLE 25 ON READER -SERVICE CARD CIRCLE 12 ON READER -SERVICE CARD saving enough to rise to a rousing. open - throated Rushing climax. But there is much more here than Rushing. RECEIVERS TAPE In 1967. Buck Clayton was still playing lines TUNERS that floated with a gossamer beauty: Dickie RECORDERS VCDETO Wells was full of gruff humor: and Julian AMPLIFIERS DECKS Dash s;is asserting his right to he considered ;itleast an adopted son of Kansas City. The WORLD WIDE rhythm section.particularlySir Charles Thompson. spreads an ideal carpet for Rush- LOW STEREO WHOLESALERS ing and the soloists. It was a beautiful musical THE BEST OF BOTH night and it has made two beautiful records. WORLDS DIRECTLY J.S.W. PRICES TO YOU JOE MURANYI AND HERB HALL: Clarinet ON FAMOUS BRAND Wobble. Joe Muranyi, clarinet and soprano NATIONALLY ADVERTISED saxophone; Herb Hall, clarinet; Dill Jones, pi- WHO ARE ano; Bill Pemberton, bass; Oliver Jackson, STEREO THESE GUYS? drums. Louisiana: Frankie and Johnny: Blue COMPONENTS We're a group of young people that are Turning Grey Over You; four more. FAT CAT'S well informed about the Hi-Fi world. We're FAST DELIVERY r.o ripoff. We give you the best value for JAZZ 118, $5.98 (available from Joe Muranyi, your money, plus honest practical advice. 13 E. 9th St., New York, N.Y. 10003). FACTORY SEALED CARTONS Every major brand is in our line, we have WRITE TODAY FOR OUR QUOTE stock for immediate delivery and you get factory sealed cartons with full warranty. Joe Muranvi is probably best known as the last Write your needs to us today and if it's an of the long line of clarinetists who filled the A. D. R. entire system, we'll save you even more. clarinet chores With Louis Armstrong's All Send for free catalog, current mfg. spe- - :ials and price list. Stars. a somewhat thankless task since his ef- AUDIO forts were concentrated on playing the same 6200 CHILLUM PLACE N.W. WE'RE OFFERING YOU ALL novelty tune night after night. These duets WASH., D.C. 20011 THE FAMOUS NAMES IN with Herb Hall (whose brother Edmond was (202) 723.6060 STEREO COMPONENTS one of Muranyi's predecessors with Arm- strong) offer a much more impressive view of SEND FOR BELOW MuranYi's talents. The two clarinets comple- OUR FREE NORMAL DISTRIBUTORS' PRICES ment each other beautifully. deepening the CATALOG lovely woodsy tones of the low register pas- TOKYO SHAPIRO sages of their slowly sinuous ll'hen You aml SPEAKERS ALL 26050 Richmond Road If ere Young. 1/a;:gre and chasing each other Bedford Heights, Ohio 44146 CARTRIDGES Phone (216) 292-5832 merrily through .Vabody'y Sweetheart. As STEREO ATTENTION: soloists. the two clarinetists are quite distinc- COMPACTS Midwest Residents: Buy from us, SYSTEMS save excessive freight charges. tiveHerb Hall working in a warm but per- CIRCLE 2 ON READER -SERVICE CARD CIRCLE 61 ON READER -SERVICE CARD SEPTEMBER 1973 12- HIGH FIDELITY CLASSIFIED tapes & records 1515 Broadway, New York, N. Y. 10036 Phone: (212) 764-7300 "HARD TO GET" RECORDS -ALL SPEEDS. RECORD Exchange, 842 Seventh Avenue, New York, N.Y. 10019. Deadline is two months prior to publication date. NOTICE NEW RATES: Beginning with the Full Payment Must Accompany All Copy for Soundtrack Record Album (new) and price list $2.00. September issue Classified Ads except those placed by Whelan, 232IC HillLane, Redondo Beach, Calif. 90278. 1 -time $1.20 per word per issue, min- accredited advertising agencies. Old Radio Programs, Cassettes. $2.00 hour!!! Box 192 imum $12.00. AM, Babylon, N.Y. 11702. 6 consecutive issues -$1.10 per word Name_ per issue. MEMOREX and CAPITOL blank tapes. LOWEST 12 consecutive issues -$1.00 per word PRICES in the USA. Send 10 for catalog. S&B Distribu- tors, P.O. Box 330, Woodmere, New York 11598. per issue. Address Words in caps at 10c extra each. Reissues of classic, jazz and SWING recordings. Hun- dreds of albums. Many selections never before on LP's. Display Classified and Discounts Write for free catalog to: Tulip Records, Dept. HF-P.O. City State. Zip. Box 6277, San Francisco, Calif. 94101. 1 inch by 1 column -$200. 2 inch by 1 column- 400. (SOUND -TRACK) SUPER SPECIALS MASTER OF THE Telephone WORLD -MONO -$2.99 ONE EYED JACKS -MONO -$5.99 3 inch by 1 column- 600. SUPPLY LIMITED -SHIPPING CHARGES -.50 1ST 5% discount for 0 consecutive Issues; RECORD -.15 EACH ADDITIONAL. INTERESTING 10% discount for 12 consecutive issues. My classified ad copy is attached. RECORD SHOP, 220 WEST 23RD ST., N.Y., N.Y., 10011.

TAPES! TAPES! TAPES! EIGHT TRACK STEREO. TOP for sale Protect your records Poly sleeves for Jackets 60 ARTISTS. TOP QUALITY. FULLY GUARANTEED. HUN- Roundbottom Inner sleeves 56 Poly lined paper sleeves DREDS TO CHOOSE -$3.50 EACH -3 FOR $10.00 VOL- AR, KLH, ADVENT, DYNACO, RECTILINEAR. ADC OWN- 126 White jackets 27C Postage 51 .00Record Supply UME BONUSES. SHIPPING POSTPAID -FREE CATA- ERS -our low cost electronic equalizer adds full octave House, Kilburn, New York 10931. LOG -1 N S Industries, P.O. Box 2265, South of new bass, provides three broadband tone control. Hackensack, N.J. 07606. Three reviews, literature from NORMAN LABORA- RARE RECORDINGS. Opera, Symphonic. Sound- TORIES. 520 Highland Parkway, Norman, Oklahoma services tracks, Shows. Free Catalog; John Hankins, 100 Brent - 73069. way Cir. *53, Knoxville, Tenn. 37919. $120 Uher mixer now $60. Mengel, 1306 Rosemary, Co- RENT 4 -TRACK OPEN REEL TAPES -ALL MAJOR la- COLLECTORS RECORDS OF DALLAS Presents the lumbia, Mo. 65201. bels -3,000 different -free brochure. Stereo-Parti, 57 St. James Drive, Santa Rosa, Cal. 95401. largest oldies record catalogue. Over 6000 records listed RARE ROMANTIC PIANO SCORES-Moscheles, Hen- for sale, 50e to $150.00 years 1948 to 1972. Cost of 60 selt, Herz, Litotfl, Scharwenka, Scriabin, etc. Free cata- RENT STEREO TAPES $1.50 week, Postpaid -new. page catalogue is $3.00 refundable with the first order. log. MUSIC TREASURE PUBLICATIONS. Box 127, High - Catalog 25e. Tape Library, Box 8126, Washington. D.C. Send to Collectors Records, POB 44017 B, Dallas, Texas bridge Station. Bronx, New York 10452. 20024. 75234. SCOTCH Recording Tapes. Biggest Discounts! Cata- MUSIC GAZETTE -SOUNDTRACK TABLOID -FREE log 10e. Tower, Lafayette Hill. Pa. 19444. new equipment for sale SAMPLE! RTSH, 1111 S. Benito. Suite F, Alhambra, Cali- fornia 91803. ATTENTION LEAK SANDWICH OWNERS -Unbeliev- DON'T PAY THE HIGH MAIL ORDER PRICES, Private collector several thousand LP sound tracks. able opportunity awaits you -write: ERCONA CORPORA- THIEVES WAREHOUSE IS COMING TO YOUR AREA. TION 2121 Bellmore Ave., Bellmore. N.Y., 11710 Low prices. 2501 Broadway, Rockford, III. 61108 (815) FRANCHISES AVAILABLE. THIEVES WAREHOUSE, 397-2220. P.O. BOX 8057, PENSACOLA, FLORIDA 32505. Rare Show Recordings including "Private" and "Live." miscellaneous DALOUIST PHASED ARRAY LOUDSPEAKER SYS- Send self addressed stamped envelope for free listings. TEM. Immediate delivery, $350.00 each. This great David Hummel, 1117 N. Center, Apt. 7. Royal Oak. Mi. speaker, introduced by the renowned Saul B. Marantz .s SLEEP -LEARNING -HYPNOTISM! TAPES, RECORDS, 48067. the answer to the perfectionist's dream. It has the deep books, equipment. Also Alpha Brainwave Feedback de- bass and power handling of the best dynamic speakers RECORD SET. Tremendous Value. 500 Cocktail Hour vices. Free catalog. Autosuggestion, Box 24-F, Olympia, combined with the balance, smoothness, and trans- Melodies, 10 LP's. 60% off retail. Write for free details. Washington 98501. parency of the finest electrostatics. Free literature, expert Longines Symphonette, Dept. CA3 P.O. Box 50, New "Buy from hill wholesalers. List $3.00. Audio Sales Box advice. Opus One, 400 Smithfield, Pittsburgh, Pennsyl- Rochelle, N.Y. 10810. 39H, Bluepoint, N.Y. 11715. vania, 15222, (412-281-3969). SOUNDTRACK COLLECTION. First time offered. List 12" White Record Jackets 5.20 each. Postage $1.00. 25 cents. Box 715, Florissant, MO 63033. Precision, 242 W. 23 Street, Hialeah. Fla. 33010. THREE GREAT STEREO ALBUMS: (1) "The New SENSATIONAL NEW AUDIO REPORTING SERVICE. McKinney's Cotton Pickers" (1930 -style big band jazz,

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HIGH FIDELITY MAGAZINE I2S sonal reflection of his brother's style, Muranyi HIGH FIDLEITY in a clean, unaffected manner. Dill Jones tickles lightly behind the clarinets and gets CLASSIFIED some chances to step out with a few piano solo Why pay Kennedy/ Twit/ Oswald murders! Actualepi- passages, while Bill Pemberton puts his bass sodes + police recordings! Reels -cassettes- $10. Majes- through a very valid introduction to Just a tic, 9651 Foxbury, Pico -Rivera, California 90660. retail for hill? Gigolo. I.S.W. Opera tapes historical performances of last 40 years - Buy direct from us, and you Unbelievable treasures and rarities -ALSO LP RECORDS. Ed Rosen, Box 97, Freeport, N.Y. 11520. save money with our high - RARE SOUNDTRACKS -SHOWS. Extraordinary list. Write volume prices on more than 100 to Film Music, Box 1195, Beverly Hills, Ca. 90213. name brands. Order from SOUNDTRACKS for the discriminating. EVERY rein brief corded score by: Barry (26 titles), Goldsmith (19), New- the branch man (9). ALL major composers, including Bernstein (21 nearest you scores), Morricone (22), North (11). RAINTREE, SWAN, ERIC WEISSBERG AND STEVE MANDEL: Duel- COWBOY, hundreds of mint deletions. BRIGHTON'S, ing Banjos. Warner Bros. BS 2683, $5.98. to save time P.O. Box 1722. Santa Monica, Calif. 90406. This LP consists of Dueling Banjos. the title and money FREE 200 -PAGE CATALOGUE offers over 1200 fine track from the soundtrack of Deliverance as on recordings of Renaissance, Baroque, Classical, Roman- played by Eric Weissberg and Steve Mandel tic and Modern music. All stereo recordings. Highest quality at budget label prices. Available only by mail from tacked onto a reissue of an Eric Weissberg/ freight. MUSICAL HERITAGE SOCIETY, Box 932 HF, New York, Steve Mandel Elektra album. "New Dimen- N.Y. 10023. sions in Banjo and Bluegrass." Strictly for BLANK RECORDING TAPE brand new, top quality, banjo purists who probably have the original splice free. Open reel, cassettes and video tape. Acoustic disc anyway and therefore will not be taken by Dynamics, Box 500, Hewlett, N.Y. 11557. this misleading repackaging. H.E. SOUNDTRACKS. Large free catalog. Star 28, Rt. 2, Box 1944 R, Escondido. Calif. 92025 20 YEARS OF *1 Ms. COLUMBIA KG 32007, Midwest SCOTCH BRAND CASSETTES 1-9 '10 48 $6.98. SC -45 Low Noise, 45 Min 1.351.21 1.15 I don't know what the justification for this LP SC -45 High Energy. 45 Min. 1.851.481.40 SC -601 -Hr. Low Noise 1.501.35 1.21 is, except that it gives CBS something better to SC -601 -Hr. High Energy 1.80 1.62 1.54 do than fire executives. It is a two -disc set con- Hifi SC -90 1-% Hr. Low Noise 2.252.02 1.92 SC -90 1-% Hr. High Energy 2.702.432.31 taining. in chronological order, twenty Co- Wholesale SC -1202 Hrs. Low Noise 3.302.702.56 lumbia releases that made it to number one on Shipping -Handling + 10% ( + 5% Over $80.00) & MAIL ORDER DIVISION *Above May Be Assorted For Best Quantity Price the national charts. Needless to say, there are strange bedfellows: Tony Bennett, Joan We- Send for our fro* catalog! 2455b Wisconsin Ave, TAPE RECORDERS ber. Janis Joplin, and the Byrds all on one Downers Grove. III 60515 ABOVE record. Personally, I think they should have 3309 E. I W Carpenter Frwy, DEALER recut the songs, switching things around so Irving, Tex 75062 that Johnnie Ray sings Mr. Tambourine Man, 5 COST! CIRCLE 38 ON READER -SERVICE CARD (Y0 and Blood. Sweat & Tears Hey There.M.J. SCOTCH MAGNETIC TAPE (USED) SUBSCRIBERS -PLEASE NOTE: STARDRIVE:IntergalacticTrot.Elektra * 150, 1800 Ft. 7 inch reel, 1 mil poly- Please include a HIGH FIDELITY 75058, $5.98. ester, recorded once, bulk erased (no label to insure prompt service whenever you box), 99$ plus 10% shipping 8. han- This one's a nice trip. Robert Mason plays a dling (min. order $10.00);slightly write us aboutyour subscription. The used 10-% Inch fiberglass reels. %" synthesizer rigged like a real keyboard, hole, 504 each, plus shipping by wherein lots of notes are played at once in- numbers and letters on the label are essential weight and zone. stead of the usual Moog -one -line -at -a -time - in helping our Subscription Department quick- SAXITONE TAPE SALES approach. Exciting, and well recorded. M.A. ly identify your records. 1776 Columbia Rd., NW. Washington, D.C. 20009 New Address JUDY GARLAND AND LIZA MINNELLI: "Live" at the London Palladium. (Simon Rady, name employment opportunities prod.) CAPI1TOL ST 11191, $5.98. Tape address EPICURE PRODUCTS, INC. is seeking quality appli- 8XT 11191, $6.98; 119 4XT 11191, $6.98. cants to meet expansion needs. Applicants must be will- An Academy Award winner always generates ing to travel extensively four or five days per week; be a great deal of interest. Liza Minnelli received city knowledgeable of, or willing to learn, all aspects of the hi this year's best -actress Oscar for her perform- fi industry -products, policies, and future developments. Position requires a professional approach to sales, and a ance in Cabaret, therefore it was inevitable state zip person interested in rapid advancement into a growing that Capitol would re-release this album: a management team. Base salary and monthly incentive. one -disc version of the original two -record Epicure Products, Inc. Call. Robert Fuller, Personnal, Use this form for Newburyport, Mass. 01950. (617) 462-8191. preservation of the concert the night of No- vember 8, 1964, when Judy Garland returned CHANGE OF ADDRESS: to the London Palladium after a fourteen -year Please let us know at wanted to buy absence and brought her daughter Liza with least6 weeks before her. you plan to move. For CASH FOR UNWANTED STEREO LPS AND PRERE- On this recording. Liza gives an energetic faster, more accurate CORDED TAPES. Roder. 81 Forshay Road, Monsey. New but undisciplined performance. and Judy, service, attach maga- York 10952. alas, is not in the best of voice. Nevertheless, zine address labelin 'lonophone Speaker Duk-5 ionovac Professor G. Mor- this disc is the only memory we have of one of space provided, fillin ris, Erindale College, 3359 Mississauga Road, Missis- your name and new H.E. sauga, Ontario', Canada. those historic show -business events. address, and mail to:

HERR HARRY HONK: Happy Honky Tonk. HIGH cabinets BASF BB 20148, $5.98. FIDELITY An informal but highly likeable collection of Subscription Service COMPONENT CABINETS -Direct from the factory at Department low factory prices. Finished -Unfinished -Kits . .. free bro- old piano -pounders, played by a mystery chure. AUDIO ORIGINALS, 546 S. Meridian St., Indianap- quartet featuring piano, bass, drums, and 2160 Patterson Street olis, Ind. 46225. banjo. M.J. Cincinnati, Ohio 45214

SEPTEMBER 1973 129 ten overfast and overidiosyncratic read- Ampex L 490221, 71/2-ipsreel, $7.95, the tape ing is one of the most exciting I've ever notes but no texts included; M 31221 encountered. cassette, $6.95) and a Von Karajan deckBY R D. DARRELL Dolbyized cassettes MT 31803 and string -orchestra program featuring the MT 31814 ($6.98 each) are respectively first tape version of Richard Strauss's the first tapings of Bernstein's 1960 in- Metamorphosen(DG /Ampex L 43066, terpretatively controversial Franck Sym- $7.95). The former is an unqualified Ragtime Redivivus. The quintessential phony and the1965 Casadesus/Szell triumphinterpretatively and orches- spirit of the incomparable Scott Joplin is coupling of Mozart's Piano Concertos trally, a success with some slight reserva- very much alive and well in-of all Nos. 21 and 24. I hesitate to commend tions where soloists Yvonne Minton and places-the New England Conservatory the former even to Bernstein fans, for it Rene Kollo are concerned, and over-all of Music. Nothing new can be said in is not only excessively erratic as a read- my now -preferred tape version. The praise ofThe Red Back Bookprogram of ing but the performance itself is often Metamorphosen isso welcome for the Joplin pieces played by the NEC Rag- strained into tonal harshnesses exposed sake of the remarkable music itself that I time Ensemble under Gunther Schuller only too candidly by the still impres- can almost-but not quite-forgive the (Angel 4XS 36090 cassette; 8XS 36090; sively robust engineering. The latter, unconscionably lumbering and over- $7.98 each). Nevertheless, it can't be re- however, is thrice welcome: as the only inflated treatment of the overside Mo- peated too often that thisis Musical now -available taping of Mozart's Piano zart K. 546 Adagio and Fugue and Americana at its best and that the tanta- Concerto No. 24; as a memorial to Casa- Beethoven's Op. 133Grosse Fuge. lizing lilt and the precise shaping of the desus' pianistic elegance combined with The brimming two -reel so-called "San music are matched by the elastically con- Szell's artistry as an accompanist; and Francisco Opera Gala" (London/Am- trolled buoyancy of the performances of not least for its still delectably bright - pex R 490219, $21.95; P 31219, three cas- a dozen gifted players. And the general toned piano and exquisitely transparent settes. $22.95; no notes or texts included) praise for the crisp clarity and ungim- orchestral sonics. reminds us that even Dolbyization can't micked naturalness of the recording reduce noises built into recordings made should be specifically augmented by my Two Indispensable New Catalogues.If before Dolby -A masters were common. testimony that direct A/B comparisons you wonder which of the SOGML series For this anthology of some forty-two se- of the cassette with the disc edition re- previously taped still remain in print in lections-and starring about as many veal them sonically identical in every re- their original open -reel editions, you'll soloists-has been drawn from record- spect except the non-Dolbyized tape sur- findthe answers (along with a vast ings made all over the world and over faces, which are if anything a shade amount of useful other information) in many years. (Its only connection with the quieter than the disc's. the handsome, big (141 pages)Columbia San Francisco Opera is that all these This release should not be skipped Records: Masterworks and Odyssey Cata- soloists have sung there at one time or over by any music lover-and especially logue/1973,including all tape formats. another.) But regardless of the variable not by anyone who, like me, studied at It's available via Columbia dealers and technologies involved, the star-studded the New England Conservatory in the bears a list price of $2.00. More startling roster here is one that few if any opera years when a Chadwick rather than a in its revelations of a wealth of cassette buffs can resist even though they already Schuller was Director and participation and cartridge repertories wholly un- may have many of the complete -opera in a project like this would have been in- familiar to tape collectors who haven't and recital releases in which these ex- conceivable. been following European import activi- cerpts first appeared. ties, is the 74 -page illustrated tapes cata- Elsewhere we are unpleasantly re- Dolbyized Musicassette "Masterworks logue just issued by Peters International, minded that such old tape faults as re- Library." Resurrecting more recent his- Inc. (600 Eighth Ave., New York City verse -channelspillover and pre -echo toryisthe role of Columbia's extensive 10018), available for 50e postage and stillhave not been consistently con- "Sound of Genius Masterworks Li- handling fee. It lists some 600 programs quered despite all other technological brary" series of reissued programs drawn (in both formats), of which some 100 are progress. Spillover is far too evident in mostly from the early and mid -Sixties. I classical or light classical, the rest popu- the first -ever taping of Pergolesi'sStabat mentioned one of them-the Graffman/ lar or ethnic in nature coming from Af- Mater(Archive/Ampex L 43114. 71/2-ips Bernstein Rachmaninoff coupling-last rica, the British Isles, France, Germany, reel, $7.95; notes -and -texts leafletin- month and there's a batch of more than Greece, Israel,Italy, and the Middle cluded). But in this case I, for one, have twenty others demanding attention. East. The classical list is particularly rich little sympathy for the fate of this vastly among which I feel I should give prece- in the operatic, operetta, and other vocal overrated music and its present anachro- dence to the three that have not been recitals never too plentifully represented nistically romanticized performance. available previously in any tape edition. in domestic cassette/cartridge cata- There is considerable spillover too in, First place is easily won by the oldest logues. but fortunately confined to, the two -min- recording in the whole series, the 1956 ute blank A -side beginning of Pollini's mono version of Bach'sGoldbergVari- More Dolbyized Open Reels. Public re- Chopin Opp. 10 and 25 Etudes (DG/ - ations with which pianist Glenn Gould action to Ampex's first Dolbyized reel re- Ampex L 43291, 71/2-ips reel, $7.95) and made his sensational recording debut. leases evidently has been sufficient to en- the wearisomely long, some thirteen min- (The disc was "electronically re-recorded sure not only continuation but expansion utes, blank A -side beginning of Solti's to simulate stereo" a few years ago.) As is of the policy. It now seems likely that Beethoven Ninth Symphony (London/ all too apparent from the cassette (MT nearly all new classical reel releases will Ampex K 490223, double -play, 71/2-ips 31820, $6.98). the minimal stereoization enjoy the benefits of both Dolbyization reel, $11.95, notes -and -texts leaflet in- can't conceal some definite sonic aging, and the other technological advances as- cluded; J 31223, double -play cassette, nor can the Dolbyization eliminate the sured in releases that bear the Ampex II $9.95). But in other respects Pollini's vir- considerable backgroundnoise.Yet, sticker. These advantages are partic- tuosity is breath -taking. and Solti's mag- while I much prefer to hear the S. 988 ularly welcome for such almost over- nificently proportioned if not exception- Variations in a harpsichord version (like whelmingly "big" -sound recordings as ally dramatic Ninth may justify its Ralph Kirkpatrick's fine Archive 924 021 thelatest addition toSolti's Mahler delayed start by avoiding the usual break cassette).I must admit that Gould's of- series,Das Lied von der Erde(London/ in the slow movement.

130 HIGH FIDELITY MAGAZINE Advertisement GTE Sylvania sent the following letter to the editor of HIGH FIDELITY Magazine on July 13, 1973.

SYLVANIA

Robert T. McCarthy General ProductManager Entertainment ProductsGroup

July 13, 1973

The Editor High FidelityMagazine House The Publishing 01230 Great Barrington,Mass.

Dear Sir: magazine that the manyreaders of your We are sure review of ourstereo read with greatinterest the appeared in your CR2743A, which receiver, Model appreciates the many Sylvania August issue. regarding majorperformance favorable comments parameters ofthe receiver. portions of the with other However, wetake issue article. detailed replyfor publication We willfurnish you a in aforthcoming issue.

Sincerely,

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