Are We in Music's Afro-American Epoch?

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BASE LIBRARY, AFL 2829 FORMERLY HI FI/STEREO REVIEW FORCE EASTERN TEST RANGE RIC F

FEBRUARY 1969 60 CENTS

IOW CONSUMERS UNION TESTSLOUDSPEAKERS 14* RECORD OF THE YEARAWARDS FOR 1968 ** ARE WE IN MUSIC'S AFRO-AMERICANEPOCH?

t'Z6ZE euv H 67SZ -1:1V N 88I1 :sovo zloccale6Nrcs:i. 61EN CHECK THESE IMPORTANT EXTRAS: CHECK THESE FAMOUS FEATURES Line -cord antenna eliminates need for outside Integrated Circuit preamplifier reduces distortion antenna except in areas of unusually poor reception. to inaudible levels. Field Effect Transistor tone New 3 -dimensional back -lit dial results in improved control gives you a wider range of control adjustment. visibility. New muting circuit eliminates noise All -silicon output circuitry provides effortless between FM stations. Plug-in speaker connectors instantaneous power, with maximum reliability. eliminate phasing problems. si Silver-plated Field Automatic stereo switching instantly switches itself Effect Transistor front end receives more stations to stereo operation ... lets you relax and more clearly with less distortion. Integrated Circuit enjoy the music. IF strip virtually eliminates all outside interference. CHECK THIS UNBELIEVABLE PRICE: ONLY .95 342C Control Features: 342C Specifications: Dual Bass and Treble controls; Stereo balance control; Power: IHF ± 1 dB (a) 4 Ohms, 100 Watts, IHF -1-.1 dB Input selector; Tape monitor; Speakers #1 On/off; (92 8 Ohms, 80 Watts; Continuous Output, single channel, Speakers #2 On/off; Power On/off; Volume com- 8 Ohms, .8% distortion, 30 Watts; Selectivity, 40 dB; pensation; Muting; noise filter; Perfectune automatic Frequency response ± 1 dB, 20-20,000 Hz; Hum and tuning indicator; Stereo indicator light; Precision noise, phono, -55 dB; Cross modulation rejection, 80 dB; signal strength meter; Front panel stereo headphone Usable sensitivity, 1.9 itiN; Tuner stereo separation, 30 dB; output; Volume control; Stereo/mono mode switch. FM IF limiting stages, 9; Capture ratio, 2.5 dB; Signal to noise ratio, 60 dB; Phono sensitivity, 4 mV; Dimensions: 153/4"L x 5"H x 111/2 "D.

Prices and specifications subject to change without notice. Walnut -finishcase optional. C3 SC OTT H. H. SCOTT, Inc., Dept. 245-02, Maynard, Mass. 01754 Export: Scott International, Maynard, Mass. 01754.

CIRCLE NG. 100 ON READER SERVICE CARD In he resof thismagazine, you'll read about yest day's rece ers..... six remarkable technical developments make the new 100 watt Scott 342C the world's most advanced receiver.

Scott once again demonstrates its famed leadership and innovation in highfidelity. Scott's new 342C incorporates a host of sophisticated solid-state devices andtech- niques, generated by the latest computer, aerospace, and communications theory. This is the next generation in electronics for the home . .. setting new performance standards for the high fidelity industry.

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An automatic light that tells you when A quartz filter IF section that never needs "Wire -Wrap" . . . a permanent connec- you'reperfectlytuned:Perfectune realignment:Scott's quartz crystal lattice tion techniquethateliminates solder Scott's new automatic tuning indicator, filter, a feature never before found in a joints: For the first time in the high fiis actually a miniature computer ... and receiver inthis price range, ends IF delity industry, here is a successor to the is the world's most accurate and reliable realignmentworries. Now, regardlesssolder joint, for years the most failure - tuning device. Perfectune is more accu- of age or operating temperature, the prone area of electronics assembly. The rate than a meter; it instantly senses the tuner IF section of your receiver will wire -wrap technique permanently bonds FM signal and tells you when you're never require realignment or adjustment.the electrical conductor to its terminal, tuned for lowest distortion and best re- In addition, this costly feature gives youand has been reliability -proven in the ception. A signal strength meter is also the extra dividends of very low distor-most stringent military and aerospace included for orienting your antenna for tion and incredible selectivity! communications applications. best reception. ,"""' 111.11111111.111.11MUMMIMMI 11.1.1111111...111111111111.11. immimmummom mommummumird,.,""'.

0.1EBB:MENNE 2 5 10 20 S NE:WAVE POWER OUTPUT PER CHANNEL IN WAITS NewIC multiplex section gives better re- New F/C/O circuitry gives virtually disPrinted circuit, modules snap into main liability and performance in FM stereo: tortion-free listening, even at low vol- chassis: From the fast -paced world of Scott introduces the world's first com- umelevels: Scott's new 342C incorpo- computer electronics comes the concept plete high fidelity multiplex section with rates Full Complementary Output, so of the plug-in complete circuit boards. an integrated circuit. No larger over- no matter how low you adjust the vol- Now, servicing,ifever necessary, can be all than a cigarette filter, this integrated ume, you stillget perfect undistorted accomplished quickly, reliability, andin- circuit incorporates 40 transistors and sound. And, Full Complementary Out- expensively.Troublesome solder con- 27 resistors. Scott's new IC multiplex is put means that maximum undistorted nectionsbetweencircuitboardsare far more reliable and gives much better power is available atboth8 Ohms and now eliminated. stereoseparationthanconventional 4 Ohms ... vital when you want to con- printed circuit construction. nect extra speakers. 0 1969, H. H.Scott, Inc. NOW read about tomorrow's State of the art in automatic turntables. Be critical. Motors:types -2 good -1 better

The Induction Motor ... inost popular, The Synchrono is Motor ... correct The Synchro-Lab MotorTm... perfect least accurate. Most automatic turn- speed, incorrect .voice. At first glance, speed, perfect choice. A motor that com- tables are built around induction mo- the ideal turntable motor would seem to bines high starting torque and synchro- tors. Some are given special names be the conventional synchronous type. nous speed accuracy has obviously (usually describing their pole structure This rotor never '''slips" to affect turning been needed. The Garrard La3oratories or starting torque). When well designed accuracy because it is locked in to the designed the Synchro-Lab Motor to and manufactured, they have high start- precise 60 -cycle frequency of the power meet these needs, by combining the ad- ing torque ... get the platter up to full supply. Turning speed cannot vary vantages of both types of motors. This speed quickly... and are relatively free when voltage fluctuates. when room new synchronous motor reaches the cor- from rumble. But, the rotor of the in- and/or motor temperatures 2hange rect speed instantly and locks in to the duction motor "slips" in relation to the or when record loads increase. How- 60 -cycle current ... no matter how the magnetic field and varies the motor's ever, the conventional synchronous mo- power line voltage varies ... or the tem- speed with changes in power line volt- tor also has its drawbacks. Starting perature changes ... or how many rec- age, turntable load and temperature. torque and running power are often too ords you play at one time. For the many Under less than ideal conditions, as in low. And, to increase the torque and people whose musical senses are easily your home, these speed changes can power means tc increase noise and distressed by variations in pitch, the raise or lower not just the tempo, but rumble levels ..and involves dispro- Synchro-Lab Motor will be a constant the pitch of your recorded music. portionately high expense. assurance of listening pleasure. There are, of course, other benefits which stem from the Synchro-Lab Motor, notably the elimination of the need for variable controls to obtain proper speed, and of heavy turntables which tend to cause rumble through accelerated wear on the important center bearing over a period of use in your home. The Synchro-Lab Motor powers five Garrards, priced from $57.50 to $129.50 for the SL 95 Automatic Tran- scription Turntable shown above. These units incorporate other Garrard -engineered innovations such as anti -skating compensation; cueing and pause controls; highly advanced, low -mass tonearm systems. Feature -by -feature descriptions of all models are to be found in a com- plimentary Comparator Guide. Let us send you one. Write Garrard, Dept. AB5-9, Westbury, N.Y. 11590.

World's Finest FORMERLY MI FI/STEREO REVIEW Stereo Review FEBRUARY 1969 VOLUME 22 NUMBER 2 THE MUSIC THE BASIC REPERTOIRE Schumann's Symphony No. 4, in 1) Minor MARTIN BOOKSPAN 51 THE AFRO-AMERICAN EPOCH Are we witnessing, the development of a new musical language? HENRY PLEASANTS SS CAN AUDIOPHILIA BE CURED? A cri de cocur from a hopeless audiophiliac PETER TURNER 60 RECORDING MILES DAVIS An observer reports on the professionals' working habits MARTIN WILLIAMS 68 RECORD OF THE YEAR AWARDS-I968 STEREO REVIEW'S critics and editors select the industry's top artistic achievements 71 CONTEMPORARY MUSIC: TWO UNQUIET STREAMS Nonesuch releases a pair of provocative discs from Buffalo ERIC SALZ\IAN 106 HELLO, ZORBA; BYE-BYE, BROADWAY what has happened to the American musical? PETER REILLY 136 THE EQUIPMENT NEW PRODUCTS A roundup of the latest high-fidelity equipment 20 HI-FI QUESTIONS AND ANSWERS Advice on readers' technical problems LARRY KLI\ 24 AUDIO BASICS Components or Consoles? HANS H. FANTEL 30 TECHNICAL TALK Receiver Tests; Hirsch -Houck Laboratory reports on the Bogen LS -I0 speaker system. the Scott 388-B z1:11 /F111 receiver, and the Shure phony cartridge JULIAN D. HIRSCH 33 HOW CONSUMERS UNION TESTS SPEAKERS An inside view by the engineer in charge of audio testing LARRY SELIGSON 62 INSTALLATION OF THE MONTH Symmetrical Stereo WILI IAM WOLLIIEINi 67 TAPE HORIZONS Bole Learning DRUMMOND MCINNIS 145 THE REVIEWS BEST RECORDINGS OF THE MONTH 79 CLASSICAL 74 ENTERTAINNIENT 119 STEREO TAPE 141 THE REGULARS EDITORIALLY SPEAKING WILLIAM ANDERSON 4 LETTERS TO THE EDITOR 6 GOING ON RECORD JAMES GOODERIEND 46 INTRODUCING THE STAFF: HENRY PLEASANTS DRUM\IOND MCINNIS 116 ADVERTISERS' INDEX: PRODUCT INDEX 146 COVER: "YOUNG WOMAN WITH A VIOLIN". OIL BY 011AZIO GENTILESCHI (1563.1039)1 COURTESY THE DETROIT INSTITUTE 01. AR", opyrIght p 1968 by Ziff -Davis Publishing Company. Allrights reserved. Stereo Review, February, 1969Volume 22, Number 2. Published monthly at:307North Michigan Ave., Chicago,Illinois 60601, byZiff -DavisPublishing Company-also the publishers of Airline Management and Marketing, Boating, Business & Commercial Aviation. Car and Driver, Cycle. Electronics %Vorld. Flying Popular Photography. Skiing, Skliog Area News, and Skiing Trail. News (Travel Weekly la published by RobinsonModern Publications, Bride. Popular Inc.. aElectronics. subsidiary of ZIRDavls Publishing Company.) One year subscription rate for U.S.. U.S. Possessions and Canada, $6.00; all other countries. $7.00. Second Class postage paid at chicago. Illinois and at additional mailing attires. Authorized second class all by the Post Office Department. Ottawa. Canada, and for payment of postage in cash. SUBSCRIPTION SERVICE: Forms 357as 9 and allsubscription correspondence should be addressed to stereo Review, Circulation Department, Portland Place, Boulder. Colorado 80302. Please allow at least six weeks for change of address. Include your old address, as well as new-enrlosing if possible an address label from a recent issue. 41-CIRCLE NO. 103 ON READER SERVICE CARD FORMERLYStereo HI FI Review/STEREO REVIEW PUBLISHER PHILLIP T. HEFFERNAN EDITOR WILLIAM ANDERSON MANAGING EDITOR WILLIAM LIVINGSTONE MUSIC EDITOR JAMES GOODFRIEND TECHNICAL EDITOR LARRY KLEIN EDITORIALLY SPEAKING ASSOCIATE EDITOR ROBERT S. CLARK GROUP LISTENING ART DIRECTOR BOATS PATCHOWSKY THE morning's mail recently brought a thoughtful letter from Mr. James Harger, a Somerville, New Jersey reader, who articulated what I believe to be ASSISTANT TECHNICAL EDITOR WILLIAM WOLLHEIM a rather common difficulty: What is the answer to the problem of group listening CONTRIBUTING EDITORS to recorded music? Mr. Harger has twice tried to solve it with large groups-fine CLIVE BARNES auditorium, excellent equipment, music selected by the audience-and failed to MARTIN BOOKSPAN HANS H. FANTEL hold either attention or attendance at a reasonable level. And he has tried it with WILLIAM FLANAGAN DAVID HALL friends at home-again, excellent equipment, sound levels and recordings dictated DON HECKMAN JULIAN D. HIRSCH by guests selected for their interest in music-only to find that the squirm threshold GEORGE JELLINEK was reached in under half an hour. Why? Mr. Harger suggests that one of the rea- IGOR KIPNIS PAUL KRESH sons may be that he has been saddled with too many pseudo music -lovers, those who DRUMMOND McLNNIS REX REED would rather die than admit they are insensitive to music. But the amateur anthro- PETER REILLY ERIC SALZMAN pology to which I am addicted suggests some others. As far as large groups are concerned, I can think of two explanations, one social, EUROPEAN EDITOR FREDERIC GRUNFELD the other economic. There was a time, no further back than the eighteenth century, LONDON EDITOR when public musical performances were anything but orderly affairs-people HENRY PLEASANTS talked, ate, visited, walked in and out, and generally carried on. Over the years, ADVERTISING MANAGER however, we have developed a code of behavior for these occasions out of con- JAMES J. SULLIVAN sideration not only for other members of the audience, but for the performers as ADVERTISING well. But this code breaks down for large groups listening to recordings-whoever SERVICE MANAGER heard of being polite to a turntable? Then, too, we live, musically speaking, in an ARDYS C. MORAN economy of abundance. Not only do we have many live concerts, which are both ASSOCIATE PUBLISHER LARRY SPORN musically and socially attractive, but the ubiquity of recorded music (practically Editorial and Executive Offices everybody has both radio and turntable) makes it possible for us to hear music at Ziff -Davis Publishing Company one Park Avenue, New York, New York 10010 212 079-7200 our convenience, when and where we like. A concert of recorded music might very Paul E. Gellman, Royce Richard Midwestern Office well work xvhere people are starved for music, but not where it can be had at the 307 North Michigan Avenue, Chicago, Illinois 000(11 312 720-0892 Midwestern Advertising Manager: Royce Richard drop of a stylus or the flick of a switch. Rester,. office 1)1125 Wilshire Boulevard Beverly Hills. California 90211 As far as I know, Emily Post has not yet caught up with the etiquette of playing 213 CRestview 4.0201; Bltadshaw 2.1161 Wes.erl) A41.ert ism, Manager) Bud Dean Japan: James Yawl recordings for guests in the home, but my own experience has taught me a number Ishikawa Mansion 4, SakuragoOka, Shibuya-ku Tokyo, Japan of guidelines. First, never try it with more than one or two guests, or you will run Tete.hone) 402-2911-3 Circulation Office Portland Tiara-, Boulder, Colorado 80302 afoul of a very powerful social priority: conversation. And the larger the group, EMT, fRIAL cONTRIBUTIONS mustbe accompanied by return postage and will be handled with reasonable care; however, publisher assmnes no responsi the more risk you run of including one of those pseudo music -lovers who will bility for return er safety of art work, photography or manuscripts. white -lie him (or her) self into discomfort. You should also know your guests' Member Audit Bureau of Circulations musical tastes rather well, and you should be seeing them regularly enough that there is little chit-chat to catch up with. The sound level must be tuned to your guests' ears, not yours. Do not play long selections: conversational pressures will build up, and either fidgets or interruptions will result (I find that even one movement of a symphony is usually too long). Provide a little time between selections

ZIkk'11AVIS PUBLISHING COMPANY for discussion. Never play music about which you are yourself unenthusiastic: the William B. Ziff. Chairman of the Board 11946-1923) William Ziff, President W. Bradford Briggs. Executive Vice President fidgets will be yours and will inevitably communicate themselves to your guests. Hershel B. Sarliin, Senior Vice President Philip Sine, Financial Vice President Walter S. Mills, Jr., Vice President. Circulation Provide handy ashtrays and an even handier long dring as pacifiers. Be alert for Stanley R. Greenfield, Vice President, Marketing Phillip T. Heffernan, Vice President, Electronics Division signs of boredom, and don't hesitate to cut a selection short if it begins to pall. Frank Pomerantz. Vire President, Creative Services Arthur W. Butzow. Vice President, Production Edward I). Muhlfeld, Vice President. Aviation Division Keep the program itself to reasonable length-an hour's music sandwiched with Irwin Robinson. Vire President. Travel Division Furman Hebb, Administrative Vice President George Morri.sey, Vice President an hour's conversation is perhaps the limit-and you could get yourself a reputa- Sydney H. Rogers, Vice President tion as the perfect musical host.

4 STEREO REVIEW IS A SPEAKER . . .it features a woofer capable _/_THISof tones from 5,000 CPS to below -10 CPS-middle range 1,000 to 15,000-uniform high from 10,000 to 50,000 CPS.

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Send 250 for the exciting new Stereo Tape '68 Catalog by Ampex AMPEX AMPEX CORPORATION STEREO TAPES 2201 Lunt Avenue, Elk Grove Village, Illinois 60007 FEBRUARY1969 5 When you're number one in tape recorders you don't make the number -two tape. LETTERS TO THE EDITOR

Gottschalk's Grave might have originated with writers who had

I was most interested in your discussion, delved more deeply into the subject. For Mr. in the December 1968 Letters to the Editor Offergeld has obviously not done his home- column, of Louis Moreau Gottschalk's grave, work. It costs a few pennies more. and your difficulties in locating it. Some years There have been two catalogs of Gotts- But Sony professional -qual- ago,I managed to locate the grave myself, chalk's music since 1880. The first was com- ity recording tape makes a as part of an avocational research projectI piled by Vernon Loggins (Where the Word world of difference in how have pursued on the American composer - Ends,1958), and the second by my col- pianist's death and reburial in Brooklyn.I league at Mansfield State College, Dr. John much better your recorder hope someday soon to publish this material Doyle (The Piano Music of Louis Moreau sounds-and keeps on sound- (including some interesting accounts of the Gottschalk, 1961). Doyle's work dates and ing. That's because Sony reburial in local newspapers of the day), but locates Gottschalk's piano music and pro- tape is permanently lubri- meanwhile I enclose herewith one of several vides a thematic index. At that time (1961), photographsIhave taken of Gottschalk's Doyle was acquainted with the owner of the cated by an exclusive Lubri- grave site. "newly discovered manuscripts'' now being Cushion process. Plus, its of others, the grave bruited about as having been lost to musi- extra -heavy Oxi-Coating is located on Lot No. 19581, sections M and cologists. His is,I believe, the first English - won't shed or sliver. Sony N, fronting directly on the cemetery road language work to reveal the location (Rio de known as Bayview Avenue, not far from the Janeiro) of the recently acquired orchestral tape is available in all sizes cemetery's main entrance on Fifth Avenue, manuscripts now in the Library of the Per- of reels and cassettes. And justinside alittle corner of the cemetery forming Arts at Lincoln Center. These pieces remember, Sony profes- where Sixth Avenue and 2lth St. meet at a were not lost to Gottschalk enthusiasts. Dr. sional -qualityrecording right angle. The location must, a century C. F. Lange wrote of them in 1951, but his ago, have been a splendid one, overlooking splendid book was not translated into En- tape is made by the world's Gravesend Bay. Now the growth of the trees glish. Recent newspaper accounts of the re- most respected manufactur- and the buildings along the shore obscure covery of these manuscripts do not tell the er of recording equipment. the view. whole story. As you can see from my photograph, the (Continued on page 8) gene monument is greatly altered from its original aspect. The engraving you prirted Louis Moreau Gottschalk's grace in was one published in 1880, showing the rich- Green Vood Cemetery, Brooklyn. Neu' Thrk ly Victorian trappings of the statuary -topped monument surrounded by a heavy iron railing. A photograph taken about 1931 shows the grave to have lost the railing by then; and in the interval since, the statue itself has disappeared. Allthat remains nowisthe pedestal, alone and stark, withitsinsc7ip- lions (on the west face, in honor of Louis Moreau Gottschalk himself; on the south face, in honor of his younger brother Edward George Gottschalk, who predeceased him and was reburied with him in 1870) weath- ered but still largely intelligible. Ironically, this naked vestige of Victorian mortuary excess now itself has a surprisingly moving simplicity and dignity. You never heard it so good. JollN W. BARKER, JR. Madison, Wis. Who's Got Gottschalk? .1968 SUPERSCOPE, 00the evidence of his article (Septem- !IL r), Robert Offergeld seems to be misled as SONY©SUPERSCOPE® to the current state of Gottschalk scholarship. Perhaps those newsmagazine articles so Sun Valley, California 91352 deplored by him (-where did they hear it i-) CIRCLE NO. 61 ON READER SERVICE CARD 6 STEREO REVIEW r

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JVC Stereo Components... the most formidable line of stereo equipment In the world today. From powerful stereo systems, to all -in -one I- compacts, to individual components, there is a model cesigned for everyone from the most ardent stereo enthusiast to the casual listener. Dept. A Model 4320 - All -In -One Solid Stale Stereo CompactThis beautiful all -in -one compact offers the sophisticated performance of a separate JVC America, Inc., A Subsidiary of Victor Company stereo system at a fraction of the expense required to build one. A powerful 20 watts in output. Super sensitive AM and FM radio reception, of Japan, Ltd., c/o Delmonico International Corp., plus a built-in FM stereo adaptor. Sure -tracking 4 -speed (16,i, 331/2, 45 and 78 rpm) compac: automatic record changer with diamond stylus. 50-35 56th Road, Maspeth, N.Y. 11378, Handles up to six records at a lime. Handcrafted speaker baffles with an exceptionally wide frequency range. External speaker selector in Subsidiary of TST Industries, Inc. front. Many, many others.Main Unit: 73/4" H, 141/4" W, 12" D11.9 lbs. Matching Baffles: 133e" H, W, 04.2 lbs. each. Gentlemen: Model 4210 - Solid State AM/FA Stereo Compact with Matching Speakers Similar to the exc.ting 4320 model. but even more compact without the built-in record changer. Delivers a full 20 watts in music power and features a comoletely professional AM/FM tuner for greater station Please send catalog, price list and additional sensitivity and selectivity. FM stereo adaptor is built-in for stereo broadcasts. Conveniently positioned bass, treble balance and AFC controls. information. Matching speakers designed br pure Hi-Fi reproduction at all frequency levels. Jacks for ceramic cartridge type turntables, tape deck and headphones. External speaker selector in front.Main Unit 314" H, 141/4" W, 12" D 10.1 lbs.Speaker Baffles, 133s" H, 8f3" W, 61/4" D 4.2 lbs. each. Name Model 4220 - Solid State AM/FM Stereo Compact with 8 -Track StereoHere in one compact is a sensitive. AM/FM stereo receiver, versatile 8 -Track Stereo and a pair of powerful matching speakers. Solid state throughout,itdelivers a full 20 watts in music power and brilliant Address response from each of its components. In addition, two external speaker baffles can also be connected. Besides AM, FM and FM stereo reception, it offers a wide varely of 8 -Track Stereo functions. Plays any one of four tapes in a cartridge again and again, or runsthrough all City State Pip four at a time. Indicators let you see the tape in play. External speaker selector. Main Unit: 334" H, 91/4" W, 12" D16.2 lbs.Matching Baffles: 133/4" H, 8317" W, 61/4- D4.2 lbs. each L Model 9800 - Solid Slate AM/FM Stereo Compact with 8 -Track StereoA distinctive three -in -one stereo system that brings sensitive, AM, FM and FM stereo reception as well as breathtaking 8 -Track Stereo to any room in the house. Faithful full -fidelity reproduction from compact matching speaker system. Intricate solid state circuitry for 8 watts in output. Versatile tape playing functions with lull control and indication. Luxuriously finished selected woods., Inputs for turntable, recorder and headphones. Main lira: 5/e" H, 183i" W, 974" D 13.5 lbs.Matching Baffles:101/4" H, 81/4" W, 93i" D3.3 lbs. each Model 5204 - Compact 4Speea Automatic Stereo TurntableLarge turntable performance in a new compact size. A reel value for the stereo fan who doesn't require all the minute refinements of the larger, more expensive turntables. Two -pole synchronous motor delivers constant speeds despite changes in line voltage. Rubber matted Viz" platter accomodates records up to 12" in size. Up to Dix records can be stacked and played automatically. Toneurm houses a ceramic cartridge with long -wearing diamond stylus for sure -tracking and better pickup capabilities.61/4" H, 141/4" W, 111/4"C7.5 lbs. Manufactured by Victor Company of Japan, Ltd. Model 5203identical to the 5204. with the exception of a moving magnet cartridge. JVC America, Inc., A Subsidiary of Victor Company of Japan, Ltd., c/o Delmonicd International Corp., 50-35 56th Road, Maspeth, NW. 11378, Subsidiary of TST Industries,Inc. CIRCLE NO. 34 ON READER SERVICE CARD

FEBRUARY1969 7 One is puzzled by Mr. Offergeld's igno- Our speaker is now rance. He professes admiration for Jeanne Behrend's editorship of Notes of a Pianist. a household word. How did he fail to notice her acknowledge. ment to Doyle in her bibliography? Natural- ly, doctoral dissertations such as Doyle's are not obtainable at your local Marboro, but their existence is well documented in sources available to even cursory researchers. I certainly look forward with great antici- pation to Mr. Offergeld's catalogue raisonne. And I think Doyle does, too. WILLIAM M. GOODE Department of Music Mansfield State College Mansfield, Pa. Mr. Offergeld replies: "I sure am behold- en to Mr. Goode for giving me the names and dates of those Gottschalk scholars. I'll bet the editorial shut-ins down atSTEREO RE- VIEWare grateful, too. I already had a couple of other names and dates that I picked up somewhere by myself, and now I can keep them all together in my littleGottschalk notebook. Around record- This way, "Another thing I keep in my Gottschalk ing and motion the perfection- notebooki.e a little blue call -slip from the picture studios, ist can be sure Howard -Tilton Memorial Library in New our name is of getting full Orleans. That is a library into which I hap- almost a generic pened to stray eighteen years ago, although bass, clean livinginNew Yorkatthetime-,Ind term. Audio engi- mid -range and voila! What do I do but run across a Gotts- neers swear by our silky highs, with the greatest chalk book! This book was by somebody equipment and rely on dynamic range heard anywhere named Luis Fors, who I guess was a Span- it for realistic sound reproduction and today. From anyone. iard, and of course I couldn't read his book, playback. If the Magnificent's measurements it being written in Spanish and me being But we're just as much at home of 44-32-25 are a bit much foryour a country boy. But the pictures were real nice, around people who want studio qual- home, it has two smaller brothers and according to the signature on the call- ity sound in their living rooms. slip I mentioned, somebody else named Da- named Valencia and Flamenco (left vid fames, who probably was not a Professor One reason is our full-sized and right below). at the time but just another Gottschalk stu- A7 -500W -II Magnificent speaker sys- Though they're just half the size of tem you see above. dent. had run across the same book just be- the Magnificent, there's no sibling fore I did-on filly22,it says here, of the Its hand-crafted, oiled walnut cab- rivalry here. year 1950. Which I think is maybe a nice inet and wood fretwork grille hand- Full-sized systems in themselves, date for Mr. Goode to put in his little Gotts- somely houses our famous A7-500 their 800 Hz "The Voice of the Thea- chalk notebook, along with the date of the "The Voice of the Theatre'f": a hefty tre" components make beautiful Hershy Kay ballet Cakewalk, as a reminder 15" LF speaker with cast aluminum sounds from behind contemporary or of how many years it tales, and how many frame and 10 -lb. magnetic structure Spanish styled grilles and oak or wal- hands it takes, to get a revival stalled. in a front -loaded exponential horn; a nut cabinetry. "Now if everybody, including Mr. Goode, HF driver that works from the lower will drop the high campus indignation for a (Their price is a little smaller than moment, it can be stated clearly that none of mid -ranges to beyond audibility with- the Magnificent, too.) these gentlemen has to date issued a catalog out distortion or the need for another Whichever one you choose to take -repeat,catalog-ofGottschalk'spub- crossover; a 25" cast aluminum horn into your home is fine by us. The Mag- lished and unpublished pieces, one that, for that smoothly distributes frequencies nificent, Valencia or Flamenco. instance,looksatalotofattributions, above 500 Hz over a wide, room -filling All three are the last word in including non-pianistic ones, that have been angle at all frequencies; a precision, speakers for the home-just like the .cwept under the rug for a century. The Log- two -section 500 Hz crossover network name Altec is among professionals. gins "Bibliographical Note" is much less that permits this combination of com- than a catalog and the Doyle depth -study is ponents to perform at peak efficiency. much more than one. The Loggins story ob- Another reason is that we don't let ALTEC viouslyrepresentsavastand creditable LANSING - amount of biographical sleuthing, but the a Magnificent out of our sight until "Note" simply appends a sketchily dated list all these components are mounted, A Division f,,,\Y/ Ling A.(cc. Inc. tested and tuned to perfection. 1515 So. Manchester Ave., Anaheim, Calif. 92803 of the published pieces-and I observe that Want the last word in speakers? See your nearest Altec Dealer, Of Mr. Doyle, among others, seems to question write us for a free 1968-69 catalog. some of its entries. On the other hand, anybody interested in propagating Gottschalk (as distinct from those who merely wish to establish a prior patent on him) is bound to be grateful for Dr. Doyle's thematic index of the piano pieces, which will he discussed and properly credited in the appropriate spot for doing that-namely, in the introduction to my catalog. "As it happens, the catalog was ,tuggested by a widely unnoticed remark made by Gotts- chalk himself. 1 seem to be alone in my be- (Continued on page 10) CIRCLE NO. 3 ON READER SERVICE CARD 8 STEREO REVIEW COLUMBIA THE BEAT OF THE BRASS rvro HERB AlPERT 5 STEREO TAPE CLUB THE Tin ASA BRASS DEAN MARTIN'S now offers you GREATEST HITS! 4444 ugaj VOL 1 r -5 FEATURING I WY LADY WILL POWER It, i. OVER YOU

"ekNer 6079. Includes Herb Alpert's Co. a 7029. Also: Reverend Por.ey, The ANY 6 cal hit: This Guy's In Lore With You, Cabaret, etc. Common Cold, Now andThen, 7085. Includes: Everybody Loves Can You Tell, GiveIn,11in all 6550.All ofthemusicfrom 7"REEL-TO-REEL Somebody, Houston, Nobody's Horowitz's widely acclaimed Fall Baby Again, Bumming Around, etc. '68 television special STEREO TAPES

Trans Electronoc FREE- if you join now MUSIC Procluci.ons. AaMr2001: presents REVOLUTIONARY SELF - THOSE WERE A SPACE ODYSSEY THREADING TAKE-UP REEL FOR SWITCHED -ON BACH THE OATS EUGENE ORMANDY ONLY 95 - PLUS - Philadelphia Orchestra Light - My LEONARD BERNSTEIN Fire New York Philharmonic if you pin the Club now, and agree to purchase MON ust drop the end of he ape over this as few as five additional selections during the 7150. Tunein,and 7045. Also: Little 6769. Includes 6 se - reel,, start your recd der and watch It coming year, from the more than 300 to be offered turn on ... as mod Green Apples,Feelin' lectionsfromStrauss, thread itself! Unique Scotch® process as Carnaby Street. Groovy, 10 in all Ligeti, Blomdahl, etc. automatically threads up tape of any thickness, releases freely on rewind. BARBRA IRON BUTTERFLY ANDY STREISAND In-A-Gadda.Da.Vida JUST LOOK AT THE FANTASTIC SELECTION of best-sellers the A WILLIAMS RAY CONNIFF Happening HONEY arid the Singers Columbia Stereo Tape Club is now offering new members! Rtes TURN AROUND, Control Pork the Time The greatest stars ... the biggest hits ... and all available LOOK AT ME I Get in the incomparable stereo fidelity of 4 -track reel-to-reel A to Phoenix Pies- 9 MORE Mn Memo tape! To introduce you to the Columbia Stereo Tape Club, !Mort you may select any 6 of the stereo tapes shown here, and 6964. Cry Me A River, 7035. Also: Are You 6558. Plus: LoveIs People, Second Hand Happy, Termination, Blue; Windy; Up, Up I.- A we'll send them to you for only $6.95! That's right.. . Rose, many mare My Mirage, etc. And Away; etc. 6897. Also: People; 7084.Billtellsit 6 STEREO TAPES for only $6.95, and all you need do is agree The Good,TheBadAnd like it was. Dogs And to purchase as few as five tapes during the coming year at 5937. RAVI WES MONTGOMERY 5553. ROGER The Ugly; 11inall Cats, The Wife, etc. SHANKAR. At The DOWN HERE ON WILLIAMS' Golden the regular Club price. Monterey Interna- THE GROUND Nits. Born Free, JOHNNY -CASH tional Pop Festival. Plus wed Song 6 MORE Somewhere My Love, HOW THE CLUB OPERATES: Each month you'll receive your Maria, etc. AT ,dhs 6649. Bacchanal- free copy of the Club's magazine which describes and dis- FOLSOM "Pr GABOR SZABO. Plus 5095. JOHNNY plays tapes for many different listening interests and from The Look Of Love, CASH'S Greatest PRISON oit many different manufacturers. You may accept the regular 6 more Hits, Vol. I. Ring Of Jackson 15 MORE selection for the field of music in which you are primarily 6489. Plus: Up And At Fire, I Walk The BIG BROTHER B THE It, Georgia On My Line, etc. interested, or take any of the scores of other tapes offered HOLDING COMPANY Mind, 10 in all 7056. Plus: Wish Me 6415. Folsom Prison you, or take rso tape at all that month, Matunng JANIS JOPLIN BERNSTEIN'S Well, Rambling On, Blues, The long Black 6202. GreensleeveS Magdalene, etc. Veil, The Wall ,etc. YOUR OWN CHARGE ACCOUNT! Upon enrollment, the Club CHEAP THRILLS -THE PHILADELPHIA GREATEST HITS ORCHESTRA, OR- P will open a charge account in your name. You'll pay for the ,VNEW YOIN 1013. JOHNNY THE 5th MANDY conducting 4 PHILHARMONIC MATHS' Greatest tapes you want only after you've received them and are DIMENSION 6383. Ride Of The GGIMIZEIZ3 Hits. Chances Are, enjoying them. The tapes you want will be mailed and billed Twelfth Of Never, Valkyries-BERN- Stoned to you at the regular Club price of $7.95 (occasional Original 6876. Includes: Ball STEIN Conducts THE Come To Me, etc. r) And Chain, Summer. Soul Cast recordings somewhat higher), plus a small mailing and time, etc. N. Y. PHILHARMONIC Picnic 5236. Espana, On The 6480. Young Girl - handling charge. GARY PUCKETT & SMOKES ROBINSON Trail, Waltz Of The SERGIO MENDES Flowers, etc. THE UNION GAP. YOU CET FREE TAPES! Once you've completed your enroll- & BRASIL '66 & THE MIRACLES Also Lady Madonna, 6025. Includes:Sweet ment agreement, you'll get a stereo tape of your choice SPECIAL OCCASION Honey, etc. Blindness,Good Plus. Yester Love . News, 8 more FREE for every two tapes you purchase! Dawn 9 MORE SENO NO MONEY NOW! Just fill in and mail the coupon today! TWIN - GERSHWIN Diana Ross PACKS RHAPSODY and the IN BLUE Note: All tapes offered by the Club roust lie played Supremes hack on 4 -track reel-to-reel stereo equipment. Twice the Spellbound tt Hits 6972. Also: I Heard music - yet Concerto 6340.Also:Like A APO, FPO addressees: write for special offer Lover, The Look 01 ItThrough The each counts Warsaw Love, Roda, etc. Grapevine, etc. as one T pack °cents selection pe 3 MORE 6706. DONOVAN In THE PHILADELPHIA :a0110 COLUMBIA STEREO TAPE CLUB Concert. There Is A ORCHESTRA'S GREATEST HITS 7019. JIM NABORS 4302 A real bargain 5874. I Hear A Sym- Terre Haute, Indiana 47808 Mountain, Mellow forclassicalmusic phony, Ask Any Girl, Yellow, 12 more Vol. 3 Sings The Lord's Prayer. Plus Battle lovers Baby love, etc. EUGENE Hymn Of the 6733. RealitatiOn- ORMANDY 3578. SERGIO MEN- Republic, 10 more DEZ & BRASIL '66. JOHNNY RIVERS. Conductor SEND NO MONEY - JUST MAIL COUPON Summer Rain, etc. Mais Due Nada, Day Tripper, 11 in all COLUMBIA STEREO TAPE CLUB SEND ME THESE 6152. Comedian's 6 TAPES Galop,Anitra's 6511. Scarborough Terre Haute, Indiana 47808 Dance, etc. Fair-ANDRE KOSTE- (fill in numbers) LANETZ & His Please enroll me as a member of the Club. 1033. The Sound Of Orchestra. I've indicated at the right the 6 tapes I wish Music with MARY to receive for only $6.95, plus postage and MARTIN. Original I Sea a Lane Prayer Think 3442. Parsley. Sage, handling. Include the self -threading take- Broadway Cast . e MORE Rosemary & Thyme- up reel FREE. 7051 Also: You Send SIMOW & GARFUNKEL My main musical interest is (check one) : 6230. Sketches Of Me, A Change, I Take 366. Includes: Old Brazil -CHARLIE What I Want, etc. Friends, At The Zoo, CLASSICAL LI POPULAR Fakin' It, etc. BYRD. The Music Of THE Villa -Lobos 3857. PAUL REVERE GRADUATE I agree to purchase five selections during the & THE RAIDERS' Sons Perlorrnea br coming year . .. and I may cancel member 6509. Honey -RAY Greatest Hits. Kicks; CONNIFF & The 5584. Golden Greats Simon B. ship at any time thereafter. If I continue, I By THE VENTURES. Louie, Louie; Good Garfunkel am to receive a stereo tape of my choice Singers. Plus Love Thing; etc. Is Blue, 11 in all Walk Don't Run, FREE for every two additional selections I Telstar, 10 more 3858. BOB DYLAN'S accept. 6762. Angel Of The Greatest Hits. I Want Morning-PERCY 5588. Up, Up And You; It Ain't Me, 63t3 "Like the mov- Away -THE 5TH DI- ie, a hit album" FAITH & His Orches- Babe: Mr. Tambou- -Billboard Magazine Name tra and Chorus. MENSION. Plus Learnrine Man; etc. (Please Print) First Name Initial Last Name How To Fly, 10 more 1023. I Left My Heart 1037. WEST SIDE 2639. MAN OF LA Address 5787. Love, Andy - In San Francisco - STORY. Original MANCHA. Starring TONY BENNETT. Soundtrack ANDY WILLIAMS. Richard Kiley - Smile, Candy Kisses, Recording Somethin' Stupid, Original Cast City Holly, 9 more etc. State Zip 451-4/T2 . © 1969 CBS Direct Marketing ServicesT205/S69

FEBRUARY 1969 9 lief that he meant it when he said, four years before he stopped working, that he had composed 'two or three hundred pieces.' After much rummaging by me. the catalog at any rate contains some doz,ns of Gottschalk titles in addition to the hundred or so pieces usually credited to him. "My principle has been a simple one. In now any apparent collision between what composers say they do and what musicologists think they do (especially when theare divided by a century). I am inclined to bad a the composer, if only because it tale,' a different order of seriousness to put a piece of music together than it does to tale one 4+,01. Mr. Goode obviously has a touching faith in sound the rather grim divinity that hedges authori- tarian scholarship. Loath ac I;1111 to unsettle that, I must really make a point here. "IF hen Gottschalk, at a certain momou in prior to 1860, coil/ides to .r distinguished mu. sician that he has lost the score of an opera composed by him, and proceeds to rec.-ow/- lute the music ofat sou from this opera: kOSS when Gottschalk further, circa 1863, cause., to be printed the title and a description of another opera composed by him; when finally, in 1869, Gottschalk lets it be understood by his professional intimates in Rio de Ja- siereophones neiro that he is at work on two operas- cn.ntually I bean to derive from all this a sneaking idea that GotRchalk probably composed some operas.I am able to maintain this mat is peculiar delusion etc,/ though the scores of these operas, like those of many e.ftablih,d Gottschalk pieces, have yet to be found. And I maintain it even though Dr. Lange, for ,x- hoer amPle, seems to feel that there optv:i.i LW/chi( mainly .15 conversational nebulositie,-. coterie rUlliort magnified by 'the commentators of the epoch,' all of whom are thus Sten to man be oddly deficient in ordinary powers of observation and somewhat drafty of mind as u'ell. "I am sorry, but that sort of thing simp6 Only through electrostatics can so bright and crisp speakers will not, in this case, do. a sound be possible. Electrostatic elements in "If Mr. Goode, meanwhile, can be said to Koss Model ESP -6 Stereophones reproduce sound a have raised any substantial issue,itiscer- full 3 octaves beyond the limits of ordinary voice tainly one that is left unstated by him. Pos- coil and cone -type driver elements. Then, because sibly he simply disapproves of the clear inthis tiny electroStatic speaker is coupled directly nevi MOSS tention of my piece as written. It neither ig- to your ear, there is no loss of frequencies as when nores nor questions anybody's scholarship- speaker sounds are disguised in a room. ESP -6 not cue), the dubiously omniscient kind that reproduction is independent of room acoustics. electrostatic is ail perhaps understandabl), by the There's no other sound quite like it. It's the sound newsmagazines.11- hat I did ask, and still do, is'Ii --here did they hear the music?' Only. you've always wanted, but couldn't really envision siereophones a fraction of Gollschalk's output has ever because it couldn't be produced until Koss been available on recordings, and reading invented Model ESP -6 Electrostatic Stereophones. produce what scholars have to say about music equips Each set of ESP -6 Stereophones comes complete nobody to execute summary judgments upon with an individual machine run curve. But the it. If Mr. Goode really wants to spread the curve is only a map of the real sound. You don't a song Gott chalk gospel, he might follou nitex- get the real thing until you hear it. And ample and address himslf not to writers, but you cando that now at your nearest hi fi shop. directly to the public that creates the demand Then you'll know what we mean. never before that turns ,11 the packagers of our going Coll- i'cri per/ oil C. "Tobe honest,Ifindmyselfratho possible charmed by the thought of Mr. Goode fum- KOSS ing away out there inPnusyltant.t.out- KOSS ELECTRONICS INC. 2227 N. 31st Street Milwaukee, Wis. 53208 raged by illyV.:;11,it.inCe:If he's'puzzled' Export: Koss Electronics S.r.l. now, wait till he sees the catalog. Pm all 101 Via BeRini 7, 20054/Nova Milanese, Haifa leaving a stone or two unturned for the next Export Cable: Stereo tone model esp-6 general/on M) stereophones* gives a lot of dates that contradict the ac- $95.00 cepted on, which are of course :;itcn too. Complete with fitted, and I haucu'1 lifted ling,r to r,,olvc th, portable carrying case horrid discord s. and individually 111(31 FIDELITY measured response curve. "nd now, back to my local Marboro." 'Patents applied forA (Continued on page 12) CIRCLE NO. 38 ON READER SERVICE CARD ll STEREO REVIEW VIVALDI PROk011 EV Liberate M ITROPOUI OS

.2,x. 006 4-e Zak 4.COL. Ocyssey. 5. COL. Odyssey. 6. COL. Ody. Viva'. 7.COL. Harmony. 8. COL. Harm. Nor- 1. COLUMBIA Odys- 2. COL. Ody.Barber. 3.COL. Odyssey. man Luboff Choir. Knoxville"Sum- Mahler. Symphony Schubert. 'Jnfinis- Marche Slave, Ca- di.Concertos for Liberate Plays sey. Prokofiev. Ro- priccioItalien Woodwinds and Rhapsody inBlue Greensleeves.An- mer of1915", No. 1 (with "Blu- hed Symp, Rose- meo and Juliet Night on Bold String Orchestra. and Other Favor- nie Laurie, Cockles Ballet Suite. Mitro- Hermit Song. Elea- mine" Movement) munde therture, and Mussels, The nor Sieber, Leon- New Haven Sym- Magnificat in C Ma- Mountain. Mi:ro- Doberman-N. Y. ites. Liebestraum, poulos-New York poulos-New 'fork Sinfonietta. Chopsticks. Ash Grove. Philharmonic. tyne Prime. phony Orchestra- jor. Vienna New Brieff. Symphony. Philharmonic.

MAHLER TO- AIRWAY -11114ETIQW, 61P140,41 PROKOFIEV AMAFrNM. " Tilt: iv BRUNO MI1401'011115 %1011114 A Vivalijuana! . ,.WALTER \.tl'Ii:Ul

c: (-110M . 11\51 \l:lo MIopt. Alk A0.405014.0%: AM& 15. COL. Harm. The 16. COL. Harm. The COL. Harmony. 10.COL.Ody.Chopin 11. COL. Ody. Mah- 12. COL. Ody.Tchai 13. COL. Ody. Pro- 14. COL. Harm. Are- 9. 'Pathe- koviev. Classical tha Franklin. Queen Mormon Tabernacle Fiesta Brass. Viva Andre Kostelanetz. Waltzes. "Valses ler Symphony No. kovsky. Onward Tijuana! Tijuana 4.BrunoWalter, tique"Symphony. Symph.,Lt.Kije of Soul. Love for Choir. You and the Night Brillantes", "Two Christian Soldiers. Taxi, Spanish Lace, and the Music. Four", "L'Adieu", Desi Halban (sop.) Mitropoulos and Suite, Love for 3 Sale, I Apologize, A Taste of Mi- Waltz". -New YorkPhil- the N. Y. Philhar- Oranges. Go3er- I May Nevlr Get to Abide with Me, Bal. Night and Day, Love "Minute lad of Brotherhood. chelle. for Sale, others. Dinu Lipatti. harmonic. monic Orch. man-Vienna 4ew Heaven. Symph. SOMEONE TOKAI111 MR ME MAMA NINAIIM

NOW- CHOOSE ANY OF THESE c1.33

GREAT STEREO ALBUMS . . roxiadt 17.COL. Harm. 18.COL. Harm. Harry James Plays FrankSinatra. Someone to Watch Songs That Sold a Over Me. Stella by Million. Ruby, Bali Starlight, I Love Ha'i, Mona Lisa, You, Nearness of Moonglow,more. The Citadel Record Club brings You. A DISCOUNT RECORD STORE 19. COL. Harm. 20. COL. Harm. Swing with Benny Lawrence Welk. Goodman and His VintageCham- right into your own home! Orch. King Porter pagne. Linger Stomp, Wrappin' It Awhile, Bubbles in Up, others. the Wine, My Man, many others.

Select up to 3 of the hit records shown 4JET SPEED SERVICE! Your orders filled "MONEY -BACK" MEMBERSHIP-JUST promptly... mostly within 24 hours. The 6LIKE A FREE TRIAL! In order to intro- above for a mere $1.33 each ... and order fastest service in the industry! duce you to the tremendous advantages of all the records you ever want at discounts membership in the Citadel Record Club, we up to 55%. NO OBLIGATION TO BUY! FREE MEMBERSHIP KIT INCLUDES invite you to accept a three month trial for %;300 PAGE SCHWANN CATALOG PLUS just $1.00. And-we will even return that You've seen the "tricky" ads that invite you TWO OTHER BIG BOOKS! As a member you dollar in a Record Bonus Certificate worth to take 10 records "free"... but you have to get the famous Schwann Catalog which $1.00 when you become a lifetime member buy 10 more in just one year. The selections lists more than 30,000 long -play records ...just like a FREE trial! Simply mail us are limited or second rate... and it's almost now available. Same book used in the big- the small $1.00 fee (plus $1.33 for each of impossible to turn down a record -of -the - gest stores ... gives manufacturer's prices, month! This kind of club forces you to buy and useful information. And you get two the Special Bargains you select). Remem- records you don't want! BIG BONUS CATALOGS listing special barber, your Citadel Record Club membership gains and current top sellers. All FREE with is for the entire family. Any member of your THERE IS A BETTER WAY: Longines Sym- your membership. Citadel works like a family can order and save! But, try us out. phonette's new service, THE CITADEL Send in the coupon today for a special RECORD CLUB, acts like a "record buyers' 'record buyers' cooperative"... your very cooperative"... you can choose from over own Discount Record Store! three month trial! 30,000 selections in the famed Schwann Catalog! ORDER ONLY THE RECORDS YOU WANT-WHEN YOU WANT! CUTOUT AND MAIL TODAY! Here's how easy it is to start savings on the records you buy! CITADEL RECORD CLUB ANY RECORD, ANY ARTIST, ANY .Divisicn of Longines Syrnphonette Society ILABEL! Whatever kind of music you pre- Symphonette Square, Larchmont, N.Y. 10538 fer...you name it ...if it's in print, you can have It at a guaranteed 35 to 55% off Enroll me in the club for all the privileges described in th-s advertisement.I get a FREE kit including manufacturer'slistprice. Even imported Schwann Catalog plus two bonus big books.I AM NOT OBLGATED TO BUY ANY RECORDS ... but save labels and hard -to -find specialties are up to 55% on those I really want any artist, any label. available. Enclosed is my $1.00 for 3 -month trial membership. In addition I am enclosing $1.33 each for the YOU ARE NOT REQUIRED TO BUY ANY record(s) I have ordered by number in the boxes on the right. aRECORDS AT ALL! Buy as many or as PLEASE SEND ME few records as you need - records of your 0 Mr. choice! D Mrs THE FOLLOWING IRON CLAD GUARANTEE: FACTORY - 0 Miss (write record number in box) 3FRESH RECORDS, MOST SEALED IN Home Address PLASTIC. Any record that passes our in- City State ; spection team and is imperfect is replaced El El 773-020J without additioral cost to you. L CIRCLE NO.13ON READER SERVICE CARD FEBRUARY 1969 11 Now YOU Corruption can buy ANY Thank you for dropping the corrupt -hi- fi- from your title. But why didn'tyou complete the job, and drop the equally corrupt ''stereo''? Our language has suffered so from RECORDORTAPE the use of slanguage and colloquialism that I would venture to say that there are people on ANY LABEL! who are not aware that the term -stereo- isa bastardizationof-stereophonic.-Further- WORLD 'S LARGEST SELECTION more, as William Anderson indicated in his sito November editorial, many supposedlyso- phisticated MUSiC lovers do not even know AT LOWEST DISCOUNT PRICES what ''high fidelity'' really means. And that turu KING KAROL 'S worm Famous MAIL ORDER SERVICE, includes the -knowledgeable- salespeople in record stores. NATHANIEL FIELDS Ness' York, N. Y. Made in U.S.A. THE PRICE OF THE RECORD IS ALL YOU We appreciate your making mention of EVER PAY! YOUR ORDER GETS INSTANT our Hi -Ft Show exhibitinthe December SERVICE-PROCESSED DAY RECEIVED! 1968 issue of your magazine. Itis true that KING KAROL RETAIL STORES ALWAYS HAVE ALL THE at one time Hartley speakers were manu- RECORDS AND TAPES ALL THE TIME! facturedin England, but since 1953 they WEST SIDE: EAST SIDE: have been made in the U.S. However, we

Ill West 42 at 6th Ave 940 3rd Ave. at 57th Street still import from England the heavy magnets used in our speakers. We believethatmaking yourreaders FREE Shipping Anywhere in USA and APO & FPC Ad- aware of our presence in the U.S. may take YOU NAME IT-WE'LL GETIT FOR YOU! dresses! (Add 15% for Foreign Shipments -Mini- away any apprehension that might be felt mum Charge $1.501 Send check or M.O. with order. ORDERS PROCESSED DAYRECEIVED regarding a possible need for service. Every- List Prices Your Pro', thing else is made and assembled at our plant KING KAROL RECORDS Dept. SR -2 FREE $1.89 to 1.98 $1.35 in Michigan, supervised by Mr. Harold Luth, 2.39 to 2.50 1.65 P.O. Box 629, Times Sq. Station, New York, N. Y. 10036 SCHWANN 2.79 to 2.98 1.85 the inventor of the patented cones and pat- CATALOG 3.50 2.30 Enclosed find $ ented Magnetic Suspension. with 3.79 to 3.98 2.50 Send to: Initial 4.79 to 4.98 3.20 NAME ROBERT SCOMETTERER Order! 5.79 to 5.98 3.90 ADDRESS 6.79 to 6.98 . . . 4.40 TAPES-I:, OFF CATALOG PRICE' Hartley Products Corp. CITY STATE ZIP Hohokus, N.J. 'N.Y. State residents please include local Sales Taxes CIRCLE NO. 36 ON READER SERVICE CARD Opera Library Iappreciated George Jellinek's "Essen- tials of an Opera Library'' (December), al- thoughI am -addicted enough" thatIno longer belong to the basic group to whom he addresses the piece. Mr. Jellinek seems to be excessively en- amoured of Maria Callas. Perhaps someday we will has e a decent recordedNorma;the Callas stereoset Mr. Jellinek recommends badly flawed by Callas' squawking. I must also strongly object to his inclusion of the CallasCarmen,for me alousy (no other word for it) travesty of the opera. JOE. BILLINGS Los Angeles, Cal.

George Jellinek's article ''Essentials ofan Opera Library- was most interesting,but certainly not the last word on the subject. Of the twenty-five operas he chose as being basic to any collection,Iquarrel with only one: Massenet's Alanon. But why did Mr. Jellinek leave out Ii Trord/we? Surelyitis more -basic- thanMoron, andstill represented in the catalog by a most powerful performance. RCA LM 6008 with Zinka Milanov, Jussi Bjoerling, and Leonard Warren. A pickup cartridge plays the turntable as well as the record. The vibrations and I would like to congratulate Mr. Jellinek speed errors which all turntables have are transmitted to the pickup stylus, after strongly, however, for decrying the fact that the bestAidaever, namely RCA LM 6122 which they become inseparably mixed with the recorded music. There isno perfect turntable, but there are limits below which these aberrations are sufficiently unim- with the same three singers,is no longer portant to permit the use of the turntable in such critical applications as broad- available. Please, RCA, let us have this performance on the Victrola label! casting. The AR turntable meets NAB* standards for broadcast turntables. At $78, MURRAY R. STFINBART it comes with base, dust cover, pickup arm and minor accessories. The ARturn- table is sold under a 3 -year guarantee covering both materials and labor of repair. Winnipeg, Canada with no service charge; freight costs are reimbursed, and a new carton I enjoyed George Jellinek's review of ts,, our furnished when necessary. ACOUSTIC RESEARCH, INC., 24 Thorndike new Corifan tunein the December issue, St., Cambridge, Mass. 02141. 'National Association of Broadcasters but I want to point out that he is in error (Continued on page 17) CIRCLE NO. 1 ON READER SERVICE CARD

1 2 STEREO REVIEW PIONEER SX-1500T AM -FM STEREO RECEIVER 170 WATTS, FET AND IC'S

FM 111 1.11 1' 51 yd lqit'U4 ftIf Mil:

St) tll yl 111 W o mtN

.P% MON 354155,1

(The SX1500T Price, only: $360.) Shown with PIONEER CS88 Speaker Systems at $175. each. What can we say after we've said "It's the Greatest"?

JULIAN HIRSCH, in STEREO REVIEW, said: This is what AUDIO MAGAZINE had to say: "If anyone doubts that moderately priced integrated "The engineers at Pioneer must belong to the 'wide - stereo receivers are capable of really top-quality band' response school for, although we suspected performance, let him examine, as we have, the spec- that the Pioneer Bandwidth published specification ifications - and the actual performance - of the might be a misprint, it actually does extend from 17 Pioneer SX-1500T. This import outperforms, both in Hz (they claim only 20 Hz) to 70 kHz! You'll never its audio and FM aspects, most of the components lack for 'highs' with this one! we have tested in recent years. Die-hard advocates If you crave lots of power and don't want to get of vacuum -tube design should ponder the fact that involved with separate pream-amps and tuners, no FM tuner of pre -solid-state days matched the the Pioneer SX-1500T AF/FM stereo receiver cer- overall performance of the SX-1500T, and only the tainly has enough power and enough true compo- costliest vacuum -tube amplifiers approachedits nent features to make it very worthy of considera- high power output with such low audio distortion." tion at its remarkably low price of $360.00."

After you've heard it, we're reasonably sure what you're going to say. Because you want a better receiver, don't be misled -pick the one with the optimum features at an honest price. You owe it to yourself to evaluate the SX-1500T against any other receiver on the market, regard- less of price. What more can we say? Write Pioneer for reprints of the entire reviews from Stereo Review and Audio Magazine and the name of your nearest franchised Pioneer PIONEER ®c dealer. PIONEER ELECTRONICS U.S.A. CORP., 140 Smith Street, . .More Value All -Ways! Farmingdale, L.I., New York 11735 (516) 694-7720

CIRCLE NO. 47 ON READER SERVICE CARD BOGEN ANNOUNCES THE END OF DIAL -TWISTING.

BOGEN

88 90 92 94 96 98 100102104

MIN 3 21Al2 3 MAX MIN 3 2 1 A 2 3 MAX 1.04111111111.1111111111

TREBLE BASS PHONES VOk POWER LOCAL REMOTE HI -FILTER AFC rAUTOMATICTUNING IN UP

L SPEAKERS

MANUAL TUNING

This is the receiver that tunes itself. Touchone button to tune stations to the left; touch the other to tune to the right. Raise your finger, and the DB240 stops at the next station on the dial and locks it in perfectly-better than you can tune by hand. No knob-widdling or meter -watching needed. Another "first" from Bogen in a receiver that anyone can afford. Now-an all -electronic tuning system, including the dial. Electronic remole control unit No dial cord to slip or tear, no gears to wear. A state- provides volume controls for of-the-art beakthrough offers you this extra measure of each channel and perfect precision in this price range-exclusive with Bogen. control of balance, push-button tuning right and left, even a synchronous station -selector dial. WR-1 optional, extra.

Manual tuning, too-with a

Get stations you never got before: Strong stations. difference: the tuning knob - TUMNG Weak stations. Stations crowded together on controls an electronic tuning the dial. Because the new DB240 has an FET circuit, not a tangle of front end, for wide sensitivity range ... an mechanical parts. And if you Integrated Circuit IF section for exceptional leave the manual knob pre - icsil sole em interference rejection and capture ratio ... tuned to your favorite station, revolutionary solid-state resonant ceramic IF that station will pop right in as filters that give the DB240 its whopping 60 db soon as you switch from auto- selectivity-without realignment, ever. matic back to manual tuning.

DB240 MANUAL

i 6 7 Max LEFT 3 2

one

Professionally precise control: Professional recording No accessory cabinets consoles use linear controls that slide instead of turn. to buy: The Bogen DB240 So does the DB240. You can adjust them more precisely- FM Stater) Receiver comes and their positions indicate their settings graphically, complete in cabinet with even from across the room. walnut side panels for 55 watts of power (IHF) Music Power only $279.95. ± 1 db in8 ohm speaker load. RMS: 18 watts per channel at 0.7% harmonic distortion. Electronic BOG protection circuit provides full First name in high fidelity ... protection without need for dedicated to dependability bothersome replacement of speaker fuses. The team: LSI stands for Lear Siegler, Inc. LEAR SIEGLER, INC. -and the latest in electronic BOGEN COMMUNICATIONS DIVISION PARAMUS, NEW JERSEY 07652 research. Bogen stands for 36 years in pioneering sourd experience. The DB240 is the result. CIRCLE NO. 5 ON READER SERVICE CARD Al nacc:',V0 ,4

. Oi CF FARE 3E LECTED 'LE.° A(,ED- NOEL) AND CF THE CANADIAN CILS NIV 111S KY IS SIX}'EARS ,..Er; 5Y 7"'" E NIDED AND Boy? SEAGRAM C5C4'2. ^-TAk.0 C NACA ' 36.8 PROOF

ADAS F 1.AN:$1

The Smooth Canadian turns up at a lot of parties. That's because Seagram's V.O. isso popular. That's because Seagram's V.O. is so smooth. Which explains whyat parties so many people prefer Seagram's V.O.

Seagram's The Smooth Canadian

CANADIAN WHISKY --A BLEND OF SELECTED WHISKIES. FIX YEARS OLD. 80.8 PROOF. SEAGRAM DISTILLERS COMPANY, N.Y.C. when he says that the Angel and Deutsche from the time of its association with Lan- I can't really believe he thought Simon and Grammophon recordings are -interpretations dowska up to the present, .used anything for Garfunkel were selfishly exploiting the feel- that offer the opera complete on three discs plectra but very thickly cut, extremely hard ings of (Ad people -he'd have to be pretty incontrasttothe four required bythe leather -the kind used for making heels for narrow-minded to hold such a view. To me, present set." shoes, as a matter of fact. Crow quills, al- and many people I've talked with, the sensi- Ours isthe only complete Cosi on the though authentically eighteenth -century, are tivity of Old Friends was much more affect- market. There are no cuts in any of the reci- not very practical for the present touring ing because of the track of the old people's tatives, and no recitatives, arias, duets, or en- harpsichordist, and modern instruments all voices. sembles are omitted.Ihate to be so sticky use leather or plastic substitutes for them." Also, Heckman implied that Simon's lyrics about this, but thisis one advantage our are questionable because of lack of imagery version has over all existing competition, and Simon the Lyricist and directness. Good lyrics do not require I regret Mr. Jellinek did not bring it out. It may be my imagination, but Don Heck - imagery or directness. Frankly, I doubt that RICHARDMOIIR review oF Simon and Garfunkel's lat- Heckman knows decent lyrics when he hears RCA Red Seal A -&-R est tape (-Bookends," November) seemed them. As a matter of fact, the celebrated Rus- New York, N.Y. an exercise in the professional put-down. Al- sian poet Yevgeny Yevtushenko compliment- though a few of his comments were favored Paul Simon not only on his lyrics in gen- Mr. Jellinek replies: "Mr. Mohr is right. able, I felt he was going out of his way to get eral but an their imagery in particular. My review was incorrect on another count a few jabs in against Paul Simon the lyricist. HENRY PARKER as well. While DGG has the opera on three (is D. H. a Bob Dylan fan, by any chance?) Bronx, N.Y. discs, the Angel set, like the RCA version, takes four. It was an inslailfr of carelessness caused by excessive reliance on memory. My memo,'} is good for things of this sort, but it betrays me occasionally. I am sorry." uniCLUB Bouquets Permit me a loud roar of approval for saves you more Goodfriend's comments inthe De- cember issue about fakers in modern music. on more of what you want! I was also happy to see Patricia Ashley's article on Roy Harris. It was not up to her piece on Howard Hanson ( June 1968), but RECORDS TAPES STEREO GEAR BOOKS it was very good. ALBERT R. JouRDAN Meriden, Conn. As one of America's young music critics, I would like to append to your profile on Here are 10 facts about uniCLUB. uniCLUB supplies hi -fidelity equipment of vir- George Jellinek (December) that he, more They are 10 reasons to clip the cou-tually every manufacturer at tremendous sav- so than any other critic -and Ihave read pon and join now! ings. This month's "Hi-Fi Special" is a Garrard many -has served as a model to me of what SL95 turntable; List $129.50, to members only S83.00. music criticism should be. Though his nat- 9. BOOKS OF ALL PUBLISHERS ural "politeness** is alien to my personality, 1. Any LP or tape on every U.S. or foreign The Book Division -only uniCLUB has it -of- I share the deep devotion to and love for the label available. Columbia -Capitol -RCA -fers members at least 25% off on any book in art which never fails to come through in his London & 350 more. No exceptions. print.* You get only original publishers' edi- writing. May Ialso add that his personal 2.You save a minimum of 35% on LP's; 33%tions. uniGUIDE listsbest-sellers,just -pub- on tapes and 25% on books. lished works and book "Specials." help to me has been invaluable. Music criti- *Texts are reduced 10%. cism stands a little taller because of men like 10. FOUR CLUBS IN ONE George Jellinek. LP's LIST uniCLUB uniCLUB is really a time-saver. It makes join- Louts C.LEVIN,Music Critic $1.98 $1.35 ing many clubs unnecessary. Now you can buy The Baltimore Magazine and 2.98 1.95 all your records, tapes, auto -cartridges, books 2.49 and stereo -gear from one convenient source. The Jeffersonian 3.79/98 We hope you'll join today! Baltimore, Md. 4.79/98 3.09 SAVE MONEY EVEN ON YOUR 5.79/98 3.79 MEMBERSHIP FEE Landowska Give gift memberships with full lifetime privi- Pardon the belatedness of this comment 3.You can save even more by taking advan-leges for only $2.50 each. Splitting the cost with tage of the regular extra discount "Specials."one other person lowers cost to $3.75; enrolling on Igor Kipnis' article -Wanda Landowska: Save up to 80% off list price. Right now, forfive at a time brings cost down to only $3 each. An Appreciation" (September). I must say example, the entire RCA Red -Seal catalog is that this piece is a superb and level-headed $2.75 mono; $3.25 stereo. The Vox $4.98 seriesrSendmy Free Schwann catalog;ordeil evaluation of one of the greatest and most is $1.75 mono and stereo. blanks & uniGUIDE by return mail. influential musicians of this century.Ido 4.Never a requirement to buy. No monthly $5 enclosed guarantees me: "stop -order" forms to return. You receive just wish, however, that Mr. Kipnis had delved what you older. 1. LIFETIME MEMBERSHIP in uni- into the musical relationship between Mine. CLUB 5. LIFETIME MEMBERSHIP 2. 35%-80% savings on LP albums, '/a off Landowska and Pablo Casals. Despite the The club membership fee is $5. This is for life- on tapes, 25% on books. differencesintheir approachestoinstru- time privileges which are increasing all the time. 3. No requirements ever to buy anything. mentation and performance practice in the 6. FREE CLUB MAGAZINE Nothing will ever be sent until I order it. music of Bach, these two artists are cut from Members regularly receive "uniGUIDE" advis- I must be delighted with uniCLUB or within the same bolt of musical cloth. ing them off the latest releases, recommended 30 days I will let you know and receive a best -buys and extra discount "Specials." When full refund. Also, Mr. Kipnis is perfectly correct about you join you receive a free 300 -page Schwann the **lack of volume and carrying power" of record catalog listing every available record uniCLUB Inc_ Pleyel harpsichords, but he ought to have and its price. You receive a free Harrison tape 255 West 42nd Street DEPT. HS 29 mentioned that the Pleyel is one of the few catalog if you specify. New York, N.Y. 10036 7. FASTEST SERVICE ANYWHERE modern harpsichords to use crow quills in Your orders are not only processed but shipped the jacks (where appropriate) instead of the the same day we receive them. This unique serv- NAME synthetics found in most modern jacks. ice is possible because your orders are picked ADDRESS TERI NOELTown from an inventory of over 250,000 LP's & tapes. Princeton, N. J. You get factory -new sealed albums and tapes CITY STATE ZIP only. Defects are fully returnable at no charge. EiSend gift memberships at $2.50 each to names 8. SAVE UP TO 50% ON and addresses listed on attached sheet. Mr. Kipnis replies: "To the best of my STEREO GEAR CII am also interested in pre-recorded tapes. j knowledge, the Pleyel instrument has never, Individual components or complete systems- CIRCLE NO. 66 ON READER SERVICE CARD FEBRUARY1969 17 1048 AVEN .13f AYEP VIE. OFF"Aj 31.10,6% 111 ,ONIS OUT,,OT TfEE,..E SELS,Z,7:0

KENWOOD TK-55 solid state FM stereo receiver 60 watts

At a quick glance. these three outstanding KENWOODreceivers look alike. Which one is best foryou depends upon your own requirements. Pick any KENWOOD receiver andyou get years -ahead engineering (every KENWOOD features solid-state circuitry).

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KENWOOD TK-88 solid state FET FMIAM stereo receiver 90 watts

For more pleasure, build your Stereo System aroundone of these three great receivers. Get ccmplete details from your nearest KENWOOD franchised dealer and hearfor yourself why KENWOOD is Three ways to build a GREAT STEREOSYSTEM

111111111111111IMIIMMIMMMWM\\\\\

KENWOOD TK-66 solid state FET FM JAM stereo receiver 60 watts

The extra dependability and features you get with everyKENWOOD receiver adds to its flexibility in your own particular Stereo System. Forexample: More outputs...Now you can enjoy stereo Extra security...When you bring home a KENWOOD listening in other rooms. Every KENWOOD receiver, you bring home extra protection. Only receiver gives you an extra pair of output KENWOOD gives you the exclusive (U.S. Pat. No. terminals for a second set of stereo speak- 3277386) blowout -free automatic transistor pro- ers-for your family room, den, bedroom or tection circuit. patio. Decorator design...Every KENNOOD comes com- Front panel convenience...All controls for plete with decorator simulated walnut cabinet at your KENWOOD receiver are conveniently no extra cost. grouped on the front panel. Your two pairs of Beautiful power...With its abundant poweroutput, stereo soeakers, for instance, are switched your KENWOOD receiver can drve anyspeaker sys- from the front panel. Another handy item: tem. Even more important, however, is themagnifi- Front panel jack for your stereo head- cent clarity of KENWOOD sound-and performance phones. -thanks to KENWOOD's superb engineerilg.

the sorfrrfl approach to quality KENWOOD

3700 S. Broadway Pl., Los Angeles, Calif. 90007 69-41 Calamus Ave., Woodside, N. Y. 11377 Exclusive Canadian Distr. - Perfect Mfg. & Supplies Corp. Ltd. CIRCLE NO. 35 ON READER SERVICE CARD NEWPRODUCTS A ROUNDUP OF THE LATESTHIGH-FIDELITY EQUIPMENT

Harman-Kardon's Model HK50 20 to 20,000 Hz ±1.5 dB at 1 watt output, less than1 per is an omnidirectional speaker system cent harmonic distortion, and signal-to-noise ratios of53 with a frequency response of 35 to dB at the magnetic phono inputs and 60 dBat the auxili- 18,000 Hz. Both drivers, an 8 -inch ary inputs. The controls include a three -position input- air -suspension woofer and a 21/4 -inch selectorswitch,afour -positionspeakerselector,bass, tweeter, are mounted facing upward treble, volume, and balance. Four rocker switchescontrol into a special conical sound reflector that provides 360 -degree dispersion. The crossover frequency is 2,500 Hz, and the power -handling capacityis 40 watts. The speaker -lead connections and a tweeter -level control are concealed beneath the enclosure, which is finished in oiled walnut on its four sides. The top has a simulated slate insert. The speaker is 18 inches high by 103/4 inchessquare. Price: $95. Circle 143 on reader service card mono or stereo mode, high -frequency filter on/off, loudness compensation, and power. There are tape -output jackson Nordmende'sModel 8001 ST is an AM/short wave/ both the front and rear panels, anda front -panel head- stereo FM receiver with a continuous -power output of 30 phone jack. The speaker outputs are fusedto protect watts per channel into 8 ohms. The specifications include against short circuits. Overall dimensions of the amplifier less than 1 per cent harmonic distortion atfull output are 11 x 37/8 x 83/4inches. Price, including a metal en- power and a frequency response of 20 to 20,000 Hz ±1 closure: $74.95. dB. The FM tuner has a sensitivity of 2.5 microvolts (IHF), Circle 146 on reader service card a signal-to-noise ratio of 64 dB, and 36 dB separation at Sylvania's Mini -Modular MM1OW comprisesa four - speed BSR record changer, a 16 -watt IHF musicpower solid-state stereo amplifier, and two compact speakersystems. The specifications include a power bandwidth of 50 to 17,000 Hz and less than 2 per cent harmonic distortion

1,000 Hz. The FM band can be tuned with a conventional tuning knob or with one of a bank of five pushbuttons. The controls include pushbuttons for power on/off, input selection, mono or stereo mode, high- and low -frequency filters,presence, or flat frequency response. Four knobs control volume, balance, bass, and treble. There is a stereo - at full output power. Each speaker system usesa 4 -inch broadcast indicator light, a signal -strength tuning meter, full -range air -suspension driver. The controls include and a front -panel headphone jack. Overall dimensions of bass, treble, volume, and balance. Overall dimensions,including the Model 8001 ST are 191/2 x 14 x 6 inches. Suggested dust cover (not shown), are 101/2 list price: $429.95. x 175/8 x 7 inches. The base and the speaker enclosures (whichmeasure 71/4 x 65/8 Circle 144 on reader service card x 6% inches) are finished in oiled walnut. Suggested list price: $99.95. RCAisoffering the 224 -page Solid -State Hobby Cir- Circle 147 on reader service card cuits Manual (HM -90), which contains thirty-fivecon- struction projects. The projects incorporate integrated cir- Sonyhas introduced the cuits, MOSFET's, and other modern solid-state devices. Model 770 solid-state portable The operation of each circuit is described in detail, and stereo tape recorder. The three - photographs, schematic diagrams, parts lists, and construc- speed (71/2,33/4, and 17/8 ips) tion details are given for each project. The manual also machine has a 7 -inch reel capac- includes sections on the theory and applications of solid- ity and can be operated either state devices and on circuit operation, construction, and from its own built-in recharge- troubleshooting. Among the audio projects included are an able batteriesor from ana.c. audio -frequency -operated switch, an amplifier,an oscilla- line.Itis available in two con- tor,compressor, mixer, preamplifier, and line amplifier. figurations: the 770-2, with two -track erase, record, and Most of the projects can he built by beginners.Price playback heads, plus a four -track playback head; and the of the paperback manual: $1.75. 770-4, which has four -track erase, record, and playback Circle 145 on reader service card heads, plus a two -track playback head. The recorder's specifications at 71/2ips include a frequency response of Lafayettehas introduced the Model LA -450T solid- 20 to 22,000 Hz, wow and flutter of 0.09 per cent, anda state integrated amplifier rated at 50 watts musicpower signal-to-noise ratio of 62 dB. At 33/1ips, the frequency output. The specifications include a frequencyresponse of (Continued on page 22) 20 STEREO REVIEW The world's most powerful,mos most versatilereceivere, costs $449.95:

53 55 60 65 TO 80 90 5 10 120 140 160

The new Fisher 500 -TX not only clean reception of a weak, distant puts out more clean watts, picks up station even when it is between two more clean stations, features better strong, local stations on the dial. controls and provides greater This is one of the main reasons why convenience than any other receiver the 500 -TX can add new stations to in history. It is also the biggest per - dollar value, with a price of $449.95":your accustomed FM fare. (FM sensitivity, 1.7 microvolts, IHF.) More power. The Fisher 500 -TX delivers 190 More ways to tune. watts into normal, 8 -ohm speaker There are four ways you can systems. Enough power to drive tune the Fisher 500 -TX. In addition speakers throughout your home. to conventional flywheel manual And that's clean, distortion -free tuning of AM and FM stations, power. Harmonic distortion at full there's also Fisher Tune-O-MaticTm. rated output at 1 kHz is only 0.5%. This permits electronic pushbutton Intermodulation distortion at rated tuning of any four preselected FM The Fishei. output is 0.8%. stations. Then there's the unique More stations. Fisher AutoScanTM. Touch one of Mail this coupon for your free copy of The tuner section of the 500 -TX two buttons and the next FM station receiver is comparable in every The Fisher Handbook, 1969 up or down the dial is automatically edition.This reference guide respect to expensive, state-of-the- to hi-fi and stereo also art, separate tuners. tuned in. Hold down either button and all FM stations up or down the includes detailed information on all Dual -gate MOSFET RF and Fisher components. mixer stages can handle input dial come in, cne by one. And a signals varying in strength over a remote control accessory lets you Fisher Radio Corporation range of 600,000 to 1, without activate the AutoScan from your 11-35 45th Road Long Island City, N.Y.11101 overload and without the need for a easy chair. Local/ Distant switch! The highly Many more features. Name selective crystal filter in the IF strip For a complete listing of Address is the same type as those used in features and specifications of the City State Zip professional communications Fisher 500 -TX, send for the new 0202691 receivers and makes possible the Fisher Handbook.

PRICES Si 'GAILY HIGHER IN THE FAR WEST. _Walnut cabinet $22.95 additional. RES,DE,S PLEASE- WRITE TO FI'MER 1.011 ERNATIC,NAL, INC.. LONG ISLAND CITY, N.V. 11101. CIRCLE NO. 28 ON READER SERVICE CARD FEBRUARY1969 21 NEW PRODUCTS A ROUNDUP OF THE LATEST HIGH-FIDELITYEQUIPMENT

response is 10 to 15,000 Hz; wow and flutter, 0.12 per cent. Ampexisoffering free an eight -page brochureon its The transport is pushbutton -controlled. Each channel has line of professional audio tape recorders andaccessories. a record pushbutton, tape/source monitor switch, VU me- The brochure contains photographs, prices, andtechnical ter, and separate microphone and line record -level controls. specifications of the products covered. Among theaccesso- The microphone inputs are low -impedance and use profes- ries included are microphones, speakers, andamplifiers. sional -type connectors. A slide switch mountedon the head Circle 152 on reader service card cover permits selecting either the half- or the quarter -track playback head. The recorder uses Sony's SNR noise -reduc- Gotham Audioisimporting the Klein & Hummel tion system and a "ServoControl" motor that permits ad- Model OY studio monitor amplifier/speakersystem. The justment of its running speed. Overall dimensions of the unit comprises two built-in solid-state30 -watt amplifiers, recorder are 161/8 x 53/4 x 16 inches, and its weight is 24 an electronic crossover, and four speakers: a 10 -inch pounds. Price: $750. acoustic -suspension woofer, two 3 -inch mid-range cones, and a Circle 148 on reader service card horn tweeter. The built-in amplifiers have lessthan 0.25 per cent harmonic distortion at 30 watts outputpower over Bell & Howellhas introduced the Model 294 portable cassette recorder. The two -track monophonic recorder is powered by five "C" cells and has piano -key controlsforall modes of operation. The record -level meter also serves as a battery -condition indicator. The recorder has an earphone output jack and input jacks fora remote -control microphone and a high-level auxiliary source. Price, including a carrying case, microphone, and earphone: $49.95. the full frequency range. Overall frequencyresponse of the Circle 149 on reader service card system is 30 to 20,000 Hz and the response is flat within ±2 dB from 40 to 16,000 Hz. The controls includean in- o Saxton Productshas introduced the put -level attenuator, four -step high- and low -frequency ad- Astro-Com Guitar Broadcaster, a miniature justments, and two variable high -frequency trimmers. The solid-state FM transmitter that plugs direct- enclosure is available in either oiled -walnutor grey For- ly into the output jack of an electric guitar mica and measures 19 x 12 x 9 inches. Price in either fin- or other musical instrument. The unit trans- ish: $520. mits on a frequency of approximately 90 Circle 153 on reader service card mHz and has an audio frequency response of 20 to 15,000 Hz. Within its maximum Pioneerhas introducedthe Model range of 50 feet it can be received by any CS -5 two-way compact bookshelf speaker FM radio or tuner. A tuning adjustment permits varying system. An 8 -inch air -suspension woofer the broadcast frequency by mHz. The transmitter is and a 21/2 -inch cone tweeter are used, and powered by a mercury battery which hasa life of about the system has an impedance of 8 ohms thirty hours incontinuous use. Excluding the screw -on and a frequency response of 35 to 20,000 whip antenna, the device measures 31/2 inches long by 5/8 Hz. Maximum input power is 25 watts; inch in diameter. Price: $14.95. the crossover frequency is 2,500 Hz. The Circle 150 on reader service card enclosure is of oiled walnut with chrome trim framing the grille cloth. The grille can be removedto Teac'sModel A-20 stereo permit changing the fabric or inspecting the speakers. A cassette deck has a frequency wall hangeris mounted on the hack of the enclosure. response of 60 to10,000 Hz Overall dimensions are 19 x 11 x 9 inches. Price:$59. and asignal-to-noise ratio of Circle 154 on reader service card 15dB. Flutter and wow are lessthan0.2percent. The Jensen'sfree twenty -page color catalog describes its deck, which is intended to be complete line of hi-fi speakers and speaker systems. The used with an externalstereo catalog includes photographs of each speaker and speaker amplifierandspeakers,usesahysteresis -synchronous system, technical specifications, and prices. Descriptions of motor and has a fast -wind time of 70 seconds for a C-60 Jensen crossover networks and some basic information on cassette. The transport mechanism is pushbutton -operated. speaker -enclosure design are also included. The other controls are power on/off and separate record- Circle 155 on reader service card and playback -levelcontrolsfor each channel. Jacks are provided for low -impedance microphones and for auxiliary Shureis offering free an eight -page illustrated catalog inputs. There is a dual record -level meter plusan 8 -ohm with specifications and prices of its complete line of phono headphone jack and a three -digit pushbutton -reset counter. cartridges. The catalog also covers the Shure line of tone Overall dimensions of the deck are 93/,1x 10 x 41/4 inches. arms,styli,and headphone amplifiers. A discussion of Price, including a stereo microphone: $139.50. trackability is also included. Circle 151 on reader service card Circle 156 on reader service card 22 STEREO REVIEW Thismansppnt $250on anAM/FM stereo receiver that wasn'taFisher. We're making an example of sound you get when you hcok the this man for all the world to see. new Fisher receiver up to a He should have known pair of good speakers. about the new Fisher receiver Now that you know about the described in the opening $250 Fisher 175-T, there's gatefold of High Fidelity, no reason to buy an inferior August, 1968. receiver for the same money. He might have saved himself And risk public exposure in a a lot of grief. Grief we're hoping Fisher ad. to save you. (For more information. plus a For those of you who missed free copy of The Fisher Handbook, that issue, here's a brief recap. 1969 edition, an authoritative We introduced the Fisher 72 -page -eference guide to hi-fi 175-T solid-state AM/ FM stereo and stereo, use coupon on receiver, priced at $249.95. page 2 I We went into details about the sensitive FM tuner section (2 microvolts), the FET front end, and Fisher's patented Stereo Beacon:* We mentioned the power (65 watts at 8 ohms), the versatile controls, and, most important ofThe Fisher 175:T. all, the virtually distortion -free $24.9.95* walnut cabinet. $24.95. .*0.5..ATENT N'JNIBER 3290443 PRICES ',LIGHT, HIGHER III T ,../E 000 WEST.

rkSHER .AO.CORPoRATiON, Inc., a-3sa1R ROAD, LONG ISLANO crTy. N 11101. OVERSEAS AND CANADIAN RESIDENTS PLEASE WPITL ro riSmER RC0 LNLF.L,GLIC/NAL C. LONG ISLAND GC,, N.v. 11101.

CIRCLE NO. 28 ON READER SERVICE CARD FEBRUARY 1969 23 ALLIED NEW 1969 CATALOG & BUYING GUIDE FREE! ALLIED ELECTRONICS Fl QUESTIONS FOR EVERYONE1.989 ANSWERS

Magnetic Phono Input Choices of the magnetic-phono stage to match QI've noticed that with a number that of the tuner. This prevents abrupt of amplifiers and receiversthe changes in volume when switching be- useriseither given achoice between tween the two program sources. high-level and low-level magnetic phono inputs, or there is a switch to be set to Tape -Recorder Curves high or low level.Other units have QIt has never been very clear to me variable controls to adjust the level of why there are two curves shown a phonograph. Why isthis? for tape recorders in STEREO Review's HAROLD PARKS test reports. I'm not referring to the re- New Haven, Conn. sponse curves at various speeds but rather to the separate record -playback and ATo provide the background for an NAB playback curves. answer toAlr.Parks' question, CHARLES SAVITSKY will have to examine some aspects Chicago,Ill. ofamplifierdesign.Any amplifying For top savings, shop by mail from stage operates best when handling signal AThe simplest way of looking at

the world's most famous catalog of voltages within a particular range. If the the two curves is this: a record- electronic equipment, featuring signal level is too low, itis competing er's NAB playback curve indicates how hundreds of new and exclusive items with the inherent noise of the stage. On well it trill reproduce both commercially and special Allied values. 536 pages-including a complete the other hand, if the signal peaks are Electronic and Hobby Kits Catalog too high, the amplifier stageisover- -picturing, describing, and pricing driven, and thetops and bottoms of thousands of items. The most com- theaudiowaveformsget cut off plete inventory ever assembled of (clipped).The magnetic-phonoinput Hi-Fi, Radios, Tape Recorders, CB, stagein an amplifier or receiver uses Electronic Equipment, Parts and what are known as small -signaltran- Tools... all at money-savin glow prices. sistors. Such transistors have these char- NO MONEY DOWN -24 MONTHS TO PAY! acteristics: high gain, low noise. and. un- prerecorded tapes and tapes recorded on fortunately, a tendency to overload if other machines: a recorder's record -play- BIG SAVINGS ON THE BEST too large a signal is applied. Since to- back curve indicates how well a machine IN ELECTRONICS FOR EVERYONE day's phono cartridges have output -sig- will play hack the tapes that it itself has Stereo Hi-Fi Amateur Equipment nal levels that differ over about a three - recorded. Electronic & Hobby Kits Intercoms & PA to -onerange,thedesigner must take To get down to the specifics, all pre- Tape Recorders & Tape Automotive Electronics CB 2 -way Radios Test Instruments special precautionstoinsure thatthe recorded tapes made in this country are Walkie-Talkies TV Antennas & Tubes sudden musical peaks on the record do equalized (that is, have their frequency FM -AM & AM Radios Power Tools, Hardware Shortwave Receivers Tubes, Transistors not cause overload of the input stages. response adjusted)to an agreed -upon Portable TV Parts, Batteries, Books And evenifa transistor stageisnot standard established by the National As- Phonographs driven into clipping, an excessively high sociation of Broadcasters. and therefore signal level usually results in a higher - all machines that are to he used to play than -normal distortion level. these tapes have a "de -equalizing" cir- A .simple solution to the problem is cuit built in to restore a fiat response. ALLIED RADIO, Dept. 128 eithertoput a snitchinthecircuit The record -playback frequency -re- P.O. Box 4398, Chicago, III. 60680 that attenuates the cartridge signal be- sponse curve shown in our test reports Send me your free catalog for 1969 foreitreaches the transistor stage, or refers to a different, but related, aspect PLEASE PRINT to provide the user with a choice of of a machine's performance. Obviously. inputs-the higher -level input having a if a machine is intended to play hack NAME it F ItSt Middle resistor behind to reduce the signal both NAB -equalized tapes and its own Last from a high -output cartridge to a safetapes. then the signal equalization ap- ADDRESS value. plied by the machine during the record- The phono-level adjustments that one ing hastobe identicaltothe NAB CITY finds on some amplifiers serve a differ- equalization applied during the produc- ent purpose. They operate in the circuit tionof commercial prerecorded tapes. STATE ZIP after the phono-input amplifying stages -J and adjust the signal level coming out (Continued on page 28) CIRCLE NO. 2 ON R. A7;_.3 SERVICE CARD 24 STEREO REVIEW FREE INFORMATION

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 2223 24 25 26 27 282930 31 32 33 34 35 36 37 38 39 40 41 424344 45 SERVICE 47 48 50 51 52 53 54 55 56 57 58 5960 46 49 61 62 63 64 65 66 67 6869 70 71 72 73 74 75

I 76 77 78 79 80 81 8283 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99100101102103104105 106 107 108109110111112113114115116117118119120 121 122 123124125126127128129130131132133134135 136 137 138139140141142143144145146147148149150

I 151 152 153154155156157158159160 SC 269 PLEASE PRINT II name

addregst aHere's an easy and convenient way for you to get additional information about products advertised or mentioned editorially in this issue. Just follow the riles ottialo, zip rode__ directions below...and the literature will be sent to (Zip Code must be included to insure delivery)(Void 60 days after date of issue) you promptly and free of charge. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 Tear out one of the perforated postage -free cards. 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 38 39 40 41 42 43 4445 Please print or type your name and address where 31 32 33 34 35 36 37 46474849 50 51 52 53 54 55 56 57 58 59 60 indicated. 61 6263646566 67 6869 70 71 72 73 74 75 76 77 78 79 80 81 E2 83 84 85 86 87 8889 90 Circle the number on the card that corresponds to the 91 92 93 9495 96 c7 98 99100 101 102103104 105 key number at the bottom of the advertisement or edi- 106 107 108 109 110 111 112 113114115 116 117118119 120 torial mention that interests you. (Key numbers for 121 122 123 124 125 126 127 128129130 131 132133134 135 advertised products also appear in the Advertisers' 136 137 138 139 140 141 142 143144145 146 147148149 150 151 152 153 154 155 156 157 158159160 Index.) SB 269] PLEASE PRINT dSimply mail the card. No postage is required. name

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FIRST CLASS PERMIT NO. 24475 PHILADELPHIA, PA. Steteo"-- NOVEMBER 1968Review 60 CENTS TRANSLATING STEREO -CIRCUIT BUSINESS REPLY MAIL MUSIC, FOOD, TERMINOLOGY AND LOVE=f PRESIDENTIAL NO POSTAGE NECESSARY IF MAILED IN THE UNITED STATES MUSIC r FRANCOIS COUPERIN:A TERCENTENARY TRIBUTE POSTAGE WILL BE PAID BY- Stereo llevin P.O. BOX 8051 PHILADELPHIA, PA. 19101

FIRST CLASS PERMIT NO. 24475 PHILADELPHIA,

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Stereo Review Stereo Review's Free Information P.O. BOX 8051 Service can help you select everything PHILADELPHIA, PA. 19101 for your music system without leaving your home. By simply following the directions on the reverse side of this page you willre- FIRST CLASS ceive the answers to all your questions about planning and purchasing records, PERMIT NO. 24475 tapes and stereo systems: how much to PHILADELPHIA, PA. speed, what components to buy first- and from whom; which records are out- BUSINESS REPLY MAIL standing and worthy of a spot in your music library; how to get more out of NO POSTAGE NECESSARY IF MAILED IN THE UNITED STATES your present audio system; which turntable ...cartridge ...tuner... headphone POSTAGE WILL BE PAID BY- ...loudspeaker...etc., will go with your system. All this and much more. Stem) Review P.O. BOX 8051 PHILADELPHIA, PA. 19101 We're not going to tellyou which of these bookshelf systems is best. These three Fisher bookshelf speaker systems all reproduce natural sound. But each has its own unique over-all texture. The differences are quite subtle. And who's to say which will sound best to you? Not we. But we will tell you a little about each. The XP -66 is a three-way speaker system in the same price range as some two-way systems- $109.95. That it sounds better than those two-wayspeaker systems goes without saying. (We wouldn't have introduced it otherwise.)A heavy, 12 -inch woofer handles frequencies down to 30 Hz. A 6 -inch speaker, sealed off in a separate little enclosure, provides clean midrange. And a low -mass treble speaker delivers the frequencies up to 19,000 Hz. (Beyondaudibility.) The XP -7, at $139.95, is also a three-way system. But the middle frequencies are handled by a pair of linear -matched 5 -inch midrange speakers, instead of a single midrange speaker. So the XP -7 has more presence than you've come to expect in a bookshelf speakersystem. And perhaps that's the reason why the XP -7 has achieved more top ratings than any of our other speakersystems. The 11/2 -inch soft -dome tweeter extends the frequency responseof the XP -7 to 20,000 Hz. (Farther beyond audibility.) Finally, the XP -9B, our most expensive bookshelf speaker system, costs $179.95. But, pound for pound, it's our best buy. The XP -9B weighs 60 pounds. (The XP -7 we ghs 45 pounds, the XP -66 weighs 40 pounds.) Which should give you some indication of what we putinto this one. It's a 4 -way system, with a 12 -inch woofer that concentrates only on those frequencies from 28 to 300 Hz. At that point a lower midrange speaker takes over, up to 1,000 Hz. And there an uppermidrange speaker handles just those frequencies between 1,000 and 2,500. A soft -dome tweeter finishes thejob by reproducing the rest of the audio spectrum, all the way up to 22,000 Hz. (Farthest beyond audibility.) Listen to the clean, effortless sound of the XP -9B before you spend $200 or more on a console -type speaker system. Now that you know the technical aspects of the XP -66, the XP -7, and the XP -9B, we urge you to go to your favorite audio showroom and find outwhich one is best. (For more information, plus a free copy of The Fisher Handbook,1969 edition, an authoritative 72 -page guide to hi-fi and stereo, use coupon on page 21.) TheFisher

PRIC ES SLIGHTLY HIGHER IN THE FAR WES'

CIRCLE NO. 24 ON READER SERVICE CARD FEBRUARY 1969 27 When a tape -recorder designer _sets up a machine, he first adjusts the playback We defy comparison. equalizer so thatitprovides an NAB response. He then adjusts the recording equalization so that the overall circuit re- Only Cortina Solid -State Stereo sponse including the head characteristics by Eico givesyou are the inverse of the NAB curve. Microphone Impedances the absolute most foryour money. QCan you explain to me the ma- .sons why someone would choose 100% TOTAL PERFORMANCE STEREO at the lowestprices to use a high -impedance microphone as in the industry. Build the kit -version and save even more! opposed to a low -impedance microphone (orvice versa)for a tape recorder? All the authorities agree: JOHN WALTON The all -solid-state Cortina series adds up to total stereo Pittsburgh, Pa. performance at lowest cost. Kits and Wired. See them at your local dealer. Write for free 1969 32-pg. catalog. AIn the days when all tape record- ,erss had tubes, the microphone - Sound n' Color: New input circuits were of high impedance exciting way to enjoy because tube music.Originalall circuitsare of naturally solid-state system (nn high impedance. If you wanted to record wheels or motors) provides true syn- with a microphone placed a long dis- a chronization of sound OW cis01! with color. See every tance away from the tape recorder, you tone, chord, combina- had to use a low -impedance microphone Stereo Tuner: Automatic FM Cor- tionofinstruments tina 3200, $99.95 kit,$139.95 (or a high -impedance microphone with wired, including cabinet. createits own vivid patterns of lights. an external transformer that converted Stereo Amplifiers: 70 -watt full - Connects to any 3.2 capability Cortina 3070. $99.95 to 50 ohm audio line the signal to low impedance) in order kit, $139.95 wired, including cab- (hi-fiorradio) with- inet. 150 -watt full -capability Cor- out disturbance. Cor r to prevent loss of high frequencies and tina3150,$149.95kit,$225 tina 3440, $49.95 kit. 111 r to avoid hum pickup in the shielded ca- wired, including cabinet. $79.95 wired. ....-r Stereo Receivers: 70 -watt Auto- ble. (When a microphone signal is con- matic FM Cortina 3570, $169.95 kit,$259.95 wired, including verted to low impedance, it can travel EICO cabinet. 70 -watt Automatic FM/ through very long lengths of cable un- cortina byL? AM Cortina 3770, $189.95kit, Designed, manufactured on U.S.A. and guaranteed $279.95wired,incudingcab- aff ecied by cable capacitance and hum.) by EICO 283 Malta St.. Brooklyn. N. Y. 11207 inet. With most tube units, however, a trans- CIRCLE NO. 25 ON READER SERVICE CARD former was needed at the tape -recorder input to convert the low -impedance sig- fgliom.m- nal back to the high impedance required Anothernew stereo? by the recordercircuit. For moderately short cable runs, high -impedance microphones could be used directly without No! impedance -concerting transformers. Then came transistors, which have a naturally low input impedance. Every- one _supposed that now the low -impedance microphones would no longer require matching transformers since they could feed the low -impedance transistor input directly-assuming that the mike's output -signallevelteashighenough. However, there were still difficulties. The specific- impedance of the low -impedance input of a number of tape recorders is not standardized. For example, there is one popular recorder that requires a microphone with a 3,000 -ohm impedance. This is too high for some of the low - (GRUI1DIG) impedance mikes and too low for any of the high -impedance mikes. The user This is the new stereo. is limited to a microphone specifically See it, hear it, read the price suggested by the manufacturer. In all tag, and stereo won't be a toss-up any more. The difference? Grundig RTV 320 Receiver has cases, the recorder manufacturer isin automatic multiplex stereo FM plus short wave and AM. Plus every the best position to advise you on the control -panel refinement from switchable automatic frequency correct microphone impedance to use. control to VU meter and stereo indicator light. Plus matching One final note: Don't hesitate to try hideaway hi fi speakers. All included at $259.95*, today's solid value in solid state. Listen at your Grundig dealer's. With Grundig, out a microphone that you may have hearing is believing. on hand. The worst that could happen suGGESTED RETAIL. WEST COAST SLIGHTLY NIGHER is that there would be an inadequate _sig- GRUNDIG ELECTRONIC SALES, INC. nal level or poor frequency response. No 355 Lexington Avenue, New York, New York 10017 damage can occur and the microphone's 7238 Atoll Avenue, North Hollywood, California 91605 performance may be good enough for In Canada: Perfect Manufacturing 8 Supplies Corp., Montreal your specific. purpose. CIRCLE NO. 29 ON READER SERVICE CARD 28 STEREO REVIEW DO YOU NEED $2,100 WORTHOF SPEAKERS FOR GOOD S I EREO?

Lots of people don't. But if you do a lot of They are all compatible with each other, having listening-and want your recorded music to closely similar frequency response and lower sound like the original- 52.100 for Klipsch distortion than any other speakers of similar Wide Stage Stereo is a bargain price. size. What's init? Two KLIPSCHORNS for But, here's a warning! After you've listened flanking speakers and a CORNWALL as center to Klipsch Wide Stage Stereo, you'll become a speaker. Ideally the flanking speakers should snob. Not because you own high priced equip- be in the corners of your longest wall. Then, ment - but because it spoils you for anything with Paul Klipsch's circuit for the center speaker, else. Once you discover how near reproduced you have true stereo geometry as well as the music can be to the original you won't want finest sound reproduction. (See technical papers to turn back. by Paul W. Klipsch on Wide Stage Stereo.) And stereo geometry is the whole point of stereo- to put the piccolo player in front of the drums Send S3.50 for a complete set of 17 technical papers on hack where he was in the first place. sound reproduction and stereo. This includes areprint of Bell TelephoneLaboratories' "Symposium on Auditory Perspective': Any Klipsch speakers may be used for Wide 1934. which is the basis for all present knowledge on stereo. Stage Stereo. If you don't have flanking corners available for KLIPSCHORNS, use three CORNWALLS - KLIPSCH & ASSOCIATES Box S-2 Hope, Arkansas 71801 Please send me complete information on Klipsch speakers and Klipsch Wide Stage Stereo. Also include the or two CORNWALLS and a MODEL H. name 01 my nearest Klipsch Authorized Audio Expert. Name Address City State Zip Occupation Age CIRCLE NO. 37 ON READER SERVICE CARD 29 FEBRUARY1969 Amongyour Audiotape Distributorsare: Korvette's-all stores Radio Shack-all stores Sam Goody-all stores Gem Electronics-all stores Newmark & Lewis-all stores Arrow Electronics-all stores Leonard Radio-all stores Harrison Radio-all stores ALABAMA Mobile The Carroll Co. ARIZONA Phoenix P.B.S.W. Supply CALIFORNIA Bakersfield Bakersfield Audio Glendale Eagle Elect. AUDIO BASICS Hollywood Wallich's Music City Magnetic TVI Inc. Orange Beverly Elect. San Francisco Hal Cox COMPONENTS OR CONSOLES? House of Sound Santa Monica Clef Television Whittier Hi-Fi Haven HAVINGdecided to buy a music system, many people are torn between getting COLORADO Denver Cromars AV Center separate components or a console. My own recommendation is usually com- CONNECTICUT New Haven R. H. Macy ponents-although there are many things to be said for the other side. First let's Stamford Atlantic Elect. FLORIDA look at the major advantages of components. Cocoa Beach Sunset Electronics Miami Electronics Equip. Co. Most consoles are sold primarily as furniture, rather thanas sound equipment. W. Palm Beach Miller & Wallace ILLINOIS It is not surprising, therefore, that more than half of a console's selling pricemay Berwyn Balkan Music Chicago Lyon & Healy represent the cost of cabinetry. Of course, there's nothing wrong with spending Lake Forest Grant & Grant McHenry Tones Music money on a cabinet, but you should realize that that is where the money is going Mt. Prospect Randhurst Music INDIANA when you buy a console. Buying a console made a lot more sense in the early days Gary Bud Pressner Music Indianapolis Van Sickle's of audio, when high-fidelity components were often an unsightlymess of tubes IOWA Sioux City Dukes Radio Co. and wires. But components today are styled to please theeye as well as the ear. LOUISIANA Monroe C&O Electronics Tuners, amplifiers, receivers, and turntables can be left exposed in theirown oiled - New Orleans Southern Radio Supply MARYLAND walnut enclosures on a buffet, table, or a shelf. They will not only look good, but Baltimore High Fidelity House they will take up less floor space than a bulky console. MASSACHUSETTS Boston City Radio, Inc. Cambridge Audio Lab, Inc. And there are other advantages in not having an all -in-one console. One is con- MICHIGAN venience. With components, it is easier to install the equipment so that all the Ann Arbor Microtron con- Drayton Plains Town & Country Radio &Tv trols are within easy reach of your favorite chair. What's more, Kalamazoo The Sound Room you can place the Lansing Offenhauer Co. speakers to make the most of your particular room's acoustics and to achieve the MISSISSIPPI Greenville Elect. Radio TV & Stereo best stereo effect. With consoles, the speakers' positions are fixed by their location Hattiesburg N & H Electronics Jackson Swan Electronics in the cabinet. This factor alone, depending on the acoustics of your listening Natchez Radio & Elec. Supply room, NEBRASKA could be a decisive point in favor of components. Grand Island Lumbard-Leschinsky Lincoln Electronics Unlimited With consoles, you're stuck with whatever combination of electronics and speak- NEW JERSEY Dover Kay Distributors ers the manufacturer decides to put into the box. With separate components, you Elizabeth American Recording Morris Plains Haas Electronics can change any one unit at a time if the need arises. Suppose you move out of a Rockaway Sanmar Elec. Corp. Trenton Hal's Record Shop metropolitan area to the far fringes and have FM reception problems. Then allyou NEW MEXICO Albuquerque Singer Record. Ctr. need do is trade in your tuner for a better one, keeping the rest ofyour equipment. NEW YORK Long Island-Billy Blake-all stores Or suppose you have developed a penchant for Rimsky-Korsakov in foriissimo. Bellerose Boro Electronics Bronx Corner Dist. Co. In that case, a heftier amplifier may satisfy your passion while protecting your in- Brooklyn Kitchcraft Hi Fi Corning Corning Electronics vestment in the other components. Let's say you want to add a tape recorder. With Ithaca Record Runner Manhattan Sealand Services, Inc. components it's almost as simple as plugging in a lamp. Many consoles, on the Nanuet Electronics 59 New Hyde Park Electric City other hand, not only have no space for a recorder, but they also frequently lack the Rochester Stereo Center Bob Hyatt Stereo necessary input and output jacks. So your wish for a tape deck of component quality NORTH CAROLINA Charlotte Dixie Radio may become something between a major engineering project and an outright PENNSYLVANIA Altoona Allegheny Electronics impossibility. Erie Mace Electronics Lancaster Commercial Music Service Most important of all, the chances of getting high -quality performance from the Pittsburgh East Coast Dist. SOUTH CAROLINA average console are not too good. Most-though not all-consoles have inferior Greenville Dixie Radio TENNESSEE innards designed for a market whose standard for good sound was established by Nashville Currey's TEXAS the corner jukebox. However, if your home decor-or your wife's tastes-requires Gibson's-all stores Dallas Normark a console, it is still possible to end up with good sound. Several component manu- San Antonio Alamo Music Cent& Silvey Music facturers produce consoles that incorporate high -quality equipment. And a few San Marcos B&O Music CO. WASHINGTON other consoles do deliver high -quality sound, although they are exceptions. Another Bellevue The Center of Sound Seattle Empire Elect. approach is to obtain the components you want and then buy a special equipment WEST VIRGINIA Charleston Elect. Materials Corp. cabinet to put everything into. There are several companies that manufacture quite WISCONSIN handsome cabinets, which are sold in the better audio salons. Milwaukee Stelloh Sound Racine Draeger Stereo 30 STEREO REVIEW Couldwedirectyou to the center where professionals buy cassettes and sound tape? (Oh,you bet wecould)

We saw you the other day buying Audiopak cartridges and our cassettes recording tape and cassettes. Audiopak cassettes. You looked like you could use some We're the only cartridge and help. Asking for just any tape. Buying cassette maker who uses Audiotape. a big name brand just because you That's pretty important. A cartridge or heard the name. Actually, nothing cassette tape should be specially wrong with that. Unless you want to formulated because it goes back and build an exceptional library of music, forth, again and again, around guides sounds of history, family sounds, and rollers and hubs. speeches, you name it. Unless you want Ours is. to preserve the spontaneity of your Most tape makers start with the children's voices, a party, a cherished same raw materials: plastic base, iron moment as clear and alive as you oxides and so on. It's a lot like cooking taped it. or baking. Start with the same Then you come to us. Audio Devices. ingredients but what a difference a We're the people who make the tape great chef makes in the finished the "pros" buy. We think we have what product. you want to hear...whether you are an Our difference? audiophile or a beginner. We're tape specialists. We make tape only. Sound tape, lubricated tape, How to get to us from where computer tape, videotape. You know you are and how you'll know yourself what happens when you put all your efforts into one thing. You get to you're there. know more about it-become a First of all, run your fingers down the perfectionist. Does it make a difference list of Audiotape distributors on the in the way we sound? The major facing page. Find the one nearest you. studios and radio stations think so. Good enough for you? Good. Meet you at an Audiotape Recording Center. If you don't find a distributor listed near you, drop us a line at Audio Devices, Inc., Dept. S-2 235 East 42nd St., New York, N.Y. 10017 Walk, ride a bike, scooter, subway, bus or cab to get there. Once you're there look for one of SOUND TAPE the Audiotape displays on the left. You can't miss it. It will be wearing a sign, "Audiotape Recording Center" CASSETTES & CARTRIDGES and will be stacked with Audiopaks Audio Devices, Inc. and Audiotape. We call our cartridges A subsidiary of Capitol Industries, Inc. CIRCLE NO. 7 ON READER SERVICE CARD FEBRUARY 1969 31 BOZAK'S NEW MEDITERRANEAN

W.... a., ..x.,40.!..,1£85,

A LOUDSPEAKER ENCLOSURE AS EXCITINGLY BEAUTIFUL AS THE MUSIC IT REPRODUCES

Reminiscent of the Graeco-Roman art forms, Mediter- individuality in a unique way by replacing the oaken top ranean combines straight, simple lines in such a way as to panel with marble, slate or leather. become highly decorative. Its burnished gold grille cloth is The music? Mediterranean is designed to house either accented by inserts of genuine wrought iron. the Model B-300, the finest two-way loudspeaker system, or The surfaces are true distressed Mediterranean oak in the acclaimed Model B -302A, a complete three way system. a warm finish. Both are Bozak which means there is no more natural re- And Mediterranean allows the decorator to express his production of music.

Darien, Connecticut 06820

32 STEREO REVIEW RECEIVER TESTS:Recently, I tested some sixteen puts of 0.1 watt (normal listening level), 1 watt (loud), stereo receivers for our sister publication ElectronicsIVorld and 10 watts (very loud). The distortion at 0.1 watt was (December 1968). Considerations of time and space often masked by residual hiss or hum (not necessarily (both in my laboratory and in the magazine pages) did audible), but at higher powers the distortion was measur- not permit me to give each receiver the detailed analysis able. Although the curves used in STEREO REVIEW reports that backs up each STEREO REVIEW equipment report. are more informative, even a couple of points on the dis- However, by conducting all the tests using identical con- tortion curve can indicate such deficiencies as a distortion ditions and standards, it was possible to present the perti- level that rises with a reduction in power output. I was nent data in tabular form so that meaningful comparisons happy to find that none of the receivers tested had signifi- could be made. cant distortion at normal listening levels with moderately Finding a common denominator for evaluating such a efficient speakers. diverse group of receivers offered some interesting prob- The audio gain (sensitivity) of amplifiers and receivers lems. For example, their power outputs ranged from 18 is usually rated in terms of the input voltage needed to watts to 70 watts, their audio gains spanned a ten -to -one develop rated power output. In a given installation, a range, the FM sensitivities were from 1.-4 microvolts to certain amount of amplifier output power into the speaker 4.5 microvolts, and there were other differences too nu- systems is needed for a particular listening level. The ques- merous to mention. How does one compare such a group tion is whether one is able to achieve that power with the of products in a meaningful and fair manner? I dare say available program sources and material. The possibility of my solution to this problem is not ideal and will probably obtaining more power, should higher signal levels be be amended in future tests. Nevertheless, I believe it has available, is another matter entirely, and is covered by the merit and can be applied to your own interpretation of the maximum power measurement. Therefore, for audio -gain STEREO REVIEW equipment reports should you wish to ratings I determined how many millivolts of 1,000 -Hz compare the performance of different products. signal were needed to produce 10 watts output, without The audio power output at 2 per cent distortion, with regard to the maximum power rating of the amplifier. On both channels driven into 8 -ohm loads, was measured at high-level inputs, the signal voltage required ranged from 30,1,000, and 20,000 Hz. Not 50 to 430 millivolts (0.05 to 0.43 only does this permit a direct com- volts), and on magnetic phono in- parison of receiver audio power, REVIEWED THIS MONTH puts from 0.8 millivolt to 5.3 milli- but the degree to which the 30 -Hz volts. All else being equal, a receiv- output falls below the 1,000 -Hz Bogen LS -10 Speaker System er with high gain at the phono inputs will require a lower volume - output (both at 2 per cent distor- Scott 388-E AM/FM Receiver tion)is an excellent guide to the control setting for the same listen- capabilities of the receiver's power Shure M91E Phono Cartridge ing level than one with lower gain, supply. Some receivers can deliver but might be more subject to over- little more than half power at 30 Hz, while others vary load by high -output phono cartridges. only slightly over the full frequency range. The key to this The frequency response on RIAA-equalized phono in- measurement is the use of a common distortion -reference puts and in FM reception was expressed in terms of the level. In line with the present IHF standard, each manu- maximum departure in decibels (+ or -) from the ideal facturer rates his product at his preferred distortion figure, response. This is less informative than a graphical presen- and most (ignoring the IHF standard) do not rate them tation, since an error of a few decibels at 50 or 10,000 Hz with both channels driven simultaneously. Although my is much less objectionable to the ear than the same error measured results sometimes differ substantially from ad- at middle frequencies. However, there can be no doubt vertised power outputs (especially when these are based that a receiver with smaller deviations from the ideal re- on the so-called "music power" rating), they are realistic sponse is better, in that respect, than one with larger errors. and permit valid comparisons to be made. Instead of plotting FM distortion and noise versus sig- Harmonic distortion was measured at 1,000 Hz, at out- nal strength, I simply measured the signal strength (at

FEBRUARY1969 33 100 per cent modulation) that resulted in 3 per cent dis- The balance of the tabular listing in Electronics World tortion at the units' tape -output jacks. This is the IHF was devoted to the various control features, inputs, and Usable Sensitivity, which varied from 1.4 microvolts to outputs, which differed considerably among the receivers 4.5 microvolts in this group of receivers. Almost all of tested. This information is available in most catalog list- them had better than 3 microvolts sensitivity, which is ade- ings and in manufacturers' literature. quate for the vast majority of installations. Obviously, the By noting these key performance factors, which can be most sensitive receivers are more suitable for fringe -area extracted from the text and graphs of STEREO REVIEW reception, or where an outside antenna designed for FM equipment reports, it is a simple matter to compare prod- reception is not available. ucts which were tested at different times. Of course, judg- The FM distortion, with a 1,000 -microvolt input signal, ment of such matters as styling and operating features is is an indication of the linearity of the receiver's discrimi- best left to the prospective buyer, and I comment on them nator and the bandwidth of its i.f. stages. The average only when I feel that they are especially noteworthy. distortion was about 0.7 per cent-which is negligible, To summarize the Electronics World report findings, all since it occurs only at peaks in the program levels. The the receivers tested were capable of good performance lowest measured distortion was 0.3 per cent and the within their power and sensitivity limitations. One or two highest was 1.65 per cent. were slightly deficient in these factors (in at least one case Rather than plot stereo channel separation on FM over this was probably caused by a slight misalignment of the the audio frequency range, I measured it at 50 Hz, 400 FM section by the manufacturer) and several were out- Hz, and 10,000 Hz. Most receivers showed considerable standingly fine. It will be obvious to anyone who reads the reduction of separation at the frequency extremes, but report carefully that some of these receivers appear to be almost all were able to produce a fully satisfactory stereo "best buys," combining high performance with moderate effect with separations of 15 dB or better at the extremes price. The appearances are correct --they are indeed what and 25 to 35 dB or more at 400 Hz. they seem to be.

EQUIRVWNT TEST REPORTS By Hirsch -Houck Laboratories

systems are designed to have the same listening quality. The LS -10, which we tested, is the smallest of the group, measuring only 15 x 8 x 7 inches. It is a two-way system, BOGEN LS -10 witha6 -inch acoustic -suspension woofer and a3 -inch SPEAKER SYSTEM cone tweeter. The LS -20 isslightly larger;it has an 8 - inch woofer, with the same tweeter used in the LS -10, plus a tweeter -level control. The LS -30 is a full-size bookshelf system with a 10 -inch woofer. Its5 -inch midrange and 3 -inch tweeter both have output -level adjustments. As is our practice, we measured the frequency response THE new Bogen "Row 10" series of compact speaker of the Bogen LS -10 at ten different microphone locations systems was designed (as the name suggests) to produce in a normally "live" room. The speaker was mounted on a a specific type of concert -hall sound in the typical home shelf at normal listening height. We averaged the micro- environment. By appropriate shaping of a speaker's fre- phone outputs to obtain a single response curve that is quency -response characteristics, it is possible to modify-to indicative of the total power output of the speaker from alimitedextent-the apparent distanceofthe sound 20 to 15,000 Hz. source from the listener. The response curve was quite smooth, although it ap- Bogen's goal was to give the illusion of "tenth -row" peared that the tweeter output level was 5 to 7 dB lower sound-meaning not so close as to be overpowering, nor than the woofer level, giving a very smooth but depressed so far back as to lose the detail and perspective of the response curve above 1,000 Hz. Without our attempting orchestra. According to their published response curves, to isolate the effects of room resonance on the low -fre- the response is flat and smooth from 1,000 to 10,000 Hz, quency response, the response was ±6 dB from 60 to and reduced somewhat from a few hundred hertz down- 15,000 Hz. This would be considered very good for any ward. The extreme highs have been rolled off to a mini- speaker system, let alone a small unit with a 6 -inch woofer. mum at 17,000 Hz. The rationale for thisisthat most The gradual roll off of about 10 dB from the 1,000 -Hz good phono cartridges have a resonant response peak in level down to 60 Hz can be compensated for quite well that region, and introducing a complementary dip in the by many amplifier bass tone controls if one so desires. speaker will result in the flattest overall response when The tone -burst response was quite good at all frequen- playing records. One could take issue with this approach, cies, with no signs of ringing or spurious responses. Low- but since the response of a speaker system above 15,000 frequency harmonic distortion,ata1 -watt drivelevel, Hz has little effect on its overall sound, we might expect was not as low as that of some larger speaker systems, but the benefits or drawbacks of this feature to be minimal. it remained under 5 per cent down to 70 Hz. At lower There are three models in the "Row 10" line. Except frequencies, the LS -10's output fell off considerably, but it for low -bass performance and power -handling ability, the (Continued on page 38)

34 STEREO REVIEW First of a This is what high performance is all abort. A bold andbeautiful new FM Stereo new breedReceiver bred to leave the others behind 160 crisp, deal watts-powerin -from reserve. Up -front, ultra -now circuitryfeaturing Field -Effect Transistors and microcircuitry. Front -panel, push-button command of main, remote, or mono Sherwoodextension speakers and loudness contour. Sherwoodhigh-fidelity-where the action is-long on reliability with a th-ee-year warranty.

Write Dept. 2R Sherwood Electronic Laboratories, Inc. 4300 North California Avenue, Chicago, Illinois 60618 CIRCLE NO. 55 ON READER SERVICE CARD 35 FEBRUARY1969 After reducinthe top -rated ADC 303A to $81.95, what doyou do foranencore? You introduce the 303AX. The new 303AX speaker system represents an To get this performance, we have designed a new, improved version of the top -rated, award -winninghigh compliance 10" bass unit using specially devel- Brentwood. It has the same famous ADC wide dis-oped cone and surround materials. The crossover persion 11/2" mylar dome tweeter, rich, handsomefrequency is 1500 Hz and the drivers are critically oiled walnut cabinetry, five-year warranty on partsmatched to provide a smooth transition without and labor and the same lack of coloration and dis-irregularities. tortion that tend to bug other speakers in the same The net result is a system of exceptional accuracy. category. It provides the listener with open, transparent, and This new speaker is characterized by higher sen-above all, thoroughly natural reproduction. sitivity, particularly in the extreme bass, where in- Which 303 is the best buy? You should have this creased power handling capacity in the critical 30 todecision every day of your life. Audio Dynamics 45 Hz region effectively extends the useful responseCorporation, New Milford, Connecticut 06776 by one half of an octave. I Thenew ADC 303AX $99.95

CIRCLE NO. 8 ON READER SERVICE CARD The high quality of the LS -10 can be seen in the absence of ringing or other spurious responses in the tone -burst photos. Shown, left to right, are responses to bursts at it 200,1,200, and 11,000 Hz. did not break up or severely distort the test signal. This to 300 Hz, the LS -10 becomes a thoroughly satisfying is illustrated by the measured 20 per cent distortion at 25 speaker for use in high-fidelity systems limited by budget Hz, afigure that would be considered quite respectable or space restrictions. The "Row 10" goal of its designers for many 12 -inch or even 15 -inch woofers of conventional has been achieved in that the LS -10's sound is subjectively suspension design in enclosures of several cubic feet. neither projected nor remote. The system's smoothness and We were most interestedin the listening qualities of good transient response impart a pleasing sense of defini- the Bogen LS -10.Itis,first of all,a clean- and open - tion. The male voice as reproduced by the LS -10 is free sounding system, free of the harshness and coloration that ofunnatural boom orbassiness-something we can't arecharacteristicof some othersmallorinexpensive alwayssayforsomefarmore elaborateandcostly speaker systems. As mentioned above, the system's low speakers. distortion makes it practicable to compensate foritsre- The Bogen LS -I0sellsfor $49.95. The larger units, duced low -frequency output with most bass tone controls, which shouldprovide an enhanced bassresponse,are or even with the usual loudness compensation. With the priced at $59.95 for the LS -20, and $99.95 for the LS -30. help of a few decibels of boost in the region below 200 For more information, circle 157 on reader service card

STEREO, REV. STEREO, and MONO positions are self-explana- SCOTT 388-B AM/FM RECEIVER tory. The L INPUT and R INPUT positions connect either channel's input signal to both outputs. This added flexibility makes itpossible to connect two different mono sound sources to the EXTRA inputs and play either one through both speakers. Such combinations as two TV sets, or a TV HEADING the broad line of H. H. Scott stereo receivers set and a short-wave receiver, are possibilities.The re- is the Model 388-B. The 388-B has a 120 -watt music power maining positions are BAL. L and BAL. R, which connect the rating,field -effect -transistor( FET)front ends for both summed signal of both inputs to either channel's output. AM and FM tuners, an integrated -circuit (IC) i.f. section, Channel balancing can be simplified by switching between and complete control flexibility. these two positions while adjusting the balance control for In addition to AM and FM positions, the input -selector equal sound volume. switch offers a choice of magnetic phono cartridge, high- A row of seven push-on/push-off switches completes level EXTRA signal source, or a pair of microphones-the the control lineup of the 388-B. These switch off the loud- latter plugging into front -panel jacks. The usual tuning ness compensation, provide tape monitoring, add rumble knob, headphone jack, balance control, volume control (com- or noise filtering, FM interstation-noise muting, and select bined with the power switch), and bass and treble tone either or both of two pairs of stereo speakers. A slide controls are present on the satin -gold -finished front panel, switch on the rear of the receiver parallels the remote which also displays a large, illuminated slide -rule dial. The speaker outputs, so that by adding a suitable protective tonecontrolsforthe two channelsareconcentrically resistor a singe remote speaker can carry a balanced mono mounted, with slip -clutch knobs that permit adjusting the program, evenifthe main speakers are reproducing a response of each channel as necessary. stereo program. Curiously, the presence or function of this The mode selectorisaseven -positionswitch. The switch is not even hinted at in the instruction manual, although it is shown in the photograph of the rear of the receiver. In the rear of the receiver, in addition to the various input and output terminals and connectors, are a line fuse and individual speaker protective fuses. These effectively /MORE fRANoy? protect the output transistors against damage from shorts, Ptr but of course require replacement in the event of a momen- TEREt, FAL tary mishap. The AM ferrite antenna, also in the rear of ' the receiver, is adjustable in spacing from the receiver and CARE FoR SAO AEtT to some degree in its orientation for best reception. Final- ly, a slide switch provides three positions of phono-preamplifier gain to match the phono-output level to that of the tuner section. Scott'sprintedspecificationsfor the 388-B are quite complete. For example, the music -power output is rated at 120 watts (4 ohms) or 100 watts (8 ohms). The continuous -power rating is 40 watts per channel into 8 ohms with one channel driven, and 30 watts per channel with both channels driven. All power ratings are at 0.8 per cent harmonic distortion. In our tests, the distortion at 30 (Continued on page 40)

38 CIRCLE NO. 67 ON READER SERVICE CARD-)IP. If you plan to spend less than $74.50 for an automatic turntable, you're reading the wrong magazine.

Most of the people who read this Or compensate precisely the record. (A feature of every Dual.) magazine know that you can't get for tonearm skating at low stylus Or a variable -speed high fidelity sound from a cheap forces. pitch control that lets you "tune" record changer. Or a high degree of Cheaply made record changersany record aver a half- enjoyment. Or, for that matter, the tend to be plagued by audible rumble,tone range. (Another feature of all peace of mind that comes with wow and flutter. Any regular reader Duals.) knowing that your records are being of this magazine knows that. (Rumble, So if you want a high fidelity handled with precision and care. wow and flutter of the Dual 1212 record changer, and you're willing to If you spend less than $74.50 (theeasily surpass NAB standards for spend a few extra dollars to get one, price of the Dual 1212) you won't get cxbroadcast turntables.) you've just read the right ad. changer that will track a high - And no cheap changer includes aUnited Audio Products, Inc., compliance cartridge at one gram, feathertouch cueing mechanism that535 Madisor Ave., flawlessly. gently lowers the arm anywhere on New York,NY10022.Dual I BOTH CHANNELS DRIVEN WITH 8 -OHM LOADS,ONE CHANNEL MEASURED BOTH CHANNELS DRIVEN WITH 8 -OHM LOADS, ONE CHANNEL MEASURED 2 2 MHz TOTAL HARMONIC DISTORTION SCOTT 388-B 60/70001B (4: )IM DISTORTION RATED POWER OUTPUT (30w) SCOTT 388-8 ----HALF-POWER OUTPUT (-3481 0 --- LOW -POWER OUTPUT (-1008) 0 g.0.5 0 0.5

z it!0.2 0.2 gm.

0.1 0.1 01 02 05 2 5 10 20 50 100 20 50 00 200 500 611, 2101z 5kB 10k8. 20 CONTINUOUS AND EQUIVALENT SINE -WAVE POWER OUTPUT PER CHANNEL IN WATTS FREQUENCY IN H(CYCLES PER SECOND) kK watts per channel was under 0.15 per cent from 50 to 1,000 Hz, and under 0.8per cent from 35to beyond +10 411111111ME 20,000 Hz. At half power or less, the distortion was well 111111111111 under 0.5 per cent from 20 to 20,000 Hz. APE08.0.70 -OUTPUT VOLTS JACKS) 111112:inni At middle frequencies, the power rating of the 388-B is 111111 very conservative, since the 1,000 -Hz harmonic distortion Hindi was under 0.2 per cent from 0.1 watt to 40 watts, increasing to 0.8 per cent at aboutIS watts per channel. The IM distortion was under 0.5 per cent from 0.1 watt to I""hil about 43 watts. Into 16 -ohm loads, the maximum output SCOTT 300 B was about half the 8 -ohm value; into 4 ohms it was about FM SECTION (MONO) a third greater. 1111 The phono sensitivity was very high, with only 0.64 to 1.95 millivolts required for 10 watts output, depending on Pv SENSITIVITY 1111111 the settingofthe phono-sensitivity switch. We do not -1111 recommend using the MAX or MID positions of this switch with typical modern cartridges, since the high phono preamplifier gain is not needed and the phono preamp can he TOTAL NOISE. HUM DISTORTION RE. AT 400., overloadedatrelatively low inputlevels.Inthe MIN -50 position, whose gain is more than adequate for any car- JIM 2 5 10 20 50 100 5k 10k 20k 50k 00 'fridge (except moving -coil types without a step-up trans- F TEST -SIGNAL INPUT IN MICROVOLTS ()..1V) former), the overload point is at a fairly safe 53 millivolts. Hum and noise were very low, 64 dB below 10 watts on phono and 75 dB below 10 watts on the high-level inputs. Scott 388-B as an FM receiver were excellent. The auto- The RIAA phono equalization was unusually accurate matic stereo switching worked smoothly and effectively. within -±-1 dB overitsrange. The rumble and high - The interstation-noise muting circuit was somewhat noisy frequency noise filters had slopes of 6 dB per octave, too tuning on or off a station, but totally silenced the receiver gradualforeffectivefiltering.The switchable loudness between stations. The AM quality was superior to that of control, which sounded quite good, boosted both low and most receivers we have tested.Unlike the AM section highfrequencies.The tone -controlcharacteristicswere found in many stereo receivers, the one in the Scott 388-B generallysatisfactory,although theeffectof thetreble did not sound like a small transistor radio connected to a control was complete in the first half of the knob rotation. powerful audio amplifier.It was not of FM quality, but The FM tuner had an IHF usable sensitivity of 2.5 the limitation in frequency response was not evident with- microvolts, with limiting virtually complete at 6 micro- out an A -B comparison with an FM program. The Scott volts. The FM frequency response in stereo was ± 1 dB 388-B is an attractive, powerful, and sensitive stereo re- from 40 to 15,000 Hz, and channel separation was better ceiver with all of the operating flexibility one could desire. than 20 dB from 35 to 6,000 Hz, falling to 16.5 dB at Itispricedat $469.95. An optional walnut cabinetis 10,000 Hz. available for $29.95. The sensitivity, ease of tuning, and sound quality of the For more information, circle 158 on reader service card

Shure has come very close to matching the V-15 Type II, SHURE M91E at a much lower price (although the M91E could hardly PHONO CARTRIDGE he termed a "low -price" cartridge). The Shure M91Eisphysicallydifferentfromtheir earlier models. Itis a small, light cartridge, weighing 5 grams, whose body fitsinto a metal bracket. Instead of SINCE the introduction of their V-15 Type II cartridge, mounting the cartridge directlyinto the tone arm, the Shure has emphasized the concept of "trackahility," which small metal bracketisinstalledfirst. The cartridgeis is the ability of a cartridge to play the highest recorded then snapped into place. The mounting instructions,at velocities over the full frequency range. Lower -price Shure least for the early sample we received, were not as clear cartridges such as the M-75 series have embodied many as they might he.If,after you have installedthe car- of the design concepts used in the V-15 series, but of tridge, itis not firmly fixed in place, you have probably course did not equalitsperformance. With the M91E, installed it incorrectly. (Continued on page 42)

40 STEREO REVIEW OUR NEWEST PREAMPLIFIER The transistorized PAT -4 is almost twc years PAT -4is only $89.95 as akit and $129.95 old and we still can't fill the demand. factory -assembled. At one-third the cost of Our newest preamplifier doesn't replace our other units, such consummate value just natu- earlier ones, so you can now have Dynaco per- rally gets around. formance with either tubes or transistors. Our Dynaco introduces new products only when mono preamp isstillselling after 12 years, they fill a real need. They never render previous and the unbeatable PAS stereo series is going models obsolete. strong after 10. We can't promise that the transistorized This unprecedented longevityis explained PAT -4 will still be our newest preamplifier 10 by Dynaco's unswerving devotion to perform- years from now. ance, reliability and unmatched low cost. The But we do know it won't be out of date. DYNACO, INC., 3060 JEFFERSON ST., PHILA., PA. 19121

I:1 BM' \In1969 41 How to !nterpret the Curves THE curve in the frequency response and separation graph represents the averagedfre- quency response of the cartridge's right andleft channels. The lower curve, which starts at 500 Hz, represents the averaged separation between channels. The amount of separationat any frequency isindicated by the vertical distance between the 1-20 upper and lower curves, and is expressed in decibels. -25 Inset at the lower left of the frequency -response -30 graphisan oscilloscope photograph of the car- ..310 100 200 210. tridge's response toa1,000 -Hz square wave on a FREQUENCY IN CYC-ES PER SECOND 111x) test record. The shape of the reproduced wave is an indication of a cartridge's high- and low -frequency response and resonances. Like most quality Note thatthedistortionfigures shown inthe cartridges, Shure's distortion -vs. -recorded -velocitygrapharenotdi- 11191E has lower 0 rectly comparable, in terms of audible effect, with distortion at higher distortionfiguresobtainedonother components. recorded levels the The vast majority of the program materialon discs higher the tracking has velocities well below 15 cm/sec and rarely,if force. On most ever, hits 25 to 30 cm/sec. The curve is therefore program material, distortion remains usefulasa means of comparing cartridges,but about the same with not as an indicator of absolute distortion. either tracking force. PEAKVELOCITYINCM/SECOF TEST DISC

The M91E is designedto operateat tracking forces sured at tracking forces of 1 and1.5 grams, using the of from 3/4 to 11/4 grams and is equipped witha 0.2 x 0.7 - RCA 12-5-39testrecord. This showed clearlythe ad- mil elliptical stylus. In our preliminary tests,ittracked vantage of using the higher force, at which the IM was the high-level 32 -Hz bands of the Cook Series 60 record only 4 per cent at the very high recorded level of 27.9 at only 0.7 gram, less than was required by practically cm/sec. With a 1 -gram force, 4 per cent IM was measured any other cartridge we have tested. The very high-level at 20 cm/sec, and 15 per cent at 27.9 cm/sec. 30 cm/sec 1,000 -Hz bands of the Fairchild101 record The listening quality of the Shure M91E was excellent. were played successfully at1 gram, although some slight It was smooth and effortless at all times. We applied our distortion of the wave -form peaks was visibleon an oscil- standard test of tracking ability using the Shure "Audio loscope. Almost all cartridges exhibit this distortion,and Obstacle Course" record. Here the true mettle ofthe most will not do as well at any force. We used the 1.5-gram M91E was revealed, sinceitvirtually matched the per- maximum rated force during most ofour tests. The fre- formance of the V-15 Type IIinitsabilityto track quency response, playing the CBS STR100 record,was the highest recorded levels to be found on modern record- +3, -2 dB from 40 to 19,000 Hz, witha resonant peak ings. There can be no doubt that the Shure M91E belongs of 3 or 4 dB at about 15,000 Hz. At mid -frequenciesthe in the select handful of top-quality cartridges. channel separation was 28 dB onone channel and 22 dB The Shure M91E sells for $49.95. The same cartridge on the other. It was better than 10 dB over most of the body,butwithaslightlyhighersignaloutput highest audible octave, from 10,000 and to 20,000 Hz. slightly lower tracking ability,isavailable as the M92E The square -wave response was quite good, showinga elliptical ($44.95) and the M92G spherical ($39.95). A couple of cycles of ringingatthe stylus' resonantfre- cartridge with a less compliant stylus operating at higher quency. Signal output was 5.7 millivolts at 3.54 cm/sec. tracking forces (11/2 to 3 grams) is available as the M93E Hum shielding was good, a characteristic ofallShure at $39.95. cartridges we have tested. The IM distortionwas mea- For more information, circle 159 on reader service card

42 STEREO REVIEW $80 FOR A $250 SPEAKER Dynaco electronic components have gainedtransient response, reduced Doppler effects, wide acceptance because people recognize that and asubstantial improvementineffective Dynaco offers remarkable value-like the coupling of the speaker to the amplifier. The quality of a $300 preamplifier for only $90. A -25'sten -inchextended excursionwoofer And now we have a loudspeaker system of com- crosses over at 1500 Hz to a new dome tweeter parable value-the Dynaco A-25. with a five -step level control. This new aperiodic loudspeaker system is We suggest an appraisal at your Dynaco just $79.95, compact (20"x111/2"x10" deep), dealer. When you hear a solo voice-one of the and particularly easy to drive. We call it aperi-most critical tests-the articulate naturalness odic because the Dynaco A-25 is almost liter- of this speaker will be apparent. When listening ally without resonance, thanks to an acousticto choral groups or orchestras, you will be impedance system whichprovidesvariable impressed by the feeling that this is a "big" volume action rather than the sealed acoustic speaker thanks to its outstanding dispersion. suspension box. The aperiodic design contri- Listen -and you will agree that the A-25 butes markedly improved low frequencyhas all the qualities of a $250 speaker. 3060 JEFFERSON ST., PHILA., PA. 19121 alyivacoINC_ CABLE ADDRESS: DYNACO PHILADELPHIA, USA

FEBRUARY1969 43 "High performance andanabundance of features.. .anexcellent buy ontoday's market." "HIGH FIDELITY" ON THE LAFAYETTE LR-1500T

"...it offers most of the refinements (and performance) typical ofreceivers selling for twice its price.. .clearlyone of the best buys in audio." "1 -II -Fl STEREO REVIEW" ON THE LAFAYETTE LR-1000T t t. . .aunit with excellent tuner characteristics...I suspect that Lafayette will havea great manysatisfied customers." "MODERN HI -Fl & STEREO GUIDE" ON THE LAFAYETTE LR-500T

Now, three leading audio magazines have confirmed what thousands of owners have been telling us all along-that these Lafayette receivers are "best buys" on today's market. Of course, it's not surprising that all three receivers should be so highly acclaimed by the experts. They share the same basic design and include the same advanced circuit features... integrated circuits, field-effect transistors, automatic FM stereo switching, transistor overload protection, and many more. Small wonder, then, that all three offer the same high level of FM stereo performance and audio quality. The only substantial differenceisin power output. You will find no serious performance compromises-even in the least expensive model. So if you're looking for a really fine receiver in any price range, stop in at your nearest Lafayette audio showroom soon and hear these highly -rated receivers for yourself. For free 512 -page 1969 Catalog No. 690, write to: (*) LAFAYETTE RADIO ELECTRONICS Dept. 11029 P.O. Box 10, Syosset, L.I., New York 11791.

STEREO REVIEW

pyf *A. -/ MOO? PA. MOM Mgt I I I WNW WNW LR-1 500T 175 -Watt Solid -State AM/FM Automatic Stereo Receiver 29995

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114 1..r. 1,:tf. 40

00011 *us v0.10 Ili mow LR-1 000T 120 -Watt Solid -State AM/FM Automatic Stereo Receiver 23995

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LR 500T 60 -Watt Solid -State AM/FM Automatic Stereo Receiver 1 995

4Integrated Circuits 'INTEGRATEDi and CIRCUIT 2 Field Effect Transistors qu A FAYETTE RADIO ELECTRONICS SYOSSET, L.I., N.Y. 11791 CIRCLE NO. 39 ON READER SERVICE CARD FEBRUARY 1969 45 Build New GeeiMusic Kits

D$1148EAT RHYTHM

If you want rhythm Schober's got it -10 real trap sounds in a small carrying case. Add bass drum, snare drum, cymbals, and 7 other great rhythm effects to your combo, piano, or organ playing, each at the touch of a button the instant you want it-or have a ball GOING ON RECORD playing traps along with records and radio! The Schober Portable Dynabeat connects to any guitar, hi-fi, or p.a. amplifier, makes you HOW TO MAKE A SILK PURSE an instant drummer. Kit $139.50, all built $169.50. Special Dynabeat for all Schober LIt PPOSE westate the problem squarely: Most record companies are a little un- Organs (not other brands) synchronizes the LI a decisively large proportion of rec- sounds you want with manuals and pedals. happy about this, hut nottoounhappy. $150 for the kit. ord buyers inthe United States (and After all, if you can make all the people elsewhere, forallI know) are of the buy one of your products where pre- opinion that stereo and hifiare two viouslysome bought oneand some different species of animal which will bought another, you have a considerable not cohabit. Since people no longer buy cutback in expenses with no loss of in- "hi-fi"sets,but rather "stereos," theycome. And the distributor and the rec- demand stereo records to play on them. ord stores are quite satisfied, for simi- Whether or not the recordisatrue lar reasons. Then who isn't happy with stereo recordingisnot the point; the thisstate ofaffairs?Probably, you- point is that the magic word must ap- you being those few sophisticated record pear on the front of the record jacket. buyers who make all the trouble for an Even this would he only a minor print- industry that more and more seeks to 7k12[Elil ing procedure but for the FTC, which dealin "product" rather than musical isnotlikelytolook permissively on recordings. provably monophonic recordssoldin If I read your mind (and your letters) jacketsmarked"stereo." And so we correctly, you are unhappy for one or have artificial stereo, processed electron- DA more of the following six reasons: you gUL,WITIT ically from monophonic masters, we have thought you were buying a new record a good deal of critical and consumer dis- and it turned out to he an old one re- The Schober Tunesmith makes the one -finger content, and therefore we have a problem. artist an instrumental soloist. Produces one furbished; you thought you were buying note at a time on the 21/2 -octave keyboard In fairness to the record buyers-and a stereo record and the artificial stereo while you control tone color (6 voices), vi- itshould he clear thattheseare the you got didn't come up to your expec- brato, pitch, volume, as you play. Carry the melody for a combo or play with piano or unsophisticated buyers who constitute a tations; you knew the record was arti- organ accompaniment-or along with records majority of the buying public-they did ficialstereo when you boughtit,and and radio. Easily portable (13 lbs.), connects not themselves create the problem. Many in to any amplifier. Easy to build kit $149.50; you don't object principle,but the assembled, ready to plug in and play $189.50. dealers in this country, and most espe- record still didn't come up to expecta- cially their undertrained, probably un-tions; you wanted the record in its un- derpaid sales personnel, to whom inex- tampered-with, monophonic form but perienced buyers turnforadvice,are found it wasn't available that way, so equally ill informed on technical record- you bought the artificial stereo and it ing matters. There is certainly no reason sounds terrible to you, worse than the to believe that any more knowledge of mono original; you bought the record the subject exists on the distributor level, thinking you could restore the original and severalofthe trade publications sound by simply putting your amplifier havebeenabsolutelyirresponsiblein in the mono mode, but you found that it Send right now for the full -color Schober propagating the sort of mythical tech- doesn't work that way and the record catalog, with alldetails on Dynabeat and Tunesmith as well as Schober's five kit organ nology thatcan come out ofrecord still sounds terrible. And last, you went models and uniquereverberation system. sales and promotional departments that to your record store to find out if some- No charge, no obligation. If you like music, are feeling the pinch. you owe yourself a Schober instrument! one had finally reissued that magnificent The record companies, then, are backed old mono recording you coveted,for against a wall (admittedly, they helpedwhich you've been searching for years, to construct it). Perhaps nine people out and you found out that no one has, be- THE eced10 t ORGAN CORP., Dept. HR -27 of every ten are demanding stereo LP'scause the companies are too upset and 43 West 61st Street, New York, N.Y. 10023 and, obviously, they must he catered to. intimidated by your previous five reac- 0 Please send me a Schober Organ Catalog. The other one can he told (confusingly, tions even to begin thinking about it. El Enclosed is 50 cents for 7 -inch LP demonstration record of DYNABEAT and Portable TUNESMITH. contradictorily, unfairly, and perhaps in- Whew! What does anybody do about it? NAME correctly) that with the purchase of a Angel's Seraphimline,Columbia's new diamond stylus he can play on his little Hall of Fame Series, and recently ADDRESS old "hifi" allthose records he was pre- RCA Victrolahavereissuedoriginal CITY STATE ZIP viously told he could play only ona mono recordings asmono.That, certainly, new stereo installation. (Continued on page 48) CIRCLE NO. 54 ON READER SERVICE CARD 46 CIRCLE NO. 59 ON READER SERVICE CARD-)10. HavewegotaSony for you!

And Has It Got Features! Four -track stereophonic and monophonic recording and playback. Seven-inch reel capacity. Stereo headphone jack. Auto- matic sentinel shut-off. Two VU meters. Pause control. Four -digit tape counter. Record interlock. Vertical or horizontal operation. Ultra -high -fre- Vibration -Free Motor. An important new quency bias. Sony development ..iti I izing "floating" shock absorber action to isolate completely any motor vibratior from the tape mechanism. Three Speeds. 71/2, 33/4 and 17/8 ips.

Instant Tape Threading. Exclusive Sony Retractomatic pinch roller permits simple one -hand tape threading. An automatic tape lifter protects heads from wear during fast forward and rewind.

Scrape Flutter Filter. Special precision idle- mechanism located between erase and record/playback heads eliminates tape modulation distortion. This feature formerly found only on professional studio equipment.

Non -Magnetizing Record Head. Head magnetization build-up-the most common cause of tape hiss-has been eliminated by an exclusive Sony circuit which prevents any transient surge of bias current to the record head.

Sony Model 255. Priced under $179.50. For your free copy of our latest tape recorder catalog, please write to Mr. Phillips, Sony/ Superscope, Inc. 814 6 Vineland Avenue, Sun Valley, California 91352.

SONYSUPER OPE lapewor .

1969 SUPERSCOPE, INC. You never heard it so good. is the bravest and most honest way.Bu itruns headlong into "the problem" sales are smaller than they rightfull. should be, and consequently a perhap unconscious conservatism controls wha UP will or will not be reissued. London' STEP Stereo Treasury Series issues only tru stereo records. That tooisbrave am honest.Butthe (musically) best record to the finest automatic turntable in the world! ELPA'S in London's abundant backlog of delete( items are in mono, and these are nov totally unavailable, except where Londor has licensed the recordings to other com panies less scrupulous about stereo tin kering. Most of the remaining companie reissue their mono recordings-if the, reissue them at all-in one form or an P 2020 other ofelectronicallycreatedstereo The results seem to he inconsistent an the quality variable, and judging by till comments I've received, consumer dis satisfaction is as often the case as not Your records are cut by a stylus with a 15° vertical tracking angle. Play them back the same way for optimum fidelity. The ELPA BUTnowHeliodor, the DGG-MG/vl PE -2020 is the only automatic turntable low -price subsidiary, has come up witl especially designed to track a stack something a little bit new. Starting fron- at 15°! monophonic sources of varying ages, in- Ifyou're settling for less than the cluding,inone instancesofar, 78 - PE -2020 you're making do with less than the best! ELPA PE -2020 $129.95 rpm originals, Heliodor's German -based less base engineering group has produced some remarkably listenable records. Itis true that no one will mistake the sound on 11.11,1k Endorsed by Elpa because it successfully meets the stringent stand- one of these records for a stereo origi- ards of performance Elpa demands. Write for full PE details. nal, but neither is the sound a caricature Elpa Marketing Industries, Inc., New Hyde Park, N. Y. 11040 of stereo in the unhappy way so many

CIRCLE NO. 69 ON READER SERVICE CARD tant, the sound seems to he not only asgood as the mono original, butbetter. DGGengineers have avoided those ill- fated attempts at simulating directionali- ty, and instead have concentrated on "opening up" the original mono sound, giving ita quality of spaciousness and acousticdepth.Actually,thisisvery much in line with DGG's prevailing concept of stereo sound. Just how this has been accomplished, though it might he interesting (oscilloscope pictures indicate astereo signal generally in phase),isless important than the results, which I find musically more than satisfactory. This sort of result has been achieved before by other companies, but on a random basis. Heliodor, inestablishing this technique as standard for the line, has,Ithink, offered a viable answer to "the problem": their When Bob Dylan wrote "Times they are music. No more scratched records, or electronically enhanced disc is provably a changin' " he probably meant it for worn out grooves. And you save money different from the mono original and everyone in the world except record with tapes. can legitimately be sold as such;itis lovers. You see, record lovers are rec- In addition, there are two speeds to ord savers. A stubborn group who just give you hours and hours of enjoyment also better than the mono original and won't face progress...the new Uher on one tape; sound on sound and full thus can fairly substitute for it. Properly 7000 tape deck. fingertip control for complete ease of designated, the records should appeal to The first four track tape deck de- operation. both sophisticated and unsophisticated signed to outperform any other in its These are just a few of the reasons buyers withlittlefear of misunder- price range as well as those two and why more and more music lovers are three times the price. (This was deter- going with Uher. As for those record standing or disappointment. And Heli- mined by an independent consumer lovers, "Times they are a changin'." odor, if they will now accept the tech- laboratory survey, not us.) Hear the 7000 at a franchised dealer nique as the basis forathorough and Uher 7000 offers more than great or write for literature. discriminating exploration of the mono- phonically recorded treasures in DGG Uher 7000 by Martel hands, will earn my thanks and those of The easy -to -love tape deck music lovers everywhere. Martel Electronics Inc. Sole U.S. Importers. 2339 S. Cotner Ave., L.A., Calif. 90064; New York. Chicago. CIRCLE NO. 43 ON READER SERVICE CARD 48 STEREO REVIEW the birth of theA1Z- 5

This is a photograph taken immediately after our final test of the prototype of the AR -5. The speaker system was measured while buried in a flat, open field, facing upward, its front baffle flush with the ground. This technique provides more accurate information than indoor tests, especially at low frequencies, where the precision of such measurements is adversely affected by the limited size of an anechoic chamber. Our standard of accuracy when measuring the AR -5 prototype was the sound of live music, that is, absolute accuracy of reproduction. At AR, tie best response curve for a speaker system, like that for a microphone or amplifier, is the one which most closely matches the input. The specifications which AR advertises are obtained from production units, not prototypes. All AR -5 systems must match the performance of the prototype within close tolerances. To see that this is true, every AR -5 is tested numerous times in ways which permit it to be compared to the prototype. Only in this way can we be certain of what we have made, and consumers certain of what they are being offered. AR speaker systems have uniformly received favorable reviews in publications which carry test reports. But even more accurate and comprehensive tests than most of these magazines perform are made on the AR production line, of every AR speaker system which will go into a listener's home.

The AR -5 is priced from $156 to $175, depending on cabinet finish. ACOUSTIC RESEARCH, INC., 24 Thorndike Street, Cambridge, Mass. 02141 Overseas Inquiries: Write to AR International at above address CIRCLE NO. 1 ON READER SERVICE CARD FLBRI I969 49 Equip it with today's most advanced cartridge, thenew privilege to evaluate. I find it superior in all respects." Elac 444-E. The Elac 444-E and the Elac/Miracord 50H The Miracord 50H automatic turntable with the Elac have much in common. Both are made by ELAC of West444-E cartridge is about the finest record playbacksys- Germany. Both have recently received national acclaim tem available today. The Elac 344-E cartridge is an excel- The Miracord 50H rated tops by a leading independent lent choice with the Miracord 620 (also awardeda top testing organization. The Elac 444-E rated superior byrating). Elac offers a complete selection of cartridges 50 discerning high fidelity salesmen. These hi-fiexperts from $24.95 to $69.50. Miracord, a choice of automatic tested the Elac 444-E in their home systems andcom- turntables from $89.50 to $149.50. pared it to their present cartridges. A fewcomments: Hear them today. Benjamin Electronic Sound Corp., "A great groove -tamer for the straight -from -the -studio Farmingdale, N.Y. 11735. Canada: White Electronics, Ont. sound lover! All of today's terms won't describe the utmost enjoyment I experienced!' ".. probably one of the finest cartridges I've had the ELAC/MIRACORD by Martin Bookspan THE BASIC REPERTOIRE Item One Hundred Ten

Schumann's SYMPHONY No,. 4, in D Minor

Robert and Clara Schumann (lithograph Isy Holelick).

IN 1839 Robert Schumann wrote a letter to his former ade earlier, made some revisions init, and finally al- composition teacher, Heinrich Dorn, in which he lowed it to be published as his Fourth. Thus, despite expressed dissatisfaction with the limited scope his its number, the D Minor Symphony, like the First or composing had until then been confined to."I often "Spring" Symphony a joyous and jubilant work, stems feel tempted to crush my piano-it is too narrow for my from the period when Schumann was spreading his thoughts. I really have very little practice in orchestral orchestral wings for thefirsttime and relishing his music now; stillI hope to master it." A year later powers of evocation and communication in the symphon- Schumann married one ofhis piano students,Clara ic medium. Wieck-over the strenuous objections of her father- The published score is dedicated to a musician, then and the union liberated him emotionally and creatively. only twenty-two, who was destined to become one of In 1840, the year of his marriage, he produced a wealth the leading figures in the world of music in the next of exuberant songs, and the following year he composed half -century:the violinist and conductor Joseph Joa- his first two symphonies and the Overture, Scherzo and chim. "When the first tones of this symphony were Finale for orchestra. W. J. Henderson, the distinguished awakened," Schumann wrote, "Joseph Joachim was still critic of the New York Times and the New York Sun a little fellow ;since then the symphony and still more during the first third of the present century, described the boy have grown bigger, wherefore I dedicate it to this period in Schumann's life as follows: him, although only in private." The D Minor Symphony has no pauses between its The tumult of young love lifted him from the piano to the voice. The consummation of his manhood, in the un- four movements; it thus unfolds as a continuous inte- ion with a woman of noble heart and commanding intel- grated whole. It is further integrated by the recurrence lect, led him to the orchestra. In 1841 he rushed into the of themes: the principal motive of the introduction re- symphonic field, and composed no less than three of his turns at the beginning of the slow movement, a phrase orchestral works. from the slow movement finds its way into the Trio of Though it bears the number four and the opus num- the Scherzo, the principal theme of the first movement ber 120, the D Minor Symphony was composed only a is heard in the Finale, and the principal theme of the few months after Schumann completed his First Sym- Finale is constructed out of a subsidiary theme in the phony, Op. 38. He did not immediately allow it to be first movement. published, however. As the years passed, Schumann pro- The first movement opens with a solemn and mys- duced two more symphonies and published them as terious introduction marked Ziemlich langsam. The pulse Number 2 (1846) and Number 3 (1850). In 1851 he quickens gradually and then the principal theme, a rest- returned once again to the D Minor Symphony of a dec- less running motive in sixteenth notes, is stated in the

-4-CIRCLE NO. 10 ON READER SERVICE CARD 51 4-01:1Efifecor.--1.

FURTWkNGLER 111.4An (Mow. SCIUMLINNSAMP111000,411,01"SINIKIONIAA ROBERT SCHOMANN

SYMPHONY NO .4

VATI';,'4'1411

4tt [EON40 EINSTEIN

NM YORK

PHINNIMONIC

It ilhelm Faitaiingler's reading of the popular Fourth .tiyinrhialy, the best of the ten available performances, has been reissued on Heliodor in remarkably well enhanced electronic stereo. The powerful performancesby Leonard Bernstein (Columbia) and Gunther hand (Vanguard Everyman) benefit from more modern sound. Wand'sis the best tape.

strings and passed back and forth among the sections of 138860), Krips (London STS 15019), and Szell (Epic the orchestra. Marked Lebhaft (lively), this first move- BC 1254) all bring to the work basically thesame kind ment has no contrasting second theme, but there are two of solid, middle -European dependability. Each of these subsidiary motives, one made up of brief rhythmic readingsisa thoroughly professional solution to the chords, the other of a flowing melody. The movement several performance problems posed by this rather loose- comes to a triumphant close in D Major on an unre- structured symphony. The Solti performance (London solved chord, leading directlytothe slow -movement CS 6582)isin the same vein, but it has the added Romanze. The first part of this movement reintroduces benefit of richer and more detailed sonic reproduction. the melody from the introduction to the first movement, The remaining three recordings are for me the out- and the middle section is built upon a delicate filigree standing ones of the lot: Leonard Bernstein's (Columbia played by the concertmaster. The Scherzo is vigorous and MS 6256, ML 5656), Wilhelm Furtwangler's (Helio- rhythmically accented, with some highly effectivesyn- dor HS 25073, electronic stereo), and Gunther Wand's copation. The Trio of the Scherzo is based upon the (Vanguard Everyman S 235). The success of the Wand ornamental solo violin music from the slow movement; performance is the more surprising because it is unexpect- then the main body of the Scherzo is repeated, as usual. ed, but this conductor, who would be totally unknown in But as Beethoven did in his Fourth and Seventh Sym- this country were it not for his recordings ona variety phonies, Schumann follows the repeat of the Scherzo of labels, has the full measure of this score. His reading proper with a repetition of the Trio material. The music is powerful, full of sensitive insights, extremely well gradually dies away in a long diminuendo, which leads played by the Orchestra of Cento Soli ("One Hundred to a hushed and mysterious bridge passage that connects Soloists"), and expertly recorded. Bernstein's perfor- the third movement with the Finale, marked Lebhaft mance has moments of less than perfect orchestra en- like the first movement. The Finale isintroduced by semble, and he occasionally exaggerates a ritardor tempo flourishes in the woodwinds and strings, and then the change, but as a whole it has the white heat of personal principal theme is heard, a swaggering and heroic mel- commitment, and the recorded sound is spacious. ody that is elaborated quite freely during thecourse of Furtwngler's, finally, is my favorite of all the record- the movement. There is a coda of impetuous momentum ings. Furtwangler's unique power to mesmerizean audi- that brings the symphony to a triumphant conclusion. ence and take it along with him on a rarefied mystical flight is perhaps nowhere better demonstrated than in Ir the total number of available recordings is any indi- this performance. His handling of the bridge section cation, the D Minor Symphony has become the most between the third and fourth movements is likeno other popular of Schumann's four. Ten recorded perform- in its pervasive evocation of beauty and mystery. When ances of the score are listed in the current Schwann this performance was first released by Decca in the early catalog, and three of them are available on tape. Of the days of the long-playing disc, there was a side break be- ten, only two can be immediately ruled out of con- tween the end of the bridge passage and the opening of tention: Leinsdorf's (RCA LSC 2701) because thecon- the last movement proper; the Heliodor pressing fortu- ductingis mannered-at the very outset the flow of nately contains the entire symphony on one side, elimi- the music is impeded by the exaggerated division of the nating the maddening interruption. The recorded sound phrasing-and van Remoortel's (Vox 511270, 11270) of perhaps twenty years ago holds up amazingly well. because of what sounds to me like a basic absence of Of the available tapes, my first choice would be the conviction about the whole thing. The remaining eight Vanguard Everyman reel of Wand's performance (E are consistently satisfying accounts of the music. 235), well processed in the tape medium and a bargain Klemperer (Angel S 35629, 35629), Kubelik (DGG at 54.95.

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CIRCLE NO. 26 ON READER SERVICE CARD 54 STEREO REVIEW The once -flourishing Benin culture of southwestern .Vigeria is remembered today principally for its remarkable bronzes-but we may also still be hearing the echoes of a few notes blmen by this little flutist. COURTESY GEOFFREY PARRINDER

IN THIS ARTICLE ADAPTED FROM HIS FORTHCOMING BOOK SERIOUS MUSIC- AND ALL THAT JAZZ!*(TO BE PUBLISHED NEXT MONTH BY SIMON AND SCHUSTER), STEREO REVIEW'S LONDON EDITOR OFFERS THE CONTROVERSIAL SUGGESTION THAT WE ARE, MUSICALLY SPEAKING, IN THE MIDDLE OF THE AFR9tyicAN EPOCH

H[STORIES of Western music conventionally iden- Flemish (Netherlandish) composers throughout Europe tify a succession of more or less cleanly circum- between 1470 and 1550, of Italian composers through- scribed epochs, such as Medieval, Renaissance, out Europe and the New World between 1675 and Baroque, Rococo, Classic, Romantic, and Modern, the 1750, and of Austro-Bohemian composers throughout last of these dating from about 1910 and continuing Europe and North America between 1700 and 1775. into the present. These terms, satisfactory as they may Lang could have added a fourth map, dated a century be as symbols of stylistic and conceptual phenomena, later, showing a similar dispersal of German composers, give no hint of the succession of national or cultural performers, and teachers throughout the same area, with dominionsassociatedwitheach major epoch. The a heavy concentration in the United States. Renaissance, for instance, was dominated by the Nether- lands; the Baroque was dominated by Italy, the Classic Acorresponding map drawn today and showing the by Austria -Bohemia, and the Romantic by Germany. In dispersal of American music (excluding American "se- each of these cases, the music and the musicians of a rious" music) would have fewer American musicians single nation or culture proved so attractive to other in residence abroad, but it would reflect a similar satura- nations and other cultures as to determine the musical tion and an even more pervasive universality. It would physiognomy of an entire civilization or age. also cover a far greater area, the larger part of the Itisthis pattern that may provide, in my opinion, globe, in fact. What has made it difficult, and for many a clue to what has happened and is still happening in impossible, to draw the logical conclusions from the our own century. If we look for a corresponding na- repetition of a time-honored evolutionary pattern is the tional dominion and a continuity of the pattern of suc- intrusion, for the first time since the seventeenth cen- cessivenational or cultural dominions, we canfind tury, of an alien musical idiom and the association of persuasive evidence that we are now in the midst of this idiom with popular, and therefore presumably in- what future musical historians may well designate the ferior, music. Popularity is blithely dismissed by a musi- Afro-American Epoch. cal Establishment whose own new music long ago ceased Paul Henry Lang's Music inWestern Civilization to be popular, and so the new idiom is scorned pre- includesfull -page maps showing the distribution of cisely because of the popular acceptance thatisthe

et'opyrIght 1060 by Henry Pleasant,

FEBRUARY 1969 55 most irrefutable evidence of itsvalidity. Behind this ion, maybe,feelthattheir method, or doctrine, of curious exercise in intellectual prestidigitation lies, of musical composition also represents anew language. course, an instinctive resistance to a radical break with The coincidence adds importantly to other evidence that European cultural tradition. the old language had nothing more tosay,thatits Those stylistic phenomena in which we recognize the communicative resources could no longer yield the kind distinguishing characteristics of an epoch represent, al- offamilialevolutionthat had spawned theClassic most by definition, a break with tradition, or, at least, a and Romantic epochs. departure from previous convention. But such breaks The twelve-tonists,I think, erred in the assumption have rarely been so radical in music as to destroy or that the composer, confronted with an idiomatic impasse, frustrate a sense of cultural continuity. The boundaries could, with the grudging acquiescence of a captive and between one epoch and another have been, as a rule, hopeful public and a despairing press, call the turn. neither finely drawn nor acutelyfelt.Transition has While they busied themselves with rhetorical theory, taken place so gradually, so naturally, so inevitably, and the living new language was taking shape all about often so nearly imperceptibly that historians and musi- them-but in an alien milieu. What they could not cologists are far from unanimous in their conclusions have been expected to anticipate was the decisivepar- as to just when the process began and when it ended. ticipation, for the first time in the history of West- It has always excited controversy, of course, but usually ern music, of a new continent and a new civilization- it has been the kind of controversy that derives from the first Africa, and the second America. the familiar tensions of liberal vs. conservative, progres- One thinks of America, too, of course,as a new sive vs. reactionary. Musical language was always evolv- continent, but as far as music is concerned, America being, and there was resistance to evolution; but there was came new only as the African contribution became con- no real change in the language. The conservative felt his spicuous. What distinguishes America's indigenous music sense of values threatened, but cultural continuity was today, in the purely technical area,is the explicit beat not interrupted, however much it may have been abused. and the musician's swinging relationship to that beat. Only in the transition from Renaissance to Baroque, And this new element is African-and rhythmic. All from modal polyphony to tonal-or diatonic-harmony, previous phases in the evolution of Western music have has there previously been an evolutionary occurrence so centered upon one or another method of combining radical as that which we are experiencing now in the voices. It was the accomplishment of the Netherlandish transition from a European to an Afro-American idiom. masters in sustaining a number of voices simultaneously Only these two transitions have effected such elaborate ina harmonious linear movement that gave tothe changes of vocabulary, rhetoric, and syntax that one must music of the Renaissance its characteristic physiognomy. speak of a new language, however much the new lan- Toward the end of the epoch, as dominion passed to guage has retained of the old. And only these two the Italians, a chordal rather than a multilinear struc- transitions have represented a drastic shift of aesthetic ture came to the fore, preparing the way for a monodic base, a new concept of communicative purpose. music supported by chordal harmony that would find Itis no insignificant coincidence, certainly, that the its most congenial forms in opera. Chordal movement, twelve-tonists, perverse as their intentions, in my opin- regulated in a system of key relationships, found its

A sharp ear for musical style will find traces of African influence in nineteenth-centuryminstrel -show music, in the "white blues" vacal technique of c -and -w great Hank Williams, and muchmore in the explicit beat of seminal rock -and -roller Elvis Presley.

;,:oktotxtE" xiitato

irlgall4XPRRAsexissarimar.s. ISSN .! -1111,9 WALEJ111.

56 STEREO REVIEW ultimate destiny in the sonata and the symphony, and for a considerable period of time, of two incompatible in the significant and picturesque imaginings of musical musical idioms. "The old style," says Manfred F. Buk- Romanticism. And that was the end of it. Multiple -voiced ofzer in his book Music in the Baroque Era, "was not writing, whether for instruments or voices, could go cast aside, but deliberately preserved as a second language, no further. known as the stile antic() of church music. The hitherto unchallenged unity of style disintegrated, and composers TE finality of this technical exhaustion, and the social were obliged to become bilingual." changes that occurred in Western civilization after World If,today, we were to substitute"stile antic°and War I, made it inevitable, probably, that the new idiom "stile moderno" for ''serious" and "popular," or for would originate in an alien source, bringing withit "classical" and "jazz," the pertinence to our own time new aesthetic concepts, new objectives, new fashions, of Bukofzer's description of coexistence in the seven- new criteria, and new technical materials. All previous teenth century would be obvious. We are restrained transitions had taken place within the family,soto from doing so, of course, by the conventional view of speak, and the frictions were comparable to those of the contemporary "serious" composer asa writer of contending generations. Eveninthe transition from modern music. Those who wrote in the stile antico of Renaissance to Baroque, the most traumatic of them all, the seventeenth century were militant conservatives. But the elements of Baroque had long been apparent in the so,also, in my view, are today's "serious" composers. work of the late Renaissance masters, both Netherlandish Their conservatism may be masked by a fulsome profes- and Italian. sion of modernism, but what they write is addressed to an Nothing of this pattern of continuity was feltin essentially conservative public. the new indigenous music of America asit began to The legitimacy of the comparison is supported now, work its way to the surface of popular consciousness after fifty years of coexistence, by the number of com- in the late 1920's and early 1930's. It was there,all posers and musicians who are becoming bilingual. And right, for those who chose to look for it-the scales, it is symptomatic, I believe, of the increasing ascendancy the harmony, the song and variations forms, and the of the Afro-American idiom that, among these bilingual instruments. But what was new was also too garish, composers,or composer -arrangers,most of themin too shocking, too bumptious, and, for the ear attuned their twenties and thirties,jazz rather than the older to traditional European music, too exotic. Hence the language tends to be the colloquial tongue, even for reluctance and the inability of those identified with the those whose early musical education and upbringing European tradition to discern or to acknowledge a pri- have been in the European disciplines. mary force. Appearing asitdid, without credentials There are many other parallels between the seven- either of precedent or of pedigree, its validity and possi- teenth century and the twentieth, and each of them is ble ascendancy were-and for many people still are- worth examination. Most obvious, perhaps, is a nearly unth i nkable. identical reaction, in favor of intimacy and immediacy, This resistance has produced, significantly, a striking to a music that had become too complex, too intellec- parallel with one of the distinctive phenomena of the tual, too overloaded with instrumental apparatus, and too transition from Renaissance to Baroque: the coexistence, remote from the natural lyrical expression of human

The strong musical tides generated in New Orleans by such bandsas that of King Oliver swept up -river to Chicago and on to New York, where Meade Lux Lewis demonstrated the raw power of theboogie-woogie piano and where Billie Holid rcong for her supper.

FEBRUARY 1969 57 sentiment and the natural rhythms of bodily movement. and harmonic ore for the great jazz musicians of the To be sure, the reaction in the seventeenth century had mid-century. An acknowledgment of the importance of been led by intellectuals, and its first composers tended the American song, usually thought of by jazz critics, to be bilingual. The twentieth-century reaction, as re- at least, as separate and distinct from jazz, is fundamental flected in jazz and its derivatives, was unwitting andun- to the analogy between the transition from Renaissance led. But the results have been similar. to Baroque in the seventeenth century and the transition What theFlorentine Camerata,about1600, had from European to Afro-American inthetwentieth, launched on an exalted plane as a pan -Hellenistic reform for in both instances the transition has involveda re- -music fashioned to the prosody and the sentiments of assessmentoftherelationshipof musictowords. Italian verse-was quickly relaxed to accommodate the Whereas earlyItalian Baroque had reflecteda new Italian taste for something closer to vulgar song than awareness of the lyrical properties of the Italian lan- the severe arioso style of Caccini and Monteverdi. Popu- guage, the songs of Berlin, Kern, Gershwin, Youmans, lar Italian music, in the form of the secular frottola Porter, Arlen, Rodgers, and many morewere fashioned, and the sacred lauda, had infiltrated the music of the melodically and rhythmically, to the cadences and in- late Renaissance in Italy, and had sown the seeds of flections of American English. Baroque. This question of the relationship of music and words Analogous evidence of a popular reaction againsta had troubled the course of European music throughout music grown overly intellectual and artificial has been the intervening centuries, and itis reflected in the re- less well defined in the twentieth century, if only be- forms of Gluck, Wagner, Moussorgsky, and Debussy. cause what we now think of as serious music has moved If, in America's new indigenous music, the essential so far from any popular base. A role corresponding to affinity of music and language was to be re-established, that of the Florentine Camerata might have fallento it could no longer be done by internal reform. Music the neo-classicists. They were, in a sense, reactionaries, had accepted two qualitativecategories,serious and but their spirit was French, or Russian, and their reaction light,orclassicaland popular.Serious music had was against German dominion. Although theyfelt, turned away irrevocably from its lyrical origins inany correctly,that things had gone too far, both in the popular vernacular, and light music, cast ina European size of the orchestra and inthe raid on harmonic mold, was no longer truly popular. Reform,as in the capital, they were too irretrievably European. Theirre- seventeenth century, now meant new fundamentals,new forms were academic, looking backward rather than requirements, new criteria, and a new idiom. forward-homage to Mozart and Haydn couched in the dissonant language of contemporary serious musical fash- Jr also meant, again as in the seventeenth century- ion. Reactionaries they may have been, but not true and for the first time since then-a new musical terminol- reformers, and stillless revolutionaries;restless cap- ogy, suggesting a music so different from all earlier tives, rather, of their own deceptive and costly prestige. music, and different in such fundamental particulars, The effective reaction took place in "popular" music, that a new descriptive vocabulary had to be evolved. not against a music grown too complex and sophisti- Throughout the Renaissance epoch the international lan- cated,but against a popular music whose European guage of musical terminology had been Latin. With physiognomy had taken on an alien cast and which Baroque came not only the ascendancy of the Italian had, in any case, ceased to grow at all. And it took musician, but also the general acceptance of the Italian place slowly, almost imperceptibly, nourished,as we musician's own vocabulary for the designation of musi- now know, by the new 'musical spirit of the American cal instruments, musical objectives, performance proce- Negro. White and Negro minstrel shows had beentour- dures,techniques, and so on. And despiteallthe ing the United States and Europe since shortly after the many modifications demonstrable in Western music dur- Civil War, and with them came the cakewalk andrag- ing the Classic and Romantic periods, there wasno time. The minstrel influence had already been felt in change in concept, method, or technique so radicalas thesongs of StephenFoster.Itsimpact upon the to render the traditional Italian terminology inappli- popular music of the white community became fully cable and obsolete. apparent, however, only in the so-called "ragtime era," With the new American indigenous musicithas roughly from 1896 to 1917. been quite another matter.Itis not merely that the Jazz historians tend to dismiss ragtime as having little early jazz musicians-most of them musically illiterate- to do with jazz, but it was ragtime rather than jazz that were unfamiliar with traditional terminology. The Italian caught the imagination of Irving Berlin, Jerome Kern, words, even for those musicians who knew them, were and the young George Gershwin, establishing the tech- inadequate and inappropriate. And so the jazz musician, nical and aesthetic base for that goldenage of American like the Italian musician of the seventeenth century, song -writing that would ultimately provide the melodic devisedhis own terminology,basically English, but

58 STEREO REVIEW The "new concept of rhythm and phrase" that distinguishes the Afro-Americanmusical idiom-blues, rock-and-roll, rhythm -and blues, and "sour -has produced a kind of "takeover generation": singersRay Charles. James Brown, and Diana Ross and the Supremes employing new words of his invention that are only larity of the musical procedure as the similarity of the now beginning to find their way into thestandard dic- circumstance that produced it:a reaction against over - tionaries. American English is the common language of sophistication and artificiality requiring a return to music's jazz musicians everywhere, and the singular terminology roots in song and dance while retaining the Western- of jazz is internationally understood even by those whose as opposedtoOriental or African-predilection for command of more commonplace Englishislimited. multiple voices. It is not, therefore, that the new music When American jazz musicians use such terms as bop, has been so new in any absolute sense, either in the seven- swing, groove, cool, lead, funk, soul, riff, break, intro, teenth century or the twentieth, but rather that it has segue, chorus, release, change, comp, and so on,other been so vitalin contrast to an older idiom that had jazz musicians know immediately what they are talking grown obese and sclerotic. about, just as the serious musician knows the old Italian What distinguishes the new Afro-American idiom from terminology whether he speaks Italian or not. any previous Western music is a new conceptof rhythm It remains to note one last, and striking, parallel and phrase. But then all that the early Baroque musicians between the transitions from Renaissance to Baroque and did, in breaking with the Renaissance, was put a new from European to Afro-American: the emergence in stress to the top and bottom lines of multiple -voiced each instance of a system of figuredbass. The jazz song. It seems very little in either case, but ithas been musician improvises from designated chordsjustas feltas sufficiently radical at the time, andsufficiently Bach and Handel did, the only difference being in the offensive to the tradition -oriented, to obscure how much conventions of chord designation. If jazz were deprived of the old was still present in the new, and to excite of the drums, and ifthe musician phrased the same resistance and rejection. It has been enough, as Bukofzer notes in the European rather than the Afro-American says of the Baroque, "to disintegratethe unity of style." manner, what you would hear would be a Baroquetrio I would prefer the phrase "idiomatic integrity" to "unity or quartet. The jazz musician has his ownideas and his of style," particularly as it applies to the twentieth cen- own conventions of melodic variation andembellishment, tury, for serious music already supported a varietyof but the purpose and the procedure are identical with styles without inspiring among its adherents any sense those of the Baroque musician. The structural form fa- of impending idiomatic disaster. Everyone was aware, vored by the jazz combo, or chamber group, today- more or less, of an alien idiom injazz; but the categorical as opposed to the theme -and -variationsform favored by distinction between serious and popular encouraged a earliergenerationsofjazzmusicians-isthecha- feeling of non-involvement and security. conne, aseries of developing improvisations over a The time may not be far off, I think, when we will predetermined sequence of chords, usually those of a learn that we have just sat out the most dynamic, the popular tune. And most jazz -band arrangements are most exciting, and the most exhilarating centuryin mu- nothing more or less than concerti grossi for a variety sic since the seventeenth.It may have produced no of solo instruments. Take away the explicit pulse and Bachs, Haydns, Mozarts, or Beethovens. Neither did the the swinging accentuation, and you have Corelli, Vival- seventeenth. But it may, like the seventeenth, have pro- di, and even Bach. duced the idiomatic fermentation from which emerges The significance of all this is not so much the simi- the wine of an evolutionary cycle's great vintages.

59 FEBRUARY 1969 CAN AUDIOPHILIA BE CURED? Or must there bea worm in every apple? By PETER TURNER

SOM ETIM ES Itake out with me in the car an ancient to what exactly are we listening? To the music? I take and quite revolting transistor radio:a proper car leave to doubt it: we are listening to equipment. That lit- radio is something I could never bring myself to tle bit of tizz, now: did it come from the record,or did it afford. As we in England now have-during thehours mean that somewhere in the rig we have that monster when few men can listento it-the admirable BBC the experts call a resonance? Is the heavenly voice of Music Programme, there is always, by kind permission of Janet Baker being rendered quite as well byour pickup Test Match Special, something to listento. At home it as it might be by a different one? Or isit, perhaps, our would never cross my mind to use that oriental horror loudspeakers? There's that new tweeter, so well reviewed as a source of music; but in the car it is different. by the experts. Is it possible that it might be smoother A few days ago I switched the thing on, to be greeted than the ones fitted to our boxes? Natural wool, theysay, by the strains of a late Mozart quartet-a work I know is the best material with which to dampan enclosure. well, though I have forgotten whichone it was. Despite Do we know for certain that we've got wool in ours? the tinny rattles from my giant three-inchelliptical And if we haven't, what difference isit making, and speaker, despite what must be wellover 15 per cent dis- what would it cost to make the change? tortion, despite dodgy batteries, despite fading,car- and Then, of course, amplifiers differ. Thenew ones have traffic -noises, crackles from overhead cables and allthe almost unmeasurably low harmonic distortionwhat- distractions of driving, I was enchanted. Now, beinga ever that may be. If our amplifiers have 0.1 per cent dyed-in-the-wool hi-fi man, I ought not to have been:I more of that undesirable ingredient, are we getting the ought to have been disgusted. At home, I shouldhave best we could out of our pickup and speakers? Hangit been. But not there, miles from home. Somehow,it was all, the pundits have said that minewas one of the three different. best offered at the moment, and they ought to know. How different? Well, so far as Ican analyze the ex- Now where were we? Oh yes: in the middle of the perience, the damned sound source was so awful that I recapitulation section. Let us mop our brows andget was able to forget all about it and listen to Mozart. I have hack to Mozart. What wonderful music this is! But that a record of that quartet, and if I wished to do so, I could edge to the first violin's tone. Must bea filthy mike they put it on now, and play it on equipment which hascost gave him-unless, unless a capacitor in my treble filter me God knows how much, and which would be accepted is going up the creek: I've had it for a good six months, as good by anybody who knows his stuff. My gramophone perhaps longer. How the hell do I find out? I can'teven isn't as good as yours, of course; butyou would have to put the voltmeter on it without taking it out. Better ask admit that it isn't half had. When I play it, it isnot at all old Alan to come round and check it forme. End of difficult to close the eyes and imagine that one is in the the movement. How did I miss the rondo? Oh well,I presence of theAllegri,the Amadeus, the Janacek, can always play it again some time. Then I may know the. . ..I am very proud of it;I get hours and hours why that critic said the second violinwas a little late of enjoyment from it: it is stereo, it is hi-fi, it is The Real with his entry at bar 77. Thing. Fact is that, without realizing it, we are neurotics. We But when I play it, or you playyour own chosen set, are addicts: hooked. Only a few weeks ago I heard one

60 STEREO REVIEW of the best-known names in audio proclaim that all his bore within him: he would forever be wondering if the customers are psychological cases: his business is founded sound might not be better with the others. Or, of course, onit.Like allneurotics, we explain our symptoms with a totally different system costing even more. Ever away: we are seekers after perfection which will never be since I have known him-and that's some thirteen years attained; we have trained our ears to be able to make -he has spent so much time fiddling with equipment these fine discriminations; we are idealists who know that he rarely has time to listen to music. He has a house- they can never be satisfied. This is the great illusion: ful of superb stuff; and it has brought him nothing but He for subscribers baits his hook, misery. "I sometimes wonder," he said to me, "if I'm And takes your cash, but where's the book? not a bit barmy." Not barmy, old chap: just hooked. Hi-fiis one of those rituals so well elucidated by I know of one brave fellow who gave it all up and Freud and Jung, among others. The truth is that we are went back to a decent, domestic radio. He tells me that afraid, for some unmentionable reason, that our equip- he now enjoys music, even though the tonal differences ment may not be the best there is. We must not let between violin and viola, oboe and cor anglais may oc- ourselves down. And when the subtle suggester, the casionally be obscured. Very like my horrible transistor. psychologically-insighted adman, whispers through the Have I the courage to do the same? Have you? Miserably, glossy pages that there's something new, something which no-though Ioften feelit coming on. Furthermore, makes listening a totally different experience, a break- within a short time my local radio stationis going through, a new principle-then a worm starts to bore stereo; and here I have been sitting with a multiplex within our souls; we cannot be behind; have it we must, adaptor for the past two years and more, waiting. The even though it means selling the last of Aunt Maude's prospect terrifies me: soon even the radio will offer no Georgian silver. escape. We might even be compelled to depend on live And so we get it. Exquisite! The moment of realiza- concerts-perish the thought. tion purges us: we are renewed, satisfied, exalted. Now this is something like it:the "closest approach to the LTHERE then no escape? Are we to writhe under the original sound" is that little bit closer: we shall enjoy our sweet cheat to our lives' end ? Well, the first step to cure music just that littlebit more. Shall we? Enjoy the is diagnosis; and the trouble with most of us is that we music more? Not on your sweet life: we shall enjoy do not suspect that we are ill. Any psychiatrist will tell equipment that little bit more. Until we have got used you that so long as a man knows there is something to it: then it will be what we have always had, and soon- wrong with him, he stands a chance. Let us then face er or later (sooner, brethren, sooner) the adman will ourselves, and answer honestly to the question: over- once again insert his worm, and the agony will begin all come the resistance, and confess ourselves addicts. I be- over again. lieve, I almost hope, that I am making progress. Why, For the present-how short !-we can read the maga- even at that dealer's I resisted the temptation dangled by zines with a splendid indifference: most of the manu- a stereo Ferrograph (Old Generation, of course)at a facturers are still clanging ancient brass, and we know huge chunk off the original list price. That was no small better than that. But the stars are setting, and the cara- victory, though I have to admit that if the chap had van starts for the dawn of a totally different experience, shown more interest in my trade-in offer, the outcome a breakthrough, a new principle. might have been different,. But I've still got the old stuff, This very week I sat for a couple of hours within the and that's something. Indeed, apart from some tinkering tavern-I beg your pardon: a dealer's showroom-with a with equalization -networks,I haven't changed a thing friend who was trying to decide between two loud- for over a year. Well, I did get a new battery portable; speaker systems. Both are made by the same manufac- but that was such a bargain that it doesn't count, and I turer, and there is perhaps a $40 difference in price be- sold the old one for nearly half what it cost me, with a tween the two. We switched from one to the other and few extras chucked do to make the victim bite. back. We played the same record through each in turn. And now I have made up my mind: I refuse to listen We tried full orchestra, soloists, vocalists, organs. After to anybody else's rig for five years. By that time there a time, overcome by the desire to sleep or go off and get may be some truly significant advances which will be a stiff drink, I had lost touch with which system vas on, really worthwhile going in for. A breakthrough, a new and tried to tell by the sound. Rot me if I could. Some- principle. And if all the experts in Christendom assure times I preferred one, sometimes the other. As we drove me that a new pickup is audibly better than mine, I shall home, my friend was no nearer to his decision. He ignore them. I hope. thought the more expensive system was marginally the better; but was the difference worth the extra money? I Peter Turner is a free-lance writer who regularly contributes was damn sure it wasn't; but I knew my friend. I knew articles on audio subjects to the British magazine Audio Record that if he settled for the cheaper ones, that worm would Review, through whose kind permission the foregoing is reprinted.

FEBRUARY 1969 61 An engineer, working in the Consumers nave anerhol, rhumb,. r, ,setsup a compact speaker s,.. -ten) fur polar -response testing. HOWCONSUMERSUNION TESTSSPEAKERS THE ENGINEER IN CHARGEOF THE AUDIO TESTINGDIVISION AT CU DETAILS THETHINKING AND THE TEST THE LOUDSPEAKER TEST PROCEDURES BEHIND REPORTS THAT APPEAR INCONSUMERS REPORTS By LARRY SELIGSON ct..9 4g.). eD

VER THE last ten years or so, buyers of high-fidelity It certainly has not escaped the noticeof the careful products have come to rely heavilyon equipment reader of audio test reports thatloudspeakers often get 0test reports published by the various audiomaga- different treatment from that given zines. The testers and their other components. reports have, on the whole, Speaker -system reports ina number of publications lack helped to sharpen the audiophile'sjudgment and given the response curves and the otherprecise measurement him an expanded knowledge ofa highly complex tech- data that abound in reports nology. The reports have also helped on receivers, amplifiers, and to spur the improve- tuners. The reader finds instead only such low ment of the audio breed: manufacturers read -precision the reports terms as "presence peak," -boomy," -shrill,""satisfying," on competitive equipment to find out what specifications "well defined," and so forth, withno measurements to and characteristics they haveto outdo in order to win the back them up. audiophile's favor. But it doesn't have to be thatway. Rational and objec-

62 STEREO REVIEW tive tests of speakers are possible. At Consumers Union we of such small physical dimensions that the sound fieldis, feel that an engineer can approach the problem most fruit- for measurement purposes, practically uniform throughout fully by considering a speaker as a "black box." This the room. Normal spaceis,for example, an averageliving means that the engineer is not concerned, at least for the room. It is acoustically familiar to the tester, but plagued moment, about the device's internal workings, but only with the abrupt sound -character changes that make cer- the difference-if any-between what comes out of it and tain aspects of sound quality so dependent on listening what went in. (In the case of a speaker system, the input location. is the electrical audio signal delivered to the speaker's Each of these three environments has its own acoustic terminals; the output is the sound radiated into the acous- strengths and weaknesses that must be taken into account tic environment.) The engineer merely has to have access for speaker testing. to the input and output "terminals," plus a clear description (set of specifications) of the signals that should exist IN an anechoic chamber, every tiny variation in the re- at the two. sponse of the speaker under test is shown up by the mea- In an amplifier, the relation of the input to the output suring apparatus. Examined under these conditions, the signal is simply defined. The input is the voltage from the frequency -response curves of even the best speakers look phono pickup, tuner, or other audio -signal source. The more like the profile of a mountain range than the smooth output is (or should be) an exact replica of the input, but curves produced in amplifier tests. It is not generally ap- at a higher power level. An amplifier meeting this "exact- preciated, but a single frequency -response curve taken ness" criterion can be classified as perfect. The factors that with the microphone directly in front of the speaker tells are involved in the input-output relationships of amplifiers only a small part of its story. A speaker radiates different can be measured easily on suitable instruments-oscillo- frequencies in different amounts in different directions, so scopes and voltmeters-and the indications of these in- separate measurements must be made at a series of angles struments describe the relations well enough for critical to the speaker axis. If the sound character of a particular judgments to be made. speaker changes sharply as the listener moves off -axis, as A speaker, however, poses this problem: the input is an many as fifty response curves might be needed to give a electrical audio signal, but the output is an acoustic signal reasonably complete account of its frequency -response per- that occurs in a three-dimensional environment. This formance. causes trouble because of the difference in the velocity of This points up the essential disadvantage of the anechoic propagation of electrical and acoustic signals. Electrical chamber. The information gathered may be so finely dif- audio signals travel so quickly that they can be said to exist ferentiated, and so voluminous, that analysis of it may not simultaneously everywhere in the circuit of an amplifier. only take a great deal of time, but be subject to misinter- For the very much slower acoustic waves, this simultaneity pretation as well. But because of the precise measurements does not exist: acoustic differences can be measured-or, that can be carried out in it, an anechoic room is a valuable for that matter, heard-at different locations in a room tool for the speaker -system analyst. We at CU are fortu- served by a speaker system. Reflections from walls, floor, nate in having such a test chamber; but the great expense ceiling, and furniture in the average listening room proof building one usually obviates its use for loudspeaker foundly alter the acoustic signal heard at various points in testers who are not working in an industrial or university the room. laboratory. This spatial aspect of a speaker's output makes instru- A reverberant environment gives the test engineer the mentation and data gathering difficult. In an attempt to simplest measurement job of all. Since the sound in a eliminate or "stabilize" the influence of the environment well -designed reverberant test chamber is quite uniform on speaker testing, test environments of known acoustic throughout, the tester need take only one curve at one characteristics are used. They are likely to be one of three point in space. The price paid for reverberant testing is a kinds: anechoic, reverberant, or normal. loss of detail in the data. The frequency -response curve taken in a reverberant room is an average of the sound Anechoic space(literally, "echoless")iscreated by radiated in all directions by the speaker-in fact, it repre- treating the walls, floor, and ceiling of a room or "cham- sents the frequency curve of the speaker's total sound ber" so that they no longer reflect sound-at least over most of the audio spectrum. In a room free of acoustic re- energy output. Response peaks that might appear in a flections, a speaker's sonic characteristics are manifested measurement at one angle may be cancelled by dips in the in purest form. response at another angle. Reverberant space is the reverse of anechoic space. The relationship of the curve obtained in a reverberant Here the room boundaries are made so highly reflective room to the actual listening qualities of a speaker system thataremarkable conditioniscreated:the soundis bounced back and forth and "shaken up" so thoroughly is far from clear. Trying to make judgments by listening in that itis "homogenized." Like the tiny globules of cream a reverberant room is hopeless: the sound is too "echoey" in homogenized milk, the variations in the sound become and unreal. But the method does have one value: it tells

FEBRUARY 1969 63 unequivocally whether or not a speaker "puts out" or is systems that are identical except thatone has a 10 -dB peak inherently power -weak in some frequency region. For at 1,000 Hz followed by a 10 -dB dip at2,000 Hz; the example, a real deficiency ina system's mid -range response other speaker has a 10 -dB dip at1,000 Hz and a 10 -dB cannot masquerade as a directional effector be lost in a peak at 2,000 Hz. Both sets of discrepancies welter of hard -to -decipher data. are in a region of nearly uniformear sensitivity. The loudspeakers Measuring speaker response in a "normal" space such sound different when reproducingmusic, but which is as a living room is difficult because the effects of the room "better" ? Perhaps there isno "better" in a case like this. are measured together with the characteristics of the speak- My experience at CU has been that er. In an attempt to eliminate the problems of "normal with differences of - this sort the preferences ofa trained listening panel would room" testing, some test laboratories have used a number be fairly evenly divided between thetwo speakers. of microphones placed at differentlocations in the room. The foregoing makes clear why loudspeakertesters and The output signals of all the microphonesare then blend- a number of manufacturers are reluctant to publishgraphs ed into one composite signal. Thisprocedure tends to or curves of frequency response. Theyare very easy to yield a "smoothed" response in which theups and downs misinterpret without elaborate additionaldata and expla- at various spots in the roomare averaged out. nations, and magazines lackspace to present such infor- But the multi -mike technique loses all information on mation completely. But skilled speakerengineers can the directional characteristics of thespeaker. And it isn't at make valid judgments from all certain that the "average" a given speaker's frequency - curves that are produced by response curves and are able to predict fairly accurately this method bear any simple relationship to what a listener how it will sound when reproducingmusic. hears. The strength of the normal-room method is in the speaker critic's intimate familiarity with his room. Over No speaker -testing program is considered respectable months and years of listening, hehas learned something or complete without listening tests, the subjectivepart of about the correlation, in hisroom, between a speaker's a test program. It is obvious that any listeningtest has to measurements and its listening quality. Withexperience, be set up with great skill, and a keen pair of care. One must take into account not ears, he can learn to make useful only the varied listening tastes and evaluations simply by listening. backgrounds of any group of individuals, but also the sad fact that practically I have referred only to frequency-response curves in everyone, skilled or unskilled, has an extremelyshort the foregoing because, atour present stage of knowledge, memory for the quality of sound. Therefore, in A -Bcom- the most revealing singletest that can be parisons of two speaker systems made on a loudspeaker. Other factors we tend to adapt our scale such as harmonic of judgment to the particular sound distortion and transient quality or coloration response are less important be- that we have last heard cause frequency -response imperfections or have listened to for the longest are the cause of time. On the other hand, if there is nearly all the false tonal coloration a time lapse, we tend in a speaker's sound. to be either over- or underwhelmed by Of course, should the day a first impression. come, when a speaker's frequen- At Consumers Union's laboratory, cy -response curve measures as smooth we have found that as those we get now carefully designed listening -panel from phono pickups and amplifiers, tests can be very useful. then the other factors Having available the simultaneous opinions will move to the front in evaluating of several speaker performance. trained listeners overcomes the dependenceon any one Frequency -response curvesare in no sense self-explana- individual's taste and experience. Thetest procedure also tory; the engineer still has the difficult jobof interpreta- provides near -instant comparisonswith a"standard" tion. Of considerable help in thisis some knowledge of speaker system, which helps avoid thehazards of short psycho -acoustics, the science that triesto establish the re- acoustic memory. lationships between subjective human hearing and the But any kind of purely subjective listening objective characteristics of sound. test that For example, a 20 -dB attempts to evaluate quality is open to weakness in the bass frequencies has a number of criti- an effect very differ- cisms. Does having a number of ent from a similar weakness in the treble: very experienced listen- the weak bass ers eliminate the factor of individual taste? Does the is likely to drop below the threshold use of audibility because of a "standard" reference speaker of the relative insensitivity of really eliminate prob- our ears to low-level, low- lems of short acoustic frequency sounds. A dip of memory or simply introduce the 20 dB would weaken the question of the quality of the reference? treble, but would not, because of And if the abso- the ear's relative sensi- lute accuracy of a speaker isto be assessed, commercial tivity to weak sounds in thisrange, cause it to disappear tapes or records played througha speaker are ambiguous entirely-the orchestra's trianglewould still be heard tinkling in the background, for standards: we don't know what the originalsound was instance. Obviously, an like. (The opportunity to evaluator trying to rank speakers compare the speaker reproduc- according to quality must tion with the sound ofa live orchestra playing the same assign different importancesto the two weaknesses. music would be ideal for comparisonpurposes, but is sim- Another example: supposewe have two loudspeaker ply not practical.)

64 STEREO REVIEW Because of the generally bad reputation of purely sub- anerhoic chamber and a careful, precise recording is made jective listening evaluations, CU has developed a unique of its sound reproducing master tapes of music. For the lis- and very carefully designed variation of the listening test. tening comparisons, this "secondary recording" is played Our test technique, vAich has been dubbed "simulated through the loudspeaker being tested. The original refer- live -vs. -recorded," is designed to provide a simulated live ence speaker reproducing the original master recordings is "original sound" for immediate A -B comparison with the always there as the reference standard. sound as reproduced by the speaker under test. In general, It is worth repeating that in such a test setup, it does not the specific qualities of the original sound are not of basic matter that the reference speaker (or the recordings used consequence; what matters is that we can judge how as original material) are not perfect. You are comparing closely the speaker under test comes to reproducing that the sound of the reference speaker playing the original particular sound. If our original sound source were a live master recording with the secondary recording being re- orchestra, for example, it wouldn't matter whether they produced on the speaker under test. If the speaker under played very badly, with poor intonation and incorrect test were perfect (assuming for the moment that the re- tempos. It would still be easy to determine, in an A -B cording of the reference speaker is perfect), then the two comparison, whether the speaker under test changed those speakers would sound identical. However, since perfection sounds in any way. is hard to come by in this imperfect world, the speakers To produce an "original" sound source, we first of all will never sound absolutely identical. But repeated tests need a "reference" loudspeaker system. This speaker need have shown, at CU and elsewhere, that it is possible to not be perfect (or even excellent), but should have a wide achieve a very close approximation of the sound of the frequency range. This reference speaker is put in the reference speaker when the speaker under test is of high

The photos above show members of the simulated "lire-cs.-recorded" listening panel. After reaching a decision on a pair of speakers, each panel member flips the switch in his hand to indicate that he has toted. It 'hen all of the panel has voted on one pair of speakers, the engineer in the control room switches to another pair. At left, a chart recorder automatically plots the polar frequency response of a speaker system under test in the anechoic chamber. The speaker is on a rotating plat form synchronized with the recorder chart position.

FEBRUARY 1969 65 quality. (Indeed, the speaker undertest could even be twenty-nine speaker systems coveredin our most recent superior to the reference speaker withoutinvalidating the tests were so voluminous that results.) a computer was required to do the analysis. Thecomputer indicated that the two There are many advantages to thismethod. It opens up types of listening tests led toa clear division of the speakers into the recorded musical repertoireas test material ; we can three quality groups, with thespeakers in the top or "high choose musical material thatputs the speaker to a real test, - accuracy" reproducergroup distinctly better than those in with a full range of dynamics andtone colors. Questions the middle or "medium-accuracy" reproducergroup, and of what the panel likesor dislikes in speaker sound are not the middle group distinctlybetter than the "low -accuracy" significant, since theyare required only to judge how group. closely the speaker undertest matches the standard. As a prelude to the two seriesof listening evaluations, Advances in speaker technology andour own continu- each of the speakers had beenput through a series of in- ing re-examination ofour methods may dictate changes in strument tests that included frequency the future, but in Consumers Union's -response runs in current speaker test- CU's anechoic chamber, both ing we emphasize this concentration on -axis and at a series of on "alikeness" or "un- off -axis angles. Themeasurement test data were analyzed alikeness" through our method ofpresenting the material for each of the speakers and to the panel. Two test speakers, rather than the speakers were ranked in one, are lis- quality according to CU'sunderstanding of the relative tened to during each section ofa test, and the panel is importance of the factors tested.This evaluation of the asked to decide which of thetwo speakers under test data was done "blind," inthe sense that the rankingwas sounds more like the referencesystem. We have, of course, strictly on the basis of themeasurements and without the instant switching among the threespeakers-the two analyst's being aware what specificbrand or model hewas under test plus the reference. Thismethod is like deciding evaluating. This was doneto eliminate any chance of the which of two color swatches is closerto a third one; the results' being influenced byexpectations on the basis of decision, being relative, isa more definite one than judg- brand name or prejudice in favor ing how close one color is to another. of-or opposed to-a particular system -design approach.(The engineering anal- A different type of "jury" is used forour simulated ysis also ultimately divided thespeakers into three quality live -vs. -recorded tests. The first seriesof tests (in which groups.) Although the speakers withineach of the three the panel is simply asked to makesubjective judgments of quality groups differed from speaker quality) uses our laboratory one another in sound quality, personnel, most of the data were not adequate,even taking into account the whom are high-fidelity enthusiasts andare used to making latest psycho -acoustic findings,to say that any one speaker critical listening judgments. The secondseries (the live- was "better" than any other in itsgroup. They were vs. -recorded tests) uses twelve young music students who judged to be "about equal." are not necessarily experienced audio -equipment listeners but who can be expected to be free ofany hardening of the aural arteries and who HEN the computer was then used to correlatethe data are trained to discriminate from all the tests, it sharply among sounds. Variations was exciting and highly gratifying to in "taste" in sound find that the two listening panelsand the engineering quality are not totally eliminatedwith this method, but analysis of measured data had reachedvery much the same we do get rid of the element of tonal naiveteand un- conclusions. There were three distinctquality groups, familiarity with the range of musicalsound. with no statistically significantpreferences within groups. We take some other precautions: theloudspeakers are And only three speakers, of thetwenty-nine tested, were screened from the panel visually; beforeeach comparison put by the panels into groups differing the three speakersare matched very closely in loudness from the ones obtained by measurement withlaboratory instruments. (this is essential) ;the switching fromone speaker to Taking into account the normal"tolerance" to be ex- another is "clickless"as well as nearly instantaneous;we pected in the analysis of speakermeasurements, this seems rotate the seating of the panel membersin the listening to be an excellent correlation. It room; and we try to eliminate listening fatigue by suggests strongly that, sched- within limits, :oudspeakers uling rest periods at fairly frequent can be evaluated accurately intervals. We also give from measurements and from the panel a careful training session careful listening tests. But before the actual tests neither the objectivenor the subjective methods we used to make sure that each member understandsthe method to be followed. represents the ultimate in precision. Giventhe incentive of better and better loudspeakers, Even with all this careful refinement of the meth- preparation, however, it is ods is possible: it could make obvious that the results could be loudspeaker testing even invalidated by improper more useful than it is now. handling and interpretation ofthe statistical results. All tests are set up so that the experimental"block" design follows valid statistical principles.The comparison data Larry Seligson has worked for ConsumersUnion for more than ten years. He is presently Senior Project Engineer derived from the two types oflistening evaluation of the in the CU Elec- tronics Division and in charge of CU'saudio testing program.

66 STEREO REVIEW INSTALLATION OF E MC NTH SYMMETRICAL STEREO irH no power tools other than an eght-dollar switches above the preamp turn everything on or off, select saber saw, R. R. Horton, of Eau Gallic., Florida, main or remote speakers, and turn on lights in the drawers -whas constructed from a number of mahogany - containing the turntables. In the same panel there are two veneered panels-and several stereo components-an un- VU meters and controls for the TV. A Channel Master usually complete home entertainment center. if he counted antenna rotor is above the AM tuner. his own time, muscle power, and elbow grease, he says The turntable drawers on either side of the TV have the installation would have a cost -plus -labor value of brushed -aluminum front panels. Both drawers are pow- $4,697.61. ered by small reversible d.c. motors controlled by switches With two turntables, two tuners, a tape recorder, and a above the preamp. The turntable on the left is a Dual color television set, Mr. Horton and his wife have a wide 1019 with a Shure V-15 Type II cartridge. The other is a variety of program sources on tap. Most of the components Rek-O-Kut with a Shure tone arm and M75 -E cartridge. are mounted on the sloping front panel of a cabinet de- The speaker systems are Bozak Concert Grands, each signed and built by Mr. Horton. (He also constructed the driven by a Dynaco Mark III 60 -watt amplifier. speaker enclosures at each end of the cabinet) At the left Mr. Horton first became interested in high fidelity when is an Ampex 1000 -series tape deck, and next to it is a he was in high school, and music has been an important Dynakit FM -3 stereo tuner. The remaining two compo- part of his everyday life ever since. He likes all kinds of nents are a Dynaco PAS -3 preamplifier and a home -built music, but gives a slight edge to Broadway shows and AM tuner which Mr. Horton fitted behind a Dynaco front such popular classical compositions as Tchaikovsky's 1812 panel so that everything would be symmetrical. The Overture. -W. W.

FEBRUARY1969 67 i/!///7 /////

Recording MILES

DAVIS f/A By MARTIN WILLIAMS "-/A15M.417'.ork, One recording session is pretty much like another, with one significant difference: the professionals make it lookeasy THE administrative offices of Columbia Records are plause. But the more private Miles Davis is a talkative now located in the parent company's externally man whose conversation is a stream of anecdotes, free - handsome new CBS Building on New York's Ave- associated reminiscences, and outspoken reactions and nue of the Americas. But for the purposes of recording, opinions, most of which are delivered with a kind of the old, reliable Columbia studios still seem toserve best. shared, ironic wit that tempers an occasional bitterness. Thus, on a morning last winter, a Miles Davis recording Columbia's engineer Frank Laico, with two assistants, session was set for the venerable studio B,on East 52nd was threading tapes, adjusting dials, and visually checking Street near Madison. the placement of the battery of microphones on view The date was called for 10:00, but by 9:40, Davis through a glass panel in the large rectangular studio di- was there, his thin, broad -shouldered frame comfortably rectly ahead. Davis meanwhile was commenting to gui- dressed in a long-sleeved, knit sport shirt anda pair of tarist George Benson: "When whites play with Negroes corduroy trousers. He was lounging casuallyon a chair in and can't play the music, it's a form of Jim Crow to me. the control room, but he was obviously anxious toget to Studio musicians-they're supposed to be able to play all work. The day before he had not beenso optimistic. "We kinds of music. So they should know what's going on in may just end up rehearsing, or sitting around looking at our music too. One, two, three, four-anybody can do each other," he had commented witha not unusual edge that. And if you don't do it, they don't believe the beat is of humor in his voice. still there." Davis was still smarting from the experiences Davis is notoriously taciturnon the bandstand, dis- of a previous session when an otherwise capable studio inclined to announce his numbersor to acknowledge ap- guitarist had failed him miserably. "I was so mad, they

68 STEREO REVIEW gave me a royalty check and I didn't evenlook at it." out the electric harpsichord. "Which piece shall we work This date, therefore, with Benson on guitar, was a kind on, Miles ?" he asked. of make-up for the previous session. Columbia is willing "I don't know," said Davis off-handedly, although he to devote much time and money to Davis' recorded out- was clearly considering the matter. "Try yours," he said, put, and Miles Davis, for all the casual air with which he after a pause-and suddenly Shorter and Davis began goes about it, is a careful craftsman. He has beenwith the phrasing a rolling melody together-a single, casual foot company for over ten years now. His first popularity de- pat from Davis had set the tempo and started them off. pended on a passionate, lyric interpretation of standard A moment later, Benson and Hancock consulted. "Some ballads and traditional blues, and there was a time when of these are chords. Some are just sounds," the pianist - it seemed that Davis might be content with a safe repeti- composer explained. tion of that formula. But, from time to time, he has under- "Hey, Herbie, don't play that one," Davis remarked, taken more experimental fare. The "Kind of Blue" session indicating the harpsichord. "Play the black one," the elec- of 1959 used highly unorthodox procedures for improvi- tronic piano. sation and influenced the subsequent development of jazz. Ron Carter, surrounded chest high by baffle boards to And recently, the more exploratory sessions such as isolate the sound of his instrument, surveyed the scene "E.S.P.," "Miles Smiles," and "Sorcerer," have virtually through wire -rimmed glasses, pipe in mouth. Dressed in become the rule. a dark cardigan sweater, he looked rather like a retired For the work in progress, Miles has augmented his reg- druggist. ular quintet with a guitar and has invited pianist Herbie Hancock to try celeste, electronic piano, and electric harp- As they continued to run down the piece, it became sichord ("I woke up in the middle of the night last night evident that Tony Williams, Davis' young drummer, was hearing that sound," Miles remarked about the latter in- feeling his way into it in a highly personal manner. He strument). One piece already completed for the album is began with a bit of history, an old fashioned, regular Davis' Burlena, which involves the bass and guitar playing ching-de-thing cymbal beat. By the second or third run one melody line, the horns (Davis and tenor saxophonist through, he was trying a conservative Latin rhythm, exe- Wayne Shorter) another, and drummer Tony Williams cuted chiefly with wire brushes on his snare drum. But improvising an interplaying, percussive third part. within a few more tries, his part had become a complex Davis was now in the studio, still chatting with Benson whirl of cymbal, snare, and tom-tom patterns and accents, as he picked up and quietly strummed the guitarist's in- although there was no question of where the beat, the strument. In the booth, the engineering staff was openly basic 1-2-3-4, was falling. airing its pessimism. They began on the piece again. Davis counted, "One, "I kind of knew we wouldn't have to rush into this two, three, four," but until the music began, he might thing this morning." almost have been tossing off random numbers rather than "Yeah, I'm sort of surprised he's here." establishing a strict tempo. But by 10:05, Davis was in place in the studio, running Inside the engineering booth, Macero shuffled through down one of the pieces on his horn. Teo Macero, Colum- some American Federation of Musicians contracts as he bia's a -and -r man, had arrived and was immediately talk- remarked, "That line is hard. It reminds me of those ing on the telephone. Tony Williams and his drums were things Miles did for Capitol. Remember them? But this is making their way through the tangle of mike booms, much freer, of course.- He was referring to some record- wires, and baffle boards. And within a few minutes, ings by a nine -piece group with Gil Evans, Gerry Mulli- Wayne Shorter, bassist Ron Carter and Herbie Hancock gan, and others, which started a fad called "cool jazz," had entered, removed their coats, taken their places, and and which were imitated in everything from big band were beginning to examine the music on the racks before arrangements to cigarette jingles on TV. them. Suddenly Davis, whose mike position in the studio had Macero walked into the studio and embraced Davis. him sitting with his back to the control room, turned and Almost on his heels arrived orchestrator Gil Evans, a thin, said with a cheerful half -smile, "I want to hear this." In grey, sympathetic and authoritative presence. "Hey, Gil! a moment, Macero was reading a complex number,fol- You got me some music ?" Davis said as a greeting, and lowed by "take one," onto the tape. A run-down of the the two embraced as Evans answered, "Yes." piece had begun, with Davis and Shorter phrasing to- "I midwifed a couple of these pieces," Evans continued, gether almost as one man. referring to the fact that Hancock, Shorter, and Davis At the end of a play -back Macero got up and, singing wrote most of the numbers to be used, but that he had and almost dancing his way into the studio, made a quiet helped lay a couple of them out for performance. point to Davis in the manner of a man telling a casual George Barrow was quietly reading and strumming his joke. He was obviously very happy to have started to work. part. Hancock sat surrounded by his four keyboards, trying Davis worked out a couple of bent notes with Ron Car -

FEBRUARY 1969 69 ter and then Davis called Gil Evans over to clear up a They were into another take. Davis, sitting on the edge point in the score, while in the background Carter and of his stool, was so involved in his solo that he somehow Benson ran through a portion of the piece. They were managed to raise both feet off the ground. accompanied by impeccable finger -snapping from Tony At the end of the take, he looked dissatisfied. But Williams, who was pacing around the studio, rather like Macero announced, "Martin liked it." an athlete loosening up after a foot race. By 11:30, the "What the -- has Martin got to do with it?" musicians had run through the theme several times more, During the playback, Shorter ducked his head and and it was beginning to swing hard. It was time to take it pulled up his coat collar at something he didn't like in his from the top, including a try at the improvised portions. own solo. But at the end, Davis announced, "That's all "OK, here we go," Davis announced, calling for the intro. right, Teo." "Tony's got two bars." It was 12:30, and by mutual unspoken agreement there When an engineer entered the studio during the run- was time to try another piece. "This is the one-Para- through, Davis was highly annoyed and he let Macero phernalia," said Hancock, selecting a music sheet from know it. During an ensuing pause, Shorter tried out a new the pile in front of him. He turned to the celeste and be- reed. gan running through his part, but after a few of its tin- A minute later they were trying the solos again, and kling notes, Davis asked him to go back to the piano. Davis was dissatisfied with his background. "Can we There was some discussion of a tricky portion of the change that chord?Idon't like that A Minor. Hey, piece during which Carter and Hancock are to hold certain Her" Die, play a C Major." Hancock subjected his C Major chords as long as the soloist wants them, repeat them until to various augmentations and substitutions, interpolating the improviser is dearly rer...ly for the next one. Davis sat various passing chords along the way. Davis was still dis- quietly as the other musicians explained things and worked satisfied. "Play a C chord all through there but put all that them out. His presence is authoritative and puts his side- other stuff in it," he said tartly. men on their mettle, and he knows it. But when the mo- "Oh, I see what you mean," said Hancock and he tried ment is right for a decision, he makes one. "Wayne, you out the sequence again. don't play the 3/4 bars, and the last 4/4 bar is cut out." As they ran through Davis' solo, he glanced at the revised chord changes on the music sheet in front of him. As they ran the piece down, the art of it began to And somehow he managed to look up at his music from emerge: it didn't sound difficult or complex. Shorter's solo under his eyebrows, although it was well below eye -level. seemed to float, su:.--ded above the rhythm section. For It was 11:45, and Miles said, "Hey, Teo !" his part, Davis was stinstructing as he played. At the He was immediately understood. "You want to record end, he crossed to Hancock's keyboard to demonstrate a this next time." Laico started the tapes rolling. point, and advised, "It sounds good. But Herbie, don't During the take, Hancock executed a quiet dance with play all over the piano. Don't go up there," gesturing at his shoulders, head, and feet as he played ; the rest of him the top third of the keyboard. And then he announced tc was almost immobile. Tony Williams' dance was broader the room in general, "Let's record it. Come on, this is than Hancock's and centered in his elbows. Davis, now simple." satisfied with his chords, did his dancing with his horn. After a couple of false starts they were into a take. During the playback, quiet settled on the studio. Macero Again Hancock's shoulders danced. During his solo, entered unobtrusively with the income tax withholding Davis looked as if half a dozen impressions were attacking forms for the players to fill out, a sure sign that the session his mind at once, but he played as if he were able to con- was well under way. Davis leaned over a low table, bend- dense them all into brief, smoldering, allusive phrases. ing from the waist, listening. Shorter munched on a snack Shorter built his portion out of ingenious fragments of he had brought along, but he was listening. As the last the main theme. Hancock echoed the theme in his section notes echoed through the studio, Miles made an inaudible too, but quite differently. During Tony Williams' spot, comment, gave Macero a glance that indicated he wanted Davis's expression showed his approval, and he signalled another take, and then said aloud to his sideman, "Make it to Benson to take a solo as the tape was still rolling. tighter." "Let's hear some of that, Teo," Miles requested at the Hancock: "You want me to stay out of there more ?" end. As the playback began to fill the studio, he executed Davis: "Yessir!" a quick sideways step across the floor in time to the music, Hancock: ''But you want me to hit that B -flat chord." then paused and said quietly, "That's hard work-making Davis: "Yeah." records." Macero (onto the rolling tape) : "Take 15." Davis (stopping the take in the middle) : "Teo, I sound like I'm playing to the wall." Martin Williams, well-known jazz critic and author of Jazz Mas- ters of New Orleans (among others), will be remembered by STE- Macero: "Try it with the earphones on." REO REVIEW readers for his "George M!" piece in the August issue.

70 STEREO REVIEW er6ieMoe /4? -790 irr,

efo- ff4e-4( a/i2deeroyearlie, ae04eof /9652e.e,-4.

IN THIS ISSUE, STEREO REVIEW offers to its readers for producers of those records know that the people know. the second time the results of its critical and editorial Last year, the awards and honorable mentions were polling to determine the best records of the preceding given without specific categories, although the records did publishing year. To define our terms: "publishing year" tend to group themselves into such categories. Rather than means January through December, 1968, and implies retreat from that position, we have this year gone even that the record was reviewed in one of those issues of further to try to eliminate all hint of categories. We have STEREO REVIEW; "best records"...well, that is a little more simply chosen twelve winners and twenty-four honorable complicated. mentions, divided approximately equally between classical "Record of the Year Awards and Honorable Mentions and non -classical music. It is only with the freedom gained are given in recognition of great artistic achievement and from not trying to rill a pre-existing pigeon hole that the genuine contribution to the recorded literature. Such rec- awards can accurately and fairly reflect the record scene as ognition has no basis in sales...." That is the way the it was in 1968. awards were set up last year, and that is what we still ad- here to. We are interested in the intrinsic artistic excellence THIS year STEREO REVIEW will make available to the and importance of a record, and it is well that we are. For companies who have produced the winning records official artistic excellence is not something that shows up in ac- designation labels to be attached to the jackets of records countants' reports, and, unless sufficient attention is paid in stores. Look for those labels. They indicate that the to it in the public press, those who are responsible for it records that bear them are the cream of the 1968 releases, may simply be too discouraged to attempt it again. And significant contributions, in the opinion of the critics and so it is important that people know and recognize the ex- editors of STEREO REVIEW, to the art of recorded music. cellence of certain records, and it is also important that the James Good friend SELECTED BY THE EDITORIAL STAFF AND CRITICS

TRE16LESILLS FORREFTER WOLFF MI 4.0 ..011.4 01. 116. Nns.1.109 Opera Clow*. .eadarkar.. IL Itt'DEL....-

STRAUSS: Elektra (Georg Solti, conductor). VAN DYKE PARKS: Song Cycle. WARNER HANDEL: Julius Caesar (Julius Rudel, con- LONDON OSA 1269. BROTHERS 1727. ductor). RCA LSC 6182.

"...and his GILELS SZELL mgther called THE GEVELIND CPCHESTRX hiroBill"' °LIKE ,Q_INGTot.N

DUKE ELLINGTON: Billy Strayhorn com- ALI AKBAR KHAN: The FOrty Minute Raga. BEETHOVEN: The Five Piano Concertos positions. RCA LSP 3906. CONNOISSEUR SOCIETY CS 2008. (EmilGilels,pianist; George Szell,conductor). ANGEL SE 3731.

BUSONI: Piano Concerto (John Ogdon, piano). ANGEL S 3719. BERG: Lulu (Karl Bohm). DEUTSCHE GRAMMOPHON 139273/4/5. CHRISTA LUDWIG: Schubert Lieder. ANGEL S 36462. SCHOECK: Notturno; BARBER: Dover Beach. (Fischer-Dieskau and the Juilliard Quartet). COLUMBIA KS 7131. MOZART: La Clemenza diTito(IstvanKertesz,conductor). LONDON OSA 1387. ORFF: Carmina Burana (Eugen Jochum, conductor). DEUTSCHE GRAMMOPHON 139362. LEONTYNE PRICE: Prima Donna, Volume Two. RCA LSC 2968. SCHUTZ: Symphoniae Sacrae, Concertos from Book II (Helmuth Rilling, conductor). NONESUCH 71196. IG4ffd4/4/90 FOR THE READERS OF STEREO REVIEW

CABALLE. " ROS#11?s1

;ABALLt: Rossini Rarities(CarloFelice DEBUSSY: LaMer;L'Apresmidid'un GEORGE M! (George M. Cohan): Original - :Mario, conductor). RCA LSC 3015. faune; Jeux(PierreBoulez,conductor). cast recording. COLUMBIA KOS 3200. CBS 32 11 0056.

MDR CONCERTOS

BERG

STRAVINSKY VIM

CONCH116E6011

ORCHES16A

AMSTERDAM 1681M/11TO ENNESIW

PHILIPS

BERG STRAVINSKY: Violin Concertos JACKIE & ROY: Grass. CA.ITOL ST 2936. LIZA MINNELLI. A & M RECORDS SP 4141. (Arthur Grumiaux,violinist,Igor Marke- vitch and Ernest Bour, concuctors). PHILIPS PHS 900194.

IGOR KIPNIS: Spanish Harpsichord Music. EPIC BC 1374. GLEN CAMPBELL: By the Time 1Get to Phoenix. CAPITOL ST 2E51, T 2851. LANDMARKS OF TWENTIETH-CENTURY MUSIC-Berg, Webern, Schoenberg. ANGEL S 36480. ARLO GUTHRIE: Alice's Restaurant. REPRISE FS 6267, R 6267. BERLIOZ: Requiem (Charles Munch, conductor). DEUTSCHE GRAM- LAURA NYRO: Eli and the Thirteenth Confession. COLUMBIA CS MOPHON 139264/5. 9626. SCHUBERT: "Trout" Quintet (Rudolf Serkin and Marlboro Festi- SPANKY AND OUR GANG: Like to Get to Krow You. MERCURY val players). COLUMBIA MS 7067, ML 6467. 61161. ETHEL WATERS: On Stage and Screen 1925-1940. COLUMBIA CL JEFFERSON AIRPLANE: Crown of Creation. RCA LSP 4058. 2792. MOTHERS OF INVENTION: We're Only in It for the Money. VERVE P. D. Q. BACH ON THE AIR. VANGUARD 79268. 65045, 5045. CREAM: Wheels of Fire. ATCO S 2700. ROLLING STONES: Their Satanic Majesties. LONDON NPS-2. CARMEN McRAE: Portrait cf Carmen. ATLANTIC SD 8165, 8165. JONI MITCHELL: Song to a Seagull. REPRISE S 6293, 6293. STEREO REVIEW'S SELECTIONOF RECORDINGS OF SPECIAL BEST OFTHE MONTHMERIT

CLASSICAL

HAYDN SYMPHONIES:THE "LONDON" DOZEN Leslie Jones' performances for Nonesuchmove Haydn out of the long shadow of Mozart

NCE again, with Haydn's "London" Symphonies, -in the couplings I've mentioned here, at least-always the budget label Nonesuch has brought to record gets "top billing." The result is the aesthetically ghastly 0listeners a release that not only' stresses high one of comparing Ravel to Debussy, or Haydn to Mo- performance quality and excellent engineering, but that zart, of foolishly listening for uninteresting andes- goes even further-to make, by its very nature,a sentially coincidental similarities rather than themore musico-historical point. This has becomea very winning cogent and fascinating differences. And though benevo- habit with Nonesuch, and whether I personally find the lent propaganda on the part of themore enlightened point being made pleasant or unpleasant, validor ques- music critics has long tried tomove Haydn out of the tionable, the underlying a -&-r policy is so consistent, so uniquely long shadow of Mozart's genius, Icannot rid worthwhile, and so intelligently presented that I have myself of the unpleasant feeling that theyhave been yet to review an issue of theirs that I found boring. pitifully unsuccessful. Certainly this new six -record package of the sympho- All the more reason to be grateful not only forNone- nies that were the product of Franz Josef Haydn's "Lon- such's release of this handsome dollop of thecream of don" period is fascinating at any price, but at $15 retail Haydn's symphonic output, but for their supplyingit in it is a unique bargain that may, for many buyers, prove what I consider to be a therapeutic dosage:a perfor- to be something of a revelation. mance style that stresses Haydn's Although the opinion may be C re-8 unique musical personality rather garded as rather eccentric in view `ri' z than its superficial kinship to the of Haydn's unquestioned status Mozart manner. There has been as one of the "greats" in the his- '6" no attempt by Leslie Jones and tory of music, I will venture it the Little Orchestra of London to nonetheless: Haydn is quiteas often as not underrated and/or imbue this music with the sort of Mozartian elegance and finesse- misunderstood not only by the those qualities no other composer very critics and musicologists who has ever approximated-that call him "great," but by the are gen- not only unidiomatic in Haydn eral public as well. For just as we performance but make his music have long been stuck with what sound merely charmingly primi- Virgil Thomson aptly called the tive in comparison. Furthermore, "music -appreciation racket" and in those works we have its penchant for name -coupling come to know very well by their handy (Debussy and Ravel; Mahler and subtitles (such as the "Surprise," Bruckner ; Mozart and Haydn), the so have we been drawn into "Clock,"and the "Drum Roll"), the conductor has sensi- the trap of making comparisons bly managed to treat the musical that are more apparent than real, materials that justify these de- a nonsensical"great -greater" LESLIE JONES scriptives as carefully integrated sweepstakes in which the winner Neu' understanding for Haydn musical eventsratherthanas

74 STEREO REVIEW quaintly heavy-handed and often somewhat naïve jokes. Irecall that, during my student days, Vaughan Wil- Since we still have a long way to go in understanding liams' Fourth was regarded as something of a cause among Haydn, I'll not suggest that these performances are to be more adventurous students at the Eastman School; it was considered-even for now-the last word in pure style, in likewise an avant-gardeIrc"-te noireamong the more con- flair, or in technical execution. But, packaged together in servative. To be sure, the piece fumes and storms in a performances so correct in overall approach, they give manner we don't usually associate with Vaughan Wil- Haydn an identity of his own asI have rarely, if ever, liams, but it is difficult to believe that so many passages of heard it. Nonesuch deserves our thanks. so many works to follow could have been composed with- William Flanagan out this key work. Furthermore, there is a tightness of form, a firmness of texture to the Fourth that may very HAYDN: The "London" Symphonies. No. 93,in D well have been undertaken as therapy by the composer to Major; No. 94, in G Major ("Surprise"); No. 95, in C Minor; No. 96, in D Major ("Miracle"); No. 97, in C counteract a certain laxness or easiness that sullies his Major; No. 98, in B -fiat Major; No. 99, in E -flat Major; earlier work. One thing is virtually certain: nothing we No. 100, in G Major ("Military"); No. 101, in D Major know about Vaughan Williams, man or artist, so much as ("Clock"); No. 102. in B -flat Major; No. 103, in E -flat suggests that he ever took it as part of his intention to Major ("Drum Roll"); No. 104. in D Major ("London"). shock audiences. Yet the Fourth very well may have in Little Orchestra of London, Leslie Jones, harpsichord and1935, however unlikely it is to do so today. cond. NONESUCH ® HF 73019 six discs $15.00. Bernstein's performance correctly mirrors in mood the sort of raw nervousness this musical "crack-up" exudes, even as he keeps the structural plan of the work under careful control. I have never heard it played better. It may AN ELECTRIFYING be that theSerenadeis a bit soupy in this performance- but itwasfor the opening of Lincoln Center, it's a pretty VAUGHAN WILLIAMS FOURTH schmalzy number anyway, Jackie Kennedy was in the

audience, and. .. oops! Bernstein's recording for Columbia Records Recorded sound and stereo are certainly beyond re- correctly emphasizes the work's raw nervousness proach in the Fourth. TheSerenade,for reasons I'm still trying to sort out in my own mind, sounds far better than THOUGH recordings of the symphonies of Ralph it did in its original release. William Flanagan Vaughan Williams seem to be holding their own well in the catalog of current recordings, it is generally con- VAUGHAN WILLIAMS:Symphony No. 4, in F Minor; ceded that the Fourth, by virtue of its rugged and astrin- Serenade to Music.Adele Addison, Lucine Amara, and Eileen Farrell (sopranos); Lili Chookasian, Jennie Tourel, gent toughness, has had the hardest sledding in the in- and Shirley Verrett (mezzo-sopranos); Charles Bressler, ternational concert repertoire. Impressive work that it is Richard Tucker, and Jon Vickers( tenors); Donald Bell, -and always has been-it is high time we had a first- Ezio Flagello, and George London (bass -baritones). New class stereo recording of it, and Columbia has just given York Philharmonic, Leonard Bernstein cond. COLUMBIA us one: a vibrant, even electrifying performance, com- ® MS 7177 $5.79. plete with flashy sonics, by Leonard Bernstein and the New York Philharmonic. The Symphony has been coupled with a particularly luxurious and rich performance ofSerenade to Music,a COLLECTOR'S WINDFALL: sample of theotherVaughan Williams-the dulcet, modal, utterly honest and uncompromising composer of HOROWITZ REISSUES such works as the "London" Symphony and the Tallis Fantasy. TheSerenade(which is a reissue of the per- Early recordings Permit instructive stylistic formance recorded at the opening festivities of New comparisons in the work of a remarkable artist York's Lincoln Center Philharmonic Hall) makes so severe a contrast in effect, if not device-it is uncommonly LADIMIR HOROWITZ'S 1930 recording of the Rach- lyrical even for Vaughan Williams-that I found myself maninoff Third Piano Concerto has for some time thinking of an admittedly rather general parallel to the been a tantalizing but elusive commodity. It was scheduled widely noted "simple" and "severe" styles of our own for reissue several times and then inexplicably held back, Aaron Copland. But note it well: tough or sweet, in both presumably because of contractual problems, though it is cases the composer's personal voice is never sacrificed, possible that the pianist did not want his work to appear because common techniques are merely softened and on a low -price label. Happily, however, Seraphim has at simplified for the more "direct" manner in each case. long last made the performance available.

FEBRUARY 1969 75 This Rachmaninoff Third, with Albert Coates directing sounds thin, but a slight bass boost helps to alleviatesome the London Symphony, is of course the pianist's first re- of the shrillness. Igor Kipnis corded version of the concerto. It originally appeared on His Master's Voice, nine 78 -rpm sides (the tenth side, RACHMANINOFF: Piano Concerto No. 3, in D Minor, not included in this reissue, was an incredibly fast and not op. 30. HAYDN: Piano Sonata No. 52, in E -flat Major. Vladimir Horowitz (piano); London Symphony Orchestra, too clean Rachmaninoff G Minor Prelude, Op 23, No. 5). Albert Coates cond.(in Rachmaninoff). SERAPHIM 0 The concerto itself was extensively cut in this perfor- 60063 $2.50. mance, and some of the side -ends in the second and third movements did not segue very neatly into the beginnings of the ensuing sides. It was, however, an absolutely electrifying rendition, and its excitement, despite the now dim sound, emerges spectacularly in the new transfer. PINEAPPLE POLL OFFERS The version of the concerto which Horowitz recorded G & S IN A NUTSHELL with Fritz Reiner and the RCA Victor Symphony in the early Fifties (still available on RCA LM 1178) is equally Charles Mackerras' Savoyard ballet receives exciting, but quite different. Less drastically cut, it repre- an impeccably recorded performance on Vanguard sents the pianist at the so-called middle period of his career: the playing has become more mannered, more exag- THE IDEA of creating a ballet out of Sir Arthur Sulli- gerated. Details of shading, phrasing, and accent have a van's sprightly operetta scores occurred to Charles tendency in this later version to be blown up out of propor- Mackerras when he was playing the oboe in a Gilbert and tion, an interpretive quirk not helped by the ill -balanced Sullivan show orchestra in Australia. He talked the project recording, which places the piano far in front of the over in London in 1951 with choreographer John Cranko, orchestra. But the performance is a great one, and it is ex- who had just arrived from South Africa and was creating traordinarily interesting to compare it with the less nervous a stir in the dance world with his clever balletic inven- and less intense 1930 version-I would not want to be tions. They were soon poring over W. S. Gilbert's Bab without either of them. Ballads looking for a plot, and finally decided on No. 81, Seraphim's reissue is filled out with Haydn's last sonata, "The Bum Boat Woman's Story," which had first titillated always a Horowitz specialty. Here, again, there is a later readers in a British comic magazine called Fun in 1870 version for comparison: an actual recital performance, pre- and later served as the plot basis for H. M. S. Pinafore. sumably dating from the early Fifties also, and available Mackerras, by then an esteemed arranger and conductor, as part of the collection "Horowitz in Recital" on RCA ransacked the Gilbert and Sullivan repertoire and fused LM 1957. Many of the same contrasts between the two together a stunning musical continuity for Cranko's bal- performances are apparent: a mellower, more contained let. For those who saw the original production in England treatment in the earlier (1934-1935) version ;a more by the Sadler's Wells Theatre Ballet (now the Royal Bal- jittery, explosive manner in the later. Both are exciting let) on March 13, 1951, or any of the performances since performances, but the first is far better Haydn. then, Pineapple Poll conjures up memories of the H. M. S. The Seraphim transfer is quite good, considering the Hot Cross Bun and of Poll herself, a slimmed -down ver- age of the 78 -rpm originals. The orchestra, naturally, sion of Buttercup, vending her "ribbons and laces" and

MARK LLSTER As OLIVER: "Please, sir, I want .some more."

76 boarding the ship in sailor's clothes to pursue the dashing overture is as fervid as anything I have heard since the old Captain Belaye. For most G & S buffs, however, the music Furtwangler recording of the last movement of the Bee- is simply an opportunity to glut one's greedy ears with thoven Ninth at the reopening of Bayreuth. This swollen enormous helpings of Sullivan in the space of less than an approach usually bothers me, but as the score moved hour, while keeping up with the guessing game of just along, I realized that Green was absolutely right. Bart's when what turn from Patience segues into which stretch music has a rich Victorian feel to it, and quite properly from Princess Ida. It's enormous fun for fans, who are too, since Oliver! is set in that period and the Victorian likely to be thrown only by a couple of bars sneaked in motto (quite the opposite of today's) was that more- toward the end from the early Sullivan Overture "di much more-is better than less. Charles Dickens seems to ballo." have thought so, at any rate: the more evil his characters The Mackerras instrumentation for this musical patch- are, the better the chance they will be thin, and his good work is at times more aggressively showy than Sullivan's or lovable characters are all decidedly on the portly side. own, but itis certainly never dull. The piece has been It seems entirely appropriate, then, that Food, Glorious issued in a number of recordings that have come and gone Food, in which Mark Lester as Oliver and what sounds since the first performance. At the moment the only com- like half the male population of England under the age of petition for the new release is the one on Capitol with the ten dream of a decent meal, should be an obese and glori- Royal Philharmonic Orchestra conducted by Mackerras ous delight of a production number. Harry Secombe, in himself. That is a dashing enough performance, for Mack- the role of Bumble, sings Oliver! and the almost operatic erras is a dedicated Sullivanian, but it is also rather shrill Boy for Sale in a voice as big and clear as the Crystal at times and hard -driving. This new version, a bargain at Palace; he is the most stylishly apt of the adult performers. $2.50 and lovingly interpreted by the Pro Arte Orchestra (And, as an indication of the great musical and dramatic under John Hollingsworth, shifts moods more gracefully, skill composer Bart brought to this score, you might notice sounds better suited in general to the requirements of the that the four -note instrumental introduction to Boy for dance, and is recorded impeccably. Paul Kresh Sale is echoed, with ironic charm, in the theme for the Who Will Buy? production number later on.) SULLIVAN (arr. Mackerras): Pineapple Poll. Pro Arte Shani Wallis as poor Nancy Sykes brings a little less Orchestra, John Hollingsworth cond.VANGUARD EVERY- pathos to her big ballad As Long as He Needs ilfe than MAN ®SRV292 SD $2.50. Georgia Brown did in the original stage production, but it is nonetheless a good, solid job. Ron Moody, as the viper Fagin, left me wishing for a few more laughs in his solo Reviewing the Situation. But then none of the solo THE SOUNDTRACK OLIVER!: performances in this filmed Oliver! is particularly striking. Instead, it is the gigantic production numbers-Oom- A DICKENSIAN PLUM PUDDING Pah-Pah, Consider Yourself at Home (with young Jack Wild making an indelible impression as the bantam - Columbia Pictures' film version of the Lionel rooster Artful Dodger), and Who Will Buy?-that are Bart musical is a festival of production numbers outstanding not only for their size, but for Green's insistence on both clarity and musicality. Nothing is muffled, RRANGER-CONDUCTORJohn Green (the same Johnny nothing is lost, nothing ends up in a screaming match no of the old Hollywood days) has fashioned for Col - matter how large the choral and orchestral forces em- gems an enormous, old-fashioned plum pudding of a re- ployed may be. cording-the soundtrack for Columbia Pictures' film ver- It is only fair to tell comparison shoppers that the num- sion of Lionel Bart's musical Oliver! He has approached bers I Shall Scream, That's Your Funeral, and Bill Sykes' the splendid score (a resounding stage success both in My Name from the stage productions are not in the film. London and on Broadway) as if it were the last musical Some will miss them, but as you may have gathered by to be written within this century, and from the sound of a now, this Oliver!, although scarcely an elegant, sophis- great many musicals I have heard recently he may be right. ticated, or even a particularly adventurous recording, Green's passion-and only passion can account for the isoverstuffed,raucous, sentimental,daintily elephan- incredible amount of work that must have gone into this tine in execution, both thrilling and hokey in its aural recording, with its children's choruses, crowd scenes, and aspects, and yet totally ingratiating and charming. Even long stretches of music that often include two or three Dickens, I think, would have been pleased. Peter Reilly songs or production numbers-has produced what sounds OLIVER! (Lionel Bart) Original -soundtrack recording. to me like the supermusical to end all supermusicals. Ron Moody, Oliver Reed, Harry Secombe, Shani Wallis, Green has created an orchestral sound that is brilliantly Mark Lester, Jack Wild, others (vocals); orchestra, John massive, and his arrangement (and conducting) of the Green arr. and cond.COLGEMS ® COSD 5501 $1.79.

FEBRUARY 1969 77 Areyou ready for this? It's the new 1812 Overture It has cannon roaring. The proud guns of the King's Troop, Royal Horse Artillery. It has martial music by the Central Band of the Royal Air Force. But that isn't what makes it new. It has the 90 -voice Cathedral Choir singing the opening church hymn, "Save, 0 God, Thy People," which the composer scored for symphony orchestra. It has the Children's Choir of St. Ambrose singing the poignant folk song which the composer scored for orchestra. And it has bells. Pealing, soaring, rolling, joyously tolling bells, recorded in Russian churches and cathedrals; added into the final recording to give the effect of varying distances and directions. Cannon, a military band, a 90 -voice chorus, a children's choir, the tintinnabulation of the bells, and the New Philharmonia Orchestra under Igor Buketoff.... You're ready for this sonic boom of a recording.Cil Do you think your equipment is?

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AvailableAvailable on RCA Stereo 8 Cartridge Tape CIRCLE 40. 48 ON READER SERVICE CARD 78 S 11. 0 RI VII _W CLASSICAL

Reviewed byWILLIAM FLANAGAN DAVID HALL GEORGE JELLINEK IGOR KIPNIS ERIC SALZMAN

BACH:Cantata No. 18, "Gleicb u'ie der gium,Stuttgart,HelmuthRillingcond. Some of the more luckless readers of this Regen and Sclmee rom Himmel fiillt"; NONESUCH ® H71206 $2.50. review may recall thatIhave grumbled be- Cantata No. 62, "Nun komm, der Heiden fore about a work called Performance: Festive Contrasts (1938), Gerda Heiland." Adele Stoke (soprano) ; Recording: Very good commissioned by Benny Goodman from Bela Schriever (alto, in No. 62); Peter Schreier Bartok. Now, Columbia on its budget Odys- Stereo Quality: Satisfactory (tenor); Theo Adam (bass); Thomaner- seylabel has reissued the 1940 recording chorLeipzig;members oftheLeipzig Bach, writing a secular work in honor of in which the composer, Goodman, and Jo- Gewandhaus Orchestra, Erhard Mauersber- August III, Elector of Saxony and King of seph Szigeti gave the work its most authen- ger cond. DEUTSCHEGRAMMOPIION AR- Poland, composed this cantata in 1734 under tic performance. Well, authenticity (if this CHIVE® SAPM 1984 il 55.79. rather hurried conditions. He had only three ancient, thin recorded sound is the price to be paid for it) doesn't seem to help me much Performance: Competent days before the celebration of August's first anniversary as the Polish regent, and he con- with a piece thatIfind unattractively awk- Recording: Excellent sequently made use of some of his previously ward and strained, that seems to struggle for Stereo Quality: Good written material, including a chorus from a an original, quirkish musical continuity be- Although these two cantatas have been re- cantata (BWV Anh. 11) that was later to cause of a deep-rooted lack of conviction in corded before, they are apt to be unfamiliar the strangely garbled statement itmakes. I to most Bach cantata enthusiasts. Number 18 hate to keep flogging what Ipersonallyre- is an early work, dating from Weimar, and it gard as a dead horse. But, though there are features some interestingexperiments on plenty. of repertoire pieces I dislike or am Bach's part, notably a lengthy recitative for bored by,Contrasts is oneof the very few soloists with chorus. The scoring, too, is un- that irritate me. usual, for Bach does not include violins in Since Idon't pretend to be one of those his orchestra. Number 62, a much later can- critics who can listento a composer play tata dating from Bach's Leipzig period, is the his own music with strong convictions about second, and less well-known, cantata based the results when, after having been (asit tin "Now come, the heathens' Saviour." Like were I earwashed by modern high-fidelity re- its discmate, itis not one of the most in- production,I am hearing him do so on a spired of cantatas, butittoo has unusual recording nearly twenty years old,Iwon't moments, most particularly a bass aria of bluff and pontificate about Bartok's playing considerable difficulty, accompanied by the of excerpts from his modern classic for pro- orchestra playing completely in unison, only gressive piano study,Mikrokosmos.But just the harpsichord filling in the harmonies. The as I am impressed by a composer -pianist who performances are extremely capable but a plays with something of the dynamism and little routine. Of the soloists, Theo Adam, naturalness of syncopation of Aaron Cop- who has to sing the most florid lines, acquits land at his best,I hope that the sound Bar- himself well, althoughI could imagine his t6k got from the instrument in the more lyri- part being sung with more color. The choral cal music wasn't as wan as it seems in this singingisvery competent (the men and recording. ir. F. boys of the Leipzig Thomanerchor) but also BARTOK AT TI1E PIANO a littletoo weighty; smaller forces might Sketch by George fluday,c. 1938 BEETHOVEN: Mass in C Major, Op. 86. have eliminated some lack of clarity. The Patricia Brooks (soprano); Lili Chookasian (coniralto); George Shirley(tenor) ;Bo- conductor does not seem to have paid much turn up as theOsannaof the B Minor Mass. naldoGiaotti (bass) ;Musica Aeterna attention to vocaltrills, both written and This "dramatic cantata" is the usual sort of unwritten, foragreat many are missing. royal homage, fullof pomp and flattery, Chorus and Orchestra, Frederic Waldman The reproduction is quite satisfactory.I. K. but also including a rage aria, referring to cond.DECCA ®DL 79433 $5.79. August's past political problems. The per- Performance: Warmly lyric RECORDING OF SPECIAL MERIT formance is very well conceived, the three Recording: Good BACH: Cantata No. 215, "Preise dein vocalsoloistsare very adeptathandling Stereo Quality: Good their often iorid parts, the choral and instru- Gllicke,gesegnetes Sachsen" (Dramma As Percy M. Young points out in his 1962 per musica).Erna Spoorenberg (soprano); mental work isskillful(including Martin volume . . Galling's harpsichord continuo), and, finally, The Choral Tradition,-. had not Werner Krenn (tenor) ; Erich Wenk (bass); theMissa Solemnisbeen written, theMass the reproduction is most satisfactory. Texts instrumentalists;Giichinger Kantorei, of 1807 would appear greater than it does." and translations are included. I. K. Chorus of the Gediichtniskirche, Bach-Colle- This new stereo recording of the C Major Mass, composed by Beethoven during the BARTOK: Contrasts, for Violin, Clarinet period that produced the Fifth and Sixth and Piano.Bela Bartok(piano), Joseph symphonies, the "Emperor" Concerto, and Szigeti (violin), Benny Goodman (clarinet). Explanation of symbols: the "Harp" Quartet, is the first to offer se- Bela BartOk (pi- (S) = stereophonic recording Mikrokosmos (excerpts). rious competition to the classic 1959 Beech- ano).ODYSSEY ®32 16 0220 $2.49. g = monophonic recording am reading. As might be expected, Beecham = mono or stereo version Performance: The master's own in superb fashion communicated the sense of not received for review Recording: Wears its years badly Beethoven's message in its own right, and at Stereo Quality:WHAAAT ??? the same time made it understood that this FEBRUARY1969 79 Mass was indeed a bridge between Haydn's last quasi -symphonic masses and the heaven- Stereo Review stormingphenomenonwhichBeethoven more than fifteen years later was to designate Missa So/em ins. Beecham's soloists-especially tenor Rich- Record ard Lewis-displayed a shade more steadi- ness in the handling of their assignments, but Waldman's are never less than compe- and Tape tent; his chorus holds its own in splendid fashion, as does the supporting orchestra; and the recorded sound is considerably cleaner and better focused than the 1959 stereo of Service the Capitol disc. I treasure my Beecham disc, but if clean recorded sound is an overriding factor for you, then this new and sensitively fashioned Waldman performance for Decca Have you been having a little will prove a satisfactory choice. difficulty obtaining some of the D. H. records and tapes reviewed in this BEETHOVEN: Quintet, in E -flat Major, issue? STEREO REVIEW Record for Piano, Oboe, Clarinet, Bassoon and Horn, Op. 16. MOZART: Divertimento and Tape Service to the rescue! No. 1 in E -fiat Major, for Two Clarinets, Not a record club-no discounts, Two Horns and Strings, (K.113). Mem- no special deals. We're here sim- bers of the Vienna Octet.LONDON ®STS ply as a service to those of our 15052 $2.49. Performance: Intermittentlystodgy faithful music -loving readers who Recording: Good are about to give up the search for Stereo Quality: Good "hard -to -get" records and tapes. For the duration of at least one side, that If you want help in your musical containing the Beethoven Quintet, I can live dilemma, all you need do is com- happily without this London budget reissue. For one thing, the Beethoven isa rigidly plete the coupon below and mail symmetrical, rather thinly and mechanically it in with your remittance. Well composed piece; for Beethoven, I can only see to it that your records and tapes are mailed to you promptly, well describe the music as routine. Furthermore, the gentlemen from the Vienna Octet do packed and fully guaranteed against damage or defects. precious little to rethink the music into a listenable performance. Those exactly -on -the - And if you've been having a hard time finding some favorite record- second downbeats of the long first movement ing not reviewed in this issue, we'll do our level best to find it for you sound very much as if they had been pro- also. Simply fill in as much information as you have available (title, duced by a sledge hammer. With but rare exceptions, the playing is professional, but manufacturer, record number) on the coupon below and we'll do the possessed of about as much imagination and rest. If you're not sure of the price, we will be happy to mail your order flexibility as you would look for in a cham- C.O.D. ber -music concert given by undergraduate conservatory students. Though the Mozart Divertimento is some- STEREO REVIEW RECORD & TAPE SERVICE DEPT. SD thing less than his crowning achievement, it ONE PARK AVENUE NEW YORK, NEW YORK 10016 has some charming ideas which the composer was content not to belabor beyond their Please send the records and/or tapes requested below. I understand you will potentials. According to London's annotator, pay shipping and handling charges and that all records and tapes are fully guar- the piece was composed in 1771 when Mo- anteed against damage or defects. zart was in Milan for a production of As- 0 Check or Money Order for $ is enclosed. canio in Alba. "The work," writes Dyneley Hussey, "seems to have been composed for 0 C.O. D. (Within the continental limits of the United States only). performance at the house of a German ama- For Air Mail shipments in the United States only, add $ .75 per record ordered. teur...." For Air Mail shipments to foreign countries add $3.50 for the first record or- Like any one of a number of such works dered, plus $1.00 extra for each additional record. by Mozart, the piece is something of a potpourri: the second movement, for example, RECORD (TAPE) sounds quite asifit were composed for a PAGE NO. PRICE RECORD OR TAPE TITLE NUMBER (SEE MANUFACTURER OF REVIEW (SEE REVIEW) work other than the one containing the first REVIEW) movement. But the piece gives a sort of free - associative pleasure, and, happily, the musicians seem to be a good deal more relaxed and comfortable with it. The recorded sound and stereo treatment sound quite fresh. W. F. BERLIOZ: Symphonie fantastique, Op. (New York State residents add local sales tax) 14. Orchestre de Paris, Charles Munch cond. ANGEL ®36517 $5.79. Total Performance: High -voltage Name (please print) Recording:Lots of impact Stereo Quality:Good Address 268 Despite the existence of almost two dozen City State Zip (Continued on page 82) tiU STEREOREVIEW The Entremont Difference. When he plays, sparks fly. He's got it. Excitement. You not only hear his music. Ypu sense his being. This is the difference. This is Philippe Entremont. Listen to his latest recordings on Cc lumbia Records !VI

MS 7197 MS 7196 The great best -loved Elegant tone poems for the concertos. The great familiarpiano. A superb Chopin themes. performance.

Entremont 3 RECORD SET and airdeLune Bernstein Te ld voritecianSiC Play WuI ippeEntremont Bartok Clair de Lune / Liebestraum / Ritual Fier Dance Rano Moonlight Sonata (First Movement/ /M-1.4 in F Hungarian Rhapsody No. 2 by of Man i Desiring Concerto Hu moresque/Minuel in G/Roodo iilloTumsitOpinoiNt SorN No .2 Revolutionary Etude: Polonaise in t. Mat; Nocturne in E Flat Fantaisre.Impromptu and more Piano Concerto No 3 New York Rhotarmonic

MS 7145 D3S 791 Wild Hungarian Gypsy tunes.Thirty-five of the most loved Dazzling fireworks. piano pieces. Presented in a convenient three -record set. At a special low price. *Available in 4 -track reel-to-reel stereo tape. CIRCLE NO. 14 ON READERSERVICE CARD 81 FEBRUARY 1969 other recordings of the Berlioz Spaphonie be, covers up a few roughnesses as well as There is a decided difference in recorded fani.ntique,itisnot altogetherunfitting most of the performers' grunts and groans. sound between the Berlin and Amsterdam that one of Charles Munch's lastrecord- Oh well. This is solid Szell-Serkin, and performances. Haitink's horn sound is rich- ings prior to his sudden death in early No- how can you not mark it"Recording of er,but his upper -register strings sound a vember while on an American tour with his Special Merit ?" So marked. E. S. bit blanketed when heardindirect com- new Orchestre de Paris, should have been parison with the DGG disc, which is very of this work, for it was one of the surefire RECORDING OF SPECIAL MERIT open -sounding inall departments yet has warhorses ofhis Boston Symphony days. all the richness and impact one could ask (His recording from 1962 with the Boston BRUCKNER: Symphony No. 9, in D Mi- for in the percussion and lower reaches of Symphony has been preserved on RCA Vic- nor. Berlin Philharmonic Orchestra, Herbert the bass. tor LSC/LM 2608.) von Karajan cond. DEUTSCHE GRAMMO- For myself, I shall retain both the Kara- Munch's reading of the music is super- PHON ® SLPM 139001 S5.79. jan and Haitink recordings in the firm knowl- charged, stressing the romantic melodrama Performance:Intense and highly nuanced edge that both do splendidjusticetoa rather than the Gluckian melodies-both in- mighty masterpiece of the repertoire. Mean- herent in the score to about an equal de- Recording: Very fine StereoQuality: Good while, Itrust we will not have to wait yet gree. The Scene aux champs is split between another decade for Karajan to delve further the two record sides (always unfortunate), Anyone who still has or who remembers :he into the Bruckner symphonies. D. H. and the choice of break point here is even early Angel stereo recording by Karajan of less happy than in the Boston Symphony the Bruckner Eighth Symphony can have no disc. The recorded sound, however, makes doubt that the German maestro is one ofRECORDING OF SPECIAL MERIT the other versions to which I had ready ac- the most convincing Bruckner interpreters M. A. CHARPENTIER: Messe de Minuit, cess for comparison-the Boulez CBS issue PURCELL: Te Deum. James Bowman; with Lelio and the 1962 BSO-Munch--seem April Cantelo and Helen Gelmar (sopran- pretty pale by comparison. Both the en- os);IanPartridge(tenor);Christopher semble and the solo instrumental presence Keyte (bass); Andrew Davis (organ) ; Noel are extremely vivid. The distance contrast Hander (chamber organ); King's College between English horn and oboe at the open- Chapel Choir, Cambridge; English Chamber ingofthe Scene aux champsishighly Next Month in Orchestra, David Willcocks cond. ANGEL effective, and the general balance between ® S 36528 $5.79. string and wind -percussion sonority is very well handled. A slight muddiness in bass Performance:First-class percussion at certain climaxes is something I Stereo Review Recording: Excellent would blame more on the acoustic colora- Stereo Quality:Fine tion of the Salle Wagram in Paris than on Tenth Annual The Charpentier, which has been recorded the microphone placement. before and which has had a devoted follow- For those who want a high -voltage Fan- TAPE RECORDER ISSUE ing among Baroque buffs, is a Mass intended tastique, thisis the one to get; for more * * * for performance on Christmas Eve. Not least classically oriented tastes, I suggest Monteux The Cassette Player: among its charms isits use of old French or Colin Davis. D. H. A User's Report carol tunes. The Purcellis a late work for that composer (1694, and therefore roughly BONONCINI: Griselda-excerpts(see By Igor Kipnis contemporary with Marc -Antoine Charpen-

GRAUN) tier), andit was originally part of aSt. Recording off the Air Cecilia Day festival. In contrast to the gentle,pastoral -like Midnight Mass,itisex- RECORDING OF SPECIAL MERIT tremely festive. Both works are superbly done BRAHMS: Piano Concerto No. 1, in D How to Use an Oscilloscope by the King's College forces. Countertenor Minor, Op.15. Rudolf Serkin(piano); as a Record:Level Meter ClevelandOrchestra, enthusiasts should also listen for the voice George Szellcond. of James Bowman, a singer I have not run COLUMBIA ® MS 7143 $5.79. G'04.4" -Z into before but whose career should bear Performance: Solid Szell-Serkin watching. The recording isexcellent, and Recording: See below texts and translations are included. I. K. StereoQuality: Good CHOPIN: Sonata No. 2, in B -fiat Minor, This record caused quite a flap when Szell around. It has been our loss not only that Op. 35; Sonata No. 3, in B Minor, Op. 58. wrote a letter, circulated to the press, accus- the recorded sound oftheearlier album ing Columbia of Van Cliburn (piano). RCA ® LSC 3053 allsortsofperfidyin failed to do full justice to the reading, but $5.79. having let out an unapproved version which that it has taken Karajan a whole decade to the esteemed conductor termed "acoustically get around to making a second Bruckner Performance: Competent distorted." Perhaps Szell will become the recording. Recording: Good Ralph Nader of the recording industry, forc- Karajan's only serious competition among Stereo Quality:All right ing the companies tocallback defective presently available stereo recorded perfor- I have the impression in hearing these per- models. "General Recordings, Inc., today an- mances comes from Bernard Haitink and formances that Cliburn is trying to be pro- nounced it was recalling 200,000 defective the Amsterdam Concertgebouw on Philips. found in his interpretations. There are some pressings of its new Pulsar II. According to The Cyclopean grandeurs of the Bruckner good ideas, but on the whole his playing is a top executive of the company, the problem Ninth hold no terrors for either. Both have surprisingly lackluster. The music does not was 'faulty transmission.' " superb orchestras. Both men are masters of seem to move ahead; an overall view seems I went through this recording (Brahms, the art of pacing out the huge structure of not Pulsar 11) with a fine nit pick-I have absent. Cliburn, despite what he does with in- the symphony in a way that makes for ample dividualdetails,doesn'tsustain much inone calibrated to 1/1000 of a millimeter- sense of movement, yet brings to the climaxes terest or evoke a variety of moods. Further- and came to the somewhat tentative con- thatfull measure of Promethean striving more, although his technical control is good, clusion that the close-up sound was a little which makes them unique in all the sym- his palette of colors is decidedly restricted, lacking in presence. I was somewhat in doubt phonic literature. and even the dynamic range (a fault of the since,afterall, "acoustically distorted"is Haitink allows the music tobreathea recording?) is monochromatic. Thus, though stronglanguage.Nevertheless,the"cor- bit more easily in moments of repose and these are in every way competent perform- rected" copy arrived and, sure enough, the adopts a slightly slower pace for the scherzo. ances, they are far from being great ones. sound had been moved back, the harsh spot- Karajan brings to bear his extraordinary gift I. K. light turned off, and the whole bathed in a for intensifying one's listening experience luxurous golden glow of resonance. I liked through the art of nuance and coloration DEBUSSY: Six Epigraphes Antiques. MIL- the other one better, but I must admit that without having to fall back on meaningless HAUD: Scaramouche. RAVEL: Ma Mere the revised acoustic, phoney though it may tempo fluctuation. (Continued on page 84) 82 CIRCLE NO. 57 ON READER SERVICE CARD-). The Sony Side of the Street (it's any place they're showing the new 6060 receiver). The Sony°6060 receiver is the brightest thing that's hap- ture ratio, 1.5 dB. Spurious signal rejection, 90 dB. Abundant pened to stereo hi-fi in a long while. A superb performer on control facilities: automatic stereo reception; zero -center FM stereo; FM and AM broadcasts; records and tapes. It will tuning meter; front panel neadphone jack; switches for tape brighten up the music in your life. monitoring, muting, speaker selection, tape or Aux, input, Here's what Sony built: Amplifier - 110 watts IHF power into loudness -the works. 8 ohms. Distortion less than 0.2% at rated output. The tuner- At $399.50 (suggested list) the 6060 outshines receivers sensitivity 1.8uV. Exclusive solid-state i.f. filters never need costing up to $500. Get a Sony disposition. alignment, provide razor-sharp selectivity, 80 dB; superb cap- Sony Corporation of America,47-47 Van Dam St. I.I.C. N.Y. 11101 l'Oye. Walter and Beatrice Klien (duo pi- tertaining Cockaigne Overture is somewhat zo-soprano), Ferdinando Cortes. BONON- anos). TURNABOUT ® TV3.4235$2.50. less satisfactory than his "Enigma," chiefly CINI: Griselda (excerpts). Lauris Elms Performance: Immaculate because of his unnecessary slowing up at the (mezzo-soprano), Griselda; Joan Sutherland Recording: Good two big entrances of the tuni "brass band" (soprano), Ernesto; Monica Sinclair (mez- Stereo Quality: Good theme-an episode that is in itself conspic- zo-soprano),Gualtiero;MargretaElkins uous enough and surely in need of no fur- if (mezzo-soprano), Almirena; Spiro Malas Nfi !baud's Scaramouche and Ravel's Ma ther underlining. (bass),Rambaldo. LondonPhilharmonic Mere l'Oye might be described as popular Orchestra and the Ambrosian Singers, Rich- classics of the duo -pianists' repertoire, the GESUALDO: Five Madrigals: Ecco mor- ard Bonynge cond. LONDON ® OSA 1270 Debussy work is by no means obscure even irodunque!-Hai,gidmidiscolor;lo two discs $11.58. though more elusive and less well-known. tacerri-Invan dunque, o crudele; Dolcissima In any case, a "fresh" approach to all of this mia vita; Dene 6 miei sospiri; Moro lasso al Performance: Very good music-badly asit might be needed-is a mio duolo. Five Motets: Are, dulcissima Recording: Very good pretty chancy business for a duo -piano team. Maria; 0 yos omnes; Ave, Regina coelorum; Stereo Quality: Very good But the Kliens (he is Austrian; she is Argen- 0 crux benedicia; Ilei mihi, Domine. Deller Here arerealcuriosities:excerptsfrom tinian) have braved one, and, while I'm far Consort, Alfred Deller dir. RCA VICTROLA from certain that eighteenth -century Gel canto operas, not sub- I would like to hear Ma ® VICS 136-i $2.50. limated by the genius of a Handel or a Mo- Mere l'Oye (particularly)played, for the Performance: Generally praiseworthy zart, or purified by the reformatory zeal of a rest of my life, with the crisp, animated ap- Gluck, but just perfectly ordinary, run-of- proach chosen here, as well as the X-ray Recording: Fair Stereo Quality: Fine the-mill opere serie of the type that compe- clarity and curiously detached expressivity, tent Italian and German composers turned the approach makes its own sense. It's fresh These five madrigals and five motets (the out by the hundreds. I cannot imagine that and unpredictable without being eccentric, latter appear new to records) all representanyone with a taste for the obscurities of andit'ssomething ofanoveltytohear operatic history-and we are now a numer- Ravel's Never -Never -Land ambiance brought ous breed-will wish to pass them by. down to earth. One thing I will swear by: Until the end of World War II, opera his- these pianists get more fey humor out of the tory, for all except the musicologists, began piece (Tom Thumb, in particular) than I'd with Gluck's Orfeo (1762). Occasional re- realized was there. vivals of Alceste called attention to Gluck's There isn'ta great dealto do with or role as a "reformer," but the average opera- about Milhaud's enchanting Scaramouche ex- lover was pretty much in the dark about the cept to sustain a swinging, groovy beat and operatic conventions that Gluck set out to get the notes right. Given these qualities, destroy. He is not much more knowledge- along with a certain spontaneous pianistic able today. brilliance, it's one of those pieces that pretty Post-war operatic archaeology has, to be much plays itself. Still, the Kliens give ita sure, added significantly to our experience. ratherraucous,nose -thumbing impudence Revivals of Monteverdi and Cavalli have in- that makes one smile. troduced us to opera's beginnings at the turn Idon't feel the Debussy performance is of the seventeenth century, and fashionable up to the others. It seems pretty germane to preoccupation with Handel has shown us thisteam's styletobiteabit on attacks where opera had got to, in London, at least. toarticulate phrasal members and details in the early decades of the eighteenth. Every- with a kind of fugal clarity that doesn't suit one knows, now, about castrated singers, da Debussy's highly controlled freedom of de- capo arias, extemporized embellishment, and sign. But the performance is nothing to turn instrumental ripieni. anyone away from a record that gives us a But there are gaps between Monteverdi new,if not "definitive," slant on familiar KART. HEINRICH CITRUS (1701.1759) and Handel, between Handel and Gluck, and pieces. The recorded sound may be abit His Montezuma in an authentic reading between Gluck andRossini(discounting harsh, but it is certainly satisfactory.IV. F. Mozart, whose masterpieces are comic op- Gesualdo at a late stage of his career. This eras). And the operas of Monteverdi, Han- ELGAR: EnigmaVariations,Op.36; means, of course, that he is at his most mandel, and Gluck are not truly typical of their Cockaigne-ConcertOverture,Op.40. neristic in these works, with all kinds of un- time-they are too good. Gluck, in the op- London Symphony Orchestra, Colin Davis usual effects, strange modulations, wild dis- eras we know, was purposefully atypical. cond. PHILIPS ® 900140$5.79. sonances, and striking chromaticisms. These G. B. Bononcini (1677-1726), who was Performance: Fine characteristics, curiously enough, are evident Handel's contemporary and doomed rival in Recording: Generally good in the sacred pieces as well. The perfor- London, and Karl Heinrich Graun (1701- Stereo Quality: All right mances on the whole are very good here, 1759), who was composer -in -residenceto especially from the standpoint of realizing Frederick the Great, are fascinating precisely I grew up in the 1930's on the Columbia the music's varying intensities.Iam less because both were at once absolutely unorigi- "Enigma" Variations recording by Hamilton happy, however, about the blend of voices in nal and absolutely first-class. And their jux- Harty and the Halle Orchestra, and that per- Deller's group, for the singers all seem to taposition inthis two -disc album isaddi- formance's convincingly proportioned pas- have differing rates of vibrato; this, plus an tionally helpful for the light it throws upon sion and brilliance have never ceased to be occasional unsteadiness of pitch, makes me theevolutionofvocalvirtuosityinthe the standard by whichIhave judgedall prefer the recordings of a few of the same thirty -odd years that separate the two operas, others. The 1957 Barbirolli performance on madrigals Deller and his group made for Griselda dating from 1722 and Montezuma Vanguard Everyman stands head and shoul- Vanguard several years ago. Perhaps my dis- from 1755. ders above his Angel disc of a decade later in satisfaction also has to do with the quality of In terms of period authenticity, Graun is this respect. Toscanini is exciting but hectic recording, for the voices on occasion over- especially interesting, because whatever in- and Monteux a bit cool. Colin Davis'comes load the grooves. Brief English synopses are dividuality he may have had was explicitly the closest of any recent recorded perfor- provided, but unfortunatelythere are no suppressed by his boss. Frederick was an un- mance I have heard to achieving the Harty- texts. ashamed musical reactionary, a "moldy fig" esque blend of virility and sentiment (the of his time. His first experience of opera had Nimrod variation is the test here), hut I do RECORDING OF SPECIAL MERIT been Hasse's Cleofilde in Dresden in 1728, wish that an effort had been made by the and he never wanted to hear any other kind engineers to produce a sonic tour de force GRAUN: Montezuma (excerpts). Lauris of opera given in any other way. Graun's comparable to the best Mahler and Richard Elms (mezzo-soprano), Montezuma; Joan job, beginning in1740,was to write operas Strauss recordings in the catalog-the music Sutherland(soprano), Eupaforice; Joseph like Hasse's; and throughout Frederick's long deserves it. The sound here is solid and well- Ward(tenor),Tezeuco;Rae Woodland reign-he diedin1786-only operas by balanced,butnothingspecialotherwise. (soprano),Pilpatoe;ElizabethHarwood Graun and Hasse were heard in Berlin. This Davis's treatment of the superficial but en- (soprano), Erissena; Monica Sinclair (mez- (Continued on page 90) 84 STEREO REVIEW The proof of the pudding in the listening

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HEATHKIT AR -15 Deluxe Stereo Receiver

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, plus shipping FREE 1969 CATALOG! Enclosed is $ Now with more kits, more color. Please send model Is) Fully describes these along with Please send FREE Heath kit Catalog. over 300 kits for stereo/hi-fi, Please send Credit Application. color TV, electronic organs, electric guitar & amplifier, amateur Name radio, marine, educational, CB, home & hobby. Mail coupon or Address write Heath Company, Benton City Stale Zip Harbor, Michigan 49022. CL -352 L Prices & specifications subiec. to change without notice. - e CIRCLE NO. 31 ON READER SERVICE CARD FEBRUARY 1969 89 meant traditional Italian opera performed in why Richard Bonynge chose Montezuma, in the role composed for Senesino, a mezzo- a traditional Italian manner. Both Hasse and rather than an opera by Hasse, as a vehicle sopranocastrato.Mrs. Robinson's private Graun were Germans, but their models- for Joan Sutherland, his wife. She is heard life (she was secretly married to Lord Peter- Lotti and Vinci-and their schooling were in only two arias-but what arias they are! borough while living openly as his mistress) Italian.Frederick'sinstrumentalistswere And how she sings them! Everything is here, was more astonishing than her vocal prow- mostly German, too, but his singers were from languishing cantilena to unabashed py- ess, and the arias written for her are less Italian. And until Mara (Gertrud Elisabeth rotechnics, all accomplished with admirable, brilliantthanthoseBononciniaccorded Schmeling) entered his service in 1771, he if not invariably immaculate, precision and Senesino. But nothing that Bononcini wrote always insisted that the neighing of a horse security. Miss Sutherland, characteristically, for either singer is brilliant when compared fell more agreeably upon his ears than the is more dazzling than enchanting. She has to what has been added to both parts, pre- singing of a German female. never had the vocal freedom in the middle of sumably by Mr. Bonynge. Bononcini's score Mara's secret was assiduous coaching in her range that she enjoys in the upper ex- required of Senesino, for example, a modest the style of Giovanna Astrua, who, from treme, and her production in those areas of range of one and a half octaves, from F 1747 to 1756, had been the soprano delight the scale most congenial to other singers above to B below; but one of Miss Sinclair's of Frederick's operatic indulgence. Astrua sometimes suggestsadespairing effortto was widely held to be the finest female singer cadenzas takes her from a high C down to a avoid swallowing an ice cube. lowD,a compass just one tone short of of her generation, and what Graun wrote for The big arias in Griselda go to Lauris three octaves. her in Montezuma would seem to lend sup- Elms, in the title role originally sung by Such interpolations-and there are many port to this opinion. Certainly itexplains Anastasia Robinson, and to Monica Sincla'r more-areperfectlyinaccordancewith eighteenth -centurypractice,althoughwe shall never know, of course, precisely what a Senesino actually sang. For the lay listener to these records it may be helpful to remember that the da capo arias are first sung as written, then embellished at Mr. Bonynge's ceeetzthot -or his singers'-discretion. Some monotony gulk Aia results from the casting of two female mezzo- sopranos opposite one another, but a tenor in Wan if

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MaRANT, so INC R 'NT- A SUBS ',AP, OF SUP(. SC O vE INCP 0 BOX 99B SUN VAOET CALIFORNIA 91352 >ENO FOR FREE CATALOG CIRCLE NO. 70 ON READER SERVICE CARD moments later on, I suspect for the same position-for the Sanctus Haydn usedan old reason. Alexander Young is capable in his The coupling of quartets by Paul Hindemith chorale with the text of heilig (holy) in it. and Arthur Honegger emphasizesan area of small part, but William Wolff as the Levite One of Haydn's late Masses (1796-97), it common ground that lacks nobility. The solo singers also manage isdepressing. Both certainly compares favorably with his great men were considered at one time to be of to throw in a variety of cadenzas and em- works in this field, and although it isamong bellished da capos, and their handling of the major international importance ascompos- the less well-known Masses, it is worthany- ers; and today, except for a couple of durable recitatives, with added appoggiaturas at the one's attention, especially when the perfor- works, both have been downgraded by in- cadences, is for the most part excellent. mance is as rousing as this one. Guest, who The main problem is the mediocre tellectuals, ordinary musicians, andeven the con- is involved in recording all the late Masses, public. ducting of Stephen Simon. If one heard him directs this one to perfection, the choir is This is particularly true of Hindemith, conduct the work in concert, one mightex- splendid, the soloists excellent, and there- who, as recently as the Forties, held hisown cuse him on the grounds of having to pre- production first-rate. I. K. pare such a performance without adequate in the company of Stravinsky, Bartok, and rehearsal time. For a recording, however, his Schoenberg-in a way Honegger never did. HAYDN: Piano Sonata No. 52 (see Best The loss of esteem is inevitably reading is inexcusable. Much of the conduct- of the Month, page 75) more shocking, first of all,is heavy-handed and unin- ing. And a reviewer approaching his work spired-it sounds like a run-through. There HAYDN: Sextet in E -fiat (Hob. II, No. 39, for re-evaluationis torn, as in the Third are few subtleties of phrasing and rhythm, "Echo"); Divertimento in C Major (Hob. Quartet, between a feeling that the music, and the orchestra has a number of sloppy II, No. 11, "Birthday"). Susanne Lauten- for all its expertise, is innately empty, and moments (the recitative, "Israel attend," in bacher (violin) ; Helmut Steinkraus (flute); the even more disturbing feeling that-be- Act II, for instance). There isno sense of causeof time and circumstance-we might all the upbeat, no grace, no bounce, no feeling be missing the boat. The technical skill here is, as always, superb; the materials and their of characterization, pathos, or pleasure,no incisiveness. The bass line is played through- :Ti evolution are presented and dealt with by out with inappropriately long -line phrasing. their maker so smoothly and efficiently that S one is as suspicious of such control as, in- On other stylistic points, trills seldomseem z to start on the upper note; Handel's occa- deed, one would be of its equivalent in hu- sional careful indications that he wants the man behavior. There is a kind of sad charm concertino only to play the accompanimentz to the ambling third movement, admittedly. instead of the orchestra as a wholeare some- But there are few moments of magic else- times observed and sometimes not. Certain where in the piece. Perhaps we live in an age passages are double-dotted, but not the over- in which we have been taught so thoroughly ture; in others, the technique is inconsistent- that great artis produced only by ator- ly applied (the judgment scene of Act II). mented struggle for control over material, Simon's tempos are on the whole well cho- for refinement of style and technique thata sen, but he takes an adagio cadence at the composer who writes fluently and prolifically end of arias far too literally; largos and lar- is viewed with unjust condescension. ghettos as well are often treated turgidly. Since Honegger's style is not as instantly And with that last adverb in mind, I hope recognizable and, in consequence, has been never again to hear the marvelous conclusion far less influential than Hindemith's, he had to the first act, the Nightingale Chorus, ren- less ground to lose. Still, mere mention of dered in so dull, heavy-handed, and untrans- his name now has a sort of ghostly ring to it. parent a manner. When one thinks of how Although he was aesthetically the member of someonelike Raymond Leppard,Charles Les Six least suited to its highly publicized dicta, he was nonetheless earmarkedas its Mackerras, or Colin Davis would have treat- JOHN KIRKPATRICK ed this score, the present folly is even more most important one for a good time by many Ives' "Concord" Sonata as a personal docu- informed observers. No one, you see, fore- reprehensible. ment A few final comments: the Viennese cho- saw that Poulenc would (in recent years) rus sounds anything but English ("rouss" run far ahead of them all.Certainly, the WillySchnall(oboe) ;assistingartists. strongly antithetical Central -European ges- for "rouse," for instance), but they do main- TURNABOUT ® tain clarity in the double choruses. Martin TV 34237 52.50. ture of such a post -Romantic work as the Sec- Isepp provides his usually stimulating con- Performance: Spirited ond String Quartet can be seen clearly for tinuo realizations, and they are all well bal- Recording: Bright and full what it is now. Skill, intensity, even ambition anced with the orchestra. The recording is on Stereo Quality: Good the work has. But the overall statement is, for the whole quite satisfactory, although in a the moment at least, a little demode; inan "Muzak from Esterhaz" would be a fitting age exalting musical complexity, Poulenc's few places there could have been a fuller title for this disc of youthful Haydn works wind sound. Texts are included, along with directness and simplicity is somehowmore intended to sip hot chocolate and converse easily accepted. Honegger's quartet sounds an essay on this superb work by Winton over. The "Echo" Sextet for opposed string Dean, I. K. curiously neutral and, for allits very real trios is made to order for stereo and comes expressivity, somehow impassive. across accordingly. The "Birthday" Diverti- The performances are uncommonly accu- RECORDING OF SPECIAL MERIT mento is somewhat more substantial stuff, rate and faithful to the printed score without especially in the variation finale. The per- HAYDN: Mass No. 8,in B -flat Major sacrifice to the kind of relaxed expressivity formance here is zestful, the recorded sound that the players bring to both works.IV. F. ("Heiligmesse"). April Cantelo (soprano); a bit on the bright side but full-bodied and Shirley Minty (alto) ; Ian Partridge (tenor); Christopher Keyte with ample room tone to take care of the all- (bass) ;Choir ofSt. important echo effects in the sextet. RECORDING OF SPECIAL MERIT John's College, Cambridge; Academy of St. D. H. Martin -in -the -Fields,George Guest cond. IVES: Second Piano Sonata ("Concord, ARGO ®ZRG 542 $5.95. HAYDN: Symphonies Nos. 93-104 (see Mass., 1840-60"). John Kirkpatrick(pi- Best of the Month, page 74) ano).COLUMBIA ®MS 7192 $5.79. Performance: Splendid Recording, Excellent HINDEMITH: Kammermusik No. 4 (see Performance: Masterly Stereo Quality: Good PROKOFIEV) Recording: Good Stereo Quality: Good This is the first recording, I believe, of the HINDEMITH: StringQuartet No.3. Prague City Quartet. HONEGGER: String John Kirkpatrick has lived with and per- Heiligmesse since Woldike's of the early formed the epic Charles Fifties. This work was written in honor of Quartet No.2.Dvolik StringQuartet. Ives "Concord" CROSSROADS ® 22 16 0210 $2.49. Sonata for almost thirty-five years: he gave the beatification of a Capuchin monk, St. the world premiere of the work in 1939 and Bernard of Offida, but the work's subtitle, Performance: Very expressive made the first recording of it, for Columbia, Heiligmesse, seems more closely connected Recording Very clean sound shortly thereafter. Since 1954, in his capac- with the score than the circumstances ofcom- Stereo Quality: Good (Continued on pae 94) 92 STEREO REVIEW Willyour taperecorder soundasgood in December asit did in May?

How do you know that a tape re- And in addition, because Ampex corder will sound as good in seven does not use pressure pads, Ampex or eight months as it does when it's deep -gap heads wear much more new? You obviously don't. Not with slowly. Don't be surprised if they most. But you do with an Ampex last well over twelve years, even if player/recorder. Because of the you use your player/recorder two exclusive, deep -gap Ampex heads. hours a night, every night. (That's ORDINARY about 10,000 hours, as compared to NOT -SO -DEEP - TAPERED -GAP HEAD about 500-1000 for other tape heads.) (Typical head used by other manufacturers) Take a look at the drawing of the ordinary tape head above. It has a pole gap distance of about 1/30th the width of a human hair. To begin with. But, as the head begins to wear down, the pole gap begins to widen. And the frequency response begins to deteriorate. So the unit AMPEX 755 TAPE DECK So, if you're confused by all kinds can't possibly sound the same in of caims for frequency response, Let us explain. The head is the December as it did in May. And in a remember that frequency response most important part of any player/ relatively short time the head has to usualy drops after use. Except with recorder.It is an electromagnet be replaced. We call this kind of Ampex player/recorders. There's no which puts sound on magnetic tape typical head "tapered shallow -gap mystery. (1) Ampex heads last much (when recording) and recreates head." (Under ordinary circum- longer. (2) Even when they do wear, sound from patterns on the tape stances it wears out in 500 to 1000 the gap never varies and neither does (playback). hours.) the frequency response. Which is why The rest of the recorder is designed you'll be ahead with Ampex. Way to do nothing more than get the most ahead. out of the heads. All tape heads are produced to AMPEX

have the smallest possible air gaps AMPEX CORPORATION/CONUMER EQUIPMENT DIVI ION between theirpoles.Because the 2201 WE ,1" LUNT AVENUE/ELK GROVE, ILLINOIS GOO 7 smaller the gap, the higher the fre- AMPEX quency that can be recorded or DEEP -GAP HEAD played back at a given tape speed. (Exclusively on Ampex Player/Recorders) It would stand to reason then, But Ampex deep -gap heads don't that every manufacturer would try have that problem. Because they to make its head gaps as small as consist of two parallel poles brought AMPEX possible. And they do . .. atthe top together to the precisely proper dis- where the tape meets the head. The tance by a unique process. This rit/F-Rs trouble is, they have a great deal of manufacturing technique is exclusive difficulty keeping the gaps straight. with Ampex. It's much more time peceweeg- consuming. and requires painstak- ing microscopic precision. But, it's worth it. Because, even as Ampex heads begin to wear down, the gap distance continues to remain constant. And so does your frequency response! CIRCLE NO. 4 ON READER SERVICE CARD FEBRUARY 1969 93 ity as Curator of the Ives Collection at Yale had best look into this budget -priced release. University, Kirkpatrick has had access to the The performance isexcellent, and there- Aida composer's original manuscript materials, in- corded sound and stereo treatment are first- SCL-3716 cluding the variant versions of various cru- rate. W.F. cial passages of the sonata. Accordingly, Mr. Kirkpatrick's second recording of the -Con- RECORDING OF SPECIAL MERIT cord," done in March of 1968, takes account of what he has seen in these variants and L I SZT:Wminiscences de Robert le Dia- \I lgel what he has remembered from his conversa- ble-Valse Infernale; Gnomenreigen; Me- tions and correspondence with Ivesatthe phistoPolka;MephistoWaltz No.I; time he helped to prepare a second edition Reminiscences de Don Juan (after Mo- in19.i-7. The end result, a highly personal zart); Waltzes from the Opera "Faust" by Ann Ix, communication by Kirkpatrick,is how he Gonnod. Earl Wild (piano). CARDINAL ® Lulu now sees the Ives work, and he spells out VCS 100.41 $3.50. SCL-3726 LULU most of the details in the sleeve notes. What we have is a powerful personal doc- Performance:Great entertainment ument of both Ives as composer and Kirkpat- Recording: Superior rick as interpreter. Whereas the early record- Stereo Quality: Natural ed performance seemedabitprissy and This recordisagreatlark. Earl Wild, a -up-tight,"especially with the perspective splendid technician who evidently has an gained throughthe Pappa-stavrou(CRI) affinityfor nineteenth-century finger -break- SUMO and Kontarsky (Time) recordings of a half - R,, ers, has assembled here a highly entertaining Mme. Butterfly dozen years ago, Kirkpatrick's new reading program and titled it ''The Daemonic Liszt. MAdAMA Bu I IERIly SCL-3702 combines the best of the possibilities. The It begins with a first recording of the fierkl- Emerson movement is impassioned yet tight- ishly difficult Robert le Diable Fantasy (after EWA ly knit in both flow and clarity of texture. OTTO Meyerbeer), continues with the well-known CARk) The diabolic Hawthorne piece is both a shade Dance of the Gnomes and the even more I3ERGONLI looser than in the old recording and more popular Mephisto 'rah: (along with a rar- cleanly articulated. The A/corts and Thoreau ity, the Mephisto Polka, a very late work), Sift 101 -IN readings are not radically changed in spirit, and ends with two more operaticpara- BARbitx but the full-bodied recorded sound conveys 1141 UI, n Mt, QI II N 01 SPAIN S both musical substance and interpretive real- phrases, the Don Juan Fantasy and Waltzes ization in more admirable fashion. from Gounod's Faust. Not many pianists to- Queen of Spades Unlike Alan Mandel in his rather loose - day are interested in this kind of material, SRDL-4104 knit treatment, Aloys Kontarsky in his fero- but those who have a taste for such things ciously virtuosic performance, and George are discovering that audiences consider these Pappa-stavrou in his poetic reading, Kirkpat- technical tours de force great fun. Earl Wild rick chooses to omit the ad lib instrumental makes them sound almost easy, so skilled is interpolations suggested by Ives (the viola he as a technician. What is more, he brings toward the end of Emerson and the flute at tremendous panache to the music-try the the end of Thoreau), but this is of minor Faust Waltzes for a sample. His style is big, moment in terms of the musical content as a brilliant, extroverted, and colorful; at only a very few points, the slow sections of the MARIA CALL AS Gioconda whole. I regard this new Kirkpatrick record- PONO-E111 GOODND1 SIC -6031 ing of "Concord" as indispensable, but as Mephisto Irahz, for instance, did I feel that with any work of the musical literature as ep- he could have brought a more poetic touch ical and complex as this, I would also have at to the music. Overall, however, thisisa least one other interpretation highly enjoyable disc, and the recording is at hand-ei- splendid. ther Pappa-stavrou's or Kontarsky's, or both. I. K. D. H. MAHLER :Symphony No. 4, in G Major. AV, KIRCHNER:Toccata for Strings, 1I Inds, Galina Vishnevskaya(soprano) ;Moscow Lucia di and Percussion (seeSHOSTAKOVICH) Philharmonic Symphony Orchestra, David MARIA CALLAS Lammermoor UJOA DI LAMMERMOOR Oistrakh cond. Mlit.ontYA/ANGEL ® SR IB-6032 KODALY:String Quartet No. 1, Op. 2. 40076 $5.79. RothString Quartet. WORLD SERIES ® Performance: Straightforward PHC 9093 $2.50. IX1V711,1 Recording: Rich RCA III r....44M1VOIN Performance: Ardent Stereo Quality: Lush Recording: Excellent StereoQuality: Good Funny thing. You'd imagine a Russian Mah- ler to be big and full of Slavic soul. After n suns.. uAsycn. mot( LN t/L160 N. IONONIENGUNI, Zoltan Kodaly's First String Quartetisa ',MUNN all. Mahler was Vienna's answer to Dostoy- Die . lovely, mellifluous post -Romantic work evsky, and half Eastern -European himself- Meistersinger brimful of vitality and inspiration. It has its as all those Russian symphonists who stole 1E-6030 full quota of fluent, often elevated thematic from him knew full well.ButOistrakh's material, and although the work israther Mahler-or atleasthis Mahler Fourth- more homophonic in conception than one puts all the emphasis on the child -like, back - ordinarily expects in a string quartet,itis to -nature qualities of this music. No com- soidiomaticallywrittenforthe medium plexes, doubts, self -torments here; Mahler's that one notices this only in afterthought. simplicity and naïveté are taken at face value. But, less happily, the work is too long by To some extent the music can take it-some a good bit-it plays at almost forty minutes may even argue that itis better to play it Tosca -and its overall structure is slightly flaccid straight and let the inner anguish take care IB-6027 and unfocused. And though I suppose the of itself. StillI can't help feeling that a di- composer should be credited with a certain mension ismissing, that Oistrakh simply bravery for imagining a work of this size- plunges ahead without second thoughts in a the two closing movements arefast,the score whose very power, originality,and opening two largely slow-the piece, for me achievement are bound up with the fact that at least, doesn't quite come off precisely be- it is composed in second thoughts, in contra- cause the plan hasn't been made to work. dictions and oppositions, in rushes and hesi- Still, if Kodaly is at all to your taste, you (Continued on page 96)

94 STEREO REVIEW Opera InYour Favorite OperaHouse Enjoy a spectacular season of opera at home on superb Angel, NAXOS .Bayreuth's stalwart Theo Adam as Wagner's THE Melodiya /Angel and low-priced Seraphim recordings. Choose FLYING DUTCHMAN... a thrilling RIGOLETTO .with Cor- from 115 complete opera sets. In many instances select your own nell MacNeil, Reri Grist and Nicolai Gedcla... the stunning cast: the "Butterfly" of Victoria de los Angeles, or Maria Callas, Hamburg Opera production of Alban Berg's LULU... the tri- or Renata Scotto. "Ariadne" with Elisabeth Schwarzkopf or Gun- umphant AIDA of Nilsson and Corelli... and the crystalline dula Janowitz. joys of Renato. Scotto's acclaimed MADAME BUTTERFLY. On For opera lovers who don't have an entire evening to spend, there Melodiya /Angel, Ihe Soviet's QUEEN OF SPADES authentically are 56 choice "highlight" albums and 59 opera recital collections sung in Russian. On Seraphim, budget priced editions of the by an assemblage of the world's most distinguished singers. Karajan/Schwarzkopf DIE MEISTERSINGER from thefirst Twelve exciting new productions are available this season: On post-war Bayreuth Festival. . .the 1938 Rome Opera TOSCA Angel, the premiere stereo recording of Gounod's ROMEO AND with Gigli.. . and the unforgettable LUCIA and GIOCONDA JULIET with the Metropolitan's Franco Corelli and Mirella Freni of Callas. ... an elegant all-star performance of Strauss's ARIADNE AUF Consider ail of them for your permanent repertoire.

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CIRCLE NO vti READER SERVICE CARD FEBRUARY 1969 95 tations,inwildoutbreaksandserene contemplations. I don't much care for the sound of the Russian horns in this music, but otherwise the playingis quite good. Vishnevskaya's Zo V singing is appealing, although it is a bit of a C 1t a shock to hear-at the point when maximum y- e"Z simplicity and naiveté are just exactly in or- FA 4 der-her sophisticated, dark, Slavic sound. ,.....t... However, it must be said that, within the i .. general character of her voice, she manages = 1 very beautifully. The usual lush Russian re- ..s. z: corded soundisnottoo bothersome this time, and may even attract some listeners. . ...V E. S. Z*J; C t Z MILHAUD: Scaramouche (see DE- .... ; 1111 4 BUSSY)

61 11 : RECORDING OF SPECIAL MERIT IQ ua.1 c 'a MONTEVERDI: Madrigals andArias. 61 ..t. Bel pastor; Ohime ch'io cado; Fugge it verno lig 3 t dei dolori; Non cosi tosto io mire; La pas- ;.. t. torella mia spietata;Dolci mieisospiri; V .. m Lidia spina del mio core; 0 rosella the a,:a :z m3. rosella; Lament° della Ninfa; Della bellezza le deride Lodi: Si dolce e it'ormen/0; Gird rilo 4 - - itnemico insidioso.Ilse Wolf (soprano) ; a.%I, .- Robert Tear and Gerald English (tenors); se ri Christopher Keyte (bass) ; Members of the 4si etk i English Chamber Orchestra, Raymond Lep- W Sia a pard cond. and harpsichord. L'OBEAu-LYRE C) SOL 299 $5.95. 14 Performance:Exceptional * Recording: Excellent Stereo Quality: Fine This is a splendid collection of madrigals, 01 PA duos, and arias for single voice, marvelously 00 ..., varied in mood and content. The selection was made from severaldifferentsources, early as well as late, so that the listener is Ilt § given a fine cross-section of Monteverdi's ;Ii output. Some of the works, such as theLa - Nellie della Ninfa,are quite familiar;so, too, are one or two of theScherzi musicali, 6T4 0 Rosetta,forinstance. But there area a s. number of lesser -known pieces as well. ew C. Itisdifficultto imagine a better set of Z Monteverdi performances thanthese. The i Ea z dramatic meaning is beautifully carried out by the participants; their vocal quality, fur- ; ;. thermore, is quite ltalianate, rather than cool 1 Cr and aloof, as one might have expected from it British singers. Leppard's direction, like his ..._.,461 :: marvelously inventive harpsichord continuo, al 01P11 a is on the highest level stylistically. -Finally, t., a. the recorded soundisfirst-rate. Texts and -... translations are included. I. K. a . a ! MOZART: Divertimento No. 1, K. 113 1.11 1.6. ....'" (see BEETHOVEN: Quintet) ce Ca 1111 4 s.

As6 4 RECORDING OF SPECIAL MERIT -i 1 MOZART: Piano Concerto No. 25, in C Major (K. 503). Daniel Barenboim(pi- %' m * 4. ano) ; New Philharmonia Orchestra, Otto Klemperer cond. Serenade No. 12, in C .5...5 ...... Minor (K. 388). The Wind Ensemble of ....1X the New Philharmonia,OttoKlemperer C L. cond.ANGEL ®S 36536 $5.79. 4 L.; 6

f.%ss Z Performance: Of the first order Recording: Excellent Stereo Quality: Just right

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CIRCLE NO. 30 ON READER SERVICE CARD FEBRUARY1969 97 combination of artists to come up with any- the way, implausible as it may seem, unless for in works composed for "occasions" in the thing terribly original to say about the un- my ears are on wrong today or my phono- sense that the Serenades were. assailable masterpieces or, on the other hand, graph is getting cute with me, the piano Barenboim and Klemperer work with ad- to release a recorded program of less familiar sounds just slightly out of tune with the or- mirable compatibility in the concerto, and works of genuine musical distinction. But chestra for a few bars at its first entrance.) the results are arrestingly personal. The con- this release manages a certain share of both, It isn't easy to go running through Mo- ductor's reading of the Serenade gets to the and I admire it. zart's Serenades and come up with some that core of a work whose subtletyisoften Not that the Concerto is a novelty by any compel undivided attention and unqualified missed. Recorded sound and stereotreat- manner or means. But it is the last and prob- respect for musical content. But the Serenade ment? Irreproachable. W. 1 ably least understood of the series of great No. 12 is most certainly one of the few that concertos Mozart began in 1784 and finished does. Don't look for just virtuosic prettiness RECORDING OF SPECIAL MERIT in 1786. It's a big piece, it yields its expres- in this work. It is no display of mere facility, sive content grudgingly, and it has always but rather elaborately composed; itisfur- MOZART:Violin Sonatas: K. 296, in C struck me as one of those Mozart master- thermore neither rambling nor endless, but Major; K. 301, ire G Major; K. 302, in E- pieces in which art conceals art to a degree concise and taut. It is mostcertainlynot mu- l/at Major; K. 304, in E Minor; K. 305, in verging on perversity. I have gone back to sic to chat by. Furthermore, its expressive A Major; K. 306, in D Major; K.377,in Barenboim's probing performance ofthis aura, rather than being entertainingly attrac- F Major; K. 380, in Ella Major.Joseph subtle,elusive,unostentatiouslycomplex tive, is on the somber side. Needless to say, Szigeti (violin);Mieczyslaw Horszowski work again and again with fascination. (By these qualities are not usually to be looked piano). VANGUARD EVERYMAN ® SRV 262/3/4 SD three discs 57.50. Performance: Exceptional Recording: Very good Stereo Quality: Electronically enhanced, but good

RECORDING OF SPECIAL MERIT MOZART: Violin Sonatas: K. 296, in C Major; K. 302, in E -fiat Major; K. 379, in G Major. D6riesKovacs (5.101111) ;Mihdly Biicher (piano). DOVER (5) HCR ST 7279, GHCR 5279* S2.00. Performance: Impressive Recording: Very good Stereo Quality: Fine Szigeti's eight sonatas, listed above, form the first volume in a two -volume release devoted tothefifteengreatvioliand keyboard sonatas of Mozart. In this volume and most ofthesecondthe pianistisMieczyslaw Horszowski, with only the B -flat and E -flat Minor sonatas (K. 45.1 and 481, respectiNe- ly) being partnered by George Szell. The latter two sonatas were evidently released on Columbia ML 5005, but the vast remainder, also made by Columbia in the mid -Fifties, have never before been issued. It is difficult to understand why, since the performances are so satisfying musically. Szigeti's technique at this particular time (C. 1955) was perhaps not what it once had been, but tonal problems aside (and these will bother only a few listeners), the interpretations are exceptional by any standards. These are perfectly gauged chamber rendi- tions by completely equal partners, in which 'FAIRFAX SPEAKERS every facet of the scores is most beautifully THE FOLDED HORN REPRODUCERS delineated. We can be most grateful to Van- guard for this release. And Vanguard's engi- The moment oftruth. The moment you discover for neers are to be complimented for the skilled yourself that Fairfax offers crisper highs, fuller bass, more electronic stereo rechanneling; the two in- natural presence and excellent tonal balance... that it's the stereo soundyouwant to live with. Ask your dealer struments appear only to have some illusion for a comparative demonstration. Judge Fairfax against of depth added, and both sound quite up-to- "big name" brands selling for twice and three times as date and natural. much. There's your moment of truth . . . for Fairfax is Dover's Hungarian team presents three of clearly superior, the finest high fidelity value today. the violin and keyboard sonatas, and they are also unusually fine artists. They, too, believe Fairfax speaker systems are availableinfive models from shelfto studio -type floor sizes,all natural walnut finishes and in two, three, in equal partnership for this music, and their and four way systems. Depending upon model, frequency response sensitivity is apparent at almost every turn. ranges from 25-20,000Hz; power handling capacity from 25.60 watts maximum; 8 ohms impedance; prices from 149.30 to 3249.50 list. Like Szigeti and Horszowski, they tend to treat most appoggiaturas as short, and their WIN 2 SPEAKERS trills do not begin properly on the upper COMPARE SEE YOUR DEALER ASK FOR FREE DEMONSTRATION AND note. If these players do not have quite as JUDGE FOR YOURSELF much sparkle and personality as the older performers, they nevertheless provide some `FAIRFAX INDUSTRIES, Inc. lovely playing in this well recorded disc. 165 Ward Street Paterson, N.J. 07505 (201) 684-0669 1. K. (Continued on page 101) CIRCLE NO. 27 ON READER SERVICE CARD 98 STEREO REVIEW DGG collectorsareplugged in.

To the sounds of now. To the ex-poser) "wanders from one or- periences of new music. To thechestra to another" and Carr& a excitement of owning never -be-piece "that tells no story. .every fore -recorded performances bymoment can exist for itself ...and international composers inourone must leave time if one wants century's anything -can -happento let this music enter." witolc lutoslawski: string quartet revolution. krysztof penderecki: quortetto per orchi On to the string quartet, where toshiro mayuzumi: prelude for string quartet Deutsche Grammophon is kick-two Polish members of the bur- lasalle quartet ing off its fascinating Avant Gardegeoning Eastern Europe avant series with some of the choicestgarde-Penderecki and Luto- chance music around. We offer aslawski-join with Mayuzumi, a spectacular performance ofJapanese composer from the Ligeti's Lux Aeterna, one of the"New York School," in ar album which will challenge even the unforgettable background pieces 137 001 inStanleyKubrick's"ultimate trip", 2001: A Space Odyssey. Mozart: Symphonies Nos. 28 Our collection of premieres be- _ - and 29. Berlin Philharmonic, gins on this LP with two love Bohm cond. 139 406 poems by the award -winning protest poet, Kenneth Patchen, set Schubert: Wanderer Fantasie/ karlheinz stockhausen: Moments Musicaux. Wilhelm to music by an Englishman, David "gruppen" for 3 orchestras Kempf, piano. 139 372 Bedford; a choral work, Matka, by "carre* for 4 orchestras and 4 choirs the 38 -year -old Czech composer, conductors_ New from Archive: michael gielen Bihar: 15 Sonatas on the Mys- Kopelent; and another choral mauriciokagel piece which "transcends the bruno mack.rna teries of the Rosary/Passacaglia frontiersofextra -musical andrzej mcrkowski in G Minor for Solo Violin. 198 sounds", Succsim, by a 35 -year - karlheinz stockhaLsen 422/23 old Swedish musician, MeIlnas. Palastrina: Seven Madrigals/ If you're plugged in at all you're 10 Five Ricercari. Regensburg Ca- thedral Chorus, Schrems, cond; pluggedinto Stockhausen,a most sophisticated listener.Ensenble Musica Antigua. 198 TheseirtrigLingcompositions,434 recorded here for the first time by Vivaldi: Four Concerti Grossi Deutsche Grammophon, are cer-from L'estro armonico. Lucerne tain to expand your mind...andFestival Strings, Baumgartner, cond. 198 449 david bedford: two poems for chorus your horizons. gyorgy ligeti:lux aeterno For collectors who like being arne mellnas: succsim marek kopelent: matka taken off garde, we urge you to make note of these additional new hamburg radio chorus * ktV,Itt. conductor: helmut Franz releases: Beethoven: Symphony No. 81 Fidelio, Coriolan and Lenore ID 'Deuische Overtures. Berlin Philharmonic, 1,tainmapItcli Karajan, cond. 139 015 gesellschaft 137 004 Bruckner: Psalm 150. Stader; trailblazer firstin serialism andChorus of the German Opera, later in new music and notation.Berlin. Berlin Philharmoric, Joch- Here are two of his never -before -um, cond./Eight Motets Chorus ARCHIVE recorded works: Gruppen, whereofBavarian Radio, Jochum, PRODUCTION sound (according to the com-cond. 136 552

DGG and Archive Records are distributed by MGM Records, a division of Metro -Goldwyn -Mayer Inc Canadian dist: Polydor Records, Ltd.

CIRCLE NO. 20 ON READER SERVICE CARD FEBRUARY 1969 99 sound to me contrived rather than natural. But we are getting there gradually." One can very much appreciate Malcolm's candid attitude, but I would have to agree, at least in We tookour receiver part,withhisconclusion.Theconstant changes of registration Malcolm is wont to indulge in are only occasionally in evidence to the experts here, but the harpsichord itself seems to be a poorly regulated instrument:the four -foot ...and as they said in Hi-Fi Stereo Review: register, in particular, is voiced far too loud- ly, so that this stop has a tendency to domi- "The IHF sensitivity, rated at 1.9 microvolts, measured nate whenever it is used. The recording itself 1.7 microvolts. This places the 711B among themost is much too close-up, and the instrument's sensitive FM tuners we have ever tested" action is often audible. I. K. "The FM distortion was as low aswe have ever measured" RACHMANINOFF: Piano Concerto No. 3 (see Best of the Month, page 75) "The unit was obviously very sensitive, yetwas completely free of cross -modulation problems. It hasan unusually RAVEL: Ma Mere POye (see DEBUSSY) clean sonic quality and even thoughwe had a number of other receivers at our disposal, we always preferredto listen RECORDING OF SPECIAL MERIT to the 711B" RAVEL: Pavane pour une infantede- "There are a number of receivers whose specificationsare funte; La Vallee des cloches (from Mir- not unlike those of the 711B, but few of them could match oirs). Maurice Ravel (piano). Bolero. La- its overall performance in a side by side comparison" moureux Orchestra. Maurice Ravelcond. Chansons Madicasses for voice, flute, cello, That's how they hear it. and piano. Madeleine Grey (soprano); En- semble directed by Maurice Ravel.TURN- ABOUT 0TV 4256 $2.50. "The front panel of the Altec 711B hasa velvet -textured matte black finish that is extremely tough, virtually immune Performance: Revelatory to scratches, and in our opinion uncommonly handsome' Recording: Obviously antique There are few,if any, re -issued "historic" That's how theysee it. recordings of performances by a celebrated but dead composer that I find as illuminating, 'The price of the Altec 711B is $399.50" instructive, and downright vindicating as this one.For one thing,Ravel's approach to That's howyou buy it. music has so influenced my own that it defies

insistence,demonstrableanalysis,noren- See your Altec dealer. (He's listed in the Yellow Pages.) And lightened propaganda is likely to change the send for our 1968 Hi-Fi Catalog and reprint of this Test Report. public image of Ravel as an "Impressionist" to be eternally mentioned in the same breath as Debussy. That the two composers are almost dia- metrically opposed in approach-in spite of almost inevitably similar harmonic vocabu- laries-requires no more proof than careful attention to the performances on this record. Bolero is today played as a flashy orchestral stunt.I won't pretend that this old recording isa miracle of technical execution on the instrumentallevel,butRavel'sextraordi- narily slow tempo places such emphasis on instrumentation as organized timbre that the work sounds positively revolutionary. Fur- thermore, the slow tempo makes waiting for the one modulation in this 15' 20" performance an almost masochistic experience. That Ravel was more classicist than impressionist is startlingly clear from his performances ofthesolo pianopieces.His view of Pavaneissolemn, austere,even severe, and alittle dry according to our standards. The excerpt from Miroirs-here the notes,thetitle,the whole ambiance mostinvitecomparisontoDebussy-is downright shocking in Ravel's playing. The piece sounds as neatly structured as a Bach two-partinvention;intervalsarestressed with obvious reference to inter -relationship, and either the piano the composer used had a deficient sostenuto pedal, or his spare use of itis simply another manifestation of his fastidious determination to understate. Ch./in:wry Madecasses (1925-1926), a cycle of three songs for voice and three instru- A divisionof. Ling Altec, Inc., 1515 So. Manchester Ave., Anaheim, Calif. 92803. ments, is, by the grace of music -appreciation CIRCLE NO. 71 ON READER SEDV:CE CARD i:;c, /0 i) 102 CIRCLE NO. 15 ON READER SERVICE CARD-* After we -lad developed BASF, the "ageless" recordinc tape, we realizeditdidn't make much ser se to package it in an ordinary card- board bax offering only temporary protection at best. A tape designed to preserve the original brilliance and fidelity of your recordings for generations deserves a permanent storage cabinet all its owi. So we packaged our tape in the "Perma-store" library box, a sturdy, decorator -styled container melded of rigid, impact -resistant plastic. The "Pe -ma -store" package not only offers permanent protection against dirt and physical damage it enables you to build a tape library that looks as good as it sounds. And yet 3ASF, the world's finest tape and the only tape exclusively packaged in a permanent plastic cjntainer, costs no more than the tape you are guying now. All in all,it's the perfect tape for :he audiophile's audio -file.

BASF COMPUTRON INC, CROSBY DRIVE, BEDFORD, MASSACHUSETTS 01730 lore, proof of Ravel's -decline.- According Except for the amusing Jack -in -Mc -Box of EDITION RECORDS ®LS 683 $8.45, 0 LOU to me,itishis mast brave, adventurous, 1899, the early works are reasonably serious, 683 $7.95. probing, futuritic work.Itseems almost even a little mystical. They are all quite dilet- calculated to minimize the ''exotic" allure tante-ish-a mostintentionally, one would Performance:Uneven but eager Ravel seemed glandularly unable to avoid. say-and none of them (except possibly the Recording: Okay Again, this performance is not ideal techni- famous Dcbussy versions of the GImnope- StereoQuality: Good cally, but its somber, angular style strength- dies) really benefits much from the slick or- This particular coupling of composers is, to ens my feeling that a new Ravel was in the chestrations by Satie's "friends.- The wit and put it mildly, less than appropriate.1 grant making. humor of Erik Satie seems to have appeared that the frequently rock -bottom low camp of In all honesty, I am not a man to recom- firstin his titles(i.e. "Three Pieces in the Shostakovich's simplistic, occasionally amus- mend reissues of this sort. Some composers Form of a Pear-) and later to have crept into ing spoof of someone-I'm not quite sure don't really do justice to their own music; the music itself. Thus itis in the later (and who-is in sharp contrast to Kirchner's more performance styles change (as they should); far more assured) works-and in particular complex,expressionistic,international mu- and, too often, the fact thatittakes some the ballets, two with Massine and Picasso, sical essay. But I can't for the life of me composers yearsto fully understand what one with Picabia and Rene Clair-that Satie imagine asubscriber toLouisville's series they have given birds tois not taken into comesintohis own.Inthesedelightful who wouldn't put his nose up :it out piece consideration. And who wants tacky old re- pieces we find what Poulenc called -mate- if he genuinely admired the 0//),J. cordedsound,anyway?Butthisrelease raisemusique adorable" aplenty-notto The Shostakovich score --all early one- makes such a clear point about a composer- mention typewriters, gunshots, and the like. was apparently conceived with the notion of presently somewhat downgraded by intellec- Anyone who canresist Parade must have giving the raspberries to Shakespeare's play tuals-who has been mistaken for a gifted layers of Krupp steel insulating his soul. (a fairly unfunny notion in my view) and perfectionist rather than a great and serious Writing about Satie, one is tempted to alsoto various nineteenth-century musical artistthat I thinkitbears much listening styles. The work has its sassy mo- to. IV. F. ments-and, interestingly, the unlikely influence of Mahler, which we ordinarily merely SATIE: Parade, Ballet; Les Arentures de speculate aboutitsShostakovich,isunmis- Mercure, Ballet: La Belle Excentrique: takable here. Still, whatever its sirtu,s, the Grand Ritournelle; Cinq Grimaces pour piece goes on far too long in attempting to "Un Songe dune unit d'ete"; Relathe, sustain a series of musical Bronx Ballet; En Habit de Chen& Gymnopedies would have been glad to be rid of it at about Nos. 1 and3 (orch. Debussy); Trois half its length. Morceaux en forme de poire (orch. De- The American Leon Kirchner's sormiere); Deux Preludes posthumes et (1955) has a consistently distinguished and line Gnossienne (orcb. Poulenc); Le Fils elegant musical texture and some fanciful des &odes (orch. Roland -Manuel); Jack- musical detail, but its somewhat traditional in -the -Box(orch.Milhaud). The Utah directness of musical statement is one I don't SymphonyOrchestra,MauriceAbravanel associate with even the earliest of his music. Mild.CARDINAL ® VCS10037/38 two This is no deprecation, merely discs $7.00. Even so,the general impression the work Performance:Good makes here isthatitisn'tthec, me Hamlet, Suite from of dealing with a mad world. In any tradi- the Instrumental Music, Op. 32. KIRCH- Recording: Good tional context Satie was quite mad, but more NER: Toccata for Strings, Solo 1Vinds, StereoQuality: Good and more itlooks as though he might have and Percussion(1955).Louisville Orches- Followingtheirtriumphant Rosenbralier been th:: only sane one. tra,Ji7rg.1(...stercond. LotT ISVI FIRST (Continued on page 108) 104 STEREO REVIEW BOSE puts you in the REVERBERANT FIELD

Ifyou have heard the BOSE 901 -1 a room, ' the Sound Pressure Level How The 901 Incorporates Direct/Reflecting" speaker system. Drops off as the distance from the These Findings or if you have read the reviews. you :ource increases until the direct field already know thatthe 901isthe aecomes smaaer than the reverber- TheuseoftheDirect/Reflecting longest step forward in speaker de- ant field. Eeyond this point, the in- technique in the 901, with only 11% sign in perhaps two decades. Since tensity is independent of distance and direct sound, is designed to simulate the superiority of the 9C1 (covered Is variation with room position is a the concert hall experience by placing by patents issued and pending) de- athction only of the standing wave the listening area in the reverberant rives from an interrelated group of pattern in the room." This becomes field, rather than the direct field, The advances, each depending on the significantforloudspeakerdesign stereophonic experience of thelis- others for its full potential. we hope "when we examine the sound field tener is uniform throughout the room. you will be interested in a fuller ex- In concert halls and find that for vir- The speakers vanish as point sources planation than is possible in a single tually all seats, the reverberant field - even to a listener directly in front issue. This discussionis one of ais dominant. Even for a large hall of one speaker. Instead, they project series on the theoretical and tech- such as Symphony HallinBoston, the image of the musical performance nological basis of the performancethe reverberant field equals the di- across theentirewall behind the of the BOSE 901. rect field at about 19 feet from the speakers. source." Inthereverberantfield, We've mentioned previously that the "since the energy in this field arrives Thesespatial characteristics are "spatial property of the sound inci- at any point via reflections from the combined with three other essential dent on alistenerisa parameter surfaces of the room, the angles of advances to produce the full range rankingin importance with the fre- ncidenceofthearrivingsound of benefits offered by the 901. They quencyspectrumoftheincident anergy are widely distributed. . will be the subjects of other issues. energy for the subjective apprecia- Meanwhile, if you'd like to hear what tion of music."' By 'spatial property', Ca spatialpropertymeans,askyour we mean the directions from which ii franchised BOSE dealer for an A -B the sound arrives at the listener - vri7 comparison of the 901 with the best not the directions in which the sound REVEREith,e._---, T FIELD : z conventional speakers he carries, re- leaves the speaker. - DOMINANT E gardless of size or price. Yet though itis as important as fre- rr.i.\70\1\\\4ilA - quencyresponse.spatialproperty \,,,, has played littlepartinthe design You can hear the difference now. of speakers prior to the 901. Meas- BOSTON 3YIVIPHONY HALL urements of a speaker, on -axis in an FLOOR PLAN anechoicenvironment,deliberately 'From 'ON THE DESIGN. MEASURE- avoid spatial property (`room effects') Conventional speaker design how- MENT AND EVALUATION OF LOUD- because in order to measure spatial ever results in the dominance of the SPEAKERS'. Dr. A. G. Bose, a paper characteristics. the speaker and the directfieldfromtheloudspeakers presentedatthe1968 convention room must be considered as a sys- with the consequent localization of ofthe.Audio Engineering Society. tem. No way was previously known stereo sound in two points and the Copies ofthe complete paper are to distinguish the contribution of the noticeable lack of fullness or open- available from the Bose Corp. for speaker from that of the room. ness of the reproduced sound.- fifty cents.

THE I Ig a It PA F EAST NATICK INDUSTRIAL PARK NATICK, MASSACHUSETTS 01760

CIRCLE NO. Ll ON READER SERVICE CARD FEBRUARY 1969 IANNIS XENAKIS KRZYSZTOF PENDERECKI JOHN CAGE CONTEMPORARY MUSIC: TWO UNQUIET STREAMS By Eric Salzman

THE reign of Lukas Foss in Buffalo has derecki's reputation. Indeed, in the Capric- Out of this and according to certain in- made that upstate New York city an cio-the most recent work on this record structions, the conductor calls into being or unlikely contender for the title of Modern -these and other contemporary techniques suppresses wave on wave of Baroque noo- Music Capital of the U.S.A. Foss has not are firmly placed in the context of an easy, dles. Phorion culminates in an organ -per- only organized a Center for the Creative on -going neoclassical aesthetic! The term cussionclash(brokenglass,splintered and Performing Arts, persuaded a consid- "neoclassic" is carefully chosen, and in my wood, and the like) that sounds as I imag- erable number of leading new -music types opinionexact.Penderecki hascarefully, ine the demolition of the Thomaskirch6 to come to Buffalo, and organized giant - and with great wit and skill, adapted con- itself might, given the proper sonic boom. size festivals, but has also brought one of temporary ideas to a traditional sense of Foss calls these variations "dreams" and the important American orchestras along rhythmic and phrase shape-very much disclaims any destructive intent. At least into the new -music bag. Buffalo Symphony in the way that Bartok did for the advanced one critic has angrily described them as programs are by no means all far out, but ideas of his generation. There is even an "painting a mustache on the Mona Lisa." new ideas get a better break at Kleinhans oom-pah-pah or two! De natura sonoris is But there is no Dada, no Duchamp, and Hall than anywhere else in the country a more abstract and probing work with only a very little disrespect. These "varia- (including the enterprising but more con- isolated, striking, and quite varied sonori- tions" obviously stem as much from affec- servative Louisville). Now, thanks to the ties leading to an unexpected jazz break tion and even a kind of wistful longing as foresight of "sponsors of the Buffalo Phil- and the perhaps too -well expected clusters anything else. Most of the music is elegant harmonic Orchestra" (whoever they may andostinati-glissandi.Effect -music,no and even, in an odd, backhanded, wry sort be-bless'em,anyway)and Nonesuch doubt, but certainlyeffect -music of the of way, beautiful-like anintentional!) Records, some of the fruits of these labors most brilliant sort. distorted and filtered photograph of a ca- are available in recorded form. The music on the companion record thedral. Only the end isdestructive and The choice of repertoire is judicious- comes out of quite another stream of con- even this can have a meaning-something all "sound" pieces that have considerable temporary music. The Cage Concerto for aboutthe impossibilityof returningto interest and get across in striking and im- Prepared Piano of 1950-51 relates to Euro- some golden -age past. Of course it's a gim- mediate ways (no hermetic Modren-Mew- pean serialism only remotely-in its use of mick, and ultimately very literary in con- sik here). Iannis Xenakis, with his applica- controlled rhythmic cycles. Even this re- cept. Perhaps it is as much an act of criti- tions of Bernoulli's Law of Large Numbers sembles Oriental music as much as it does cism, of commentary, as anything else. So and the kinetic theory of gases ( !), might Schoenberg or Webern. Cage conceived of The point is that it is realized in terms of a seem an exception, but in reality his musichis famous "prepared piano" as a kind of genuine musical experience, and I for one (as opposed to his program notes) is not. one-man gamelan; this work is a culmina- find it impressive-painful and devastating, The well-known Pithoprakta of 1955-56, tion of Cage's earlier Oriental period and perhaps, but also a quite moving comment with its big sliding, rapping, and plucking just on the verge of the concerns with sion memory, recollection, and our expe- textures and densities, was one of the first lence, with the "real" world, and with rience of the past. Not a masterpiece, or pieces to be composed in such a way, and, chance and indeterminacy which were to even a work of art in the usual sense, but irrespective of exactly how the composer occupy him afterwards. This is long, con- a meaningful experience of a particularly arrived at its details, its structure and mu- templative, static music of a great delicacy contemporary kind-and how oftencan sical content are exactly whatit sounds and reflectiveness.Itis introspective art, you say that! like they are-i.e., those of a piece com- but in that special non -Western sense that No praise is too high for these perfor- posed in big textures and densities. Akrata, is glibly labeled "mystic" or "psychedel- mances by the Buffalo orchestra under Foss' written in 1964-65 and scored for sixteen ic." Cage was its master long before it be- knowledgeabledirection,bytheyoung wind instruments,is perhaps even more came fashionable. Japanese pianist Yuji Takahashi inthe structural in its buildups of repeated and Cage and,inparticular, by the brilliant held notes spaced out and overlapped in a Foss' own Baroque Variations are easily young New York violinist Paul Zukofsk kind of clear sonic architecture.Itisa the most "controversial" music on these in the Penderecki. These young performers much more abstract-the title has the sense records-glosses on Handel, Scarlatti, and represent a new generation of creative mu- of 'pure'-and a less immediately engaging Bach that a great many people seem to sicians. The recordings are excellent, and and possibly subtler work. consider offensive, trivial, or both. The ac- the various sonic splendors are illuminated This is, by the way, the second recording tual notes are by the aforementioned mas- with extra clarity through use of the Dolby of Pithoprakta, and a second recording of ters; all that Buffalo's music director pro- noise reduction system. Akrata will be out soon as part of a collec- vides is a Foss gloss. A Handel Larghetto tion of Koussevitsky-commissioned pieces is fragmented into different keys and tem- XENAKIS: Akrata; Pithoprakta. PEN- conductedbyFoss'formerassistantin pos, emerging out of and back into states DERECKI: Capriccio forViolin and Buffalo, Richard Dufallo. Xenakis is cer- of near -inaudibility. The Scarlatti E Major Orchestra; De natura sonoris. Paul Zukof- tainly the man of the hour. Nevertheless, Sonata-just recorded by Horowitz !-is sky(violin); Buffalo Philharmonic Or- the present pairing has its attractions, and played here (by Foss?) entire but often chestra, Lukas Foss cond. NONESUCH the coupling of Xenakis with Penderecki obscured or broken into by orchestral de- H 71201 $2.50. isequallylogical.That the Greek has bris. The last "variation," Phorion (Greek strongly influenced the Pole there can be for "stolen goods," which ought to be the CAGE: Concerto for Prepared Piano and no doubt. However, the works at hand rep- title of the whole), is not even really scored Orchestra. FOSS: Baroque Variations. resent a considerabledeparturefrom in the usual way. The Prelude of the Bach Yuji Takahashi(piano) ;BuffaloPhil- theVarese-Xenakis-influencedtone -clus- E Major solo violin Partita is adapted as a harmonicOrchestra,LukasFosscond. ter, sound -density pieces which made Pen - part for every member of the orchestra. NONESUCH ® H 71202 $2.50.

106 STEREO REVIEW The $50 misunderstanding. Everything today is judged by its price tag. Sad but true. So when it comes to comparing economy speakers, it might seem reasonable to match our new $80 Rectilinear with others in the $80 range. Please don't. Because we'll win too easily. Make it a little tougher. Test our new Rectilinear with a speaker costing $50 more. The same designers who created the Rectilinear HI have sweated over this baby speaker for two years. They wanted the kind of excellent frequency range and clarity of sound that you can't find in another small speaker. They got it. And named it the Mini -Ill. The speaker that sounds like it costs $50 more than it does. Don't let the mini -price fool you.

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CIRCLE NO. 51 ON READER SERVICE CARD 107 FEBRUARY1969 (1911), the pleased collaborators Richard details, but the totality somehow never jells ance from such passages as the impassioned Strauss and Hugovon Hofmannsthal con- into effective opera. The second part-the "Ich griisse dich, du Bote alter Boten"upon ceivedAriadne auf Naxos as arelatively opera itself, with the rapturous scenes in- sighting Bacchus. Her fuller timbre is better modest effort on their way toward a more volvingAriadneandBacchus,andthe suited to Ariadne's demanding music than ambitious undertaking, Die Frau ohne Schat- frivolous commedia dell'arte counterpoint by was Elisabeth Schwarzkopf's finespun, more ten. The intricacies of the subject matter, Zerbinetta & Co.-is something else again. fragile tone, but of course Schwarzkopf's in- however, caused complications that make the Here Ifind the musical treatment so over- finitelyimaginativeandcolorfulartistry story of the opera's genesis far more involved whelmingly beautiful that I have never really made the role much more alive. The Bacchus and fascinating than that of the opera itself cared to sort out my minor reservations. I of James King is strong, slightly strained, but -the events leading up to the final emer- might add that this enthusiasm sterns, toa gence of Ariadne auf Naxos in nevertheless heroic -sounding. This is not the its present large extent, from Angel's virtually perfect impression Strauss was after, but the Iessi- form (Vienna, 1916) are briefly related in 1955album ( 3532 ) .Measuredagainst tura simply does not permit the music to be the annotations to the present set by Strauss that paragon of a recording, the same com- delivered with the effortless lightness sug- authority William Mann. pany's new release, thoughafineeffort, gestive of youth. SylviaGesztyhas a small- My own feelings about the opera are some- comes off second-best. what ambivalent, for I consider its Prologue ish voice of great agility and an admirable Gundula Janowitzsingsthemusic of command of Zerbinetta's fiendish music, but something of a noble failure. It was brilliant- Ariadne with a sumptuous tone quality. She lacks the warmth of tone and expressive ly conceived by Hofmannsthal, and is full of excelsinthe beautifularia'Esgib/ein verbal sophistication and sparkling musical charm that enriched Rita Streich's perfor- Reich," and draws the full measure of rad- mance in the older set. Hermann Prey re- peats his Arlecchino from the earlier version: he was good then and he is good now, but the intervening years have made him more mannered and effortful. Teresa Zylis-Gara DGG collectorsare innovators. delivers the Composer's music beautifully, but with less than the impassioned ardor of Irmgard Seefried's 1955 performance. The Quick to espouse the latest re- Respighi: The Pines of Roma/ remainder of the cast ranges from the slight- cording techniques and to see the Mussorgsky: Night on Bald Moun- lyheavy -soundingbutcompetentMusic value of MusiCassettes, for both tain/Rimsky-Korsakov: Capriccio Teacher of Theo Adam to the ethereal Echo home and portable use. For these Espagnol. Berlin Philharmon c, of Adele Stolte-all generally satisfying. fans we offer an exciting new Maazel, cond. 923 053 In the pit, Kempe is better than satisfac- release from our large and varied Rachmaninoff: Piano Concerto tory, yet the lightness, natural flow, and all - catalog of stereo tape cassettes. No. 2. Warsaw Philharmonic,Wis- pervasive poetry of Karajan's 1955 achieve- J. S. Bach: Orgar Works. Richter, locki, cond./Beethoven: Concert ment is not matched. Nor isthe Dresden organ. 923 055 Rondo in B Flat. Vienna Syn- Opera orchestra quite equal in brilliance and Beethoven: Symphony No. 3/Cori- phony, Sanderling, cond. Richter, polish to the early Philharmonia. On the olan Overture. Berlin Philharmon- piano. 923 059 other hand, the nicely balanced, well -exe- ic, Karajan, cond. 923 063 Rachmaninoff: Rhapsody on a cuted vocal ensembles-which contain some Bruch: Kol Nidrei Lamoureux Or- Theme of Paganini/Weber: Kon- of Strauss' wittiest and most appealing writ- chestra, Martinon, cond./Dvorak: zertstueck/Tcherepnin: 10 Baga- ing-deserve special praise. The set, then, is Cello Concerto. BerlinPhilhar- telles.Margrit Weber, piano. warmly recommended, but those in search of monic, Szell, cond. Fournier, cello. Berlin Radio Symphony, Fricsay, the best Ariadne on records are urged to seek 923 060 cond. 923 064 out Angel 3552 before its being mono -only Delibes: Coppel a/Chopin: Les Scnubert: Symphony No. 8, dooms it. G. J. Sylphides. Suites. Berlin Philhar- Beethoven: Overtures. Berlin Phil- monic, Karajan, cond. 922 026 harmonic, Karajan, cond. 923 057 RECORDING OF SPECIAL MERIT Mozart: "Hunt" String Quartet/ Stockhausen: Electronic Music Haydn: "Emperor" String Quartet. "Kontakte" and "Song of the STRAUSS: Don Quixote, Op.35. Emman- Amadeus Quartet. 923 054 Youths". 923 061 uel Brabec (cello) ;Joseph Staar (viola); Mozart: Symphomes Nos. 40 and Tchaikovsky: Nutcracker Suite/ Vienna PhilharmonicOrchestra, Lorin 41.Berlin Philharmonic, Bohm, Serenade for Strings. Berlin Phil- Maazel cond. LONDON ® CS 6593 $5.79. cond. 923 056 harmonic, Karajan. cond. 923 043 Performance: Excellent Recording: First-class Stereo Quality: Very good

ORFF Lorin Maazel can sometimes be a stuffy con- BRAHMS CARMINA ductor, but not here. His Don Quixote is VIOLIN BURANA BARTOK CONCERTO loose and laid out on a proper -sized canvas. IN D Janowitz Stolze CONCERTO Fischer-Dieskau FOR ORCHESTRA This is,in my view, by far Strauss' best FERRAS KARAJAN BERLIN OPERA KARAJAN big -scale orchestral work, but it needs careful BERLIN PHILHARMONIC JOCHUM BERLIN PHILHARMONIC pacing,biglineaswellastrimdetail. Maazel rips into a few spots with sudden, brusquethrusts;theeffectisrough but strong. Elsewhere the detailsare finessed with the greatestof ease and style-the beauty of the orchestral sound is often remarkable-and he spins the most convincing of orchestral picaresquenesses. Good soloists (the Vienna first -desk men, one assumes) 923 024 923 062 923 058 and superb sound-elegant with plenty of depth but never anylossofclarityand presence. By avoiding the resonant pallor that seems to be the fate of so much big- orchestra recording today, the London en- - ram m vp h en gineers produce the effect of a tremendous From the MusiCassette collectionon geseihthaft dynamicrange,elegancewithplentyof DGG MusiCassettes are distributed by MGM Records, a civision of Metro -Goldwyn depth, and no loss either of clarity or of -Mayer Inc. presence. E. S. (Continued on page 110) CIRCLE NO. 18 ON READER SERVICE CARD 108 CIRCLE NO. 64 ON READER SERVICE CARD -8. TEACA-70301

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Unsurpassed sounc. reproduction at 15 or 71/.. ips Tape tension adjustment forreels up to 101/2 inches Dual -speed hysteresis synchronous motor for capstan drive, with unique electrical speed change Two exclusive eddy -current outer rotor motors forreel drive Effortless operation with A-7030solenoid control system - remote control, pause -control, cueing button Instant off -the -tape monitoringwithout interruption of recording Sound - on -sound. sound -with -sound, echo, and built-in mike line mixer Automatic rewind andshutoff. TEAC. TEAC Corporation of America 2000 Colorado Avenue Santa Monica. California 90404 SULLIVAN (arr. Mackerras):Pineapple by such names as Reiner, Ormandy, Giulini, Poll(see Best of the Month, page 76) Leinsdorf, and Markevitch, to say nothing of Toscanini and Serafin in the historicalmono Which should you buy? TCHAIKOVSKY:Symphony No. 2, in C sets. And yet this new recording offers at- Minor, Op. 17 ("Little Russian").New tractions that demand attention: celebrated PhilharmoniaOrchestra,Claudio Abbado soloists, an outstanding orchestra and chorus, c(37.31.81D$E5U:7rS,C.HE GRAMMOPHON ® SLPM a conductor who thrives on exciting theatrical music ofthiskind, and-an element Performance: Neatly turned never insignificant when dealing with Lon- A compact stereo system on, another unit Recording: Good don productions-stupendous soundon a priced at $329M0 " priced at $429.95 Stereo Quality: Good par with the company's best, with climaxes guaranteed to shake yourliving -room If memory serves, this disc marks the debut walls. of England's New Philharmonia Orchestra True to form, Solti conducts a driving, on the DGG label. The fact that the conics supercharged performance. His temposare here differ so little from the best of theor- brisk-though not nearly as brisk as Tosca- chestra's recordings for EMI and London- A twin-lens reflex camera another model nini's-but eminently effective. Only in the priced at $99.95 OR pricedat $259.5,' Decca would seem to indicate that the studio 0§ertoriosection did I feel a need for more or hall is the determining factor in the su- repose, for a more devotional atmosphere. The answers below have been revealed in perior warmth that marks DGG's continen- The choral and orchestral statementsare un- CONSUMER REPORTS tal European recordings. In the face of such deniably impressive, but several musical and highly competitive recordings of the Tchai- The answers to the questions above show how technical flaws mar the total effort:in the easily you and your family can lose money each kovsky "Little Russian" Symphonyas Do- opening of theOff ertorio,the mezzo com- year. The fact is that you, like so many others, rati's tautly exciting one for Mercury and pletely overshadows the tenor; in the may he buying "blindfolded." Tuba Andre Previn's splendidly broad -gaugedver- minim,thepowerfulorchestral climax For Example: sion for RCA, young Claudio Abbado doesn't On the basis of impartial laboratory tests, the drowns out the voices; Talvela anticipates compact stereo system priced at $329.00 was quite make it. The reading here isneatly the beat with his first entrance in theLux judgedbetterinoverall quality than other turned, showing to best advantage inthe neuron;and, although the fugal section in models priced as high as $429.95 and was rated balletic middle movements, but too careful Libera meimpressed me with its relentless a "Best Buy." (Possible saving: up to $100.95) in the end movements. For me, the perfor- The twin-lens reflex camera priced at $99.95 drive, it is no model of inner clarity. was rated higher than the model priced at mance as a whole lacks the uninhibited vital- Of the singers, Marilyn Home and Luci- 5259.5(1 and was judged a "Best Buy." (Possible ity which, when added to Abbado's finesse, ano Pavarotti are the most consistently pleas- saving: up to $159.55) could have produced a first-classreading. ing-the former with her richness and even- These "hidden" values and savings were re- D. H. vealed in recent issues ofConsumer Reports. ness of tone and always reliable artistry, the Hundreds of products like these are rated in latter with his laudable effort to avoid oper- the brand new 448 -pageConsumer Reports TELEMANN:Concerto, in G Major, for atic excesses and careful attention to dynamic Baring Guide Issue. A copy is yours as a gift Viola and Strings; Concerto, in F Major, markings. Martti Talvela ishis usual so- with a one-year subscription. forThreeViolinsandStrings Save $3.40 immediately (from norous self, but his performance seems un- Subscribe now, and your first issue will he the Tafelmusik II); Suite, in A Minor, for derstated and monochromatic alongside the brand new 1969Consumer Reports Buying Flute andStrings.SeverinoGazzelloni models of Pinza and Ghiaurov. Most notice- Guide Issuewith ratings of over 2000 products. Ghedin (viola); Felix Ayo, Your subscription will ALSO include the 1970 ably, and surprisingly, he underplays the big ArnaldoApostoli,andItaloColandrea dramatic moment of Buying Guide Issuewhen published. Future (violins); "Mors stupebit." issueswillreport on TV sets,automobiles, I Musici. PHILIPS ® PHS 900 Joan Sutherland carries her part with dis- washing machines, clothes dryers, sewing ma- 188 $5.79. chines,-literally hundreds of products. tinction until the concluding section, save for Use the coupon below to subscribe, and you Performance: Elegant ensemble, poor style occasional instances of mannered phrasing begin with an immediate saving of $3.40 from Recording: Excellent (measures 320-321 in theDies irae,for ex- the newsstand price. Moreover, what you save Stereo Quality: Fine ample). Her solos are pure and effortless, through a single issue ofConsumer Reports might exceed the cost of your subscription. and her soaring ease in the higher flights All three of these works rank as better than enriches her ensemble contributions. Unfor- average Telemann, particularly the familiar tunately,Libera merequires dramatic Ver- FREE A Minor Suite. One cannot fault I Musici dian singing of the Milanov-Tebaldi variety. with your subscription to on their ability as instrumental players, their Consumer Reports- Here she fails not only because her timbre is the brand new manner of producing beautiful sounds, or inappropriate and her style alien to the mu- 448 -page their precision. As Baroque stylists on discs, Buying Guide sic, but also because her part demandsmean- Issue for 1969 however, they are far outranked by better ingfulenunciation of the text-and this re- groups: Concentus Musicus in the Suite, the This coupon saves you $3.40 quirement, alas, finds Miss Sutherland utter- immediately from the newsstand price Academy of St. Martin -in -the -Fields in the ly and painfully wanting. Unfortunately, an HERE'S HOW: Viola Concerto, and the Concerto Amster- unconvincing rendering of this crucial sum- YOU GET the next 12 issues of dam in the Concerto for Three Violins from Consumer Reports including the ming-up of Verdi's toweringRequiemcan- Buying Guide Issue for 1970 when the Tafe/musik, for instance. Philips' repro- not help but adversely affect the total image, published-newsstand price $7.45 duction is first-rate. YOU GET the 448 -page Buying I. K. particularly when measured against the best Guide Issue for 1969-newsstand balanced and well-nigh perfect achievement price SUE TOTAL VAUGHAN WILLIAMS: SymphonyNo. of Angel 3649, Giulini conducting. G. J. YOU PAY ONLY 6.111111 4, in F Minor; Serenade to Music(see YOU SAVE IMMEDIATELY $3.40 Best of the Month, page 75) VIVALI)I-BACH:FourConcertosfor Organ and Orchestra: in D Minor(BIVV Consumers Union, Dept. S-2, Mount Vernon, N.Y. VERDI: Requiem. I Joan Sutherland(so- 596,after Vivaldi's Op. 3, No. 11); in A Please enter my subscription to Consumer Re. prano); Marilyn Horne (mezzo-soprano) ports for a full year (12 issues) at just $6.00 and ; Minor (BWV593,after Vivaldi's Op.3, send me the brand new 448 -page Consumer Re. Luciano Pavarotti ports Buying Guide Issue at no extra cost. (tenor); Martti Talvela No.6);in G Major (BWV 973, after (bass) ; D Payment enclosed 0 Bill me Vienna State Opera Chorus and Vivaldi's Op.7, No. 2); in C Major Name Vienna Philharmonic Orchestra, Georg Solti (BWV 594; after Vivaldi's Op.7,No. 5). (please print) cond. LONDON ® OSA 1275 two discs Pierre Cochereau (organ) ; Huguette Gremy $11.58. Address (harpsichord continuo) ; Pro Arte Orchestra Performance: Powerful of Munich, Kurt Redel cond. PHILIPS ® City State Zip Code Recording:Spectacular PHS 900183 $5.79. If you wish, you may benefit from the reduced rate for two or three years. Simply check the Stereo Quality: Very good Performance: Proficient period you prefer. 0 2 years -$10.00 El 3 years -$14.00 This is London's first recording of the Verdi Recording: Muddy acoustics -1 Requiem-alate entry into an arena a!reacly Stereo Quality: Satisfactory crowded by the record firms with offerings (Contivired (.11 112)

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1968 Shure Brothers, Inc. As prolific as Vivaldi was, he seemsnever to term "classical" is used in opposition to the have written concertos for organ; Bach did (arr. Segovia): Zambra f;ranadina; Afallo,ca usual sense of the word when applied tonon - (Barcarola). Granados (arr. Llobet): La write some, but they were for organ solo, Western cultures; it is intended here to refer without orchestra, and they were adaptations Maja de Goia. Oscar Ghiglia(guitar). tonon-traditional,non -popularmusic.In ANGEL ® S 3650S $5.79. of concertos for other instruments by Vivaldi other words, these are recent compositions. and others. Thus, what can one make of the There are no composers listed because they Performance: Mostly good present disc, the vague and unreliable liner have been collectively composed by commit- Recording: Good notes for which tell us that the organist and tee!I suppose itis desirable for our cultural Stereo Quality: Good orchestra are performing Vivaldi concertos education that we hear these products of the as transcribed by Bach? The fact is that Vi- CHRISTOPHERPARKENING: Inthe Chinese cultural revolution, with their unbe- SpanishStyle.Albeniz(arr. valdi and Bach have in effect been combined: lievable combinations of traditional Chinese Segovia): Cochereau plays the Bach organ transcrip- Leyenda. Villa -Lobos: Etude No.1,in E music and Western concerto style. Imust Minor; Pr, lode No. 2. in E Major. Torrega: tion of the Vivaldi) concerto while Kurt Re- confess that my reaction was uncontrollable del and his orchestra play the original Vival- Ei-tudio &Manic; Recuerdos de laAlhambra. hilarity; these pieces sound like parodies in Moreno Torroba: Romance de 10( proof. di accompaniments-a synthetic concerto, in the sort of ''Ina Chinese Rickshaw" style Mudarra (arr. Pujol): other words. The music works fairly well in that used to enliven children's piano lessons, Fantasia No.10. its hybrid guise. Cochereau, playingan un- Guerau (arr. Pujol): Cantarios. Sot.:Eftu- tea -time recitals, cultural meetings of the lo- diof Nor. 3, 17, and 19. Lauro identified organinan extremely resonant calgardenclub, grammar -school (arr. Diaz): acoustic (Notre -Dame, perhaps?), gradua- I ',ticI *enezo/ano No. 3. Ponce: Pre/ides Nos. isvery tions, and other mass tortures. 1, 2. proficient in his performances, but he isex- .r. and 6. Christopher Parkening (gui- Perhaps representing this music asan au- tar). ANGEL ® S cessively fond of fourniture stops. Theac- thentic product of the current Cultural Rev- 36020 $5.79. companimentsarewellplayedandwell Performance: Good worked out to suit Cochereau's solos, but the Recording: Good heaviness of the organ, as well as the general Stereo Quality: Good muddiness of the acoustics, made listening toa this disc less than a pleasure for me. Since ANDRES SEGOVIA:Espana -Segovia. the jacket does not give the Vivaldisources, Rodrigo: Fandango. Granados(arr. Sego- I have indicated them in the heading above; via): La Maja de Goya; SpanishDance No. the concerto in G Major (BWV 594),more- 10, in G. Albeniz (arr. Segovia): Leyenda; over, was in Bach's original adaptation a Sevilla. Villa -Lobos: Etude No.1. Crespo: concerto for solo harpsichord. I. K. Homage to Aguirre. Ponce:I 'alse. Moreno Torroba (arr. Segovia): Alhada;Sonatina; RECORDING OF SPECIAL MERIT Allegro. Turina: Sevillana (Fantasia).An- dres Segovia (guitar).DECCA ®DL 710160 WAGNER: Tristan and Isolde: Isolde's 85.79. Narrative and Curse. Die WaWire: Act 2, Scene 4. Siegfried: Act 3, Finale. Kirsten Performance: The Old Master Flagstad (soprano) ;Elisabeth Recording: Distantly miked Hongen Stereo (mezzo-soprano);SetSvanholm(tenor); Quality: Not significant Philharmonia Orchestra,Issay Dobrowen, Faced with this imposing recordedpanora- Karl Biihm, and Georges Sebastian conds. ma of classic guitar repertoire,I decided to SERAPHIM g 60082 $2.49. tacklethe assignment bylisteningtothe Performance: Flagstad superb pieces in historical -chronologicalsequence- Recording: Holds up well beginning with the sixteenth-century vihue- lists Milan, Mudarra, and Narvaes,going Thereare three powerful scenes and a full on to the seventeenth -century guitar master hour of vintage Flagstad in this welcomere- Gaspar Sanz and to the charmingCanarios issue-an absolute must for vocal buffs,es- of Francisco Guerau, thentoBeethoven's pecially at the low price. The Tristan excerpt KIRSIL \ VLAGSFAD Unbelievable breadth and beauty of tone contemporary Fernando Sot; and finishing predates the complete recording by several with the Iberian and South AmericanRo- years, and,if the latter perhaps contained mantics and contemporaries.It was a fas- more interpretive nuance, the present version olution is an error, too. I understand that the cinating experience. The roughest part-in- pianist who is heard on this recording had offers even more effortless vocalism. The deed, it was infuriating-was tryingto com- sheer beauty and unbelievable breadth of his hands ruined in a mob beating during the pensate for the totally uninformative sleeve tone are equally evident in the other two ex- recent unrest. Frankly, the less I think about notes on the Decca Segovia potpourri; there cerpts. Svanholm holds up his end creditably this whole thing the better. E. S. was no information whatever on the com- in the sensitivelyand tenderlyprojected posers,notevenfirstnames.Sincethe Todesvertiindigung scene (Die lralkiire), RECORDING OF SPECIAL MERIT **Aguirre" referred to in the title of Crespo's butinthe Siegfried finale he isdistinctly beautiful Homage is presumably the Argen- overshadowed by the indomitable Flagstad. WILLIAM GOMEZ: Guitar Recital. Sor: tinian Julian Aguirre (1868.1924).Ipre- The recording dates given on the record No. 9, in G Major; No. 25, in G sume that Crespo is a countryman. The notes Major.Torrega:Alborada jacket are wrong: these performanceswere ("TheLittle for Oscar Ghiglia's Angel disc, let it besaid, clone between 1948 and 1953. The sound is Musical Box"). Sainz de la Maza: Haba- are exemplary. quite serviceable, and all three conductors nera. Anon.: Jeux interdits. Morena Torro- For sheer listening pleasure, the budget ba:Rendanguillo.Villa -Lobos: - excel at the helm of what was then the newly Preludes priced London album by William Gomezis Nos. 1 formed Philharmonia Orchestra. G. J. and 3. Ablimiz: Tanguillo. Ruiz- outstanding. Not only is the repertoire nice- Pipo: La Danza. Tansman: Suite in Modo ly varied among classics and contemporaries, COLLECTIONS Polonico: Canzonetta, Alla Polacca, Borca- but Gomez's playing revealsan utter and rola, Danza pomposa. William Gomez (gui- sensitive mastery of phrasing and subtletone CHINESE CLASSICAL MASTERPIECES. tar). LONDON ® STS 15072 $2.49. color, all wonderfully captured by the "Youth" Concerto for Piano and Orches- re- Performance: Exquisitely sensitive cording. The Miguel Ablemiz Tanguillo and tra; "The Butterfly Lovers," Concerto for the Villa -Lobos Prelude No. I Violin and Orchestra. Liu Shih-Kun (pi- Recording: Superb are the best Stereo Quality: Good instances in point. Oscar Ghiglia's playing ano), Shen Yung (violin), Chinese Conser- struck me as a bit stolid at times, but his vatoryOrchestra,FanCheng-Wu cond. OSCAR GHIGLIA: The Guitar in Spain. repertoire, with its wealth of sixteenth-cen- EVEREST ®3212 $4.98. Sanz: Cinq Airsstdanser. Mudarra: Fan- tury vihuela works, seems to me the most Performance: Inscrutable tasiar Nos. 9 and 10. Narvaes (arr. Pujol):substantial and interesting of theprograms Recording: Like a twenty -five -year -old disc l''ariations on "Gu,Wame las vacac." Gue- here. A good point of comparison between Stereo Quality: "Simulated" rau(arr.Pujol):Canarios. Milan: Six the two Angel artists is Mudarra's fascinat- Pavanes. Moreno-Torroba (arr. Segovia): ing and curiously modern -sounding Fantasia The title of this record is misleading. The Albada;Aiada; Fandanguillo.Albeniz (Continu,,1 11-11 1 1 2 CIRCLE NO. 53 ON READER SERVICE CARD-)I. if you know the name... 4 4 , wow. 40V'. _J and quality is what we build into every Sarsui compone-it. Our latest AM/ FM Stereo powernoiseHz,powerReceiver, channelbandwidth, canceler,range. the separation TheSansui shortIM Sansui distortion 800-proof of 800brings better speaker featuresof anlessthan entirely terminals than 3570 db.Watts 0.8% new The plus of performancefrequency Sansui Music extra Power800 long response hasstancard tuning (1IHF), a newly dialsof to20-40,000 15-50,000 the developed to mediumcompli- Hzknow the quality. you ment its years ahead styling. One look and one listen to the new Sansui 800 will AM/FMreceiverStereo$299.95convince Stereovalues Amp-Preamp: Sansuiyou atReceivers: why $259.95. 800 we Sansui 70and Sansui watts yourAU -777 5000$259.95dealer 70 180 wattsbelieve Sansuiwatts $279.95. that $449.95 350 the 46 800 wattsSansui is one $199.95. 2000 of the 100 trulyIntegrated watts great SANSUI ELECTRONICS CORPORATION, 34-43 56THSansui ST, Electric WOODSIDE, Co., Ltd., Tokyo, NEW JapanYORK 1111 111377 European Office Frankfurt a.M., West Germany Sansuig No. 10, in which C pitching of the This set, apparently the third in a series of- so did the entire collection. And thenit piece a third lower gives the music a char- feringinterpretiveinstructions by famous dawned onme:every one of these pieces, acter quite different from that of the spark- artists, consists of a 100 -page book and two which are listed on the record label and jack- ling -bright rendition by Christopher Parken- ten -inch discs. Three sides of the discs are et exactly as above, is a part of Respighi's ing. The latter, as this would suggest, of- devoted to a detailed and stepwise musical three suites of Ancient Airs and Dances for fers crisp and neat performances of some- analysis of the aria -Ant Liebe will mein orchestra. What's more,the Respighi ar- what less interesting repertoire than either Heiland sterben" from Bach's St. Matthew rangement, with a few modifications to suit Gomez or Ghiglia. The Segovia album is a Passion, andlessons on interpretation by the present ensemble of mandolins, guitar, grab-bag of materials, some from original Maria Stader. On the fourth side, she sings harpsichord (Respighi also included harpsi- stereo tapings, some from mono masters. In the aria, and I might as well admit that this chordinhis orchestration), and harp,is almost every instance, overly distant micro- is the only part of the whole expensive pack- quite obviously being used here. And that's phone placement-most noticeable inthe age that I found enjoyable. The book contains where "Andante cantabile" and the rest of Moreno Torroba Albada-permits room re- the full text of Miss Stader's lecture, plus a the titles come in, because those are the tem- verberation to falsify the natural coloration biographical sketch and a discography. The po instructions in Respighi's scores. Respig- of Segovia's instrument. text is wise and illuminating, but Miss Stad- hi, however, also provided the original titles, There are, of course, dozens upon dozens er, who is a charming and extremely com- which are missing here;inthe order in of other classic guitar recitals from which to municative interpreter, is thoroughly unper- which theyare played, they are:Caroso: choose in the Schwann catalog-most espe- suasive as a lecturer in English, delivering Laura soave (Balletto con gagliarda, salta- cially those of Julian Bream. From this quar- her text in a flat and laborious manner. The rello e canario); Anonymous: Italiana; Mo- tetI'd pick William Gomez without any project originated in Switzerland, and it may linaro: Balletto detto "II Conte Orlando"; hesitation. D. H. have some validity in a German -language for- Besard: Danza Rustica; Galilei: Gagliarda; mat in which the demonstrator can make her Anon.: Villanella; Gianoncelli: Bergamasca; THE KYNGE'S MUSICKE. Anonymous: Besard: Arie di Corte; Anon. (incorrectly La bounetit; La doun cella; La chymyse; attributed to Caroso on this disc): Siciliana; Gaillard. King Henry VIII: Tanndernaken. and, finally, Anon. : Passo mezzo e Maschera- Whyte: In nomine. Tallis: A point; Veni da. What we have, therefore, are rearrange. redemptor; Clarifica me pater. Munday: ments for the present ensemble of the entire Tres partes in una. Cornysh: Fantasia: Fa firstsuite, movements one, two, and four la so!. Newman: Pavane. Byrd: Fantasia; from his second suite, and the first three My Lord of Oxenford's March; 0 Mistress movements of the third. Mine. Dowland: Frog Gaillard; Lachrymae I have always been extremely fond of Res- Triste. Bevin: Browning. Ward: Ayre; Fan- pighi's imaginative and atmospheric orches- tasia. Instrumentalists of the New York Pro trations of the original lute pieces, and al- Musica, John Reeves White cond. DECCA 0 though I prefer the orchestral performance DL 79434 $5.79. of these scores, this adaptation for mando- Performance: Lively lins and guitars is remarkably effective. The Recording: Excellent playing is wonderfully precise and full of Stereo Quality: Fine spirit. The disc, in spite of its curious failure to indicate the proper sources, is one that The Tudor court was intensely interested in will delight a great many listeners, and the music, and a considerable body of musicians recording is first-rate. I. K. was employed through the reigns of Henry VIII and ElizabethI. Henry himself composed, and Elizabeth played the virginals. RECORDING OF SPECIAL MERIT The best-known names of the period are connected with the court's music -making, as FRITZ WUNDERLICH: Operetta Re- thiswell -varied cital. Lehar: Giuditta: Freunde, das Leben collectionamply demon- ist lebenswert. Das Land des Liicheins; Im- strates. There are dances, popular songs, and purely instrumental pieces such as fantasias, mer nur lacheln; Von Apfelbliiten einen all presented in quite lively fashion by the FRITZ WE NDF:RLICII Kranz.Fall: Die Rose von Stambul: Ihr instrumentalists of the New York Pro Musi- At his best in an operetta recital stiller, siissen Frau'n: Zwei Augen, die wol- len mir nicht aus dem Sinn. Der fidele Bauer: ca. In many cases the scoria.:, adapted from 0 frag mich nicht. Johann Strauss: Eine simple keyboard settings,involvesinstru- points intelligibly. Even then I'd have some ments known to have been part of court reservations. As for the English edition, the Nacht in Venedig: Ach, wie so herrlich zu music -making; for example, the anonymous obstacles prove overwhelming. G. J. schau'n. Kiinneke: Die grosse Siinderin: Dar La bouneue, which opens the disc, was ori- Lied vom Leben desSchrenk. Kalman: ginally scored for a solo keyboard instru- RECORDING OF SPECIAL MERIT Gratin Mariza: Komm Zigdny; Griiss mir ment; it has been supplemented in this re- mein1Vien.FritzWunderlich(tenor); MUSIC FOR MANDOLIN AND GUI- Bavarian State Opera and other orchestras, cording by lute, kortholt, bass viol, record- TAR ENSEMBLE. Caroso: ers, organetto, rauschpfeife, regal, and per- Andantino. Hans Moltkau, Carl Michalski, and Fried Anon.:Andantino.Molinaro:Alle,eretto Walter cond. CAPITOL ® SP 8688 $4.79. cussion. It works very well indeed; the or- moderato. Besard: Allegro marcato. Galilei: chestration has been most ingeniously accom- Allegro marcato. Anon.: Andante cantabile. Performance: Ideal plished. Some of the livelier pieces are, Recording: High-powered I Gianoncelli: Allegro. Besard: Andante can- feel, taken a little too quickly; there is an tabile. Caroso: Andantino. Anon.: Allegro Stereo Quality: Excellent occasional skittish quality to the playing that vivo. Vienna Mandolin Ensemble, Vinzenz smacks more of twentieth-century showman- Operetta fanciers should snap up this latest ship than sixteenth -century court entertain- Haldky cond. TURNABOUT ® TV 34239 addition to the lamented tenor Fritz Wun- ment. But there can be no denying the vir- $2.50. derlich's recorded heritage. The program in- tuosity of theseinstrumentalists. The re- Performance: Very effective and spirited cludes top -grade Lehar and Kalman, the cording,thoughhigh-level,isexcellent. Recording: Excellent delectable Lagunenwalzer by Strauss, three Stereo Quality: Fine less familiar and charming selections by Leo I. K. Fall, and a somewhat heavy but eminently LEARNING WITH THE MASTERS. An Take a good look at the above listing of con- effective piece by Kiinneke. Wunderlich is illustrated Lesson Manual (book and two tents. Do you see anything strange about it? at his best here, and that is the highest pos- discs) by Maria Stader (translated by John The music isalllate sixteenth and early sible praise: his tone is sensuous and bril- Bell). Available from C. F. Peters Corpora- seventeenth century, but have you ever heard liant, his manner combines natural abandon tion, 373 Park Avenue South, New York, of a composer of that period calling a piece with musical polish (and what a rare com- N. Y. $25.00. "Andante cantabile?" Neither have I, and bination that is!), and his diction is clarity it waswithgreat curiosity thatIput the itself. The recording is unusually powerful, Performance: See below disc on my turntable. The first piece sounded and cut at a high dynamic level, but the Recording Okay very familiar, and so did the second-in fact, sound is rich and well -detailed. G. J. 1 1 4 STEREO REVIEW There's nothing unusual about paying $370, $400 or $450 for a Fisher compact stereo system. We've sold thousands at those prices. But the new Fisher 120 FM stereo radio phono system costs much less than that. It sells for only $299.95.* It's the first compact Fisher stereo system ever priced under $300. And it contains the same features that made more expensive Fisher compacts worth tneir price. The receiver is solid-state and delivers 40 watts music power (IHF). It's virtually free of distortion. The 4 -speed automatic turntable comes with a magnetic cartridge and diamond stylus. And the system includes a pair of Fisher's new XP -55B 2 -way speaker systems, which reproduce the audio spectrum from 37 Hz to 20,000 Hz. (The speakers alone sell for $49.95 each.) By now you may be wondering how we are able to manufacture this stereo compact for such a low price. Manufacturers are also wondering. (For more information, plus a free copy of The Fisher Handbook, 1969 edition, an authoritative 72 -page reference guide to hi-fi and stereo, use coupon on page 21.) The first Fisher compact under$300.

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CIRCLE NO. 28 ON READER SERVICE CARD I 15 FEBRUARY196,9 artistryarepretty much the same thing." An observation such asthis goes far to explain Pleasants' bias, in music, for the performer as distinct from the composer, and hisfeelingthat our present tendency toward composer Eighth in a series of idolatry-derived from the undeniable accomplishments of the great Europe- short biographical sketches an composers of the eighteenth and of our regular staff and nineteenth centuries-has alot to do contributing editors, the with the infirmities of contemporary "men behind the magazine" "serious" music. And certainlyitex- -who they are and how they plains his enthusiasm for jazz, deni- grated by the "serious" music com- got that way. In this issue, munity as a "performer's art." London Editor This personal philosophy underlies his forthcoming book, Serious Music- HENRY And All That Jazz!,a key chapter of which appears in this issue on page PLEASANTS 55. He rejects any synonymous relationship in music between serious and By DRUMMOND McINNIS good. For good music, in his view, is where you find it, and the critic's job is to discover it, wherever it may be. And he cannot accept the notion of ITERMISSION at a Simon & Garfun- His musical career began as a boy the critic as intermediary between mu- kelconcertinthe Royal Albert soprano in the churches of the Phila-sician and public. Explaining himself Hall. A young student approaches a delphia Main Line and was encouraged to the public, he insists,is the musi- tall, white-haired man standing in the by his acceptance, at seventeen, as a cian'sjob.The critic'sjob,asan foyer, attired squarely in a dark blue, vocal student at the Curtis Institute articulate member of the audience, is pin-striped suit with matching vest. of Music. But along with his inclina- to report and assess. "Where," asks the young man, "istions as a singer went a passion and the men's room?" facilityfor writing, and at nineteen IN his writing for STEREO REVIEW, "I haven't the faintest idea." he had combined the two as reporter, as also for the International Herald "Sorry, sir, I thought you were an rewrite man, feature writer, and critic Tribune, Pleasants practices what he official." for the Evening Bulletin. As a former preaches. In a single month recently, Well, a Simon & Garfunkel audi- schoolboy all-around athlete, he fell into inthe Herald Tribune,he covered enceisnotquitethecongregation sports writing, too, specializing in bil- Ray Charles, Bernstein and the New among which a young S&G enthusiast liards and cricket. This was Philadel- York Philharmonic, the Dave Brubeck- would expect tofind the man who phia, remember, where cricket isstill Gerry Mulligan Quartet, and the Lon- was,for twelve years, music editor played, and Pleasants' father had been don debut of Montserrat Caballe. And of the Philadelphia Evening Bulletin; an outstanding cricketer at Haverfordin his Letters from London for this for twenty years a high-ranking For- College. magazinehehascoveredGlynde- eign Service officer, for ten years Cen- Pleasants finds nothing incongruous bourne, Aldeburgh, Aretha Franklin, tral European music correspondent of in these parallel enthusiasms for music Johnny Cash, Andy Williams,and the New York Times, and who, for andsports.Theyarenot,indeed, Henry Mancini. the past two years, has been London quite parallelinhiscase,for they This list reflects a predilection for music critic of the International her- meet in his profound admiration forsinging and singers, hardly surprising ald Tribune and London Editor of the true professional in whatever field. in one who began as a singer and who STEREO REVIEW. And in the performance of the great- is also the author of The Great Sing- But he might have encountered Hen- estprofessionalathletes he discerns ers.In Pleasants' opinion, singingis ryPleasantsinstrangerplaces:at anartisticaccomplishment andac- what music isall, about, whether the Wimbledon for the tennis, at the Oval knowledges an aesthetic pleasure. song is from throats or instruments. for cricket, at Shea Stadium for base- "There is something in the way theAnd he means it when he says that a ball,atabilliard parlor(eitheras great athletes move and in the way musician's job is to sing for his supper, spectator or participant), at a wine - they respond to challenge," he says,just as the professional athlete's job tasting,orinthe countryside,with "that always reminds me of the great- is to play for it and the professional field glasses, as a bird watcher. est musicians of my experience. My writer'stowriteforit.The great Of Pleasants' widely ranging enthu- pleasure in watching a Lefty Grove,artist, he says, makes it a noble ser- siasms, however, the most intense and a Joe Di Maggio, a Sandy Koufax on vice, and he adds: "May he eat well- the most persistent has been music. the baseball diamond, a Ralph Green- and top it off with a noble wine!" Even during his career as a Foreign leaf, a Willie Hoppe, a Willie Mosconi Or she, for that matter. For among Service officer he found time not only working around a billiard table, ora his professional idolsis his wife, the to cover the European musical sceneTilden, a Gonzalez, or a Laver on the harpsichordist Virginia Pleasants, for the New York Times, but also tennis court is very like the pleasure whose vicissitudes as a touring virtuoso to translate Hanslick, Spohr, and Schu- I have had in the singing of McCor- playing a wide variety of instruments mann and to shake up the musical mack and Tauber and Muzio, or in the prompted an article for STEREO RE- world with his book The Agony of playing of Rachmaninoff and Heifetz. VIEW a few years ago: "The Hazards Modern Music. To me, supreme mastery and supreme -and Mysteries-of Harpsichords."

1I 6 STEREO REVIEW The great hall of the Hammond Museum. This room is the location of the organ played by Richard Elsasser on Nonesuch H-71200 ("Yankee Organ Music") and H-71210 (Organ Symphony No. 5 by Charles -Marie Widor). -3aspeaker systems were designed for home music reproduction. NonesuchRecords uses them asmonitors at recording sessions.

Nonesuch Records recently recorded several volumes o' organ music played by Richard Elsasser at the historic Hammond Museum near Gloucester, Massa- chusetts. To make the recording, Marc Aubort of Elite Recordings, engineering and musical supervisor, used Schoeps microphones, and Ampex 351 recorder, Dolby A301 Audio Noise Reduction apparatus, and several pieces of equipment which were custom made. To monitor the input signal and to play back the master tape, Aubort used an AR amplifier and 2 AR -3a speaker systems.

The AR -3a speaker system is priced from S225 to $250, depending on finish. ACOUSTIC RESEARCH, INC., 24 Thorndike Street, Carrtyidge, Mass. 02141 CIRCLE NO. 1 ON READER SERVICE CARD FEBRUARY 1969 117 A Marantz speakersystem is the finest money can buy.

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Marantz has always set the standards others follow. In The sleek. contemporary Imperial I has a smart, walnut preamplifiers. Amplifiers. Turntables. Tuners. And cabinet with a hand -rubbed French lacquer finish and is stereophonic receivers. priced at $299.00. The elegant Imperial II. land -crafted Today. Marantz once again expands its reputation for from se'ected hardwoods and finished in distressed audiophonic excellence with the introduction of antique. features a stunning hand -carved wood a new concept in speaker systems. grille. It's yours for $369.00. Both possess a After years of experimentation. Marantz' first oeauty of cabinetry equalled only by the beauty two Imperial Speaker Systems are now ready to of their sound. be enjoyed by discriminating connoisseurs. When you hear, when you see these magnifi- Technically, both feature a three-way design cent speakers. only then can you fully appreciate incorporating five speakers. There is a 12" Quad- what goes into making a Marantz a Marantz. Your linear woofer which crosses over at 700 Hz to two local franchised Marantz dealer will be pleased mid -range drivers, then crosses over again at to furnish you with complete details and ademon- 6.000 Hz to two high frequency reproducers. stration. Then let your ears make up your mind.

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r,11 -00,%!A01352 SCr:D roc,:CATALOG. CIRCLE NO. 42 ON READER SERVICE CARD ENTERTAINMENTPOPS JAZZ FILMS TH EATER FOLK SPOKEN WORD

Reviewed by DON HECKMAN PAUL KRESH REX REED PETER REILLY

JOHN W. ANDERSON:John IV. Ander- Driver; and six others.CALENDAR ®KES Brie. The recording opens with the screams son Presents KaSandra.KaSandra ( John W. 101 $4.79. and applause of Aznavour fans as he walks on stage at the Olympia in Paris. His first Anderson, vocals); orchestra, Shorty Rogers Performance: Innocent and inane arr. and cond.Mose; My Nel,ehborhood; song,J'aimerai,sounds like the French Rev - Recording: Good n starting all over again. Yet obviously Wilderness; Preacher Man; and four others. Stereo Quality: Good CAPITOL ®ST 2957 $4.79. this is a song meant to be sung by an older The Archies are two comic -book cut-outs man to a young girl.(IfI heard an older Performance: Dreary with pop -eyes and exuberant personalities. man assault a young girl with this noisy bar- Recording: Good On the album cover, Archie and his friend rage, I'd have him arrested by the Society for Stereo Quality: Good Reggie are shown strumming electric guitars. Prevention of Cruelty to Children.) InTout In one respect this has easily got to be the Betty is shakingatambourine. Yes, Jughead s'enva,we are reminded how the French most confusing album of the year. The album is at the drums. Veronica seems to be tickling do love to ramble on about new -mown hay cover has a picture of two men: one, in the the ivories of some electronic keyboard or and attic rooms. We are reminded, not be- background, is grooving away, all smiles; in other. There is also a canine member of the cause we understand French so well, but be- the foreground is a man with a hat on staring group called Hotdog, but, poor fellow, he is cause all of the songs are translated on the earnestly into the camera. Reading the billing back cover for our edification. I'm always I assumed that they were John W. Anderson very grateful for translations. It's the only and KaSandra. Okay, so I turn the cover over way I ever know what the Beatles are saying. and begin to read the notes. It turns out that InMa Miewe get a blaring trumpet treat- John W. Anderson is presenting Kasandra ment that is old-fashioned, and lyrics that go who is actually John W. Anderson. It seems something like: "I am the Christ, I am the that Mr. Anderson considershimselfthe in- Cross, My Love, My Love." At about this terior man; "KaSandra" (follow me closely point, I was beginning to get worried that I here) is the exterior man. The liner notes go wasn't going to like this disc. But hang on, on to say that KaSandra is"a well com- mes chers.The last two bands on the first pounded showman who learned the lessons side re-establish Aznavour's title as King of ofbeingand application first hand from his French Song, and the second side sends him most trusted and intimate of all soulmates, to Rheims to be crowned.Sa jeunesse: Kier Mr. John W. Anderson." Further along we encoreis made up of two songs that Azna- are told that "KaSandra sings what John W. vour wrote fifteen years apart. Here he links Anderson taught him." them together to show a man at an uncertain I really was relieved to get all that cleared middle age and at the age of certainty. This up. As soon I rally my loyal troops and get is delightful. In these last numbers there is back to Paris and Josephine, I am going to no orchestra, just piano and bass, plus un appoint him my War Minister: Wellington petit violon. Thisis as it should be, for by will never be able to figure out what's going the rime we go toParis au mois d'aolit, we on. And it will liven up evenings at Malmai- are back to loving Aznavour. R. R. son to hear John W. Anderson (shh! It's really KaSandra!) croaking on and on, as he CIIARLES AZNAVOITR RECORDING OF SPECIAL MERIT does here, about racial injustice, socialin- Alive and well and still king justice, political injustice, civil injustice, and THE BEATLES:The Beatles.The Beatles justice injustice. Shorty Rogers (who Ka - shown without any musical instrument. May- (vocals and instruments); with various ac- Sandra tells me is really the Marchioness of be he can't play one. Anyhow, the whole companying groups.Back in the U.S.S.R.; Blandford... Shh! Keep it under your hat!) adorable group is so well loved by the young- Dear Prudence; Glass Onion; Wild Honey provides some really fine arrangements for er set that they now have their own TV show Pie; The Continuing Storyof Bungalow them both. The album comes disguised with every Saturday morning. And, sweetheart, Bill;and twenty-fiveothers.APPLE ® SWBO 101 two discs $11.58. a Capitol label, butIhave it on good au- thisis their very own record, made up of thority that itis actually a Vocalian release. rock-and-roll numbers of unspeakable cute- uerformance: Beatles as good as ever P. R. ness, absolutely unlikely to appeal to any- Recording: Excellent body over fifteen. P. K. Stereo Quality: Excellent THE ARCHIES. The Archies (vocals and Itis a tribute to the status the Beatles have instrumentals).Archie's Theme; Boys and CHARLES AZNAVOUR:Face au Public Girls; Time for Lore; You Make Me Varna Charles Aznavour (vocals), orchestra and achieved in our celebrity -worshiping society Dance; La Dee Doo Down Down; Truck piano.rain/el-al; Tout s'enva; Ma Mie, than each new recording of theirs is greeted Comore sue maladie; Emmenez-moi; De like golden rain from the gods. Unfortunate- t'avoir aimie; lit moi clans mon coin;and ly, a chain reaction of secondary (and, I'm five others.REPRISERS ® 6294 $4.79. afraid, tertiary, and quaternary) effects is set Explanation of symbols: off by those who are desperately fearful that Performance: Up up avec Aznavour they will fail to understand an allusion in C) = stereophonic recording Recording: Not bad for a live concert g = monophonic recording the Lennon lyrics, miss a subtle turn ina Stereo Quality: Hard to find McCartney blues parody, or categorize the * = mono or stereo version The cover shows Le Grand Charles frowning record inaccurately(i.e."pre -Revolver" in- not received for review slightly as if being subjected to an over -ripe stead of "post -Hard Day's Night"). Too bad,

FEBRUARY 1969 119 because all the hullabaloo and hero worship country-and-western and Presleyish rock-and- is going to pass someday, leaving only the roll. He has been given too little credit for Pocket the music. And the remarkable fact about the his past contributions to the Beatles' success. Beatles is that they continue, despite their All inall,the Beatles have once again inflated status as culture heroes, to produce come up with a remarkable recording. They world's excellent music. For my tastes, that fact is have wisely shown thatthe questionof the one most worth considering. where they could possibly go after Sgt. Pep- Perhaps recognizing that the external trap- per can be answered in the most simple way pings of their fame have begun to obscure possible: in search of good music. D. H. smallest their real skills, the Beatles have chosen to release a two -record set thatis in marked JEFF BECK: Truth. Jeff Beck (guitar); contrast, both in production accoutrements Rod Stewart (vocals); Ron Wood (bass) ; 35mm camera! and in musical content, to its two most im- Mick Waller (drums) ;J. P. Jones (organ); mediate predecessors, Sgt. Pepper's Lonely Nicky Hopkins (piano). Shapes of Things; Hearts Club Band and Magical Mystery Let Me Lore You; Morning Deu'; You Shook Tour. Packagedina pure,glossy white River;an4.79: and five others. EpicC) cover, it simply bears the title The Beatles Me;BN26413 01$M in small, raised letters. Inside isa poster - sized collection of contact prints, color pic- Performance: White English soul tures, and so forth of the Beatles at work Recording: Very good and play, and four 8 x 10 glossy, full -color Stereo Quality: Very good photographs of each Beatle. The lyrics are Jeff Beck is a former lead guitarist with The ROLLEI 35 printed on the rear of the poster (which Yardbirds-a strong, aggressive player firm - doubtless will cause a panic among those a listeners who want to look at the Beatles C FROM HONEYWELL and follow the lyrics simultaneously). Some thirty songs are included, the number varying according to whether one chooses to include Revolution #9, which is not a song but a sound -effects collage, and several other small, very short, song -like inserts. Re- gardless of how one counts, however, a substantial quantity of new Beatle material is represented, which in time alone-each of the four sides averages around 18-20 minutes-is well worth the price of admission. The songs create no major surprises in style and follow pretty much in the familiar Beatle categories. True,thereisalarger quantity of socially conscious material than usual from John Lennon's pen, but it takes a familiarly satirical form, with the soft edges of Paul McCartney's melodies blurring such nominally hardlinesas "Hey, Bungalow Bill/Whatdidyoukill/BungalowBill" and "The man in the crowd with the multi- coloured mirrors/Onhishobnailboots." Tit:BEATLES You'll carry it everywhere! Not much bigger Pieces like Back in the U.S.S.R., The Con- Beneath the hullabaloo, excellent music than a pack of cigarettes, the great little Rollei tinuingStoryof Bungalow Bill,Happi- 35 fits pocket or purse, yet it takes full-sized, ness Is a Warm Gun, Blackbird (a particu- ly rooted in the heavy sounds of hard rock full frame 35mm pictures. The results are mag- larly sensitive song), Piggies, and Revolution and white English blues. His playing is as nificent-razor-sharp color slides or sparkling # 1 reveal a growing awareness on the part good, I suppose, as one can expect from what prints-because this is a Rollei, built in the of the Beatles of their catalytic effect upon is an essentially derivative style. That is, he famous Rollei quality tradition. the social consciousness of young people. reproduces the superficialstylistic qualities Big -camera features include a superb f/3.5 Lovely melodies abound. Predictably, they of such performers asB.B. King, Albert Zeiss Tessar lens, a highly accurate exposure are associated with songs of love and per- King, etc., but, like so many English blues meter by Gossen, and a Compur shutter with sonal expression. Among the best: M.o !ha players, he lacks rhythmic subtlety and the 9 speeds up to an action -stopping 1/500 sec- My Dear, I'm So Tired, I Will (the last two penetrating quality of the kind of experience ond. It's easy to use, too, even for beginners. combine traces of 1950's rock-and-roll with necessary to bring the whole thing off. Beautifully made and meticulously fin- a touch of country-and-western), Mother Na- Given these qualifications, however, Beck ished, the jewel -I ike Rol lei 35 costs about $190, ture's Son, and Long, Long, Long. Like most can be an entertaining performer when heard depending upon accessories. See it at your major artists, the Beatles can produce excel- "live." On recordings, and especially in this Honeywell dealer's soon, or mail the coupon lent material when one least expects it. At- first release as leader of his own group, he for free literature. tempting to parody other styles and other struck me as too self-consciously aggressive forms, they can write pieces that willlast to hold my attention for very long. The in- Honeywell takes the guesswork not because they aresatirical but because stances in which a good thing or two breaks out of fine photography they are intrinsically good music-pieces like through his unrelenting search for acoustical Good Night (arranged with enough string distortion and bent notes are too few and far sections and choruses to give Percy Faith between. D. H. 363 Honeywell Photographic nightmares), Heller Skelter (althoughits Mail Station 209, Denver, Colo. 80217 value is diminished by too many production BEE GEES: Idea. Bee Gees (vocals and in- Please send Rollei 35 literature to: gimmicks), and Honey Pie (complete with strumentals). Let There Be Love; Down to Earth;Su'anSong;Idea;KittyCan;I Name filtered sound, megaphone -styled vocal, and sliding saxophones. Started a Joke; Kilburn Towers; and five Address At least a word or two of credit should others.ATCO ®SD 33 253 $4.79. City/State/Zip gotoarranger/producer George Martin Performance: Mild for his excellent arrangements. In the course Recording: Shrill of the two discs he is called upon to pro- Stereo Quality: Excellent Honeywell videsettingsthatrange fromsaccharine stringsandantique two -beatrhythmsto LCIRCLE NO.33 ON READER SERVICE CARD (Continued on page 122) 120 STEREO REVIEW

only wayto stop it

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The Craig 2405 can be programmed to continuously repeat the forward/reverse cycle. Automatically. Until you turn it off. It can also be programmed to go forward and reverse automatically and return to the starting position. And stop. Or, just go forward and stop.

The Craig 2405 Auto Reverse Stereo Tape Deck is all you'll ever need for your component stereo system. It has everything. It does everything. All automatically. Besides a more sophisticated and flexible reversing system, it features built-in sound -on -sound and sound -with -sound, three speeds that are lever -selected, and ultra -streamlined styling for operational convenience. The good looks are Craig's added plus. Visit your Craig dealer today for a full demonstration. And see how inexpensive "everything" can be. =MA I G CRAIG CORPORATION, Products Division, 2302 E. 15th St., Los Angeles, California 90021 CIRCLE NO. 16 ON READER SERVICE CARD II BM' \12)I9(,9 121 This is a largely boring outing by a group tions. Kooper's organ work on His Holy There is nothing subtle about this album. that has done much better in the past. The Modal Majesty, for example, is surprisingly Diller hits you with both barrels and never Bee Gees sound forced, slick, and more than poorly articulated for a player as good as he stops to seeif you've died laughing. I'm a little commercial here. Kitty Can and Kil- is supposed to be. Bloomfield, on the other sorry-there is one very fine subtlety hidden burn Towers are about the only two items of hand, is much better, a really fine rock gui- in her rendition of The Man I Love. To the interest, and even they don't really bear re- tarist well into the process of developing a background of seriously saccharine -sweet vi- peatedlistening. Something odd seems to genuinely original improvisational style.I olins, she does a remarkably able take -off on have happened in the recording studio here: like Stills, too, especially for his use of the the one -and -only Mabel Mercer.I wonder the sound produced by both voices and or- wah-wah pedal. But as a group the ensemble if she meant it? "Maybe Tuesday will be my chestras has a white and arid quality, as if just doesn't seem terribly interested in the good news day" is the line that may convince your treble was set on high and your bass cut proceedings, and nothing comes across so you she did mean it. completely. In such circumstances, I tend to clearly on recordings as lack of interest. The heavy thunder of Mrs. Miller getting hear through my sinuses, which may in part D. H. there first,a few seasons back, takes away explain my lack of enthusiasm for this one. most of the novelty of this record. But as we P. R. THE CHAMBERS BROTHERS: A New all need house presents for those weekends Time-A New Day. The Chambers Brothers in the country and for those birthday parties MIKE BLOOMFIELD, AL KOOPER, (vocals and instrumentals).ICan't Turn we attend not knowing the birthday boy or STEVE STILLS:SuperSession.Mike You Loose; Guess Who; Do Your Thing; girl too well, this one is perfect. But don't Bloomfield(guitar);Al Kooper (piano, Where Hare All the Flowers Gone; Lore Is give it until you are ready to leave the prem- organ, ondioline, vocals, twelve -string guitar, All I have; and six others. COLUMBIA ® ises-otherwise you may have to hear it. electric guitar); Steve Stills (guitar); Har- CS 9671 $4.79. vey Brooks (bass) ;Eddie Hoh (drums) ; R. R. Barry Goldberg(electric piano) ;various PATTI DREW: Workin' on a Groovy studiomusicians.Albert'sShuffle;Stop; Thing.PattiDrew(vocals) ;orchestra. Man's Temptation; His Holy Modal Maj- Workin' on a Groovy Thing; Without a esty; Really; and four others. COLUMBIA ® Doubt; Tears; Pee Wee; Didn't We; and six CS 9701 $4.79. others. CAPITOL ® ST 2855 $4.79. Performance: Surprisingly uneven Performance: Scattered Recording: Excellent Recording: Good Stereo Quality: Excellent Stereo Quality:Good Practically every jazz commentator I know This is one of those buckshot albums. Each has been belaboring the fact that jazz musi- track has a different sound, and so does Miss cians no longer have jam sessions the way Drew's voice on each one. Each track seems they did in the Good Old Days. The expla- to be plumbing the commercial depths of a nation is simple enough: like practically ev- particular style, so that if by chance one of eryone else in America, the new young jazz them breaks through it could set the pattern players have decided to insist upon express- for a complete album. Sorry to report that ing their own thing, so to speak, in their nothing struck my ear as either being very music. As a result, the common language nec- good or having much commercial possibility. essary for jam sessions has become virtually Miss Drew flounders along with the fluctu- non-existent. Thereis nothing necessarily ating concepts, wailinginll'orkin'on a wrong with that, of course, since such per- Groovy Thing, going for laughs in Pee Wee, formers as Cecil Taylor and Albert Ayler are etc., and not making a very strong impression radically and effectively pushing back the on anything. P. R. frontiers of improvisational music, and need MIKE BLOOMFIELD absolute freedom in order to do so. But it A fine, original rock guitarist THE ELECTRIC PRUNES: Release of an does make it a bit of a drag for listeners who Performance: Intense, but wearing Oath. The Electric Prunes (vocals and in- still sustain Hollywood -fed fantasies of mu- strumentals). Kol Nidre; Holy Are You; sicianshappilyswingingthroughSweet Recording: Very good Stereo Quality: Very good GeneralConfessional;IndividualConfes- Georgia Brown at a cozy after-hours club. sional; Our Father, Our King; The Adora- Well, jazz may not have a common lan- The music of the Chambers Brothers is not tion; Closing Hymn. REPRISE ® 6316 $4.79. guage, but rock music sure does. And that one of my specialtastes. Although their fact more than anything else is the generat- pithy distillation of rock and rhythm-and- Performance: Old wine in a dubious bottle Recording:Excellent ing force behind a recent rash of rock jam- blues has its appealing moments, the same- session recordings. ness with which they approach most of their Stereo Quality:Exaggerated Actually, this release-a kind of rock sum- material tends to wear my senses to the nub David Axelrod was around here only recent- mit meeting-is somewhat misleading, since pretty quickly. Perhaps the problem is that ly with an interminable recording of an origi- guitarists Stills and Bloomfield (from re- the shouting vitality of theirlive perfor- nalrock -romantic composition he claimed spectively, Buffalo Springfield and the Elec- mance hasn't been captured by the recording. was inspired by Blake's Songs of Innocence. tric Flag) appear on alternate sides of the The next time they show up in your town, Now he's back once more as composer of an disc. The basic groups, therefore, consist of go out to hear the real thing. That should elaborate contemporary interpretation of the Kooper, Brooks, and Hoh playing either be better. D. H. music for the Jewish Day of Atonement ser- with Stills or with Bloomfield. Too bad. It vice, and Ireally can't tellthe difference. would have been more interesting to have PHYLLIS DILLER: Born to Sing. Phyllis Calling God "You" instead of "Thou"is heard Stills and Bloomfield in a competitive Diller ( vocals ) ;orchestra.Satisfaction; carrying informality rather far, and begging musical situation. (That's what sessions real- Hello, YOung Lovers; Bei Mir Bist Du forgiveness for one's sins of the year or ac- ly were about in the Old Days-battles to see Scholl; And This Is My Beloved; My Man; I knowledging the holiness of the Almighty which of the six tenor saxophonists present Enjoy Being a Girl; and five others. COLUM- is not necessarily more inspiring because one would "carve" the others.) Like some other BIA ® CS 9523 $4.79. is doing itto a rock-and-roll beat than to rock jam sessions I've heard, both "live" and Performance: Fee, Fie, Fang, Fun old-fashioned Hebraic cantillation. The mu- recorded, this one is too polite and too lack- sicisnot distinguished by anything more ing in aggressive interaction among the play- Recording: Phyllis Diller a la Mrs. Miller Stereo Quality: Phyllis Diller in stereo? than ordinary rock sound and standard pop ers. The afterthought of adding horn accom- instrumentation. Occasionally, as in the pas- paniments to the session tapes simply freezes The only thing wrong with Phyllis Diller is sage "Our Father, Our King," Axelrodis the music even further into conventionality. that she's not really funny anymore. There able toliftthelevel of his composition Kooper, Stills, and Bloomfield are good, can be too much of any good thing.I am above the commonplace, but most of the time surely among the best players rock has yet sated with her Fang jokes, her driving dis- what he has achieved here is no better, if no developed, but their inventiveness usually ability, and the endless ha-ha's she passes worse,than countless other mediocre at - isn't sufficient to maintain long improvisa- off as laughter. (Continued on page 124) 122 STEREO REVIEW 6 reasons why the new Jensen TF-3B should be your nextbookshelf speaker

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CIRCLE NO. 72 ON READER SERVICE CARD FEBRUARY1969 123 tempts. As with the Blake, he has once again Irby, IGuessis reminiscent (we are told) and incidentally spends a great deal of time set his sights too high for his resources at of Ravel'sBolero.I don't agree at all.I think longing for a ride on his motorcycle (rhymes this stage of his development as a composer. she sounds more like Pixie Judy singing her with -pickle"). For almost eight unbearable Intheir performance,the highly charged songs to those obnoxious puppets.The Pink minutes he rhymes his pickle and even makes Electric Prunes give the score everything they Lifeis just awful, and inJack and Jillit's a brave attempt to entice his listeners to sing have-which isa lot-hut not enough to Miss Gault who comes tumbling down.The along.(It appears to me that what Arlo atone for the musical failings of this ambi- Answer Has to Come fromYou brings back Guthrie actually wants to be isa stand-up tious attempt to bring the Jewish liturgy up memories of Joni James, or maybe Kay Starr comic, in which case he already has the face, to date. The melodies on which Mr. Axel - -except that Miss Starr could hold these but could use a new act, preferably written rod's settings are based have survived the notes much closer to my heart. by Don Rickles.)InTry Me One More centuries.I'mrather afraidthese settings There is no doubt all the same that a for- Time,we are subjected to an utterly tasteless won't. P. K. midable talent lurks beneath all this adoles- (and already passé)lampoon of Lyndon cent arrogance. Jonna Gault is not only the Johnson. InWouldn't You Believe it,Arlo THE FIRST EDITION:The First Edi- star of this album, but has done the arrange- reveals he is a more than adequate guitarist, lion's 2nd.The First Edition(vocals and ments and produced them in her very own and that's very pleasant knowledge to come instrumentals).Charlie the Fer de Lance; Jonna Gault workshop. Miss Gault (I can- by. ButMeditation Wave upon Wive)is Only Me;I Passed You By; A Patch of Clear; not refer to all that talent as "Jonna," but I almost seven minutes of noisy plucking. And A Good Kind of Heart;and six others. do wonder if she and Barbra lost their "a's" again,The Pause of Mr. Clausiseight REPRIsE ® RS 6302 $4.79. through the same agent) once recorded a sin- minutes of unrelieved corn. Help! R. R. Performance: Reprint gle,lr hat if They Gave a 11'ar and No One Recording: Very good Came?What if Miss Gault went to all this TIM HARDIN:Tim Hardin3 Livein Stereo Quality: Excellent trouble and no one listened? Could be she Concert.Tim Hardin (vocals and guitar); Donald McDonald (drums); Warren Bern- The best news about this group is the pres- hardt(piano,clavinet);DanielHankin ence of Thelma Lou Comancho. She is a C (guitar); Eddie Gomez (bass); Mike Main- vibrant and exciting performer, but unfor- ieri(vibes).The Lady Came from Balti- tunatelylittle of the material here is much more; Reason to Believe; Misty Roses; Black above routine. The other members of the Sheep Boy; Lenny's Tune;and seven others. First Edition (Mike Settle, Kenny Rogers, VERVE/FORECAST FTS 3049 $4.79. and Terry Williams) also try valiantly, but to little avail, with such second-rate stuff as Performance: The real Hardin I Pas fed YouBy andThe Sun Keeps on Ris- Recording: Very good ingto work with.Charlie the Fer de Lance Stereo Quality: Very good is good enough-but just barely. I think I'd Tim Hardin's growing eminenceisbased like to hear Miss Comancho on a disc of her upon his considerable skill as a composer of own. P. R. deceptively, but profoundly expressive songs. This collection was recorded last spring at JONNA GAULT: Jonna Gault and her Town Hallin New York City, andisa Sympbonopop Scene.Jonna Gault (vocals); -live" compendium of his best-known ma- orchestra, Jonna Gault arr.Watch Me; Good terial-most of which has been recorded Vibrations;Wonder Why, IGuess; The before. Pink Life; Jack and Jill; The Answer Has Since Hardin was not pleased with either to Come from You;and five others. RCA the personal or the technical circumstances C) LSP 4081 $4.79. of the earlier versions,itis rewarding to Performance: Precocious and promising hearinterpretationsthatobviouslycome Recording:Excellent much closer to the material's real essence. Stereo Quality: Very good He is supported magnificently by a group of musicians who are among the best accom- Rock-and-roll, acid -rock, folk rock, country TitHARDIN .ii/tplebut profoundly expressive songs rtn ing players working in and out of the rock, soul rock, and now-pow!-symphon- rock/jazz scene. Hardin's playing and sing- opop rock! It's enough to send us old thirty- would take her bruised but hopefully more ing often come as close to jazz and folk as year -olds back to our rock and rye. reasonably sized ego back to her very own to rock and country-and-western, and he ob- IfI happened accidentally on this collec- workshop and develop her reallivelittle - viously requires support that can cover as tion and was told only thatit constituted a girl talent into a great big grown-up humble wide a range of styles as he does. He gets it. first album forayoung girl,I would have pie achievement. R. R. Hardin is not exactly the most complex been impressed and wished Jonna Gault well songwriterIhave ever heard, anditwill for the future. Unfortunately, the liner notes ARLO GUTHRIE:Arlo.ArloGuthrie soon become apparent to you that one or are a classic case of overkill, containing a (vocals and guitar) ;Stan Free (piano and two of the songs have annoyingly similar condemning abundance of too much infor- harpsichord) ; Bob Arkin (bass) ; Ed Shaug- melodylines. No matter. He exposes so mation. When you heartherecord, you nessy(tabla and drums).The Motoicycle much personalemotionalcontentinthe know Jonna Gault has nerve; when you read Song; Wouldn't nu Believe It; Try Ale One course of his tunes that one soon overlooks the jacket you know she has brass. Thus we More Time; John Looked Down; Medita- the music's technicalfailings. Be sureto get the super -information that tells us Miss tion(11":ive upon Ware); Standing.atthe hear him. D. H. Gault has achieved the ultimate goal of ev- Threshold; The Pause of Mr. Calif.Re PRISE ery recording artist:-cohesiveness, totality, ® RS 6299 S1.79. JIM AND JEAN:People World.Jim and and complete unity of sound and style.-(I'm Jean Performance: Puerile (vocals) ;orchestra.Topan,gaRoad; supposed to saythat!)Then we get a row of Success; Get Out of My Mind; The Planet obvious alliterations:"cool clavichord, Ba- Recording: Adequate Stereo Quality: Good June; Playground; Cross My Heart;and six roque brass, Virile vibes, and wildly whimsi- others. VERVE/FORECAST ® FTS 3015 $1.79. cal woodwinds." Miss Gault, your groovi- On the hack cover, Arlo Guthrie looks like a nessgalls. cross between Bea Lillie and Tiny Tim. On Performance: Good Recording: Good Watch Meis a song filled with child -like the front cover, he looks like Mama Cass af- precocity that reminds me of that other bad ter a crash diet of watercress and cranberry Stereo Quality: Good seed, Nancy Sinatra. Goodl'ibrationshas a juice. If he only had a few of the talents of In the old days of show business, if every- very good arrangement for this Beach Boy each, the contents of this record might be thing else failed for a performer, he or she standard. Jonna's jumping here, but she also worth all the trouble my nerves went through could be sure of a big hand by bringing out gargles. (Maybe that'sthe -pop- part of listening toit. Here Woody Guthrie's pre- either one of the kids or the American flag. symphonopop, which the jacket coyly calls cocious son ( and automatic hero for the Dy- Today all one need do is take offallhis "a sound createdbyMiss Gault. for Miss lan set) wrote all the songs, performs them clothestoinsure audience attention. The Gault andsungby Miss Gault.") Wonder with a startlingdedicationtomediocrity, (Continued on page 126) 124 STEREO REVIEW Norelco introduces the honest double deal. $32.95 value, $17.95 value, only $9.95 only $5.95

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North American Philips Company, Inc., High Fidelity Products Ta00rlmenl, 100 East 42nd Street New York. N.Y. 10017. Other Products: Electric Sha,mrs, Rembrandt Square Lotions. HearingAids. Radios. Audio -Video Tape Recorders. Dictating Machines, Electrooic Educational Kite Training & tdricalmii Products. Medical -Dental X -Ray,Electronic Tubes, Commercial Sound, Closed Circuit 't, TV Studio. Motion Picture, Cryogenic and Telephone Equipment. CIRCLE NO. AS ON READER SERVICE CARD FEBRUARY 1969 125 cover of this album is a case in point. It is The Mod Squad and quite a winning and Having seen Nico perform, I can tellyou a photograph of Jim and Jean, apparently in persuasive actress,too. And her talent ex- that she is a lot more fun to look at than lis- the buff, gazing moodily into the camera tends to music. She has obviously been heav- ten to. Although you would never guess it lens. On the back are more pictures, but in ily influenced by Carole King and Laura Ny- from the spooky cover photograph of her, these Jim and Jean are fully clothed. Jean is ro, which is fine with me, since I am an un- sheisa woman of extraordinary beauty. even wearing a hat. dying fan of Miss Nyro's in particular. Miss That, unfortunately, is about it. As a singer What is going on in the album musically Lipton has the same break in the voice, the she is - nonexistent. When I saw her inper- is not nearly as startling as the cover. The same husky hoarseness around the edges, the formance, there were enough supplementary best thing is their single hit, People World, same I -been -around blasé quality. She sings distractions(filmstripsbeingprojected whichtheyperform modestlyandwell. two of Nyro's songs-Stoney End and Hands against three walls, an audience wellsea- Rhythms of Revolution and Hanoi Hoe-down Off the Man-and they are glorious. But soned with the newest freaked out members are two abrasive little songs which I suppose even on her own compositions, Miss Lipton of the Warhol crowd, psychedelic lighting are meant to tremble with New Left scorn shows very big ears for the soul and content effects and, again, her own superb physical for what is happening in the world, but turn of Nyro's music. Itis all very intellectual looks) to enable me to overlook, in part, out to be hokey and naive. Everything is and complex for rock-and-roll fans to dig, but whatIwas hearing.It'simpossible,of treated very, very seriously here, and before I hope the kids will fall for gimmicks, such course, to do that with a recording, so I will long I found my self getting a bit depressed as her popularity on television, and then dis- not critically belabor this lovely creature's about the really low level of so much of to- cover her versatility and talent. More ma- disastrous efforts here beyond saying that day's protest music. And that led me to think ture observers of where music is going will this is probably the record non-event of the thatifprotest cannot be articulated well, not, I dare say, need coaxing. Just listen to year. then it is little wonder that it takes violent what she does with ballads. A refreshingly Nico has written all the words and music forms. And that led me to think of Chicago. gritty kind of Friday -night blues clings to for this disc, and they are at least bearable. That's where I saw my first naked lady on Her performance is really not. She moans, stage. Her name was Cupcakes Cassidy. Cup- O she groans, she whispers-at times she even cakes took out all her hostilities on the cur- attempts to sing in a key obviously not in- tains at the side of the stage.I mean, she vented yet. She has a sibilant "s" equal to really communicated the "make love,not that of Carol Channing's great creation Ce- war" philosophy. P. R. celia Sisserly, the silent movie star, who introduces herself to audiences as "SShesseeya JIM KWESKIN: What Ever Happened to Sshhishsherly," and who is publicly at a loss Those Good Old Days at Club 47 in Cam- to understand why she can't make it in talk- bridge, Mass., with Jinn Kweskin and His ing pictures. Friends? Jim Kweskin (vocals, guitar, comb, There was one song that I found intrigu- autoharp) ; Fritz Richmond (jug and washing though, and that was a little item called tubbass).Mississippi Mud; Ain'tShe Ari's Song. The refrain is "sail away, sail Sweet; Bomba; and eight others. VANGUARD ® VSD 79278 55.79. away," and there are other incidental refer- ences to some chap who spends a lot of time Performance: Okay on a boat. Nico makes it all sound very sac! Recording: Good and wistful, which is a shame, because the Stereo Quality: Fair last I heard about the gentleman he was happy as a clam watching this tall lady, in This one's a torpid outing, presumably made riding habit and rubies, exercizing her horse "live" at the Club 47 by Jim Kweskin and around the deck, all the while humming I'm Fritz Richmond. The aroma of mothballs pre- Just ir'ild About Ail. vails as Kweskin jogs through a collection of P. R. such things as The Sheik of Araby, Five Foot ORPHEUS. Eric Gulliksen, Jack McKenes, Two, Eyes of Blue, and Mississippi Mud. Bruce Arnold, Harry Sandler (vocals and The audience seems to like it well enough, instrumentals).I'llFly; Just Got Back; but I found that it took just one or two bands Pi (AA, 1.1fifirofis Mine's Yours; Don't Be So Serious; So Far to persuade me thatI really don't give a Talent and a refreshingly gritty voice Away in Love; She's Not There; and five damn about the old days at the Club 47. I others. MGM ® SE 4569 $4.79. heard no reason why you should, either. P. R. her voice like fresh rain on maple leaves. Her slow, introspective approach to blue Performance: As American as apple pie rock singing is consistently good. And the Recording: Good RECORDING OF SPECIAL MERIT beautiful, lyrical, and lushly integrated use Stereo Quality: Fine of strings and horns by arranger Marty Paich PEGGY LIPTON: Peggy Lipton. Peggy At first, hearing I'll Fly, spirits rise in the Lipton (vocals) ;The Blossoms (vocals) ; makes the arrangements as good as anything I've heard Burt Bacharach or Jim Webb do. hope that at last here is a group one can lis- rhythm section, Hal Blaine, director; orches- ten to without wishing for ear plugs. This is tra, Marty Paich arr. and cond. Let .Me Pass Regrettably, a few of the songs are slushy By; Natural Woman; San Francisco Glide; and a bit too sickly -sweet for my taste. Ex- a very modern sound but with the back- Stoney End; Hands Off the Man; Lady of ample: It Might as Well Rain Until Septem- ground of something aurally resembling the the Lake; and fiveothers. ODE ® Z12 ber, which would be just right for Lesley Hollywood String Quartet on a tear. I'll Fly Gore. But every time she gets into is an interesting, infectious song with a great 44006 $4.79. that beat, and the four rather personable looking familiarsurging,top-heavy, tumultuous Performance: Stirring groove, Peggy Lipton is a first-rate perform- young men who have written it have the dis- Recording: Good er. Oh yes. She is also ravishingly beautiful, tinction of not sounding like every other Stereo Quality: Good like a flower -child Natalie Wood, with long group. It's followed by Just Got Back, a great stop -beat, neck -jerking song that only Peggy Lipton was first called to my attention golden Rapunzel hair and a permanently stoned expression on her well-bred Ivory the very young will know how to dance to. by two actors who appeared with her in a In Mine's Yours, the vocal is lucid and a dismal technicolor horse opera called Blue. soap -scrubbed face. Far out, but well worth trying to save. comfort. The lyrics make nice poetic sense, "You won't believe how great she is!" they R. R. too, for a change. Don't Be Serious is a piece urged, forgetting their own work in a rare of corny camp, but with no malice or bitter- burst of generosity, awe, and respect for a NICO: The Marble Index. Nico (vocals); young actress who had impressed them. orchestra. Prelude; Lawns of Dawns; No ness, and by now you begin to suspect that One Is There; Ari's Song; Facing the Wind; maybe these ascending Orpheuses are just When I saw the movie, Peggy Lipton's per- too good to be true. They are wholesome, as formance had been cut and her billing andJulius Caesar; Frozen Warnings; Evening of Light. ELEKTRA ® EKS 74029 $4.79. opposed to some of our more (shall we say) importance relegated to the status of a Hol- addicted friends. You can hear that this quar- lywood extra. But it wasn't the last of her by Performance: Poor tet bathes regularly. I a long shot. bet they even think Recording: Good Mother is that sweet -as -apple-pie lady who She is now the star of the hit TV series Stereo Quality: Good (Continued on page 128) 126 STEREO REVIEW The Right Combination(s)

F you are looking and listening for the right stereo combination out of the hundreds on hundreds available, let us suggest two of them. Take the KLH* Model Twenty -Seven 1receiver and couple it either with a pair of Model Six speakers or a pair of the less expensive Model Seventeens. Add a good turntable to either combination and you have a genuine buy-the kind of bargain that won't leave you vaguely dissatisfied a while from now. The Model Twenty -Seven receiver does exactly what you had hoped for at exactly the right price. It will power a pair of speakers perfectly in any room, bring in FM stations you didn't know were there, and make AM broadcasts sound better than they are supposed to. This performance, with all of the controls and facilities needed to get it, comes in aquietly elegant piece of equipment that makes its point with good design instead of chrome or flashing lights. It will look just as distinctive and undated ten years from now. A pair of Model Six speakers in stereo probably sound better on a wider variety of musical material than any other speakers, including more expensive ones of our own. You would have to spend a good deal of money for even a small measur- able improvement. The Model Six is probably the best long-term investment you can make in musical enjoyment. But if your stereo budget is slightly tight, a pair of Model Seventeen speakers will bring you very close to the sound of the Sixes, except for a slightly less solemn bass quality and less authoritative handling of things like organ pedal notes. The Model Seventeens will handle almost the same amount of power-enough to fill a very big living room with high sound levels; two of them, in fact, will fill a room that would require four of the usual budget -category speakers. Two of them cost about a hundred dollars less than two Model Sixes. You can spend a long time considering the performance and economics of different component combinations, but we don't think you will find ones that make more sense than the two we havesuggested. With either KLH combination, music just can't sound much better.

''''' TPD N.,..,,.,, N, AND KLH Research and Development Corp., 30 Cross Street, Cambridge, Mass. 02139 CIRCLE NO. 77 O11 RE.i.SDER SZRVICE CARD FEBRUARY196(J 127 served them cornflakesfor breakfast each BARBRA STREISAND: A Happening in of her first underground hits, I'm in Love morning. Yet I can only repeat that they are Central Park. Barbra Streisand (vocals and with Harold Mingert.)I could have done good, really good. It's just that they're so jokes). Second Hand Rose; Cry Me a River; without Marty the Martian. I still can. undeniably waspy, a bunch of musical Mr. Silent Night; Happy Days Are Here Again; On the credit side, there are two absolute- Cleans. They may even have learned what He Touched Me; People; and four others. ly magnificent new ballads recorded from they know about harmony in the church COLUMBIA C) CS 9710 $4.79. the concert whichallhystericalStreisand choir. Performance: Warmed-over matzoh fans will want to own. I don't think they are Prediction: there is a really great album in worth close to five dollars, but if you have their future if only they'll sniff a little glue Recording: Fair Stereo Quality: Fair a friend who has already bought the disc, and corrupt themselves just that much. R. R. taping them will fill out your library at much It was a happening, all right. A beer compa- less expense. The two songs I am recom- JEAN JACQUES PERREY: The Amazing ny sponsored it and 135,000 people showed mendingareNatural Soundr and Oscar New Electronic Pop Sound of Jean Jac- up to see her free on one of the hottest nights Brown Jr.'s hauntingly beautiful Love is Like ques Perrey. Mar) France; The Little Ships; in Central Park in years. Barbra appeared in a New -Born Child. The rest of this disc is Island in Space; The Little Girl from Mars; a perfectly godawful dress that looked like second-rate Streisand which has been done Gypsy in Rio; Brazilian Flower; and seven a cut-up parachute dyed in Rit and knocked to death. One more reprise of Second Hand others. VANGUARD C) VSD 79286 55.79. them dead. And anyone who says she doesn't Rose and I'mgoingto be desperately in need Performance. Fun draw the pimple -faced teenagers canjust of anallergyshot. R. R. Recording: Excellent consider the argument lost right now. They Stereo Quality: Excellent slept on the ground for two nights straight to see their idol, a swirling mob of hysterical RECORDING OF SPECIAL MERIT This is an attempt to bring into pop music humanity swarming,shoving,screaming, SWEETWATERz Sweetwater (vocals and some of the electronic sounds that can be instrumentals). Motherless produced by such devices as the ondes Mar. d; Here Il"e tenot, the ondioline, and the Moog synthe- Go Again; For Pete's Sake; Come Take a 11":11k;11". hat' 11-rong; and six others. RE- sizer, among others. Perrey has broughtit PRISE C) 6313 S4.79. off with some style and wit. Most of the music here was written by Perrey, so it is a little Performance: Best of the new ones difficult to judge whether the music isac- Recording: Good, but they deserve better commodating the instruments or whether the Stereo Quality:Fine instruments are capable of serving the inten- IfI had merely heard this disc, without re- tions of the composer. The former would ceiving it for review, I would have handed seem more likely, since eventually there does over my hard-earned cash to have it. Hell, get to be a sameness of sound from song to this group is good! They are strong, gentle song and alot of it eventually begins to persuaders even for those of us not already sound like hat musette from the Brasserie indoctrinated in Sweetwater's own musical Mars. (You don'tseriously thinkthata style. Frenchman, whether he is working with syn- And what a beautiful way to begin their thesizers or tissue paper and a comb, is going persuading-by taking the sentimental spirit- towrite anything but Frenchmusic, do ual favorite, Motherless you ?) Aside from what I take to be the con- spooky,infectious,slightlyOriental,and strictions imposed by the electronics, this is captivating. Here We Go Again has a great a pleasant and ingratiating album done with jazz vocal by Nansi Nevins that is very much a sense of humor and a nice air of unpreten- inthe same innovationalstyleasthat of tiousness. Ilike the idea that machines can Jackie Kral of Jackie & Roy-I can hardly be used to make pretty sounds, and Perrey pay anybody a better compliment than that. has done it about as well as anyone I've In For Pete's Sake, the imaginative use of heard. Now if I could only learn how to cozy BARBRA STREISA ND a cello is sheer genius and adds an "Estab- up to a computer. P. R. A voice it stirs the very soul to hear lishment"qualitytothismodern sound. A slow country style controls Come Take a JOHNNY SHINES: Masters of Modern pushing, sitting in their gefilte fish and hot- lralk. There is a great fade-out ending on Blues, Volume I. Johnny Shines (guitar and dog mustard, throwing Dixie Cups and beer this number that is both amusing and origi- vocals); Big Walter Horton (harmonica) ; cans at the cops, and littering Central Park nal; Nansi Nevins is again the convincing Otis Spann (piano) ;Lee Jackson (bass); with so many tons of greasy garbage it took vocalist. Icould reallylearn tolove this Fred Below (drums). Rollin' & Tumblin'; a week and a half to clean it up and return girl. (I am getting bored, though, with those Trouble Is All I See; Mr. Tom Green's all the found babies to all the lost hippie ever-present flutes in contemporary arrange- Farm; My Black Mare; What Kind of Little mothers. ments.) And whoever is responsible for the Girl Are You?; and five others. TESTAMENT Now it has all been preserved on a record, lyrics of the original songs, such as Walk, C) T 2212 $5.79. but frankly, I can't see much reason torec- should be closely watched; they are among Performance:Better on guitar ommend buying it. Barbra sings beautifully. the best I've heard recently. Recording: Fair She is a star and a performer with a hair- Everything about this group is as refresh- Stereo Quality: Fair raising voice itstirs the very soul to hear. ing as branch water, and I credit not only But she has performed all but three of the the obvious talent of these young musicians, Producer/historianPete \Weldingcanbe songs herein on other albums, under better but the fact that there are eight of them- congratulatedforhaving"rediscovered" recording conditions, and with better stereo enough to provide a solid foundation of har- Johnny Shines. Although recorded rarely- reproduction. The stereo separation is very monies that the soloists, both vocal and in- twelves sides in all-in the early post-war muddy here, and the level is very low so that strumental, can play against.Itissimilar years, Shines was (and is) a superb guitar- it is necessary to turn the volume up almost to the structure of old-time small jazz groups, ist and a better -than -average singer. Ifind to the point where you get feedback in order having the same purity and originality.I his vocals less pleasing than those of some to hear what's going on in all the confusion hope they turn out to be prolific and haven't other post-war Chicago blues singers who and noise. There is also her unflattering ten- blown their whole scene on this one record. come to mind, but Shines' slipping and slid- dency, on the disc, to clown and posture It is ironic to note that the really good ing bottleneck guitar style is really something for the teenagers (perhaps to show that she's artists rarely toottheir own horns in the to hear. still"good ol'Barb,"still one of them) overblown rhetoric to be found on most al- As with other Testament recordings, the which results in a lot of excessive nasalitybum jackets. I would actually love to know Shines pieces will have the greatest appeal and Second Avenue joke -telling, which is more about Sweetwater, but judging from forthoselisteners who are"into"basic miles removed from the supersonic class she the talent of this group, there should be blues. But even if you don't know Muddy demonstrated on the sound track of Funny tons of future records to fill me in. By the Waters from Otis Spann, you might enjoy Girl. (In all honesty, however, I must admit way, next time out, Sweetwater deserves first - a taste of Shines' music. D. H. I thoroughly enjoyed hearing a reprise of one (Continued on page 130) 128 STEREO REVIEW Every BSR VcConald automatic turntable s prevision made n Great Britain to the most e:acting spec fixations. Up:el the r arrk,a1 inthe.U.S., every model is unpac4ed and re -tested under actual playing conditions. That's why BSR service owls are theowest in thendustry perhaps that also explains wty BER sells men turntables tan anione elsen the world.

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C RCLE NO. 741 OM READER SERVICE CARD FEBRUARY 1969 129 classtechnical treatment. In really profes- Nevertheless, this isstilla very impres- thinks of Willie and his fellow elastics, so sional recording hands, they should be quite sive album, andif you have never heard let's hear it from a blues loner. sensational. R. R. it,I urge you to listen to it. If you are an old Willie, you and your boys don't play admirer of it, then you have your own opin- blues. You are just a better than ordinary FRAN WARREN:Come into My World. ions about it. If you heard it long ago but thump - thump - on- the- drumrock - and - roll Fran Warren (vocals), instrumental accom- can't quite remember it, then just think of group. And singing about home-made clocks paniment.Hello Young Lovers; Nice and any consciously'artistic" documentary or won't save you for the blues either. Easy; By the Time I Get to Phoenix; For feature film of the last twenty years. Gen- Everything on this album is very good lis- You, for Me, Forever More; Lore Is a Baby; erally it opens on a deserted street, or a quiet tening musically (with the exception of that Swinging Down the Lane; andseven others. rather desolate farm; the camera comes to rest saccharine little ole clock -maker), but I nev- Aunt() FIDELITY ® AFSD 6207 $.1.79. on a door; the sound of a lonely, but loving, er did catch many lyrics. Willie evidently Performance: Relaxing flute is heard, and the door starts to open. thinks that blues must not be understood. Recording: Good Nine chances out of ten, whoever is behind Well, if Willie hadn't gone to such lengths Stereo Quality: Good that door is over eighty or under eight, to explain to us old-timers what the blues and you can be damn sure today is one of were, we might have thoroughly enjoyed "Let's take it nice and easy," Miss Warren those days when he is gently going to accept this album. As itis, Willie and the Red advises softly in one of her songs after de- some eternal lesson about life. That's what Rubber Band have just a faint blues beat scribing herself in her own liner notes as the music sounds like to me now. P. R. that reminded me of the old race record "an emotional, husky -voiced singer with an Sweet Mama.Iheard those lyrics with a angel on one shoulder and the devil on the WILLIE AND THE RED RUBBER steelneedle on a hand -turnedVictrola: other." With all the battering our ears take BAND: The Eulogy of Blue Willie. Willie "When your house catch afire, ain't nobody these days from those bangaway groups with Redden, Glen Ballard, Charles Addington, round, throw your jelly out the window, the funny names, thislistener found her let it ooze on down!" The fabulous Negroes invitation intriguing. Miss Warren has been who created those authentic blues and fore- around for a long time, and her voice is one runners of rock -soul hadrealproblems in of those soft, sad instruments that hint at those days. R. R. unnameable sorrows. If this is her bid for a comeback, I for one am all for it. She favors ballads that tell little tales-Bythe Time I COLLECTIONS Get to Phoenixproves quite comfortable among the oldies by Ellington, Gershwin, and Isham Jones-and sometimes, with just RECORDING OF SPECIAL MERIT the piano for solace before the orchestra A TRIBUTE TO JIMMIE RODGERS- sneaks in, she shows that gift the old torch - When the Evening Shadows Fall. Gene singers had for making you feel they were Autry, Ernest Tubb, Elton Britt, Jim Reeves, singing for you alone. Particularly endear- Hank Snow, Bradley Kincaid, Jimmie Rod- ing are her nostalgic, unhurried re -creations gers, Mrs. Jimmie Rodgers (vocals and in- of slow, sinuous balladslike MyFunny strumentals).The Jimmie Rodgers Blues; Valentine, Do Nothing Till You Hear from Waiting for a Train; The Last Thoughts of Me, and Love Is a Baby.The mood is in- The Passing of Jimmie variably saved from monotony by the in- Rodgers; Jimmie the Kid; T. B. Blues; and terjection of some fast -paced novelty along six others. RCA ® LSP 4073(e) $4.79. the lines ofIf I Ruled the WorldorFour - twenty A.M.,a lively little urban study on Performance: Sentimental the theme of insomnia. P. K. Recording: Good reproduction Stereo Quality: Excellent, considering ALECWILDER: The Music ofAlec Wilder.Mitch Miller (oboe and English This is a very special record for very special people, andI am one of those 'specially horn) ; Julius Baker (flute); Harold Goltzer JIMMIE RODGERS sentimental people who just happen to like (bassoon) ; ColumbiaStringOrchestra, A disc tribute to his enduring influence corny country-and-western music. It helps, of Frank Sinatra cond.; the Alec Wilder Octet. Conley Bradford, Lanny Fiel (vocals and in- course,if you were weaned onit,along Theme and Variations; Slow Dance; Air for strumentals).School of Hard Knocks; Street with fried hot-water cornbread and crowder Oboe; Such a Tender Night; Pieces of Eight; Singer; Little Old Clockmaker; I Dig Love; peas. I have now lost all the Beatlemaniacs and eight others. ODYSSEY ® 32 16 0262 Nature's Way of Saying Thank You;and six and have with me only those who remem- $2.49. others. RCA ® LSP 4074 $4.79. ber Jimmie Rodgers and love c -and -w, plus Performance: Legendary Performance: Not bad, but not blues, either afew cases who will read anything, even the Recording: Good Recording: Good labels on ketchup bottles. Stereo Quality: Acceptable Stereo Quality: Good This record is,asit says, a tribute to a man who was revered as a songwriter and Time, as Zsa Zsa has often said, can play If blues isreallyyour bag, then this one singer -yodeler of true American folk music, funny tricks. Here is an album that wasa isprobably not for you. Willie Redden known popularly as "cowboy music." Jim- classic in its time and to many stillis. But claims to know all about blues, but it's mie Rodgers was called "The Singing Brake- to me, listening to it now seems like seeing amusing to read that he has been collecting man," and he was one of the great originals Gone with the Windjust that one time too blues records since "way back" in 1953. Why, of a type of music that is pure Americana. many.I was bored and restless-the parts some of his prizes are even on 78 rpm, bless His pervasive, enduring influenceisfelt thatIfound myself waiting for, such as their brittle little grooves. Willie claims to strongly today in the renaissance of country- the lovelyAir for English Hornin the clas- have been "born in, raised during, and in- and-western and its reflections i folk rock, sic Mitch Miller performance, or the equal- spired by the once -called race records." He though Jimmie died in 1933. lyclassicSlow Dance,left me with the may have been inspired by them, but he We are presented here with many famous same flat feeling I had when I realized that could hardly have been born and raised dur- men of the c -and -w persuasion, all singing Olivia de Havilland's acting in that great ing their conception, since they existed be- tributes to Jimmie. Most of these songs con- screen epic was often as mealy-mouthed as fore either he or I was out of short pants. cern his death. Two of the recordings by old Melanie herself. Things that had not Too much self-analysis on the jacket may Jimmie himself date back to 1929. RCA con- bothered me before in listening to the com- not be particularly good for singing groups. siders this album a companion to the eight plete record bother me now. Things like the I quote: "Blues is an attitude and a feeling- Jimmie Rodgers albums already available. essential saccharinity of so much of Wilder's not always good and not always wanted. This isa must for collectors of c -and -w music; the orchestrations, which sound to The Red Rubber Band is a cover up for a or unique Americana and for lovers of Jim- me now not so much sensitive as sentimental; very 'blues' group. Though we are very sensi- mie Rodgers. R. R. the claustrophobic preciousness of so much tive and versatile, we do and feel blues of the playing and composition. best." Well, now we know what Willie (Continued on page 132) 130 CIRCLE NO. 60 ON READER SERVICE CARD-* Quadradial stereo sound system? Quadradial stereo sound system!

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SONY Pa/2.1E You never heard it so good. .1969 SUPERSCOPE. INC. Rushing is still a superb singer. His voi, is crisply authoritative, and his style issui ported by a musical sophistication thatpe HI-FI mits him totossoff complex nuances musical line and vocal timbre in almostcast COMPONENTS al fashion. Since most of the pieces are fir takes,they are brimful of bubbling spin taneity. blaster Jazz has made some peculi. TAPE editing cutsthat may annoy you thefit time around, but the performances, on tl RECORDERS whole, leave little to be desired.

Pianist Sir Charles Thompson, a Swim-- TAPES, ACCESSORIES veteran, was also one of the charter men MILT JACKSON: Milt Jackson and the SLEEP LEARN KITS bets of the Forties hop revolution. He Hip String Quartet. Milt Jackson (vibes); one of the few pianistsactive todaywL- MERITAPE with various musicians, Tom McIntosh arr. canstill command the darting, herky-jerk and cond. )-ou Got to Pay II' hta the Deal bop piano style-listen for his lines. Alli Goes bouts; The Mooing Afiel; and six all,producersBillWeilbacher andD.. others.VERVE ® V6 8761 $5.79. Kantner have made a worthy addition totl- SAVE MONEY Performance: Fine solos from Jackson catalog of mainstream jazz. D. I. Recording: Very good LOWEST PRICES Stereo Quality: Very good RECORDING OF SPECIAL MERI. INTEGRITY SERVICE Jackson is the father of contemporary vibe THE MARTIAI. SOLAI. TRIO: On How FRANCHISED DISTRIBUTORS playing, but he has always been the consum- Ground.MartialSolal(piano),Gilbei WRITE FOR OUR VERY LOW mate sideman rather than a particularly suc- Rovere (bass), Charles Bellonzi (drums, cessful PACKAGE QUOTATIONS leader. Verve has given Jackson a ; Somebody Loves AI ; Lover Atm sterlingproduction with arrangements by Nationally Advertised Brands Lady Bird; Tea for Three; T.N.T.; Btu, Tom McIntosh, an excellent rhythm section, Masochiste.MILESTONE ® Factory Sealed Cartons and two stirring horn men (Hubert Laws AISP 901-i $4.7,. and James Moody) to fillin the gaps. But Performance: Elegant Wfore FREE CATALOG Recording: "Live" but good Visit Our Showrooms the results are less than satisfying. Jackson responds like a sideman, playing brilliant Stereo Quality: Variable DRESSNER rhythmic accents and lovely snatches of mel- Technicalabilityin pop music hasfat 1523 G JERICHO TPKE. ody, but never assuming control of the total to about as low an estate as the well -mad, date. NEW HYDE PARK, N.Y. Well,there'snothingintrinsically play has in the popular theater. One of th. 11040 wrong with that,Isuppose, since Jackson greatest technicians of the jazz piano mus is a good enough soloist to sustain anyone's assuredly be Martial (referred to in place: interestforawhile. But the absence of CIRCLE NO. 23 ON READER SERVICE CARD on the jacket as Martin) Solal, and he give: point soon becomes obvious-as though the a terrific display of virtuosity on this nest record's focus had been provided by arrange- release.I don't think he will ever become ments and external production ideas, rather favorite in the States for the simplereasor than by Jackson himself. It might have been thatheistooFrench and, some wouk betterjustto let him stretch out witha claim, too -intellectual.-Iwill grant their rhythm section. both points. Because of his Frenchness hit The "hip string quartet"is hip enough, playing and performances are models of lu- but largely superfluous, since neither McIn- cidity where no musical ideaiseverleft tosh nor anyone else has solved the problem incomplete and no piano phrase is ever rag- of writing articulated jazz figures for bowed ged, where all is cast with an elegant sense string instruments. If you like Jackson, you'll of form and structure. Iwill agree thatit be pleased almost anytime he takes mallets is also probably his Frenchness (actually he in hand, but unless that's all you want from was born in Algiers) which is responsible a jazz record, you won't be intrigued for for the emotional austerity of much of his very long with what happens here. D. H. playing, where at times you have the feeling that he believes emotionis only correctly RECORDING OF SPECIAL MERIT spent within that above mentioned form of order. As for -intellectuality,- yes, I would THE JIMMY RUSHING ALL STARS: agree to that also. But, like Stravinsky, he Gee, Baby, Ain't I Good to You. Jimmy has the technical equipment in both his com- Rushing (vocals); Buck Clayton (trumpet); posing and performing roles to be able to DickieWells(trombone);Julian Dash back up his ideas so that they can be pre- (tenor saxophone); Sir Charles Thompson -.- sented in an often dazzling finished form. Fill in coupon for a FREE One Year Sub -1 (piano); Jo Jones (drums); Gene Ramey The second side is devoted to three of his scription to OLSON ELECTRONICS' Fantas- (bass).MASTER JAZZ RECORDINGS ®MJR own compositions-Tea for Three, T.N.T. tic Value Packed Catalog - Unheard of 8104 $5.00. LOW, LOW PRICES on Brand Name and Blues Masochisie--and I thinkit would Speakers, Changers, Tubes, Tools, Stereo Performance: be very difficult for anyone seriously interest- Amps, Tuners, CB, Hi-Fi's, and thousands Lively mainstream jazz of other Electronic Values. Credit plan Recording: Good, for the most part ed in music to dismiss them lightly. They available. Stereo Quality: Very good are sophisticated, but in no way pretentious. NAME This recording was made -Use-atthe blaster Jazz continues to produce fine tradi- ADDRESS Blue Note in Paris, and while it may not be tional jazz recordings. For this one, a group all that great sonically, CITY it does catch some- STATE of excellent mainstream players were assem- thing of the earnestness of Solal when h( GIVE ZIP CODE bled under the leadership of Jimmy Rushing works for an audience. He is given admira- If you have a friend interestedin electronics for alive, party -style jam session held in send his name and address for a FREE sub- ble support by Gilbert Rovere on bass ans. Lscription also. the Manhattan studios of Fine Recording. Charles Bellonzi on drums. Solalisaso- Half the musicians-Clayton, Wells, and perb artist, but he is not, I suppose (perhaps OLSON ELECTRONICS Jones-are straightout of Count Basie's unfortunately), what jazzis,or was,al, stellar bands of the Thirties and Forties; about. P. R. 322 S. Forge StreetAkron, Ohio 44308 the others are equally well -rootedinthe Swing tradition. CIRC NO ON.V0.11106SERVICE CARD (Continued on page 134) 132 CIRCLE NO. 74 ON READER SERVICE CARD--). free You get these $126' Electra -Voice mikes when youbuyourViking 433W stereo taperecorder. (Know of anything that soundsbetter?)

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19L -825F. $180.00', . guests with something like The Deadly Al - !air. But now everybody has caught on to this trend. Because movie scores are created to en- hance the entertainment value ofafilm, not to interfere with it, they have a similar effectinyour home:the average sound- 11 track is usually a good bet for cocktail back- Toshiba Amer.., Inc.. New York, N. Y. IR S ] III !e'etarl Price grounds or dinner. The burgeoning interest CIRCLE NO. 65 ON READER SERVICE CARD in soundtracks probably has much to do with ABOUT YOUR SUBSCRIPTION the improved quality of movie scores today and with the devoted attention producers Your subscriptionto STEREO REVIEWIS startsending you twocopiesof STEREO are now paying to music to help sell their maintained on one of the world's most mod- REVIEW each month. Other examples of com- movies. The result has been to welcome new ern, efficient computer systems, and if you're binations of names that would confuse the blood in this heretofore rather stultified field. like 99% of our subscribers, you'll never computer would include: John Henry Smith and Henry Smith; and Mrs. Joseph Jones and Before reading the sleeve of The Heart Is have any reason to complain about your sub- Mary Jones. Minor differences in addresses a Lonely Hunter,Ihad already been re- scription service. can also lead to difficulties. For example, to minded of one of my other favorites, The We have found that when complaints do the computer, 100 Second St. is not the same Graduate.So, how pleasantlysurprised I arise, the majority of them occur because as 100 2nd St. was to find Heart's music composed by the people have written their names or addresses same David Grusin. The Main Titleisa So, please, when you write us about your differently at different times. For example, haunting theme as soft as a Southern breeze subscription, be sure to enclose the mailing if your subscription were listed under "Wil- and as wistful as Carson McCullers' prose. label from the cover of the magazine-or else (Do Ihave to tell you that this film was liam Jones, Cedar Lane,Middletown, Ari- copy your name and address exactly as they zona," and you were to renewitas "Bill based on one of her most famous novels?) appear on the mailing label. This will greatly Beyond the Reach of Lore changes pace Jones,Cedar Lane,Middletown, Arizona," reduce any chance of error, and we will be our tomputer would think that two separate into agroovy rock-and-roll, and Married abletoservice your request much more People flips back again to a sort of sweeping subscriptions were involved, andit would quickly. ballet sound utilizingflute,guitar, anda clip -clop horseback rhythm. 55mphodelic is a Mozart eclair surrounding a low-down, razzle-dazzle center titled Suampy Four. It is deliciously reminiscent of the Blue Danube lrahz inserted into the Space Odyssey fu- 'Low ppcFFrom HI -Fl ture. Drop Out is moody, somber, and poi- All merchandise components to gnant. The last band on side one just has to shipped same day from complete stereo systems, be, of course, a hillbilly dance tune, not to our warehouse, fully insured if it's nationally advertised, he taken seriously. It is called I Can't Afford in factory sealed cartons. Our We have it! Discounts of course! to Let Ibu Go (what else?). one aim is your complete satisfaction Right now, write now ... for Basically, the score is well -constructed and -merchandise -wise, price -wise! your special quote. Savings That's why we're one of the are bigger than ever in pleasant instrumentally, with lyrics that can East Coast's largest honor of our best be described ascute andclear. The component recent expansion. Main Theme, moreover, is a strong identi- distributors. fiable sound which will probably be remem- Eo bered and copied by future artists. R. R. CORPORATION OF AMERICA OLIVER! (See Best of the Month, pg. 77) 2122 UTICA AVE., BROOKLYN, N.Y. 11234 (212) 338-8555 CIRCLE NO. 63 ON READER SERVICE CARD (Continued on page 136) 134 CIRCLE NO. 75 ON READER SERVICE CARD-il. ell & Howell asjust made it harder ochooseastereo tape deck.

Jntil now, it was pretty easy, because lone of the choices really did much more han just move tape back and forth. Bell & Howell has just changed all that. Our new Autoload" Model 2293 Joes a lot more than just move tape Jack and forth. It loads itself, because it has Autoload, Bell & Howell's ingenious automatic :hreading system. You never touch the tape because a gentle cushion of air transports it through the tape path directly onto the take-up reel. The entire process takes about three seconds, and it works perfectly whether the deck is mounted horizontallyor vertically. It has three-way AutoPlay. You can set the 2293 to record or play back in any of three modes: left to right and stop; left to right to left and stop; or back and forth continuously. It has Bell & Howell's exclusive reversing head design. This innovation assures perfect head alignment and identical performance characteristics for recording and playback ... in both directions. It has instant pause. Audible search. It's Source input mixing. Sound with sound. designed An accurate VU meter for each channel with the kind -active in both play and record. of precision It has exceptional specs like: 4 speeds Bell & Howel 's built (7' 2, 334,1'8, 1510;wow and flutter; its reputation on for over .09% @ 712; frequency response; 40Hz 60 years. to 17.000Hz (±3db) @ 712; signal-to- And with a I that, it's still priced noise ratio: better than -51db; under $300. crosstalk: -40db. Do you ag-ee the new Bell & Howelt It has top -mounted microphone jacks Autoload 2293 does a lot more than for added convenience. just move tape back and forth? Then TAPE PRODUCTS Division It has a genuine walnut wood -grained maybe we haven't made choosing cabinet and smoked glass hinged a stereo tape deck harder at all. dustcover. Maybe we've made it much easier. BELLE HOWELL Not -so -young lovers: Zorba (Herschel Bernardi) and Hortense (.Maria I\at alba a).

HELLO, ZORBA, BYE-BYEBROADWAY By Peter Reilly

r -1HE great era of America's most vivid will probably have aslittle pertinence to coctedaccordingtothisformula break native art, the musical comedy, would the musical comedy form as Hair does. down into three main types. Firstisthe seem to have been defined by Show Boat at And no matinees either. glorified vaudeville show with star turns, a one end and by lrest Side Story at the other. Where the young audience has gone is book thatserves asarecitative between Since then, the form has been an interesting relatively clear:to films, to discotheques, these star turns, and a score written with study in the process of attrition, and at to rock auditoriums, to light shows, to folk both eyes and feet turned in the direction present the American musical (the "com- festivals, and to other forms of entertain- of the Brill Building and the Billboard edy" dropped out long ago) would seem ment where they can dispense with or pro- top -pop charts. Golden Boy, Wildcat, Ski- to be in a serious, it not yet fatal, decline. vide their own proscenium. (Actually, one sciabe:, and Golden Rainbow, of recent Not that there haven't been excellent shows of the few real pleasures of Hair is its stag- memory, are living (if not breathing) ex- sincethegreatBernstein-Sondheim-Rob- ing, which casually disregards the pros- amples. The length -of -run of such shows is bins collaboration, but they are glittering cenium and permits the show to ramble generally determined by the personal pop- exceptions notable more for their triumphs about the house onits own terms-but ularity of their stars. of staging and performance than for any then, so did flenzapoppin'.) Second, there is the noxiously overpro- intrinsic quality of book, music, or lyrics. duced, overdirected, oversold, and minis- The reason for this attrition is twofold- WHERE the young creative people of cule -minded musical that everyone seems and fairly obvious: the increasing absence the Broadway theater have gone is a little to think is "surefire." It is always a sicken- of young, or young -thinking, people on the harder to answer. Itis obvious, however, ingly sentimental exercise thatis guaran- creative side, and the almost total absence that there are not many of them left. Most teed to keep Mom laughing and crying at of youth in the audiences. They have left would seem to have gone to films or off -off the same time, and perhaps snapping her the Broadway musical-and make no mis- Broadway or have joined the rock scene. elastic stockings over some of the "daring" take that the Broadway musical is other The few young talents left are forced to lines. This sort of show always stars some thantheAmericanmusical-totheir write for, and to try to involve, a well-off middle-aged and rather motherly glamour elders, and theiraffluent eldersatthat. audience thatisinthe main over forty. figure who is as invincible in her unreality Flair, the much -praised "tribal -love -rock" And a tired, very tired, forty at that. This as she is in her gooey homilies. When she musical,isaninteresting freak-andI audience wants only to be lightly involved, isn't changing into one outrageous piece of think misunderstood. Itis actually a musi- to be entertained at a cozy distance between drag after another, she is plumped down cal about youth designed to show older the hours of 8:30 and 11. Its members re- into the middle of enormous, camp produc- people what some segments of the younger sent having to think or having to pay close tion numbers staged as if the action were population are up to.Itis comparable to attention to anything. A few laughs, a lot taking placing on the floor of the Lido one of those Haight-Ashbury tourist buses of sentimentality, a couple of fast-moving night club. Things like this have a tendency that careen with window -up astonishment production numbers, and maybe a catchy to run for years under such names as Mame and a certain amount of titillation through song here and there is all they ask. Indeed, and Melly, Dolly! hippie neighborhoods and then return safe- they insist on it.If, as Stephen Sondheim Finally, there is the more serious, more ly to respectable hotels. Titillation is also a did a few years ago with Anyone Can ambitious,andoftenmorepretentious large part of the success of Hair, in that the Whistle, someone tries to give them any- "heavy book" show, of which Zorba is an first -act curtain features a genital display thing more than that, they are monumen- example. Often adapted from a well-known by some members of the cast. If critic Ken- tally indifferent. Simple, and often simple- literary source and presented with a solemn neth Tynan is right in his prediction that minded,entertainmentisalltheywill air,it usually manages to betray the sad within five years we shall see the sexual act tolerate. poverty of new approaches, new ideas, and itself on stage, then I am sure that some- Catering to this lethargic public has re- realcreativitythatexists on Broadway. one, somewhere, is at this moment devising sulted in a musical theater that is as pre- Such shows start out with good intentions, a musical out of the Kama Sutra. And it dictable as it is stagnant. Productions con- and are sometimes, in a modest way, ar-

136 STEREO REVIEW tistically viable (Cab.eret andMan of I..; Mancha,for example). More often, him ever,theyfallvictim well before their openingstothe aforementioned creative attrition brought about by trying to please a predictable audience. This is what has happened toZorba. Based on the fine novel by Nikos Ka- zantzakis, it is a reflection of all that, un- happily, is not going on in musicals. John Kander, the composer, has tried to pull off again the mirror trick he performed so successfully inCabaret:he has tried to give his music a Greek "atmosphere," but running beneath itis the same steady Broad- way rhythm we have been hearing for years.Cabaretprismed a lot of flavor out of the kind of music Kurt Weill and Friedrich Hollander used to write and that Peter Kreuder and his orchestra used to play in early -Thirties Berlin. It is music sophisticated enough to withstand a lot of borrow- ing from. But inZorba,Kander is dealing with the much less sophisticated folk music of Greece, and aside from a few rhythmic turns and the orchestration, he has not been able to do much more than feebly suggest the atmosphere he was after. The lyrics (by Fred Ebb) are drenched in that phoney Mediterranean "acceptance of life as she is lived, my frrriend," and in Button up your overcoat solo after solo Herschel Bernardi (Zorba) when the wind is free. and Maria Karnilova (his doddering girl friend) declare their senescent lust for life. Take Contac for your col (From the score, I would judge that dra- You belong to me, matic emphasis has been switched from the story of a young man learning how to live Andrew a full life, to the love affair between Zorba and the oldcocotteHortense. You don't think the audience wants to hear about young love, do you? They want something they can identify with.) Bernardi'sperformanceisroistering, earthy, full-throated, and completely artificial. He sounds as if he were talking and singing two octaves down from his normal range-rather like Mischa Auer imitating Nonas Akim Tamirov. Karnilova, that fine actress - CAPSULE l'ItOlfI? 600 , dancer, has somehow been persuaded to 4s t offer an imitation of someone fatally re- ODIMMON CC AD &NA/hoot.

sembling Eva Tanguay, Anna Held, or , r,

I Fifi D'Orsay. John Cunningham, in the role r of the young man Niko, sings like every (:01111100.millhali other musical -comedy tenor -baritone I have heard since the days of the first LP.

ALL the carping aside, I have a feeling thatZorbaand this album will be a success. It is in the right commercial groove, and it says a lot of things people are anx- QA CA,-)r,1)t ioustohavereaffirmedintheir own sCri AC7 *ON minds. It will appeal to large numbers of each capsule tisteplls" in upto 12 an established audience, and possibly make Tite 600`itseZcart. of yourct4d for themfeelthatthey have undergone a wilitaix cold gets Costae, "deep" experience. --And the sixtnery. --_u_- The recording is one of the least effec- it's at yourphartuazy. tive -sounding original -casteffortsI have heard. It has a shrill, clattering sound, and the chorus numbers are sonically harsh and too far forward. The whole thing sounds prepackaged and up -right. Rather like the current state of Broadway. ZORBA (John Kander-Fred Ebb). Origi- nal -cast album. Herschel Bernardi, Maria Karnilova,JohnCunningham,Carmen Alvarez,LorraineSerabian,andothers (vocals). CAPITOL ® SO 118 $5.79.

Sens lyric (0192E I y OleSy ea, B own Henderson. Her. Copyright renewed, weed ay P.AAM,A gale"), to the Nun, the Guild -member, the SPOKEN WORD roguish Wife ofBath,the Shipman, the Miller, the Doctor, and the other members of the lively company as they are gathered at ON, an inn the night before their journey. Mr. Coghill's modern versionisalways apt and absolutely clear, and Mr. Starkie reads each stanza admirably. The music, in this case, is heard in the background-where it certainly belongs, consisting as it does of variousuninspiredmarches,dances,and amorphous pastorales, some ina kind of modifiedrock idiom more voguish than THE BEST OF BLOOPERS, VOLUME appropriate to the text, but consistently dis- ONE: Boners of radio and T.V. Kermit creet and never offensive. P. K. Schafer, producer and editor.KAPP ®KS 3576$4.79. SMOTHERS BROTHERS: The Smothers Brothers Comedy Hour. Tom and Dick Performance: Slim Smothers (comedians and vocalists); orches- Recording: Muffled tra,Louis Basil cond. Morons; Troubador StereoQuality:Unhelpful Song; Smart Juice; President John,,,:: ASSEMBLED KIT FORM If bathroom jokes are your bag, you're sure Didn't Come In; Tommy's Son,;;; $54.95 $44.95 to have a high ()Id time listening to this col- Party; Caught in the Draft; The Impof,,, $5 DOWN - $5 MONTH lection of "lip -slippers" culled over the years Dream; Spread of Democracy; United Na- from embarrassing mistakes made on radio tions; Controversial Material.MERCURY (§,) Walnut finished cabinet included and TV, and re-enacted here inalltheir SR 61193 $5.79. Shipped REA Collect Freudian erroneousness by an anonymous Performance:Unoppressive cast of not particularly skilled mimics. Oth- Easy to build, easy toinstall.All transistor Recording: Great AUDIO -COLOR adds a visual dimension to mu- erwise, the pickings are likely to prove slim. Stereo Quality: Separates the Toms sical enjoyment. A brilliantly moving panorama There's the dockside announcer who reports from the Dicks of color casts dancing images on a soft frosted the arrival of the "Virgin of Governor's screen, reflecting rising and falling volume with Island"atthe VirginIslands Governor's "Hewho'd make his fellow creatures wise each beat of the music. Here's a truly unique Conference of1967; the newscaster purvey- should always gild the philosophical pill," and exciting new musical experience.Make inga hot item from a "high White Horse counsels Jack Point, the jester in the Yeo- check or money order to CONAR. souse"; the lady on the highbrow interview men of the Guard. For a while thereit SEND FOR FREE CONAR CATALOG program who introduces her literary lion of looked as though the Smothers Brothers were the moment by assuring the audience that forgetting this fundamental principle of en- "once you put down one of his books you tertainment. The brothers have tried so hard on their big -budget, prime -time spectacular CONARDivision of National Radio Institute never want topickitup again."Ialso Deo. 8190 3939 Wisconsin Avenue. Washington, D.C. 20016 chuckled briefly,if not with the same up- to be "with it" and "where it'sat" and roariousness as the canned audience, at the "controversial" that there have been some patriotic advice to "vote early and often on Sunday evenings when their battles with the electionday"andthemusicologist who CBS censors proved more bitter than biting, DMAB.ECTRONICS praised aviolinist for being able to play more solemn than scintillating. They make Fisher "passages of ease with the greatest of diffi- no such mistake here. Nor isthe record culty." The rest is strictly in the "Jokes for cluttered with the stretches of straight sing- STEREO PACKAGE SPECIAL the John" category. P. K. ing by Dick that have held up the fun in FISHER 500 TX 190 WATT a...... earlieralbums. A "troubadorsong"is AM FM STEREO RECEIVER fi wrecked rewardingly by Tom's "tomfoolery" -: :.. :: tuning. eliatticag CHAUCER:The CanterburyPilgrims. Tune-040 Am ran- !Mutton. when he impersonates a noisy nightingale. Memory tuninr c111,conven Martin Starkie(narrator); The Gabrieli tional flywheel tuninc. Auto fr., Brass, John Hawkins and Richard Hill, arr. Dick's effort to out -Kiley the original Man selector, incl. center channel. 1,d,11. n. 11ct-,. (,,.j,, tape & phone facilities incl. direct tape monitor. and cond. DEUTSCHEGRAHHOPHON ® of La Mancha in a super -heroic version of

11.- 139380 $5.79. The Impossible Dream brings welcome in- 'Mr 2 ALL NEW AR 3a THREE WAY terruptions from Tom demanding what the SPEAKER SYSTEMS Performance: Amiable Very'cry low distortion and song means and culminating in one of those (t power handling Recording: Excellent sputtering schoolboy expositionsin which cap. Oiled Walnut (other Stereo Quality: Well balanced ...,..,..finishes avail.). 5 YR. he concludes that Don Quixote must have GUARANTEE covers lahor,parts&shipping costs. Reporting from London in the New York been "like Moses, who ledthe Hebrews Timesnottoo long ago, Clive Barnes called into the land of milk and money." An argu- BENJAMIN MIRACORD 50H 4 SPEED AUTOMATIC TURNTABLE attentiont()a new musical comedy put to- ment in the "you -didn't -come -in" tradition

Top rated. Usual features 1 - gether by Nevill Coghill, "retired Oxford disrupts a ballad from Paint Your Wagon, plus exclusives such as: pin. point stylus positioning. don of marked theatrical leanings," with mu- and Tom sidesteps a challenge to his scholar- .. Papst hysteresis synchronous motor for locked in speed accuracy. Less than 1/2 gr. tracking. All elements dynam sic by Richard Hill and John Hawkins which ship with the retort"I'm anAmerican.I iCailybalanced. Oase mounen Ust sea, !.) Mr. Barnes found "weak." Since the present don't have to see something to know it's

SHURE V15 TYPE II CARTRIDGE album comes bearing the credits of the same stupid." A series of Depression songs like 4 ',..,k110 Analog-computer.designed & measureo team of talents, I take it there is some con- Potatoes Are Cheaper and Chicago are ana- 19 IP Bi-Radical Elliptical Stylus with diamond nection. On therecord,however, Martin lyzed for social content; Tom denounces Mc- tip. Starkie, who produced the London musical, Namara's Band as racist, and rewrites the WRITE FOR OUR QUOTE ON PACKAGE confines himself to reciting Mr. Coghill's words to include Negro, Jewish, Italian, and #11FS 106 & ANY OTHER SYSTEM OF YOUR CHOICE straight translations from the Middle En- Puerto Rican players as well as Irishmen, STEREO SYSTEMS-COMPONENTS glish of Chaucer in various selections from changing the name of the group to "Ser- AT LOW DISCOUNT PRICES the prologue tothetales. These, in case geant Pepper's Integrated Band." He also you've forgotten,are quick -ink but pene- argues Dick down with a triumphant de- Send For Our Quote Today! trating sketches of the thirty pilgrims who scription of the animals aboard Joan of Arc's We CarrAll the Famous Brands. set out one April to visit the shrine of St. Ark ("Joan built the ark and Noah led DEFA ELECTRONICS CORP. Thomas a Becket in Canterbury. With irony the armies"). So it goes, for two pleasant 2207 Broadway, N.Y., N.Y. 10024 and a strong sense of caricature tempered sides,the touch light and the merriment PHONE 874-0900 & 87409011 by compassionateinsight,Chaucerintro- malicious and pointed enough but never tail - duces us in turn to the knight and his rest- spinning into pique or petulance. A happy less son ("who slept as little as a nightin- package. P. K. CIRCLE NO. 17 ON READER SERVICE CARD 138 STEREO REVIEW New Seeburg component system with Audiomation ends record handling forever.

Now all you do is touch the "on" button, and the album receiver with 40 watts output; high compliance full fidelity number, and listen. speakers in compact, walnut finish enclosures. The vertical Play 1 to 100 sides, more than 40 hours of music without play mechanism is housed in rich, walnut finished Con- touching a record. temporary cabinetry. An incredible Audiomation* memory bank lets you select Price of the AP -1-A System is $995. This system is also any or all of 50 albums, play both sides. available without furniture cabinet, for custom building -in, A "clear" button erases the memory bank for your next at $895. The vertical storage and play unit alone, for use selections. with your present equipment, costs $695 without cabinet, Audiomation stores your albums, safely, cleanly ...p.cks or $795 in walnut Contemporary cabinet. Weights range out the record you select... plays it vertically. Retrieves and from 155 to 171 pounds. restores it ... picks up the next selection and plays it... For information write or call: CONSUMER PRODUCTS all automatically! DIVISION, SEEBURG SALES CORPORATION, 1500 North Have up to 12 remote control locations. As many as 24 Dayton Street, Chicago, Illinois 60622. speakers... in any room, in the garden, beside a pool. Su- perbly balanced, 40 watt peak music power, solid-state amplification, astonishing realism of sound. The incredible heart of the Audiomation system is the record player and magazine shown above, right. It is acti- vated by a ferrite -core memory bank which remembers your SEEBURG selections. Included in the AP -1-A Component System are: Record AUDIOMATION STEREO SYSTEM player, minimum distortion solid state AM/FM and FM/MPX ,Mr."...... FEBUFIG Serving America Musically Since 1902 s Reg. ,656,755 CIRCLE NO. 78 ON READER SERVICE CARD 139 II izv\R)1969 12 new 3% ips tapes from RCA

RED SEAL RC/1 MONO TAPE

1111 10.10.101M1 JUSSI BJOERLING ( .1.iit,t 'It

THE ROMANTIC THE EVERLOVIN' It's a ED AMES WORLD OF WORLD OF Man's World SINGS Livia Albanese, Robert Merrill, ED AMES APOLOGIZE EDDY ARNOLD ZinkaMilanov, Roberta Peters, Leonard Warren SUMS-. CONTAINS TWO COMPLETE STEREO ALBUMS CONTAINS TWO COMPLETE STEREO ALBUMS COulfdf OR THE EQUIVALENT OF TWO LONG.PLAVING ALBUMS

RC/1 man CB VICTORID STEREO TAPE

Schumann: Concerto Brahms: Concerto No.1 The Voice and in A Minor MISHA DICES{ MISHA DICHTER VAN CLIBURN plaTe FELICIANO! VAN CLIBURN Guitar of BOSTON SYMPHONY BRAHMS Jose CHICAGO SYMPHONY TCHAIKOVSKY JOSE ERICH LEINSDORF STRAVINSKY Conoco -10 No 1 FRITZ REINER Feliciano FELICIANO THE EQUIVALENT OF TWO STEREO ALBUMS CONTAINS TWO COMPLETE STEREO ALBUMS CONTAINS TWO COMPLETE STEREO ALBUMS

nen VICTOR RED SEAL STEREO TAPE 11C/1 RC/133STEREO TAPE

The Mellow Guitar The Fascinating The Spirit of The Little The Bitter Moods of Rhythms of and the Let the Drummer Boy Los Indies Tabajaras Their Brazil Christmas with the Sweet World Go By IComrkIO Glenn Glenn LOS INDIOS TABAJARAS Living Strings Living Voices Yarbrough Yarbrough CONTAINS TWO COMPLETE STEREO ALBUMS CONTAINS TWO CCMPLETE STEREO ALBUMS CONTAINS THREE STEREO RECORDS CONTAINS TWO COMPLETE STEREO ALBUMS

Another Reel Turn-on.

CIRCLE NO.RCA 49 ON READER SERVICE CARD 140 STEREO REVIEW STEREO TAPE

Reviewed by WILLIAM FLANNAGAN DAVID HAI.L IGOR KIPNIS PAUL KRESH PETER REILLY

overall leel is considerably higher than be- The music, as might he inferred from the RECORDING OF SPECIAL MERIT fore; as a result there is no audible hiss.I. K. titles the excerpts, is often fantastic and BACH:Concerto for Two Violins in D highlt colorful in orchestration. As the notes Minor (BWV 1043). BEETHOVEN: Ro- RECORDING OF SPECIAL MERIT point out, there seems to he a link between mance No. 1, in G Major, Op. 40; Ro- the Wagnerian style of the past and the mance No. 2, in F Major, Op.50. VIVAL- RIMSKY-KORSAKOV:Highlights from forthcoming early Stravinsky in this unusual DI:Concerto Grosso. in A Minor, Op. 3, "Matta."Aleksei Korolyev(bass), Msti- score. The singing is entirely idiomatic, the No.8. David Oistrakh (violin); Igor Ois- voi; Tatiana Tugarinova (soprano), Voisla- orchestral playing most capable, and the tape trakh (violin, in Bach and Vivaldi); Royal va; Vladimir Makhov (tenor), Yaromir; is warmly recommended to those with an in- Philharmonic Orchestra, London,SirEu- Nina Kulagina (mezzo-soprano), Morena; terestinmusicalcuriosities. The sound, gene Goossens cond. (in Bach & Beethoven) other soloists; Chorus and Orchestra of the though a hit distant and lacking in presence, and David Oistrakh cond.(inVivaldi). Moscow Radio, Yevgeny Svetlanov cond. is full-bodied and clean. A libretto is obtain- DEUTSCHE GRAMMOPHON ® DGC 8714 MELoniYA/ANGEL ® YlS 40012 $7.98. able through the usual postcard request.I. K. $7.95. SCHUMANN:PianoConcerto,inA Performance, Beautiful fiddling Minor(see GRIEG) Recording: Excellent Stereo Quality: Fine Speed and Playing Time: 71/2 ips; 45'20" RECORDING OF SPECIAL MERIT These are not particularly new performances, TOCH:Piano Concerto, Op.38;Concerto and, in fact, the Bach double concerto has for Cello and Chamber Orchestra, Op.35. appeared before on tape (DGC 8820). The ErnstToch(piano) ;Vienna Symphony playing, however, will always be worth hear- Orchestra, Herbert Haefner cond.; Frederic ing. The Baroque works are treated in some- Motier (cello); Zurich Forum Group, Fred what romantic fashion, but the execution of Barth cond. CONTEMPORARY ® CYC 8011 the solos is tonally and technically gorgeous. $7.95. The two Beethoven Romances likewise are Performance: Authentic most beautifully rendered by Oistrakh Recording: Good airchecks and the recorded sound is extremely natural. S:ereo Quality: Not significant I. K. Speed and Playing Time: 71/2 ips; 52'51"

GRIEG:Piano Concerto in A Minor, Op. Ernst Toch (1887-1964) was one of several 16. SCHUMANN:Piano Concerto in A Viennese -born composers, contemporary with Minor, Op. 54.Geza Anda (piano) ;Berlin such pupils of Schoenberg as Berg and Web - PhilharmonicOrchestra,Rafael Kubelik ern, who have become overshadowed by the cond. DEUTSCHE GRAMMOPIION DGC 8885 "Big 3" of the Second Viennese School. Yet his vast catalog of works, in every form from $7.95. A Russian caricature (c./900) showing Rimsky-Korsakov being dismissed from Hollywood film scores and facile entertain- Performance: Good Schumann, fair Grieg the .;t. Petersburg Conservatory ment works such as thePinocchio and Circus Recording: Superior Overtures to erudite and complex chamber Stereo Qualify: Excellent Performance: Idiomatic works, concertos, and symphonies, has in no Speed and Playing Time: 71/2 ips; 62'45" Recording: Very good sense been meaningfully evaluated through Stereo Quality: Fine performance and audience reaction. A faith- Anda's Schumann Concerto is by far the bet- Speed end Playing Time: 334 ips; 47'10" ter performance on this reel: both he and Ku- ful following in Hollywood, where Toch belik take a lyrical approach to the score, and On disc or tape, excerpts from an obscure sought refuge from Hitlerism in the Thirties, the playing is properly quite free and poetic. Rimsky-Korsakov opera are ararity. This has played a role in getting a representative The Grieg, however, suffers from thelei- work, which started life originally as a com- selection of chamber music recorded on the surely interpretation, and somehow the per- posite opera (music by Rimsky, Cui, Mous- West Coast Contemporarylabel,and the formance fails to hang together. Perhaps An- sorgsky,et al.),was first produced in 1892, Louisville First Editions series has issued da's rather lightweight tone is at fault, and I with music entirely by Rimsky. It was in- both light and serious orchestral works by think that a more exuberant, more Romanti- tended as a large-scale opera -ballet (Mlada Toch. But this is not enough. Toch has pro- cally inclined attitude toward this concerto is a non -singing part), but except for the duced a vast body of finely crafted and often would have helped. The orchestral playing Procession of the Nobles from Act Two it is convincingly passionate creative work that is excellent, and the quality of reproduction almost totally unfamiliar today. That excerpt should be taken seriously on its own merits. is unusually fine. Ampex, incidentally, has a is included here as well as the Divination The Piano Concerto (1926) and Cello new method of duplicating in which the and Kolo, both from the second act, along Concerto (1925) offered on this Contempo- with Night on Triglav Mountain and Fan- rary Records tape derived from radio perfor- tastic Kolo plus Witches' Sabbath and In- mances in 1950 and 1963, respectively, are instances in point; for they are among the Explanation of symbols: fernal Kolo(kolois a regional dance) from = stereophonic recordings Act Three; finally, from Act Four we are most brilliant and exciting of Toch's works 01) = monophonic recordings given Morena's Curse, Destruction of Retra, in the mid -European Expressionistic idiom and the Closing Scene. of Cu; period. Indeed, it is incredible that the

FEBRUARY 1969 141 composer could have come up with suds a that the sense of uneasiness 1 telt with "Una remarkable performance of the solo part in 1 miita lag;ima-iscloselyrelatedtothe his Piano Concerto when in his sixties. The sentimental bravura overstatement of "Map- Why? Cello Concerto performance, too, is absolute- pail- and the sense of mild embarrassment ly first-rate, its high point being a singularly I felt for the tenor (nor the aria) in listening DO THOUSANDS OF HI-FI eloquent slow movement. Herbert Haefner to "La donna e mobile.'' contributes a superbly vital accompaniment Since all of this music-well, almost all ENTHUSIASTS BUY FROM in the Piano Concerto, comparable to his re- of it-is sung with great skill,Ins afraid markable (but primitively recorded)reali- I could only conclude that my suddenly AUDIO UNLIMITED zation of Berg's Lulu in its 1952 Columbia mixed feelings are rooted in the impression release. D. H. that Bjoerling tended to compete with the stylistic grand -slamming of the Italian Op- VIV ALDI: Concerto Grosso,op.3, No. 8 era Tenor rather than re -think the musk in It's Obvious! (see BACH) terms of his own far more subtle style, which is what such singers as Fischer-Dieskau and LOWEST PRICES COLLECTIONS De los Angeles tend to do much of the time. The impression becomes more difficult to FAST SERVICE JUSSI BJOERLING: The Immortal Jussi escape as one listens to Bjoerling deal with Donizetti : FACTORY SEALED UNITS Bjoerling. d' Amore: the greater musical subtleties of late Verdi Unaf urtivalagrima.Flotow:Martha: in the O/c//o excerpt and as one listens to FULLY INSURED SHIPMENTS M'apparitun,amor.Verdi:Rigolato: the elegant, exquisite singing of the Onegin Quest./ o quella; Ella mi lu rapita!; Patmi reder le lagrime; La donna e mobile: un di, PACKAGE DEALS-SAVE MORE C se ben rammentomi . . . Bella figlia FRANCHISED DISTRIBUTORS more (with Roberta Peters, Robert Merrill, Write for FREE Listing today A. M. Rota, and Chorus). // Troratwc: De- sert°cull., terra (with Leonard Warren); Di quad tetra lace Ab ben mio (with SEND US YOUR LIST Zinka Milanov); Di quella pica (with the FOR OUR AIR MAIL Robert Shaw Chorale). La FOTZ:1 del Des- tine:Solenne inquest ore(withRobert QUOTE TODAY Merrill). Don Carlo: to l'ho perdu/a! and Qual pallor (with Robert Merrill, E. Mar- Visit Our Showroom and Warehouse kow, and Men's Chorus). Aid,,: Se quel CLOSED MONDAYS guerrieroiofossi;CelesteAida;Tn! Amonasro! . . . Jo son disonorato (with (*AUDIOunlimited, inc. Milanov, Warren, FedoraBarbieri,Boris Christoff, and Chorus). Otello: Si, pel ciel 396-S Third Ave. (Nr. 28), N.Y., N.Y. 10016 (with Merrill). Tchaikovsky: Eugene One- gin: Lenski's Aria (FOrbi, forbi). Borodin: Prince Igor: Vladimir's Recitative and Ca- vatina.Mascagni:Car.rlleriaRusticana: Siciliana (0 Lola). Leoncavallo: Pagharci: I'esti la ,glubba. Bizet: The Pearl Fishers: WRITE FOR Au fond du temple saint (with Merrill). Puccini: Manon Lescata: Donna non rid; mai; Ah! Afanon, nfi tradisce (with Licia QUOTATION Albanese and Chorus); Presto in /ila and Stylistic subtlety and pure meal flair J USSI BJOERLl AG FACTORY SEALED CARTONS No! Pazzo son! (with Franco Calabrese, E. Campi and Chorus). La Boheme: 0 Mimi, FRANCHISED DISTRIBUTOR and Prince Igor excerpts. In so flashy a per- in pin non torn;(with Merrill).Tosca. formance as his "Di quella pica," Bjoerling QUICK SHIPMENT E loceranlestelle.Giordano: Andrea proves that he could belt to the rafters with Chenier: Come UPI bel di di maggio. Jussi the best of them even though one senses, in Bjoerling(tenor), various orchestras and some perhaps indefinable ways, that there is conductors. RCA g TR35035 $10.95. something not quite -true" about singing Performance: Unique it in this manner. (Indeed, if De los Angeles WE GIVE Recording: Variable but always satisfactory had ever gone into competition with Callas, Speed and Playing Time: 33/4 ips; 101'22" Tebaldi, or even Milanov attheir primes, she would have sold her very real and, in Writing as an admirer of good lyric theater many ways, more elegant vocal stylistic quali- DISCOUNTS for itself rather than as one of that unpleas- ties short.) ant breed of opera lovers who merely wor- Obviously, no worshiper atBjoerling's ON HI-FI ship star singers,I suppose my evaluation shrine, no member of the cult that flourished of this comprehensive collection of opera ex- until the tenor's death in 1960, will be fazed cerpts by the late Swedish tenor JussiBjoer- by anything Ihave written but will perhaps COMPONENTS lingisdifferent from that of most of the merely thinkitpeculiar or worse. And it buyers for whom this RCA tape was de-must he admitted: operalovers and star signed.(Ishould add inhurried, defen- worshipers will take pleasure from this re- sive haste that I have long considered myself lease. In large part,Idid myself-in spite an admirer of Bjoerling's voice, his use of of the resultant nit-picking. With anall- SOUND it, and his sense of musical style.) star ''accompanying'' cast( Roberta Peters, But, when this collection came my way, Leonard Warren, Zinka Milanov, Licia Al- I was aware of the phenomenon (personal) banese, Robert Merrill, and others) the late REPRODUCTION that overall admiration was, if not lessened, tenor is presented in the company of his sing- at least mitigated. Bluntly, it struck me with ing peers. And whether the admittedly spec- INC. increasing force as the tape unreeled that ulative (and special) point I have made is 436 CENTRAL AVENUE there is something about the hard-core stan- valid or not, the international opera stage East Orange, New Jersey 07018 dard repertoire (particularly earlier Italian of today would be far better off ifit had a (2011 673-0600 opera) that is alien to the nature of Bjoer- few tenors with the pure vocal flair Bjoer- ling'svoice and hismusicalsensibilities, ling almost always displayed. II F. CIRCLE NO. 62 ON READER SERVICE CARD I-12 STEREO REVIEW ANDRE. KOSTELANETZ: Vienna, City of Dreams. Lehar: The Merry Vidow: Waltz and Czardas; The Count of Luxem- bour,Q:hz. Kreisler: Scboen Roy marin; Love's Sorrow. Johann Strauss, Jr.: Tritsch- Tratsch Poll -a; Perpetual Motion; The Blue Danube. Kalman: Countess Maritza: Si,' jar, mein Lieb, Sag' fa. Haydn: Serenade. Ste- czynski: Vienna, My City of Dreams. Straus: The lr:iltz Dream; Love's Roundelay. Sara- mae Endich (soprano); Carroll Glenn (violin) ;orchestra,Andre Kostelanetzcond. COLUMBIA MQ 973 $7.95. Performance: Champagne, more sweet than sec Recording: Excellent Stereo Quality: First-rate Speed and Playing Time:71/2 ips;33'09" If your heart is one of those quaint instruments that still beats in three-quarter time, if you yearn for old Vienna and coy coun- tesses and the lilting laughter of merry wid- ows, you have only to set Mr. Kostelanetz's concert waltzing around on your tape spindle for a schmaltzy romp in the Land of Smiles. Mr.Kostelanetz whips hisforcesintoa foamy Schlag of high -caloric sound in gen- eroushelpingsofFranzLehar,Johann Strauss, Jr., Oscar Straus, Fritz Kreisler, and othersoftheirilk.Thelushorchestral waltzes, serenades, and polkas are setoff with vocal passages richly and archly rendered by soprano Saramae Endich, and airy Kreislerian trifles coquettishly coaxed from a flirtatious fiddle by Carroll Glenn. Not for musical diabetics. P. K. ENTERTAINMENT PEARL BAILEY: The Real Pearl. Pearl Bailey(vocals);orchestra,Louislidlson cond. 1 Believe; Poor Butterfly; Thai's Life; Nobody; The Color of Rain; He's Gone; and six others.PROJECT3 PJX 5022 $5.95. Performance: Very good Recording: Excellent Stereo Quality: Excellent Speed and Playing Time: 33/4 ips; 29'49" Pearl Bailey is a truly ingratiating performer. She has style, humor, earthiness and, under- neath, a no-nonsense grasp of life's realities. Unfortunately, she is also afflicted now with a slight case of hardening of the stylistic arteries. Her ad-libs often sound distressingly That describes Kodak's top super 8 movie twosome-the new KODAK rehearsed, and there are times when her dic- INSTAMATIC" M9 Movie Camera and the KODAK INSTAMATIC tion betrays that it is the thousandth time she has sung a song in precisely the same way M95 Movie Projector. (her timing is apt to go awry for the same The instant -load M9 movie camera gives you greater movie -making reason).I am talking, of course, about her versatility. Battery drive-no winding ever. A wide zoom range -5 to 1. classics, Tired or Bill Bailer, and others with which by now,I would think, we are all More shooting speeds-four, ranging from12to 32 frames per second. familiar. Precise through -the -lens viewing, zone focusing, and automatic exposure Here isa collection of songs thatI had never heard Miss Bailey sing before, and I control. Sports finder, too. And handsome wood -grain vinyl styling. thought that it might be an occasion for some The M95 movie projector gives you greater movie -showing versatility. mild rejoicing. All of which should go to It has seven projection speeds - three forward speeds... three reverse prove thatI ought to have been more grateful for the old Bailey, even with the arthritic speeds...and a still "speed" when you want to freeze on a single frame. touches. Things don't exactly go from bad to Shows both super 8 movies and 8mm. Has 400 -foot reel capacity. worse here but they remain firmly mediocre. For her first band, she chooses, of all things, See this smart pair at your Kodak dealer's. to resurrect I Believe. My hatred of this in- The camera, less than $23o. The self -cased projector, spirational puddingisunquenchable, and from less than $200. Miss Bailey, ina four -minute performance ofit, was unable to reduce itin the least. Prices subject to change without notice. After that opener, I'm afraid she would have had to have stronger material than she presents here to engage my sympathies. I'm CIRCLE NO. 24 ON READER SERVICE CARD FEBRUARY 1969 143 Gonna Keep On Do& (What I'm Doin') is OWil_ae about as close to good entertainment as this tape offers,butconsidering Miss Bailey's WE CAN arpeatPencil/3 past achievements, that really is not saying much. P. R. SELL FOR LESS Jowl!! ...9n THE LETTERMEN:Special Request. The Lettermen (vocals) ; orchestra. Sherry Don't Nationally Advertised Brands Go; I Only Have Eves for You; Softly, As I Leave You; Wall- On By; Secret Lore; Sum- Hi-Fi Stereo Components mer Song; and five others.CAPITOL ® Y11' Tape Recorders 2934 $6.98. Record Changers YOU SAVE MORE Performance: Pre -adolescent Home & Car Stereo Tapes Recording: Fine Speaker Systems ON HI-FI COMPONENTS Stereo Quality:A la mode Radio & TV Sets & TAPE RECORDERS Speedand Playing Time: 334 ips; 30'11" Electronic Equipment

11einvite your testo our Thank goodness for the generation gap! It "We WillNot Be Undersold Policy." protects me-most of the time-from the BRAND NEW AND FULLY GUARANTEED I5 -day money -back guarantee. fiercer assaults of that violent -young- sound 2-yr. unconditional guarantee parts & a recentscientific survey reports may be driv- labor no charge, at local warranty stationorfactory. ing the whole discotheque set to premature WECANSAVE Trade-ins-highestallow.Send yourlist. deafness. It also spares me too frequent ex- Mostitemsshippedpromptly fromour posure to the ''warm, golden- sound (I gum, S250,000 inventory,fullyinsured. Capitol's own blurb) which causes the cur- YOU MONEY Our specialty-APO & Export. rent crop of young ladies to swoon over 23rd yr. dependable service-world wide. groups like the Lettermen. Evidently, these for FREE Listing Rated 21service-satisfaction according to SEr\1D:of 1000's of items ... nationwidesurvey. gentle -voiced souls, sighing softlyin close Write for Our Price First! harmony over oceanic backgrounds of or- You'llBe Glad You Did, chestral heavings, are hard -put to find enough LOWEST PRICES ANYWHERE! material to keep their fans enraptured, for on the current program they turn back to the ton fors, Seoterl Unrus lost Ser,tv HI -FIDELITY early Dick Powell of Vitaphone to resur- CENTER rectIOnly Hare Eyes forYou, which -The Meuse of Low Low Pr.CeS- thrilled me when I was twelve. As a matter AUDIK& 239-A East 149th St., of fact, although the cover photograph shows New York, N.Y. 10451 three sturdy young adult faces with long 2745 ERIE BLVD. EAST sideburns, I would not be at all surprised to CIRCLE NO. 32 ON READER SERVICE CARD learn that the actual singing inthis series SYRACUSE, NEW YORK 13224 is clone by a group of pre -adolescents with CIRCLE NO. 9 ON READER SERVICE CARD unchanged voices. It just does not seem possible for three actual adults to simper that way. Even the strong-melodied More goes DISCOUNTS audibly limp under their ministrations. P. K. Stereo Review SUBSCRIBER SERVICE SELLING HI-FI THE MORMON TABERNACLE CHOIR: NATION- WIDE Greatest Hits, Vol. II. Mormon 'Tabernacle Please include an address label when writing about Choir, Richard P. Condie, director; Philadel- your subscription to help us serve you promptly. WORLD phia Orchestra, Eugene Ormandy cond. 0 Write to: Portland Place, Boulder, Colo. 80302 Columbia the Gem of the Ocean; London- CHANGE OF ADDRESS: AFFIX LABEL-+ WIDE derry Air; ThisisMy Country; Beautiful Please let us know your - - SINCE Dreamer; Land of Hope and Glory; Dixie; are moving atleast and five others. COLUMBIA ®MQ972 $7.95. four to six weeks in 3 1948 Performance: Unbridled advance.Affixmaga- zine address labelin COMPONENTS RECORDERS Recording: Excellent space to the right and CD Stereo Quality: Highly evident 0 KITS SPEAKER SYSTEMS TAPE print new address be- Speed and Playing Time: 71/2 ips; 40'14" low.If you have a questionaboutyour A super -patriot's delightisthis collection of corn -rich staples from America's musical subscription, attach New Lower Prices silos. Hear all address label to your Same Day Reply To Your Inquiry the words of 0 Columbia, letter. the Gem of the Ocean in what is probably 0 Mfrs. Sealed Cartons the most elaborate arrangement for chorus TO SUBSCRIBE: Double Boxed Where Possible and orchestra yet devised for an anthem. Check boxes below. Fast, Insured Shipments New El Renewal Hear hundreds of voices raised in The Bat- 0 5 years $21 Package Deals Save You More tle Cry of Freedom and-lest any section of Franchised Distributors for Over 0 3 years $15 our fair land feel neglected-a mural -sized 0 1 year $6 50 Mfrs. Dixie and an aggressively chauvinistic This O Open Monday thru Saturday Is My Country.Motherwillenjoythe SPECIFY: Free Parking at Door swooning choruses of Beautiful Dreamer Payment enclosed- Phones: N.Y.C. (212) 369-6212 You get 1 extra issue L . J .ind Londonderry Air, while visiting clergy- per year as a BONUS' Danbury, Conn. (203) 775-2562 men may safely be entertained with mighty Add'I postage: Slyer year outside 0 Bill me later. u.s.,its possessions & Canada. performances of Father in Heaven, He's Got env the Whole W'orld in His Hands, Handel's name please print WRITE FOR SPECIALS VISIT Largo from Xerxes and Hallelujah, Amen OUR SHOWROOM/WAREHOUSE from his Judas Maccabaeus. With Mr. Or- address sfe# mandy at the helm of his hefty orchestra, and CAR.STCIA/ director Richard Condie waving a feverish city R.F.D. #3 - ROUTE 7 baton at his huge chorus, the Mormons have BROOKFIELD, CONN. 06804 never sounded more wide-awake. P. K. state zip -code CIRCLE NO. 12 ON READER SERVICE CARD 144 STEREO REVIEW SPOT se' CHECK

No Need to Have ROTE LEARNING Your Head Examined. A RED INDICATOR T ONE TIME or another, nearly everybody is faced with the unpleasant task of learning something by rote. The method isn't much fun, but APPEARS ON THE some things are best learned by continuously repeating (or hearing) them a FACE OF YOUR TAPE few words at a time. Using a tape recorder in the usual fashion is not really HEAD WHEN THERE very helpful for such a job-too much effort is wasted in starting, stopping, ARE ABOUT 100 rewinding, and restarting the machine. You can get so involved in the job of HOURS OF WEAR LEFT running the recorder that you find it difficult to pay attention to the material you are trying to learn. A simple solution to the problem is to use one of the endless -loop tape ASK FOR cartridges that are commercially available. The Orrtronics Audio Vendor, for FREE BROCHURE SPOT CHECK example, fits onto any standard reel-to-reel tape recorder, and it will end- BROCHURE lessly repeat any message you care to record on it. But with nothing more than a little ingenuity and splicing tape plus about ten feet of recording tape, MICHIGAN MAGNET/CS you can easily make your own "automated" tape teacher at a cost of just a A DIVISION OF VSI CORPORATION VERMONTVILLE, MICHIGAN 49096 few cents. Telephone (517) 259-8911 Take the length of recording tape, join its ends so that the tape forms a loop, and fasten the ends together with splicing tape. (You must be careful CIRCLE NO. 44 ON READER SERVICE CARD to use nothing but tape that is specially designed for splicing, or the adhesive might ooze and gum up the tape heads and the capstan.) If you have some 11 white leader tape, you can splice about a one -inch length of it into the loop to serve as a marker that will help in timing your recording. About ten feet of HERE recording tape will hold as much information as you can efficiently learn at one time. Load the loop into your tape recorder as you would tape from a FOR THE UTMOST IN reel and drape the overflow over the edges of the recorder and the table on which it is sitting. The loop will hang down to the floor, but don't worry about that. DISCOUNTS The best tape to use is 1.5 mils thick, because the weight of the tape in transit to the floor must overcome the friction between the tape and the sur- ON NATIONALLY faces of the recorder and the table. For the same reason, be sure to put your ADVERTISED recorder on a table that is high enough for the weight of the tape hanging over its edge to pull the played part down to the floor. With everything III -Fl STEREO ready, you can begin to record. Put your tape machine into its record mode and start the loop going. Then COMPONENTS start talking into the microphone and adjust the record -level control. When WRITE FOR OUR QUOTE everything is set just right, wait for the piece of white leader tape to appear All Merchandise Shipped and start your recording. You should finish just as the loop completes one PromptlyFullyInsured From run-through. If your timing is a bit off, you simply keep the loop going and Our Warehouse. try again. If you're way off, changing the tape speed or using a shorter tape loop will take care of the problem. A loop made with ten feet of tape will give you about 16 seconds of play- DOWNTOWN ing time at 71/2 ips, 32 seconds at 33/4 ips, and a little more than one minute at 17/8 ips. When you have finished learning the material on the loop, you AUDIO, INC. can record something new right over it. Or if you want to save the material 17 WARREN ST. for review later on, you can make a compact and convenient (though inele- NEW YORK, N.Y. 10007 gant) container for it from an empty frozen -orange -juice can. Now, repeat 267-3670-1-2 after me ... ''At one time or another...." CIRCLE NO. 22 ON READER SERVICE CARD FEBRUARY 1969 145 STEREO REVIEW CLASSIFIED

COMMERCIAL RATE: For firms or individuals offering commercial products or services. 90ct per word (including name and address). Minimum order $9.00. Payment must accompany copy except when ads are placed by accredited advertising agencies. Frequency discount: 5% for 6 months; 10% for 12 months paid in advance. READER RATE: For individuals with a personal item to buy or sell. 550 per word (including name and address). No minimum! Payment must accom- any copy. GENERAL INFORMATION: First word in all ads set in bold caps at no extra charge. Additional words may be set in bold caps at 100 extraper word. All copy subject to publisher's approval. Closing Date: 1st of the 2nd preceding month (for example, March issue closes January 1st). Send order and remittance to: Hal Cymes, STEREO REVIEW, One Park Avenue, New York, New York 10016.

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Quotations Free. Hi -Fidelity Center, 239 dealer information. AR International, Dept. SR, son, N.Y. 10520. (HC) East 149th St., New York 10451. 24 Thorndike St., Cambridge, Mass. 02141. TAPE RECORDER SALE. Brand new nationally FREE! Send for money saving stereo catalog NEW record changers. BSR-$13; V.M.-$16; Gar- advertised brands, $10.00 above cost. Amazing =H2R and lowest quotations on your individual rard -$22; Radio-Phono stereo -$15. "CHANG- discounts on stereo components. Arkay Elec- component, tape recorder, or system require- ERS," H.F., 2737 Third Ave., Bronx, N.Y. 10451. tronics,1028-A Commonwealth Ave.,Boston, ments. Electronic Values, Inc., 200 West 20th CABINETS -exciting designs!Foliocontaining Mass. 02215. St., N.Y., N.Y. 10011. photographs, literature, prices -$2.00. Furniture STEREO TAPE CLUB: AVERAGE COST $3.78- KIT Experts-Dynaco Specialists -Kits at reason- and Sound, 5204 North Lamon Avenue, Chi- $4.20 Cartridges, Cassettes, Reels. No Minimum able prices are our specialty. Also custom wired cago, Illinois 60630. monthlypurchases.Mail -10¢ -catalog.Star kits guaranteed to exceed factory standards at EUROPEAN and American HiFi Stereo Equip- Recording, Box 1055, El Paso, Texas 79946. substantial savings. Beautiful handcrafted Wal- mentatexcellentprices.Shipdirectfrom STEREO TAPES, Save 30% and up; no member- nutcasesforcompleteDynacoline,plus N.Y.C. Continental Audio, Inc., 71 W. 12th St., ship or fees required; postpaid anywhere U.S.A. everything in audio. Kitcraft, Dept. HS -269, 738 N.Y., N.Y. 10011. Free 70 -page catalog. We discount batteries, Washington Avenue, Brooklyn, N.Y. 11238. MA recorders, tape/accessories. Beware of slogans, 2-5230. FOR SALE "not undersold," as the discount information TAPE recorders. Hi-Fi components. Sleep Learn- you supply our competitor is invariably reported ing Equipment tapes. Unusual values. Free cata- to the factory. SAXITONE, 1776 Columbia Road, WHOLESALE components: Manufacturers and N.W., Washington, D. C. 20009. log.Dressner, 1523R Jericho Turnpike, New distributors only. Request free catalog on busi- Hyde Park, N. Y. 11040. ness letterhead. WESCOM, Box 2536, El Cajon, CASSETTE Tape Recorders - Players - 10 out- LOW, Low quotes: all components and record- California 92021. standing value pages sent free -brand names -lowest ers, HiFi, Roslyn, Penna. 19001. ELECTRONIC Bargains - Diodes,Transistors, prices -blank Cassettes -accessories. GOVERNMENT Surplus Receivers, Transmitters, Tubes, Courses. Free Catalog -Immediate Ship- CASSETTES, UNLIMITED, P.O.Box13119-s, Snooperscopes, Radios, Parts, Picture Catalog ment. Cornell, 4215-H University, San Diego, Pittsburgh, Pa. 15243. 250. Meshna, Nahant, Mass. 01908. Calif. 92105. RENT tapes -postage paid $1.00 week -catalog. BUY. Hi-Fi direct from England. Save up to 40%. LABORATORY chemicals supplies. 1969 catalog Tape Library, Box 8146, D.C. 20024. Quad, A. & D., Decca, S.M.E., Revox, Garrard, has over 400 listings many scientific publica- RECORDING TAPE at lowest prices -write Box etc. Catalog $1 Bill ($2 Air Post) Goodwin Ltd., tions, catalogues $.25 Caseco, Dept. X, P.O. Box 51, South Bend, Indiana 46624. 7, Broadway, Wood Green, London, N.22. 77, Riverdale, New Jersey 07457. DON'T THROW YOUR OLD CARTRIDGES AWAY, FREE ELECTRONICS PARTS FLYER. Large cata- PLANS AND KITS Send us $50.00 and any old used cartridge and log$1.00deposit. BIGELOW ELECTRONICS, we will ship you via air prepaid anywhere the BLUFFTON, OHIO 45817. following Top Stereo Cartridges: Shure V-15 BUILD -IT -YOURSELF. Save big dollars. Transis- Type II, Empire 999VE, ADC, 10EMK II, Stanton TEAC 310 studio recorder. New $995.00. Chap- tor stereo amplifiers. Color organs. Speakers. pel, Box 154, Woodacre, Calif. 94973. 415-457- Write Workshop, Box 393, Bethpage, New York 681EE. Write for lowest quotations allstereo 1208. components. DEFA ELECTRONICS, 2207 Broad- 11714. way, New York, N.Y. 10024. SURVEILLANCE DEVICES: Lawenforcement SUB -CARRIER MUSIC ADAPTER foruninter- THE Price Is Right! Hi-Fi Components. J. Wright agents only. Request brochures on officiallet- rupted commercial -free music. 6 -transistor cir- terhead. SILMAR, 3476 N.W. 7th Street, Miami, cuit uses standard components. Inexpensive and Co., 65-B Jensen St., East Brunswick, N.J. 08816. Florida 33125. ACOUSTIC RESEARCH, Dyna, Koss, Shure dis- easy to build. Connects easily to any FM tuner. count specialists. Write for free catalog. Stereo BOZAK CONCERT GRANDS MODEL B310A LIKE Complete plans and 3x41/2" printed circuit board Component Systems Corp., 95 Vassar Street, NEW $1200. A. Menza, Jr., 40 Melody Lane, Tona- $4.50. Wallace Enterprise, Inc., Dept. SR, 83.15 Cambridge, Mass. 02139. wanda, N.Y. 14150. 98th Street, Woodhaven, N.Y. 11421. WRITE now for free 1969 catalog McGee Radio Company. 1001 Bargains. Speakers - Parts - TAPE AND RECORDERS RECORDS Tubes - High Fidelity Components - Record Changers -Tape Recorders -Kits. Everything in BEFORE RENTING Stereo Tapes try us. Postpaid HARD to find collectors LPs, like new. Lists 50f. Electronics.1901 McGee Street, Kansas City both ways - no deposit - immediate delivery. Records, Hillburn, New York 10931. (GE), Missouri 64108. Quality - Dependability - Service - Satisfac- PROTECT YOUR LPs: Heavy poly sleeves for NEW low prices on all stereo components and tion - prevail here.If you've been dissatisfied jackets 5st; poly lined paper sleeves 100; round tape recorders. Write for our quote. Stereo Corp. in the past, your initial order will prove this is bottom inner sleeves 31/20: white Record jackets of America, 2122 Utica Avenue, Brooklyn, New no idle boast. Free catalog. Gold Coast Tape 20it; supplies for 45's. Record Supplies, Hillburn, York 11234. Library, Box 2262, Palm Village Station, Hia- leah, Fla. 33012. New York 10931. HARTLEY SPEAKERS NOW AVAILABLE in Tokyo, Hong Kong, Johannesburg, Manila, Noumea. HI-FI Components, Tape Recorders, at guaran- "HARD To Get" records --all speeds. Record teed "We Will Not Be Undersold" prices. 15 -day Exchange, 842 Seventh Avenue, New York, N.Y. Others write Hartley Products Corp., Ho-Ho-Kus, 10019. N.J. 07423. money -back guarantee. Two-year warranty. No Catalog. Quotations Free. Hi -Fidelity Center, 239 19f RECORDS from your tapes. Write Concert GARRARD Record Changers, Hi-Fi Components, (HT) East 149th St., New York 10451. Recording, Lynwood, California 90262. Cartridges, Needles, Tape, TV Parts, Schematics. Write for Unbelievable Prices. Gregg Electronics, TAPEMATES makes available to you ALL 4 - FREE 40 PAGE CATALOG offers hundreds of re- P.O. Box 184, Glen Head, N.Y. 11545. TRACK STEREO TAPES -ALL LABELS -postpaid cordingsofrareRenaissance,Baroque and to your door -at tremendous savings. For free Classical music. Some records priced as low as DON'T THROW YOUR OLD CARTRIDGE AWAY. brochure write: TAPEMATES, 5727 W. Jefferson $1.00 each! All late recordings in stereo only. Send $19.95 and any old cartridge. We will ship Blvd., Los Angeles, California 90016. MHS RECORDS, Box 932 -HS, New York, New PREPAID any one of the following top rated York 10023. elliptical diamond stereo cartridges NEW: Shure CASH for your unwanted prerecorded tapes and M75E, M91E, M92E, M93E, Empire 888E, Picker- LP recordings, Reder, 81 Forshay Road, Monsey, UNBELIEVABLE Classicalrarities.Catalogue ing V15AME3, XV15 ATE, ADC 660E, 550E. Write New York 10952. FREE! M.I.T.M. 271 Autumn Avenue, Brooklyn, for lowest quotationsallstereo components. WHOLESALE -4 -8 -track STEREOTAPES - Car, N.Y. 11208. DEFA ELECTRONICS, 2207 Broadway, New York, Home PLAYERS -CB, Recorders. MUSICO, Box N.Y. 10024. 11045, Montgomery, Alabama 36105. TUBES KLIPSCH, TANNOY, ALTEC, RECTILINEAR, AR, RENT 4 -track open reel tapes -all major labels - WHARFEDALE, GARRARD, BENJAMIN, SHER- 3,000 different -free brochure. Stereo-Parti, 55 RECEIVING & INDUSTRIAL TUBES, TRANSIS- WOOD, KENWOOD, DYNACO, TOUJAY, AUDIO St. James Drive, Santa Rosa, California 95401 TORS, All Brands -Biggest Discounts. Techni- ORIGINALS, MARTEL, UHER, TEAC. Superior SCOTCH RECORDING TAPE,lowestprices. cians, Hobbyists, Experimenters -Request FREE Sound, 1801 Brewerton Road, Mattydale (Syra- TAPE CENTER, Box 4305,Washington, D.C.. Giant Catalog and SAVE! ZALYTRON, 469 Jeri- cuse), N.Y. 13211. 20012. cho Turnpike, Mineola, N.Y. 11501.

146 STEREO REVIEW HIGHLY effective home study course inElec- REPAIRS AND SERVICES tronics Engineering Mathematics with circuit MOVIE FILMS applications. Earn your AssociateinScience HI-FI Problems solved by "The Hi-Fi Doctor" on Degree. Free literature. Cook's Institute of Elec- 16mm SOUND -Projectors, Films, New, Used for the spot. Audio, Acoustic, Radio Engineer, Pro- tronics Engineering, P.O. Box 36185, Houston, Sale, Free Catalog. National Cinema, 333 W. 57 fessional visits, day, evening. New York area. Texas 77036. (Established 1945.) St., N.Y., N.Y. 10019. William Bohn, Plaza 7.8569. SHIP RADIO OFFICER TRAINING --SHIPS have been held up awaiting needed personnel. Train EDUCATIONAL now at Long Beach the home of the Queen Mary. OPPORTUNITIES WANTED Radio officers earn to $1800.00 monthly. Write for free information. Western Technical School. LEARN While Asleep, hypnotize with your re- QUICKSILVER, Platinum, Silver, Gold. Ores Ana- 5459 Atlantic Avenue, Long Beach, Calif. 90805 Desk B. Approved for veterans. corder, phonograph. Astonishing details, sensa- lyzed.FreeCircular.Mercury Terminal,Nor- tional catalog free! Sleep -Learning Association, wood, Mass. 02062. DRAFTING -home courses $25.00. Send $2.00 Box 24-ZD, Olympia, Washington 98501. SONY TC-777-2J tape recorder wanted, like new firstlesson.Prior,Inc.,23-09169thStreet, if possible but will consider any. Also consider Whitestone, New York 11357. TC-777-4J. Jon Black, 40-18 Hampton Street, MISCELLANEOUS Elmhurst, N.Y. 11373. PRINTING WINEMAKERS. Free illustrated catalog of GARLAND tapes, records, bought, exchanged. yeasts, equipment. Semplex, Box 7208, Minne- Harry Locke, 391 Lincoln St., Lexington, Mass. FREE LITERATURE: Addresslabels,business apolis, Minn. 55412. 02173. cards, printing, Rubber Stamps. JORDAN'S, 552 West O'Connor, Lima, Ohio 45801. EMPLOYMENT Resumes. Get a better job & earn more! Send only $2.00 for expert, complete Re- AUTHORS' SERVICES WPE - HAM - CB QSL'S samples 250.Dick, sume. Writing Instructions. J. Ross, 80-34 Kent W8VXK, Gladwin, Mich. 48624. St., Jamaica, N.Y. 11432. Dept. HF. AUTHORS! Learn how to have your book pub - STOP BURGLARS THE EASY WAY!! Affixau- lished, promoted, distributed. Free booklet "ZD," EMPLOYMENT INFORMATION thentic "Protected by Electronic Sentry Alarm" Vantage, 120 West 31 St., New York 10001. Decals to auto windows, doors and windows of FOREIGN and USA job opportunities available home,retailstores,vending machines,etc. STAMPS now.Construction,alltrades.Earningsto Whether you have an alarm or not -thieves stay $3,000.00 monthly. Paid overtime, travel,bo- away! Only $1.00 for each set of two. J. Ross. 80-34 Kent St., Jamaica, N.Y. 11432. Dept. HF. RUSSIA HIGH -VALUE COLLECTION. 32 different nuses.Write:UniversalEmployment, Wood- Russia -some over 50 years old! Commemo- bridge, Conn. 06525. SELECT A KEY! DON'T FUMBLE! Unusual SE- ratives, Czarist Issues, Airmails. Catalog price LECT A KEY case eliminates the annoyance of $2.99. Special Get -Acquainted Offer -all for only PERSONALS fumbling for the proper key. Case also shows car 100! H. E. Harris, Dept. GG-13, Boston, Mass. owner when to change oil and rotate tires. Send 02117. $1.98 to The Litzel's, 49 ElizabethSt.,River MAKE FRIENDS WORLDWIDE through interna- Edge, N.J. 07661. Jerseyites add tax. WOW! 110 alldifferent Germany 100 --Com- tional correspondence. Illustrated brochure free. memoratives, airmails, high values, big catalog, Hermes, Berlin 11, Germany. MORE THAN199,000 BUYERSofSTEREO bargain lists also, fine stamps from our approval REVIEW read these columns thoroughly each LEMURIAN VIEWPOINT -Meaningful discussions month. They look to the CLASSIFIED pages for service which you may return without purchases of Cosmic Truth: the purpose of human life, re- serviceat any time. Jamestown sources of products and services of interest to and cancel incarnation, man's place in a Higher Plan, and them. They'll buy from you if your advertising Stamp, Dept. A29EG, Jamestown. N.Y. 14701. subjects from the Lemurian Philosophy. Send appears here regularly. For space in the April SPACEOPHOBIA? Monaco nudes plus 50 differ- for FREE copy Lemurian Fellowship, Dept. 908, issue on sale mid -March, forward copy and pay- ent.100 with approvals. BKJ, Astor, Boston, Box 397, Ramona, Calif. 92065. ment before February 1st to: Hal Cymes, Classi- Mass. 02123. fied Advertising Manager, STEREO REVIEW, One PHOTOGRAPHY -FILM, Park Avenue, New York, N. Y. 10016. BUSINESS OPPORTUNITIES EQUIPMENT, SERVICES DeluxeSTEREO REVIEW INVESTIGATE ACCIDENTS: Earn to $1000 SCIENCE Bargains -Request Free Giant Catalog monthly. Men urgently needed. Car furnished. "CJ" -148 pages -Astronomical Telescopes, Mi- Business expenses paid. No selling. No college croscopes, Lenses, Binoculars. Kits, Parts. War MAGAZINE CASES education necessary. Pick own job location. In- surplus bargains. Edmund Scientific Co., Bar- DESIGNED TO HOLD A FULL YEAR'S COPIES vestigate full time or earn to $8 hour spare rington, New Jersey 08007. time. Write for FREE information. No obligation. Constructedofreinforced Universal Schools, CZ -2, 6801 Hillcrest, Dallas, MEDICAL FILM -Adults only -"Childbirth" one fibreboard and covered in rich Texas 75205. reel, 8mm $7.50, 16mm $14.95. International H, leatherette, these durable Greenvale, Long Island, New York 11548. cases guard against soiling and I MADE $40,000.00 Year by mailorder! Helped others make money! Start with $10.00 - Free WORLD'S Largest Camera Buying Guide -800 tearing of your magazines Proof. Torrey, Box 318-N, Ypsilanti, Michigan illustrations -504 -deductible with order -Olden while lending themselves hand- Camera, 1265 Broadway, New York, N.Y. 10001. somelytothe decorofany 48197. room. The magazine cases are FREE BOOK "990 Successful, Little -Known Busi- available with embossed nesses." Work home! Plymouth 345-T, Brooklyn, HYPNOTISM gold lettering in either New York 11218. all black or attractive FREE Hypnotism, Self -Hypnosis, Sleep Learning maroon back with MAILORDER .. . Operate cash -in -advance busi- Catalog! Drawer H400, Ruidoso, New Mexico black sides. ness!Details.Methods, 1411-F.D.,Lafayette 88345. Hill, Pennsylvania 19444. AMAZING HYPNOTIC record kit releases fantas- These decorative cases are just what you've INSTALL burglar -fire alarms. Big profit. Send tic mental power! Free offer expires soon. Write: been looking for to keep your copies of $1.00 (refundable) for catalog and information. Forum, Studio AA -2, 333 North Michigan, Chi- Sterec Review in easy -to -find order. SILMAR, 3476 N.W. 7th Street, Miami, Florida cago 60601. 33125. HYPNOTIC Sleep Learning recordings produce $3.50 ea., 3 for $10, 6 for $19 fabulous results. Catalogue free. ASR Founda- INSTRUCTION tion, Box 7021eg Henry Clay Station, Lexing- FULLY GUARANTEED ton, Ky. 40502. LEARN Electronic Organ Servicing at home. All Ziff -Davis Publishing Co., Dept. SD SR29 HYPNOTIZEMALES,FEMALES! --Unnoticed! makes including transistors. Experimental kit - I 1 Park Ave., N.Y., N.Y. 10016 trouble -shooting. Accredited NHSC, Free Book- Quickly! Nerves! Exciting! $2.25. Research Enter- let. Niles Bryant School, 3631 Stockton, Dept. A, prises, 29-SN2:. Samoset, Woburn, Mass. 01801. Please send me Stereo Review Sacramento, Calif. 95820. HYPNOTIZE SUCCESSFULLY! "By telephone" - II Magazine Files as checked below: ASSOCIATE Degree in Electronics Engineering "Instantaneous" -"One Word" -"Against Will" methods exposed! 10" Hypnodisk. "Secret NerveI 1:j All black, gold embossed earned through combination correspondence - 0 Maroon back. gold embossed/black sides classroom educational program. Free brochure. Pressure Technique" -They never know! $2.00. Grantham Technical Institute, 1505 N. Western RESULTS ABSOLUTELY GUARANTEED! Fowler, Ave., Hollywood, California 90027. Box 4396, Woodbury, New Jersey 08096. NAME

R.E.I.'s famous (5) week course for the First ADDR:SS_ Class Radio Telephone License is the shortest, GOVERNMENT SURPLUS most effective course in the nation. Over 98% CITY of R.E.I. graduates pass F.C.C. exams for 1st JEEPS Typically From $53.90 . . . Trucks From class license. Total tuition $360.00. Job vlace- $78.40 . .. Boats, Typewriters, Airplanes, Multi - STATE _ZIP ment free. Write for brochure Radio Engineering meters, Oscilloscopes, Transceivers, Electronics Incorporated Schools, 1336 Main Street, Sara- Equipment. Wide Variety, Condition. 100,000 Bid Enclosed is $ at $3.50 per case, sota, Florida 33577 -or 3123 Gillham Road. Kan- Bargains Direct From Government Nationwide. "1 for $106 for $19 (Quantity prices apply for sas City, Missouri 64109 -or 809 Caroline Street, Complete Sales Directory and Surplus Catalog combination orders of more than one title). Orders Fredericksburg, Virginia 22401 -or 625 E. Colo- $1.00 (Deductible First $10.00 Order). Surplus IL outside U. S. A. $4.50 ea., 3 for $13, 6 for $25. A rado Street, Glendale, California 91205. Service, Box 820-L, Holland, Michigan 49423. mi IN (Payment must accompany order) ygg V FEBRUARY 1969 147 STEREO REVIEW ADVERTISERS' INDEX

READER SERVICE NO. ADVERTISER PAGE NO. READER SERVICE NO. ADVERTISER PAGE NO. 34 NC America,Inc. 1 Acoustic Research,Inc. 7 12, 49, 117 72 Jensen Manufacturing Company 123 2 Allied Radio 24 3 Altec Lansing, Division of LTV Ling Altec, Inc. 8 77 KLH Research & Development Corp. 127 71 Altec Lansing, Division of LTV Ling Altec,Inc. 102 35 Kenwood Electronics,Inc. Ampex Stereo Tape Div, Ampex Corp. .. . 18, 19 5 36 King Karol Records 12 4 Ampex Corporation (Tape Recorders) 93 37 Klipsch & Associates 29 6 Angel Records . 94, 95 38 Koss Electronics,Inc. 10 7 Audio Devices,Inc. 30, 31 8 Audio Dynamics Corporation 36, 37 39 Lafayette Radio Electronics 44, 45 9 Audio Sales 144 5 Lear Siegler, Inc. 14, 15 Audio Unlimited, Inc. 142 40 London Records 96 15 BASF Computron,Inc. 103 42 Marantz,Inc. 118 76 BSR (USA) Ltd., McDonald Division 129 70 Marantz,Inc. 91 75 Bell & Howell 135 43 MartelElectronics 48 10 Benjamin Electronic Sound Corp 50 44 Michigan Magnetics 145 5 Bogen Communications 14, 15 11 Bose Corp. 105 45 Norelco High Fidelity Products Div. 125 Bozak, R.T. 32 46 Olson Electronics 103 British Industries -Garrard 2 132 41 Pickering & Company, Inc. 3rd Cover 12 Carston Studios 144 47 Pioneer Electronics Corp. 13 13 Citadel Record Club 11 14 Columbia Records 81 Columbia Stereo Tape Club 48 RCA Victor Records 78 9 49 RCA Victor Tape 140 Conar 138 50 Rabco 53 Consumer's Union 110 51 Rectilinear ResearchCorp. 107 Contac 137 52 Rheem Roberts 85 16 Craig Corp. 121 53 17 Sansui Electric Co.,Ltd. 113 Defa Electronics Corp. 138 54 18 Schober Organ Co. 46 Deutsche Grammophon (DGG) 108 100 Scott, 20 Inc., H. H. 2nd Cover, 1 Deutsche Grammophon(DGG) 99 Seagram Distillers Company 22 Downtown Audio . 16 145 78 Seeburg Sales Corp. 23 Dressner . 139 132 55 67 Dual Sherwood Electronic Laboratories,Inc. 35 39 56 Dynaco,Inc. Shure Brothers,Inc. 111 41, 43 57 Sony Corporation of America . 83 24 Eastman Kodak Company 58 Sony Corporation of America 100, 101 143 59 Sony/Superscope,Inc. 25 EICO Electronic Instrument Co., . 47 Inc. 28 60 19 Electro-Voice,Inc. Sony/Superscepe,Inc. 131 4th Cover 61 Sony/Superscope,Inc. 69 Elpa Marketing Industries, Perpetuum-Ebner Div. . 6 48 62 Sound Reproduction, Inc. 26 Empire Scientific Corp. 54 142 63 Stereo Corporation of America 134 27 Fairfax Industries,Inc. 98 64 Teac Corporation 28 Fisher Radio Co. 21,23, 27, 115 109 74 Telex Communications Division 133 65 Toshiba America, Inc. 29 Grundig Electronic Sales, Inc. 28 134 43 Uher by Martel 48 30 Harman-Kardon,Inc. 97 66 uniClub,Inc. 17 31 Heath Company 86,87, 88, 89 67 United Audio Products, Inc. 39 32 Hi -Fidelity Center 144 33 Honeywell Photographic Products 120 68 Vanguard Records 90

ClassifiedAdvertising 146, 147

STEREO REVIEW PRODUCT INDEX As an additional reader service, we list below, by classifications,the products advertised in this issue.If there is a specific product youare shopping for, look for its listing and turn to the pages indicated for the advertisements of manufacturers supplying that equipment.

CLASSIFICATION PAGE NUMBERS CLASSIFICATION PAGE NUMBERS

Accessories 147 Stereo Amplifiers and Preamplifiers Receivers, 2nd Cover,1,13,14-15, 18-19, 21, 23, 28, 35 28, 41, 86 44-45, 83, 91, 100-101, 102, 113, 4th Cover Records 12, 78. 81, 90, 94-95. 96, 99, 108 Record and Tape Clubs 9,11,17 Cameras 120, 143 Cartridges 12,50,54.111, 3rd Cover Catalogs 24, 110 Speakers and Speaker Systems 8, 27, 29, 32, 36.37, 43, 49, 86,105,107, 117,118,123, 127

Headphones 10 Tapes Prerecorded 5,31, 140 Tape,Recording 6, 103 Tape Recorders and Decks Liquors 16 47, 48, 85, 93,109.121,131,133,134, 135 Tape Recorders, Cassette 125 Television 89 Tone Arms . 53 Miscellany 46, 137 Tuners, FM Modular Music Systems (Compacts) 28, 86 7, 115 Turntables and Changers 2,7, 39, 48, 50, 129

148 Printed in the U.S.A. STEREO REVIEW PHOTOuRAPM .Y FRAM2 EDSON Words are inherently limited in stimulating of every instrument. With no loss of power. the emotions aroused by music. This is especially so That's what it takes for a cartridge to in describing how high fidelity components perform. recreate the most subtle nuances that With cartridges, for example, we speak of distinguish one musical instrument from flat frequency response, high compliance, another. An oboe from an English low mass, stereo separation. Words like these horn. A trumpet from a cornet. enlighten the technically minded. But they do We call this achievement "100% music power." little or nothing for those who seek When you play your records with an XV-15, you won't be only the sheer pleasure of listening. concerned with even that simple phrase. We kept both aspects in mind when Instead, you'll just feel and enjoy the renewed experience developing the XV-15 series of cartridges. of what high fidelity is really all about. We made the technical measurements. And we listened. PICKERING We listened especially for the ability of these cartridges to reproduce the entire range

THE NEW PICKERING %%1-15/750E. PREMIER MODEL OF THE XV-15 SERIES.TRACKS AT 1/2 TO 1 GRAM. DYNAMIC COUPLING FACTOR OF 750 FOR USE IN FINEST TONEARMS. $60.00. OTHER XV-15 CARTRIDGES FROM $29.95. PICKERING & CO.,PLAINVIEW, L.I., N.Y. What do you call an etched circuit board that eliminates 49 chances for trouble in every Electro-Voice modular stereo receiver?

We call it "Mother"!

Model E -V 1232 80 watt receiger, $266.00. CWR1 case, $22.00.

"Mother" helps in other ways, too. For instance, even slight movement of ordinary wiring can "de -tune" vital RF circuits. But our modular circuits are permanently etched in place-to within Our big etched circuit board is at Gone are the ills that plague even the .015". So you receive full performance the bottom of a significantly better most carefully assembled hand -wired from our Field Effect Transistors and way to make stereo receivers. With one receivers. Integrated Circuits. And good ideas like stroke, Electro-Voice has eliminated There's another advantage. Before be- thick -film hybrid circuits simply plug in hand -wiring from almost every signal place. In short-laboratory specifications circuit. ing locked into the "mother" board, each module is first plugged into an elaborate are exactly duplicated in every produc- Each major section of the new Electro- tester. Then, with pre -tested modules in tion Electro-Voice modular receiver. Voice modular receivers isbuilt on its place, the finished receiver is re -tested Look into any new E -V receiver. We own etched board. As many as seven completely. This double assurance of offer four. Your choice of 40 or 80 watts modules in all. The modules then plug quality means dramatically improved re- (IHF) with Stereo FM or A M/Stereo FM. directly into the "mother" board. No liability and better performance for your From $199.95. Just tell the man "mother" errors in wiring. No cold solder joints. stereo dollar. sent you.

FREE! Call (800)243-0355 any time, day or night, for name of nearest Electro-Voice high fidelity specialist. In Connecticut call (collect) 853-3600.

high fidelity systems tuners, amplifiers, receivers public address loudspeakers microphones phono needles and cartridges space and defense electronics

ELECTRO-VOICE, INC., Dept. 294F, 616 Cecil Street, Buchanan, Michigan 49107 A SUBSIDIARY OF GULTON INDUSTRIES, INC.