High Fidelity Magazine February 1960

t_D Beecham's CARMEN and Karaian's AIDA reviewed this month iiigh1 el FEBRUARY THE MAGAZINE FOR MUSIC LISTENERS 60 CENTS

Dr Refiner's Orchestra

by MARTIN MAYER

Big Bass from Small Boxes

by NORMAN H. CROWHURST

Photograph of Dr. Reiner Courtesy RCA Records

www.americanradiohistory.com 3 SECONDS ... It's the Glaser- Steers GS -77. You 6 SECONDS ... the turntable has stopped -the next can tell by its modern trim styling -a hint of the precise record drops gently into play position. Suddenly you are mechanism that's 'under-the-hood'. A record has just com- aware that you have just seen something different- differ- pleted its play. The tone arm has lifted from the groove ent from any changer you've ever known. You have seen and returns to rest. So far, so good -it might be any how turntable pause eliminates the harsh grinding action changer. But, here's where the similarity ends. Watch caused by dropping one record on another or onto the what happens next. turntable while in motion.

9 SECONDS... the tone arm leaves its rest, moves The GLASER - STEERS GS-77 is worthy toward the record, and then -gently, sets itself down into of the finest stereo or monophonic system. It is designed the lead -in groove of the record. Then -and only then and engineered to protect your records and add hours of does the turntable resume its motion. In these 9 seconds listening pleasure to your treasured recordings. Enhance you have seen a record handled automatically with the performance of your high fidelity system, today. Add greater care and gentleness than you could possibly give the Glaser-Steers GS -77. $59.50 less cartridge and base it manually. Don't you agree that - . - at your high fidelity dealer.

PAUSE FOR 9 SECONDS ...SEE HOW THE GLASER-STEERS GS-77 ADDS HOURS OF LISTENING PLEASURE TO YOUR RECORDS

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FEBRUARY 1960

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2 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com hjqh fki.1t1 FEBRUARY 1960 volume 10 number 2 including AUDIOCRAFT and HI -FI MUSIC AT HOME

Roland Gelatt Editor Joan Griffiths ARTiCIF Executive Editor Ralph frees Audio Editor Dr. Reiner's Orchestra 38 Martin Moyer Miriam D. Manning If no liar's lost between the Managing Editor Chicago Symphony and its conductor, mutieully Irances A. Newbury Associate Editor speaking they get along fine. Roy Lindstrom Art Director H. C. Robbins Landon Music in the Midwest 42 Robert C. Marsh European Editor Alain Street has changed - considerably.

Editorial Board Big Bass from Small Boxes 45 Norman H. Crowhursl Jahn M. Conly u; loudspeakers go, goori things Chairman ils far can conic in enclosures. E. Power Biggs little Nathan Rodor R. D. Darrell They Opened Her Mouth with a Corkscrew 49 Herbert Kupferberg Alfred Frankenstein Mezzo Gus licita .Simiomuo is intervira,cri, Howard Hanson and explains this and other things. Julian Hirsch Robert C. Marsh Frantic Robinson Joseph Stigeti REPORTS Warren B. Syer General Manager Claire N. Eddiegs Notes From Abroad 20 Advertising Soles Manager F. Walter Grueninger Books in Review 28 R. D. Circulation Director Darrell Music Makers 51 Roland Gelott Publication Policy Records in Review 53 Charles Fowler Lawrence Gatto Tape Deck 89 W. D. Littleford Warren B. Syer allnlprt?Ar A D V E R T I S I N G Main Office From the High -Fidelity Newsfronts 95 Claire N. Eddings, The Publishing Howe Great Barrington, Ma... Telephone 1300 Audio News 96 New York 1566 Broadway, New York 36 HF Equipment Reports 98 Telephone: Plato 7 -2800 Bert Covit, Sy Resnick EICO AF -4 Stereo Amplifier Chicago Shure Stereo Studio Dynelic Arm and Cartridge 188 W. Randolph St., Chicogo I Heath SD -1 Stereo Phonograph Telephone, Cenuol 6 -9818 Andy Spanbergcr Bell 6060 Stereo Amplifier

Los Angeles Grommes 260A 60 -watt Amplifier 1520 North Gower, Hollywood 28 Grommes 209 Stereo Preamplifier Telephone: Hollywood 9 -6239 George Kelley EICO HFT94 AM Tuner Sonotone 8TA4 Stereo Cartridge

AUTHORitotively Speaking 4 Letters 13 As the Editors See It 37

Trader's Marketplace 110 Advertising Index 116

Published monthly as Greet Barrington, Mass. by The Billboard Publishing Co. Copyright n 1960 by The Billboard Publishing Co. The design and contents of High Fidelity Magazine are fully protected by copyright and must not be reproduced in any manner. Second class postage paid at Groot Barrington and 01 additional mailing offices. Onoyear subscription in U. S., Peuessions, and Canada 56.00. Elsewhere $7.00.

www.americanradiohistory.com HEW! tyPite 50-WATT AUTHORitatively Speaking Martin Mayer's 3fadison Avenue, EJ. S. A., was a best seller for many, many Complete Stereo Phono System months -and not simply as a compendium of startling facts and figures about the ad- . COMPONENTS vertising business. In that book the jour- LAFAYETTE LA -250 S0 -WATT AMPLIFIER .. _.. 89.50 nalist's camera eye was abetted by the NEW GE VR -22 (.7 MIL) DIAMOND STEREO CARTRIDGE 24.45 artist's insight. ( Note: Mr. Mayer is also GARRARD RC 121/11 STEREO CHANGER _. 41.6S a novelist; see his recent A Voice That LAFAYETTE WOOD CHANGER BASE 3.9S Fills the House, Simon 6c Schuster.) The 2- LAFAYETTE SK -58 FAMOUS FREE EDGE same is true, we think, of of 12" COAXIAL SPEAKERS @ 29.50 59.00 the portrait the Chicago Symphony and its conductor REGULAR PRICE X18755 CATALOG (p. 38), with which we lead off our an- COMPLETE nual "American orchestra" issue. STEREO SYSTEM 41111011EW 17450 Brought up in the Middle West and 6E1111427 You Save 44.05 now music critic of the Chicago Sun - YOUR GUARANTEED BEST STEREO SYSTEM BUY! Titnes, Robert C. Marsh can well be ex- This superb tyslem will odd o w dimension in living to your home with MI pected to be fully at home with "Music the excitement and realism of o e live concert. The new Lafayette íA230, 50- in the Midwest'. (p. 92). He might also watt stereo amplifier 125 watts each channel) forms the hears of this outs and - Ing stereo hi-fi phonograph musk system -the features, . o:ililY and advanced be assumed to be more than a bit partial. circuitry of this unit are second to none. Also included it the famous Gerrard He isn't. Mr. Marsh traveled East to RCI2I /I I intermix !-speed aulamolk record changer with lull manual or auto manic operation supplied with your choice of stereo cartridges -the new GE Hansard -and farther East to even more VR -22 (.7 Mil) diamond stereo cartridge, Pickering 371.7D 1.7 Mil) diamond ancient seats of learning (i.e., the Uni- Hereo cartridge, Shure M7D (.7 Mil) diomend stereo cortrid$e or the new (OPTIONAL) ElechoVoice 31 MD7 j.7 Mil) diamond stereo cartridge. Supplied with the versities of Oxford and of Cambridge). LAFAYETTE Lafayette wood base cut for the RCI 21 in your choice of finishes. There out- We might add, too, that Mrs. Marsh is a ELIPTOFLEK standing components ore coupled with the 2 tomes. free edge Lafayette SK38 and level New York Irish -Yankee, red-haired, blue - SERIES 12- Coo.iol speaker, with bui!l-in (rollover network brlllionc con trot. System supplied with plugs- Coble. and simple intlruclions. Shpg. t.l. , 671bí. eyed, and possessed of a mind of her own. HI -681 WX Hi -Fi STEREO PHOHD SYSTEM with theirs el cartridge and mahogany, R. C. M.'s objectivity proved? walnut or blond changer base Igloos. specify( ...... 5.00 down Nei 174.50 HF -683WX Some as HF -681, but with 2 Loleyette Eliptatro Series leek,hell Entice- H. had writs. finish). Shpg wt., Idi IN. 10.00 Down Net 229.95 Norman Crowhurst a beard long HF -682 WE Steno AM.FM -Phone System. Some as 11F-ell but indudieg the new Lafay- before Beatniks started flaunting them-

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RESPONSE 5- 40,000 CPS + 1 DB UNIQUE STEREO A MONAURAL High Fidelity, February 1960, Vol. 10. CONTROL FEATURES PRECISE "NULL" BALANCING SYSTEM CON- No. n-. Published monthly by The Billboard CENTRIC INPUT LEVEL CONTROLS Publishing Co., publishers of The Billboard, A ttvly professional stereo preamplifier and master audio control center-salves Vend. Funspot, cool The Billboard Inter- every stareq /monaural control problem. Feolurs unique Bridge Control for variable national. 'lclephone: Great Barrington KT-600 cross-channel leed for liminolion of eooggeroted channel separation Reds -plus 1300. Member Audit Bureau of Circulation. IN KIT FORM controlled 3rd channel output. Hat ollconcentric controls -including dutch- operated Volume balance control. Provider complete and advanced facilities for accepting. Editorial Correspondence should be ad- 79.50 controlling and providing undistorted gale for any and all program sources. Sensi- dressed to The Editor, Great Barrington, tivity 2.2 my for 1 volt out (low beret inputs). Dual low impedance "plate follower" Mars. Editorial contributions will be wel- outputs 1500 ohms. Response 5. 40,000 cat + I db. Las than .03% IM distortion. comed. Payment for articles accepted will LA -600 Len than .1% harmonic distortion. Hum and noise 80 db below 2 volts (high level be arranged prior to publication. Unsolicit- /1 "xIOFA Shpg. col.. COMPLETELY WIRED inputs). User 7 new 7025 lownoi, dual triodes. Sine: 1.014' ". ed manuscripts should be accompanied by 16 lbs. Complete with all parts, tubes, deluxe cabins? and detailed instruction retunl postage. 134.50 manual. KT -600WX Stereo P,eomolfier Kit ._5.00 Down Net 79.50 Subscriptions, change of address notices, LA -600WX Stereo Preamplifier, wired and set'ed 5.00 Dawn. Net 134.50 undelivered copies, orders for subscriptions should be addressed to High Fidelity I-- Sand FREE LAFAYETTE 308 GIANT SI2E0 PAGE Catalog 600 Magazine, 2160 Patterson Street, Cin- CUT OUT cinnati 22. Ohio. AND PASTE j LAFAYETTE RADIO xnme P.O. 10K 222 Subscription rates: Unites States, Posses- ON POST sions and Canada, 1 year, $6; 2 years, $I1; I JAMAICA 31. M. Y. CARD 3 years. S15; 5 years, S20. Elsewhere $1.00 DEPT. was.' per year extra. Single copies 60 cents. City Zone. State J

} HIGH FIDELITY MAGAZINE

www.americanradiohistory.com NEVER AGAIN dazui offer s $ lS 6 J Sfronly Louisville Orchestra Records advance to $5.95 each on February 29

As of February 29, the price of Louisville Critics have praised First Edition Record- finest recordings of the best contemporary Orchestra First Edition Records goes tip to ings to the skies: symphonic music. act now. The coupon at S5.95 each to new subscribers. Until then, . . el service to music unequalled." the lower right -hand corner of this an- you can get six records for only $4.98 by Christian Science Monitor nouncement is for your convenience. subscribing now to take six additional First . quality higher than critics dared The first 6 records (all 6 for $4.98) Edition Records in the next twelve months, will be mailed you on receipt of coupon. at S4.98 each. hope." Time Magazine . . Louisville commissions enrich Euro- You may discontinue your subscription First Edition Records are fine Hi -Fi at any time after purchasing the 6 new recordings pean as well as American repertories. And of contemporary symphonic the value of recordings . would be releases at $4.98 each, within one year. music - original works written by hard to exaggerate." New York Time, The 6 new releases, for which you pay today's leading composers. These works $4.98 each, will be mailed you at intervals are both commissioned for and played 'these matchless recordings have been available singly at $7,95 each or by sub- of approximately two months, with bill by the outstanding Louisville Orchestra, enclosed (we pay the postage ). After conducted by famed Robert Whitney. scription at $4.98 each. Increasing costs will soon require us to raise prices and to purchasing these 6 records nt $4.98 each, Make no mistake about it - there are no withdraw our current special introductory you receive a First Edition Record of other records like Louisville Orchestra First offer of six records for S4.98. This is posi- your choice, free, for every 2 additional Edition Records. The music is recorded for tively the last offer at the old rates. selections you buy. you by Columbia transcriptions. It is played Subscriptions postmarked later than mid- THE LOUISVILLE PHILHARMONIC SOCIETY and interpreted to the composer intended night, February 28 will not be entered at (A Non- Profll Organization] on 12" long-playing Hi -Fi records. the old rate. if you are at all interested in Robert Whitney, Conductor

Fine Hi -Fi Recordings of Award -winning Compositions, MI ttt Brilliantly Played by One of the Nation's Outstanding Orchestras

5451 PAUL CRESTON: Invocation and Dance. HEITOR VILLA - 572 ANDRE JOLIVET: Suite Transoceane. JOHN VINCENT: I I LOBOS: Overture. "Dawn in a Tropical Forest." HALSEY Symphony In D. STEVENS: Triskelion. 573 ROLF LIEBERMANN: Opera: "School for Wives." Moritz I 5452 ALEXANDER Bombard, Director. I REPN N Suite. Opus 87.87h BERNARDWAGENAAR: A Concert 574 ROGER SESSIONS: "Idyll of Theocritus" for Soprano and Overture. Orchestra (Audrey Nossaman, Soprano). I 5453 PETER MENNIN: Symphony No. 6. WALLINGFORD RIEGGER: 575 NED ROREM: Design for Orchestra. BERNARD REICHEL: Variations for Piano and Orchestra. (Benjamin Owen, Pianist). Suite Symphonique. ERNST TOCH: Notturno. 576 EDMUND RUBBRA: Improvisation for Violin and Orchestra ' I 5454 ALAN HOVHANESS: Concerto No. 7 for Orchestra. MARIO (Sidney Harth, Violinist). IRVING FINE: Serious Song: A CASTELNUOVO- TEDESCO: Overture to "Much Ado About Lament for String Orchestra. HAROLD MORRIS: Passacaglia, Nothing." CARLOS SURINACH: Sinfonietta Flamenca. Adagio and Finale. I 5455 JACQUES !BERT: Louisville Concerto. GARDNER READ: 581 ALEXEI HAIEFF: Ballet in E. NICOLAS NABOKOV: Symbols Toccata Giocoso. OTTO LUENING- VLADIMIR USSACHEVSKY: Chrestiani for Baritone and Orchestra (William Pickett, Rhapsodic Variations for Tape Recorder and Orchestra. Baritone). I 5456 PEGGY GLANVILLE- HICKS: Opera: The Transposed Heads." 582 LOU HARRISON: "Four Strict Songs" for Eight Baritones Moritz Bomhard, Director. and Orchestra. PETER JONA KORN: Variations on a Tune 1 5457 VINCENT PERSICHETTI: Symphony for Strings. ROBERT from "The Beggar's Opera." SANDERS: Little Symphony No. 2 in Bb. BORIS BLACHER: 583 ELLIOTT CARTER: Variations for Orchestra. EVERETT HELM: I Studie im Pianissimo, Opus 45. Second Piano Concerto (Benjamin Owen, Pianist). 5458 LUIGI DALLAPICCOLA: Variazioni per Orchestra. JOSE 585 ROGER GOEB: Concertino for Orchestra II. GAIL KUBIK PABLO MONCAYO: Cumbres. ULYSSES KAY: Serenade for Symphony No. 2 in F. I Orchestra. DARIUS MILHAUD: Ouverture Medi :erraneenne. 586 WALTER PISTON: Serenata. DAVID VAN VACTOR: Fantasia.' 5459 GOTTFRIED VON EINEM: Meditations, KAROL RATHAUS: Chaconne and Allegro. NIELS VIGGO BENTZON: Pezzi Prelude for Orchestra, Opus 71. GEORGE PERLE: Rhapsody Sinfonici. Opus 109. for Orchestra. 591 AARON COPLAND: Orchestral Variations. ALFONSO I I 54510 ALBERTO GINASTERA: Pampeana No. 3, A Pastoral Sym- LETELILR: Aculeo, Suite for Orchestra. phony. WILLIAM BERGSMA: A Carol on Twelfth Night. HERBERT ELWELL: Concert Suite for Violin and Orchestra HENRI SAUGUET: Les Trois Lys. ROBERT WARD: Euphony 593 (Sidney Harth, violinist). HALSEY STEVENS: Sinfonia Breve. I for Orchestra. I 594 NICOLAS NABOKOV: Opera: "The Holy Devil." Moritz Born - 54511 GIAN- FRANCESCO MALIPIERO: Fantasie di Ogni Giorno. hard, Director. VITTORIO RIETI: Introduzione e Gioco Delle Ore. ERNST I BACON: The Enchanted Island. SEND NO MONEY -6 RECORDS FOR $4.98 WILL 8E MAILED 561. HILDING ROSENBERG: Louisville Concerto. CHOU WEN - CHUNG: And the Fallen Petals. CAMARGO GUARNIERI: YOU UPON RECEIPT OF THIS COUPON (UNTIL FEB. 26, 1960) I Suite IV Centenario. 562 ALEXANDRE TANSMAN: Capriccio. FELIX BOROWSKI: The Richard Wimgerin, Manager, LOUISVILLE PHILHARMONIC SOCIETY Mirror, INGOLF DAHL: The Tower of St. Barbara. Suite 14, 830 S. Fourth St.. Louisville 3, Ky. I ERNST KRENEK: 563 Eleven Transparencies. ROBERTO ns a Louisville retenues during the neat 12 CAAMANO: Please enroll me subscriber for Magnificat, Op. 20. Choir of Southern Baptist n months, at $4.95 each (or I will Theological Seminary. First Edition Records. and send cf I the 6 records whose numbers hove fer by making a single a GEORGE ANTHEIL: Opera: The Wish." Moritz Bomhard, been shave. You may bill nue! payment of S2 7.50) -after which 564 Director. circled nie n total of 51.98 for these 6. I will receive a free bonus record for I 565 JUAN ORREGO- SALAS: Serenata Concertante, Op. 42. I agree to purchase 6 additional new each additional 2 eelectìona l buy, HAROLD SHAPERO: Credo for Orchestra. ROBERT MlIC7YNSKI: Cnnrerto No. 1 for Piano and Orchestra. Neme I (Robert Muczynski, Pianist). 566 HENK BADINGS: The Louisville Symphony. BEN WEBER: Address Prelude and Passacaglia. LEO SOWERBY: All an a Summer's I Day. City 7.,re State THIS OFFER EXPIRES FEB. 28, 1960

FEBRUARY 1960 5

www.americanradiohistory.com Would you believe it ? The wafer-thin "440" Bi- Phonic Coupler, a maximum range reproducer, is only 3 times the size of this photo . and a slim 41/2" deep. The Bi- Phonic Coupler differs radically from ordinary loudspeakers ... the woofer has no cone ... it requires no baffle ... there is no grille cloth. Like in a fine bass violin ... its wall structure is the reproducing element. Unlike boxed enclosures, the free-radiating "440" reproduces the very deepest bass notes with concert clarity and its spacious projection creates a naturalness matched only by the original performance.

Don't wait! LISTEN -to the remarkable "440" Bi- Phonic Coupler at your Hi Fi Dealer. fer complete a.Vlis and ncn.Iui Inlc,m.lIon, . ,a for brochure A.20 A product of Advanced Acoustics, Inc., 67 East Centre Street, Nutley 10, New Jersey

8 HIGH FIDELITY MAGAZLNE

www.americanradiohistory.com NEVER AGAIN amain'` offers 6RECORDS °rl,$4" Louisville Orchestra Records advance to $5.95 each on February 29

As of February 29, the price of Louisville Critics have praised First Edition Record. finest recordings of the best contemporary Orchestra First Editiot: Records goes up to ings to the skies: symphonic music, act now. The coupon at of this an- S5.95 each to new subscribers. Until then, . . a service to music unequalled." the lower right-hand corner you can get six records for only $4.98 by Christian Science Monitor nouncement is for your convenience. subscribing now to take six additional First 6 $4.98) . quality higher than critics dared The first 6 records (all for Edition Records in the next twelve months, hope." Time Magn:ine will be mailed you on receipt of coupon. at $4.98 each. You may discontinue your subscription ". . Louisville commissions enrich Euro- new First Edition Records are fine Hi -Fi pean as well as American repertories. And at any time after purchasing the 6 recordings of contemporary symphonic releases at $4.98 each, within one year. the value of recordings . would be music - original works written by hard to exaggerate." New York Time! The 6 new releases, for which you pay today's leading composers. These works These matchless recordings have been $4.98 each, will he mailed you at intervals are bout commissioned for and played of approximately two months. with bill by the outstanding Louisville Orchestra, available singly at $7.95 each or by subscription at $4.98 each. Increasing costs enclosed (we pay the postage). After conducted by famed Robert Whitney. $4.98 each, will soon require us to raise prices and to purchasing these 6 records at a Record of Make no mistake about it - there are no withdraw our current special introductory you receive First Edition other records like Louisville Orchestra First offer of six records for $4.98. This is posi- your choice, free, for every 2 additional Edition Records. The music is recorded for tively the last offer at the old rates. selections you buy. you by Columbia transcriptions. It is played Subscriptions postmarked luter than mid- THE LOUISVILLE PHILHARMONIC SOCIETY and interpreted as the composer intended night, February 28 will not be entered at (A Non -Profit Organtzatlon) on 12" long -playing Hi Fi records. the old rate. If you are at all interested in Robert Whitney, Conductor

rua MI P Fine Hi -Fi Recordings of Award -winning Compositions, Brilliantly Played by One of the Nation's Outstanding Orchestras

I 5451 PAUL CRESTON: Invocation and Dance. HEITOR VILLA - 572 ANDRE JOLIVET: Suite Transoceane, JOHN VINCENT:' LOBOS: Overture. "Dawn in a Tropical Forest." HALSEY Symphony in D. STEVENS: Triskelion. 573 ROLF LIEBERMANN: Opera: "School for Wives." Moritz 1 5452 Bomhard, Director. 1 REPNIN: Sú te, Opus 87. BERNARD WAGENAAR: A Concert 574 ROGER SESSIONS: "Idyll of Theocritus" for Soprano and Overture. Orchestra (Audrey Nossaman, Soprano). 1 5453 PETER MENNIN: Symphony No. 6. WALLINGFORD RIEGGER: 575 NED ROREM: Design for Orchestra. BERNARD REICHEL: Variations for Piano and Orchestra. (Benjamin Owen, Pianist). Suite Symphonique. ERNST TOCH: Notturno- 576 EDMUND RUBBRA: Improvisation for Violin and Orchestra' 1 5454 ALAN HOVHANESS: Concerto No. 7 for Orchestra. MARIO (Sidney Harth, Violinist). IRVING FINE: Serious Song: A CASTELNUOVO-TEDESCO: Overture to "Much Ado About Lament for String Orchestra. HAROLD MORRIS: Passacaglia. Nothing." CARLOS SURINACH: Sinfonletta Flamenca. Adagio and Finale. ' 5455 JACQUES IBERT: Louisville Concerto. GARDNER READ: 581 ALEXEI HAIEFF: Ballet in E. NICOLAS NABOKOV: Symbole Toccata Giocoso. OTTo LUENING -VLADIMIR USSACHEVSKY: Chrestiani for Baritone and Orchestra (William Pickett. Rhapsodic Variations for Tape Recorder and Orchestra, Baritone). 1 5456 PEGGY GLANVILLE HICKS: Opera: The Transposed Heads." 582 LOU HARRISON: "Four Strict Songs" for Eight Baritones Moritz Bomhard, Director. and Orchestra. PETER JONA KORN: Variations on a Tuno from "The Beggar's Opera." 1 5457 VINCENT PERSICHETTI: Symphony for Strings. ROBERT 1 SANDERS: Little Symphony No. 2 in Bb. BORIS BLACHER: 583 ELLIOTT CARTER: Variations for Orchestra. EVERETT HELM: Studie im Pianissimo, Opus 45. Second Piano Concerto (Benjamin Owen, Pianist). 1 5458 LUIGI DALLAPICCOLA: Variazioni per Orchestra. JOSE 585 ROGER GOEB: Concertino for Orchestra II. GAIL KUBIK: PABLO MONCAYO: Cumbres. ULYSSES KAY: Serenade for Symphony No. 2 in F. Orchestra. DARIUS MILHAUD: Ouverture Mediterraneenne. 586 WALTER PISTON: Serenata. DAVID VAN VACTOR: Fantasia.' 1 5459 GOTTFRIED VON EINEM: Meditations. KAROL RATHAUS: Chaconne and Allegro. NIELS VIGGO BENTZON: Pezzi Prelude for Orchestra, Opus 71. GEORGE PERLE: Rhapsody Sinfonici, Opus 109. for Orchestra. 591 AARON COPLAND: Orchestral Variations. ALFONSO I ' 54510 ALBERTO GINASTERA: Pampeana No. 3, A Pastoral Sym LETELIER: Aculeo, Suite for Orchestra. phony. WILLIAM BERGSMA: A Carol on Twelfth Night. 593 HERBERT ELWELL: Concert Suite for Violin and Orchestra HENRI SAUGUET: Les Trois Lys. ROBERT WARD: Euphony (Sidney Harth. violinist). HALSEY STEVENS: Sinfonia Breve. f for Orchestra. 594 NICOLAS NABOKOV: Opera: "The Holy Devil." Moritz Bom- 54511 GIAN -FRANCESCO MALIPIERO: Fantasie di Ogni Giorno. hard. Director. VITTORIO RIETI: Introduzione e Gioco Delle Ore. ERNST 1 BACON: The Enchanted Island. SEND NO MONEY -6 RECORDS FOR $4.98 WILL BE MAILED 561 HILDING ROSENBERG: Louisville Concerto. CHOU WEN - CHUNG: And the Fallen Petals. CAMARGO GUARNIERI: YOU UPON RECEIPT OF THIS COUPON (UNTIL FEB. 28, 1960) 1 Suite IV Centenario. 5562 ALEXANDRE TANSMAN: Capriccio. FELIX BOROWSKI: The Richard tVnngerin, Manager, LOUISVILLE l'IIILHA ItSIONIC SOCIETY Mirror. INGOLF DAHL: The 1 Tower of St. Barbara. Suite IS. 830 5. Fourth St., Louisville 1, Ky. 563 ERNST KRENEK: Eleven Transparencies. ROBERTO n subscriber for Louis ille releases the I9 CAAMANO: Please enroll during nest Magnificat, Op. 20. Choir of Southern Baptist and nte month.. at 3 -l.95 each (or r will cf. Theological Seminary. First Edition Records. .end 1 the 6 records whose numbers hase feet a saving by !nuking a single n 564 GEORGE ANTHEIL: Opera: The Wish." Moritz Bomhard, been circled above. You may hill oval payment of 337.50) -otter which Director. me o total of 3.4.98 for dusse 6- I will m eiVI2 n free bonus record far JUAN 1 565 ORREGO- SALAS: Serenata Concertante, Op. 42. T .grec to purchase 6 additional new each additional 2 selections I buy, HAROLD SHAPERO: Credo for Orchestra. ROBERT MUCZYNSKI: Concerto No. 1 for Piano anc Orchestra. Name 1 (Robert Muczynski, Pianist), 566 HENK BADINGS: The Louisville Symphony. BEN WEBER: Address Prelude and Passacaglia. LEO SOWERBY: All on a Summer's 1 Day. City 70 ne St ,re THIS OFFER EXPIRES FEB. 28, 1960

FEBRUARY 1960 5

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Would you believe it ? The wafer-thin "440" BiPhonic Coupler, a maximum range reproducer, is only 3 times the size of this photo ... and a slim 41/2" deep. The Bi- Phonic Coupler differs radically from ordinary loudspeakers ... the woofer has no cone ... it requires no baffle ... there is no grille cloth. Like in a fine bass violin ... its wall structure is the reproducing element. Unlike boxed enclosures, the f ree- radiating "440" reproduces the very deepest bass notes with concert clarity and its spacious projection creates a naturalness matched only by the original performance.

Don't wait! LISTEN -to the remarkable "440" Bi-Phonic Coupler at your Hi Fi Dealer. /Of complete tall, end technical Information, .rib for br c,un .20. A product of Advanced Acoustics, Inc., 67 East Centre Street, Nutley 10, New Jersey

8 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com NEVER AGAIN a azinug offer 6RECORDS0:lr$49; Louisville Orchestra Records advance to $5.95 each on February 29

As of February 29, the price of Louisville Critics have praised First Edition Record- finest recordings of the best contemporary Orchestra First Edition Records goes up to ings to the skies: symphonic music, act now. The coupon at this an- S5.95 each to new subscribers. Until then, . . a service to music unequalled." the lower right -hand corner of you can get six records for only $4.98 by Christian Science Monitor nouncement is for your convenience. subscribing now to take six additional First The first 6 records (all 6 for $4.98) Records in . quality higher than critics dared Edition the next twelve months, will be mailed you on receipt of coupon. at $4.98 each. hope." Time Magazine may subscription . , - Louisville commissions enrich Euro- You discontinue your First Edition Records are fine Hi -Fi pean as well os American repertorios. And at any time after purchasing the 6 new recordings contemporary symphonic one of the value of recordings . would he releases at $4.98 each, within year. music. - original works written by hard to exaggerate." New York Times The 6 new releases, for which you pay today's leading composers. These works These matchless recordings have been S4.98 each, will be mailed you at intervals are both commissioned for and played of approximately two months, with bill the available singly at $7.95 each or by sub - by outstanding Louisville Orchestra, enclosed we pay the postage). After conducted by famed Robert Whitney. scriptioi: at $4.98 each, increasing costs will soon require us to raise prices and to purchasing these 6 records at $4.98 each, Make no mistake about it - there are no withdraw our current special introductory you receive a First Edition Record of 2 other records like Louisville Orchestra First oiler of six records for 8 -1.98. This is posi- your choice, free, for every additional Edition Records. The music is recorded for tively the lost offer at the old rates. selections you buy. you by Columbia transcriptions. It is played Subscriptions postmarked later than mid- THE LOUISVILLE PHILHARMONIC SOCIETY and interpreted as the composer intended night, February 28 will not be entered at (A Non -Profit Organization) on 12" long- playing Hi -Fi records. the old rate. if you arc at all interested in Robert Whilney, Conductor Fine Hi-fi Recordings of Award -winning Compositions, MI r li 1=1 Brilliantly Played by One of the Nation's Outstanding Orchestras

5451 PAUL CRESTON: Invocation end Dance. HEITOR VILLA. 572 ANDRE JOLIVET: Suite Transoceane, JOHN VINCENT: LOBOS: Overture. "Dawn in a Tropical Forest." HALSEY Symphony in D. STEVENS: Tiskelion. 573 ROLF LIEBERMANN: Opera: "School for Wives." Moritz 5452 HENRY COWELL: Symphony No. 11. ALEXANDER TCHE. Bombard, Director. REPNIN: Suite, Opus 87. BERNARD WAGENAAR: A Concert 574 ROGER SESSIONS: "Idyll of Theocritus" for Soprano and Overture, Orchestra (Audrey Nossaman, Soprano). 5453 PETER MENNIN; Symphony No. 6. WALLINGFORD RIEGGER: 575 NED ROREM: Design for Orchestra. BERNARD REICHEL: I Variations for Piano and Orchestra. (Benjamin Owen. Pianiar). Suite Symphonique. ERNST TOCH: Notturno. 576 EDMUND RUBBRA: Improvisation for Violin and Orchestra 5454 ALAN HOVHANESS: Concerto No. 7 for Orchestra. MARIO (Sidney Harth, Violinist). IRVING FINE: Serious Song: A' CASTELNUOVO- TEDESCO: Overture to "Much Ado About Lament for String Orchestra. HAROLD MORRIS: Passacaglia, Nothing." CARLOS SURINACH: Sinfonietta Flamenca. Adagio and Finale. ' 5455 JACQUES IBERT: Louisville Concerto. GARDNER READ: 581 ALEXEI HAIEFF: Ballet in E. NICOLAS NABOKOV: Symboli Toccata Giocoso. OTTO LUENING- VLADIMIR USSACHEVSKY: Chrestiani for Baritone and Orchestra (William Pickett, Rhapsodic Variations for Tape Recorder and Orchestra. Baritone). ' 5456 PEGGY GLANVILLE. HICKS: Opera: The Transposed Heads." 582 LOU HARRISON: "Four Strict Songs" for Eight Baritones Moritz Bombard, Director. and Orchestra. PETER JONA KORN: Variations on a Tune 5457 VINCENT PERSICHETTI: Symphony for Strings. ROBERT from "The Beggar's Opera." SANDERS: Little Symphony No. 2 in Bb. BORIS BLACHER: 583 ELLIOTT CARTER: Variations for Orchestra. EVERETT HELM: Studie im Pianissimo, Opus 45. Second Piano Concerto (Benjamin Owen, Pianist). 5458 LUIGI DALLAPICCOLA: Variazioni per Orchestra. JOSE 585 ROGER GDEB: Concertino for Orchestra II. GAIL KUBIK: I PABLO MONCAYO: Cumbres. ULYSSES KAY: Serenade for Symphony No. 2 in F. Orchestra. DARIUS MILHAUD! Ouverture Mediterraneenne. 586 WALTER PISTON: Serenata. DAVID VAN VACTOR: Fantasia, 5459 GOTTFRIED VON EINEM: Meditations. KAROL RATHAUS: Chaconne and Allegro. NIELS VIGGO BENTZON: Pezzi Prelude for Orchestra. Opus 71. GEORGE PERLE: Rhapsody Sinfonici. Opus 109. for Orchestra. 591 AARON COPLAND: Orchestral Variations. ALFONSO 54510 ALBERTO GINASTERA: Pampeana No. 3, A Pastoral Sym- LETELIER: Aculeo, Suite for Orchestra. 1 phony. WILLIAM BERGSMA; A Carol on Twelfth Night. 593 HERBERT ELWELL: Concert Suite for Violin and Orchestre HENRI SAUGUET: Les Trois Lys. ROBERT WARD: Euphony (Sidney Harth, violinist). HALSEY STEVENS: Sinfonia Breve. 1 for Orchestra. 594 NICOLAS NABOKOV: Opera: "The Holy Devil." Moritz Bern- 54511 GIAN- FRANCESCO MALIPIERO: Fantasie di Ogni Giorno. hard, Director. VITTORIO RIETI: Introduzione e Gioco Delle Ore. ERNST BACON: The Enchanted Island. SEND NO MONEY -6 RECORDS FOR $4.98 WILL BE MAILED 561 HILDING ROSENBERG: Louisville Concerto. CHOU WEN - CHUNG: And the Fellen Petals. CAMARGO GUARNIERI: YOU UPON RECEIPT OF THIS COUPON (UNTIL FEB. 28, 1960) Suite IV Centenario. 562 ALEXANDRE TANSMAN: Capriccio. FELIX BOROWSKI: The Richard Wangerin. Manager, LOUISVILLE PHILHARMONIC SOCIETY Mirror. INGOLF DAHL: The Tower of St. Barbara. Suite 14, 830 S. Fourth St.. Louisville 3, Ky. ERNST KRENEK: Eleven Transparencies. 563 ROBERTO Please enroll me es a subscriber for Loui.sille releases during the neat 12 CAAMANO: Magnificat, Op. 20. Choir of Southern Baptist each f will Theological Seminary. First Edition Rerorda, and .end mc months. at $1.98 (or eL the 6 record., whore nunibers have feet saying by making a single en- 564 GEORGE ANTHEIL: Opera: The Wish." Moritz Bernhard, bern circled above. You may bill nual payment of 32750) -alter whirls Director. nie a total of $3.98 for these 6. 1 will receive a free bonus record for 565 JUAN ORREGO. SALAS: Serenata Concertarte. Op. 42. I agree to purcltaae 6 additional new each additional 2 selections I buy, HAROLD SHAPERO: Credo for Orchestra. ROBERT MUCZYNSKI: Concerto No. 1 for Piano and Orchestra. Name (Hobert Muczynski, Pianist). 566 HENK BADINGS: The Louisville Symphony. BEN WEBER: Address Prelude and Passacaglia. LEO SOWERBY: All on a Summer's 41. Day. City 7,,n State THIS OFFER EXPIRES FEB. 28, 1960

FEBRUARY 1960 5

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SONY C -37A CONDENSER SONY CR -4 MICROPHONE R//A/D-IOO,,.. Acclaimed GT/r0 The World's MICROPHONE Finest! to, 1 Designed to meet exacting professional The Sony model CR -4 Is a com- standards where plete professional wireless micro- utmost phone with an alltransistor FM SONY DK -555A* performance, transmitter, a dynamic lavalier dependability microphone and an 8 -tube FM and fidelity is receiver. Serecorder essential. The famous Sony Sterecorder is The exceptionally frequency TRANSMITTER a complete 2 speed professional smooth response of Self powered with 2'nexpersive Stereophonic Tape Recording and miniature batteries Playback System designed forcus- 20-20,000 CPS* is Detachable small dynamic tom installation and portable use. completely free microphone of resonant Cars be hand held, used as lavalier, FREQUENCY RESPONSE: (per channel) peaks and dips. or concealed 30.18000 cps @ 71/2 ips Flexible, detachable antenna cps -: 2 DO 50-15000 *Actual anechoid response On -off switch cps (Fe 31!: ips 30- 12,000 curve and descriptive Signal to noise ratio (per charnel) brochure available upon 03 or more RECEIVER 50 request. Small site and light weight, very FLUTTER AND WOW attractive for desk use Less than 0.2% @ 71/2 ips CP -2 POWER SUPPLY Detachable telescoping antenna Less than 0.3%'@ 33/4 ips Custom Wide range AFC for stable matched to operation SPECIAL FEATURES each High sensitivity and low noise Built-in stereo pre -amplifiers and microphone Squelch circuit for elimination power amplifiers (can be used for of interference other components) Neon light for selective tuning Two V.U. meters for professional indication 2 output jacks level loud, Built -in monitor speaker with Separate stereo outputs for Volume control speakers and connection to exter- nal amplifiers Separate inputs for live steren DIRECTIONAL CHARACTERISTICS: Ideally suited for all applications and "off the air" stereo record- Unidirectlonal and omni -directional: where freedom Morn wired commu- ing Maximum Iront to back sensitivity of nications is desired. Operates on Automatic tape lifters (eliminates more than 15 db provides unequalled FM band of 27.12 M.C. No FCC li- head wear in fast forward and Cardioid pattern. cense is required. rewind) OUTPUT IMPEDANCE: 200 ohms balanced The professional Sony CR -4 wireless OUTPUT LEVEL; microphone is the outstanding value Uni directional -50 db in the field! Omni -directional -52 db

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6 BICII FIDELITY MAGAZINE

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www.americanradiohistory.com you believe it ? The wafer-thin "440" Bi-Phonic Coupler, a maximum range reproducer, is only 3 times the size of this photo ... and a slim 41/2" deep. The Bi- Phonic Coupler differs radically from ordinary loudspeakers ... the woofer has no cone ... it requires no baffle ... there is no grille cloth. Like in a fine bass violin ... its wall structure is the reproducing element. Unlike boxed enclosures,

the free-radiating "440" reproduces the very deepest bass notes with concert clarity . and its spacious projection creates a naturalness matched only by the original performance.\ on't wait! LISTEN -to the remarkable "440" Bi-Phonic Coupler at your Hi Fi Dealer. camylalo aauii, and technical Information, .rite for brochure .2O. [WouldA product of Advanced Acoustics, Inc., 67 East Centre Street, Nutley 10, New Jersey

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SIR : Though Stravinsky seems to be fairly well represented on disc, it seems to me that one of his greatest works (certainly the outstanding achievement of his middle period), the Sym- phony of Psalms, has met with some shabby treatment by the a & r men of late. Though three performances are listed in the current issue of the Schwann catalogue, and at least two provide remarkable insights into the score, none of them even vaguely sug- deluxe 60 -watt complete stereo amplifier gests the power that is in these pages, Fifteen stereophonic and monophonic controls 60 watts rated through the deficiencies of their engi- stereo output... 76 watts usable...152 watts peak -to -peak t 0.5 db, neering. 25. 20,000 cps Third channel speaker output with new additive It seems to me that both London full -range circuit 5 pairs of stereo inputs...including auxiliary for new and Columbia should have Ansermet cartridge tape playback Long -life silicon diode heat -free power supply with oversize transformer Humless DC on all preamp tubes Vinyl -clad and Stravinsky, respectively, re -re- metal case included in price Anodized front panel in brushed gold cord this work in the sonies it de- and charcoal brown Shpg. wt.. 35 lbs....on /y $149.95.$5.00 down. serves. Benjamin Folkman Brooklyn, N. Y.

Distaff Demurs SIR: You might inform the hardened Mr. Charles H. Oakes of Birmingham, Ala- bama, that there are certain of us fe- males who pay "hard cash" for HIGH FIDELITY and don't regard it exclusively as a man's magazine. As a matter of fact, it has been a valuable aid to me in selecting records and equipment here in this rather high- fidelity- deluxe stereo FM -AM tuner less area. Separate FM and AM sections for stereo reception Adjustable DSR distortion of FM Front panel audio and Come now, Mr. Oakes, why not corrective feedback for lowest a.c. switching for multiplex Dual limiters on FM Tuned RF stage on just put your exclusive on Argosy and both FM and AM 2.5 microvolt sensitivity on FM ± 0.5 db, 20- 20,000 cps 7'rue? Cathode follower multiplex and tape output jacks Dual "Microbeam" Airs. John Heineman tuning indicators Illuminated 9th' tuning scale Low -noise 50 -ohm Fishtail, Mont. extra antenna terminals Solid aluminum front panel. gold anodized, with vinyl -clad case. Shpg. wt., 21 lbs.- ..only $139.95.55.00 down. Sieg fried Stock Soaring order from 1. SFR: New Easy Terms: ALLIED RADIO May I acid my vote for a complete Only 55 down (or less) on orders up to $200. Siegfried by describing a cast worthy Up l0 24 months to pay. ELECTRONICS 11160 ALLIED RADIO. Dept. 49 -e of it? 100 N. Western Ave.. Chicago 80, III. Flagstad's re- Judging from Kirsten FREE 1960 Ship the following Knight components: - cent rendition of Fricka in Das Rhein ALLIED CATALOG' (I understand your IS-day Irht KN-760. endon6 and money-back ruarantee gold and stunning recording of 7 her Send for your complete. money- KIF125. applies to this purchase.) Sibelius' songs, I see no reason why saving guide to the world's she could not sing the brief but vital largest selection of hi -li cornpo- O Send FREE 1960 ALLIED Catalog nents and systems. See every- role of Brünnhilde. Mario del Monaco thing in stereo: all the new Name is always commenting that he would KNIGHTcomponents: allleading lines. for everything in make Address like to do some Wagner. Here is a h i.l,, for everything in Electronics, get the 1960 ALLIED Catalog. City Zone Stale Continued on next page FREE -write for it today.

FEBRUARY 1960 1:

www.americanradiohistory.com LETTERS Continued from preceding page

good role, Siegfried. Set Svanholm does not make an impressive hero. As for Mime -Paul Kuen was so good in that role in Rheingolti that he will have to sing it here. A good conductor for Siegfried would be Hans Knap- pertsbusch, or maybe Herbert von Karajan should be given a try. And please, on five records, not six. Per- haps our long hoped for opera will take this country by storm, as Rhein - gold did. Larry Osuna Los Angeles, Calif.

The Old Guard Speaks SIR:

In at least one respect, 1 am convinced that a return to the "good old days" is wholly desirable. Please let's go back to the manual sequence of the 78 rpms. I can list several good reasons for manual sequence. First. think how much more convenient it would be! As each record of an album is played, it can be returned to its envelope, re- placed in the album, and not handled again. Also, if I happen to be playing The promise an opera, and should accidentally sit down on one of the discs, I would much prefer to lose all of Act I, than of stereo to lose the first and the last pages of the opera; or to lose all of Act II, than to lose the last half of Act I and the is fulfilled first half of Act Ill. Seems to me replacement of discs could be more easily effected, too. with Finally, record owners would be encouraged to give their discs better care, since they would be unable to MA IIE stack them. rn - While 1 am about it, may I suggest amplifiers and preamplifiers also to the recording companies that some kind of pronunciation guide be instituted. Music audiences, music sta- That is why so many connoisseurs tion announcers, and the artists themselves would be indebted to you. To insist upon Marantz for their stereophonic be sure, George London. Glenn Gould, and monaural music reproduction. and the Robert Shaw Chorale seem to present no problems; the same cannot, apparently, be said of Hugues wank Cuenod, Hilde Rössl- Majdan, and the iaran z Chigi Quintet. 2514 BROADWAY. LONG ISLAND CITY, 6, NEW YORK. William N. Williams Los Angeles, Calif.

CORRECTION The price of the ALTEC 412B Biflex speaker advertised in our November issue was incorrectly listed as $51.00. Correct price is $54.00.

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to 28 db for maximum stereo effect. (3) Response- Smooth and General Electric VR -22 Stereo flat for superior sound from 20 to 20,000 cycles (VR- 22 -5), 20 to 17,000 cycles (VR- 22 -7). (4) Freedom from hum -The VR -22 is Cartridge- Superior in the four triple -shielded against stray currents. Money -back guarantee: General Electric believes that once you hear the all -new VR -22 in the privacy of your own home, on your vital areas own equipment, you'll want this superb instrument for your very own. That's why we are making an offer virtually without pre- in the Hi -Fi field: Try the VR -22 at home for 10 days. If Stop to think for a moment of all the jobs required of a stereo cedent you, return cartridge: It must track, with utmost precision, in not one but you don't agree that this is the stereo cartridge for and full pur- two directions. it must separate the two stereo channels in- it to your participating General Electric dealer the price will be refunded. scribed in a single record groove. It must perform smoothly in chase cheerfully mid -range and at both ends of the audible frequency spectrum. VR -22 -5 with .5 mil diamond stylus for professional quality And it must do all these things without producing noticeable hum tone arms, $27.95'. VR -22 -7 with .7 mil diamond stylus for professional arms and record changers, 524.95'. Both are or noise. Only a fantastically sensitive and precise instrument excellent for monophonic records, too. TM -2G Tone Arm - designed for use with General Electric stereo cartridges as VR -22 rJ like the General Electric can do all these jobs successfully. an Integrated pickup system, $29.95'. General Electric Co., Audio Products Section, Auburn, N. Y. General Electric's VR -22 is superior in the four vital areas of stereo cartridge performance: (I) Compliance -It tracks precisely, without the least trace of stiffness. (2) Channel separation -Up Manuloclurer's suggesicd resole mice,.

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Balanced Line

...FOR TRUE HI -FI PERFORMANCE!

All the beauty and satisfaction of tube hi -fi performance -brilliance ...quietude...power -can be yours when you design your amplifiers around the RCA "balanced" line of hi -fi tubes. Only four types -but a big PLUS FOUR that covers every high- fidelity application. Your preamplifiers can have the low -noise and low -hunt features of the RCA -7025 high -mu twin triode. For other low -level stages, you'll like the versatility of the RCA -7199, a sharp -cutoff pentode and medium-mu triode in one envelope. Compact and powerful best describes amplifiers using the miniature RCA -6973 beam -power tube -a pair in class AB, delivers up to 20 watts! And for that power output deluxe use the popular RCA -7027A beam -power tube -a pair in class ABt can deliver up to 76 watts with only 2% distortion. Ask your RCA Field Representative about these four RCA, tube types. For technical data, write RCA Commercial Engineering, Sec- tion B- 74 -DE, Harrison, N. J. ANOTHER WAY RCA SERVES YOU THROUGH ELECTRONICS ORADIO CORPORATION OF AMERICA 0 Electron Tube Division Harrison, N. J. EAST: 744 Brood Sired) MIDWEST: Suite 1134 WEST: 6355 E. Washinglon Blvd. Newark 2. New Jersey Merchandise Marl Glosa los Angeles 22, Calif, HUmboldI 3 -3900 Chicogo 54, III. WH 4 -2900 RAymond 3.8361 RCA TUBES FOR HI -FI ALSO AVAILABLE AT YOUR RCA DISTRIBUTOR

Htcti FIDEL= MAGAZINE

www.americanradiohistory.com Bass: This dramatic new design provides up to four times the General Electric Bookshelf bass power output of conventional speakers in comparable enclosures. Low frequency response is unusually full and clean, Speaker Superior in thanks to the G -5O1's sealed enclosure and high -compliance System- woofer. the four vital areas Treble: A new 3 -inch tweeter achieves maximum dispersion of highs for full stereo effect. A special cone and voice coil extend No matter how good your other components, what you ultimately response, while the dome improves reproduction at high volume hear from your stereo system will be no better than your levels. speakers. For this reason, exceptional care should be exercised Appearance: The compact, distinctively -styled enclosure is in speaker selection. The important things to watch for are size handsomely finished on all four sides so that it may be used on (remember, you'll need two), bass sound power level, high fre- either end or either side to fit almost any room setting. Grille quency performance, and appearance. Appearance is especially cloth designs are individually patterned for each of four genuine important in speakers because they form an integral part of your wood veneer finishes - walnut, ebony and walnut, mahogany. room decor. cherry. $85.00 (manufacturer's suggested resale price, slightly Size: General Electric's Model G -501 Bookshelf Speaker System higher in the West). Other complete brings you G.E.'s famous Extended Bass performance in an ultra - speaker systems at $57.95 and $129.95. compact one cubic foot enclosure ideal for stereo. It measures General Electric Company, Audio Products only 91/4" x 13" x 22 ". Section, Auburn, N. Y.

GENERAL ELECTRIC

FEBRUARY 1960 19

www.americanradiohistory.com Agnes T

Xi o you can hear"

Shimmering highs ...

rich lows .. , crisp middles .Abroad ... all the high fidelity sound presence you anticipate LONDON -To the great interest of at a price lower than some people here, inured to the pro- you expect. Who can ask tracted delays and frustrations attend- for anything more? ant upon recording sessions, Yehudi Menuhin has recently given a remarka- hle demonstration of the "four- minute mile." One Friday night last fall Menuhin played his violin in Brussels. immediately after the concert he set out by train- boat -train (having sworn never to fly) for England. He reached EMI's Abbey Road studios on Saturday at 10 a.m. and immediately plunged in- to Bach's six Brandenburg concertos, simultaneously leading his Bath Festival Orchestra and playing solo parts suc- cessively on violin, piccolo violet, and viola. The project occupied a single working week and was laced with one in Festival Hall and re- GROMMES CUSTOM 28PG STEREOPHONIC public concert AMPLIFIER hearsals therefor, as well as a late -night television appearance. Superb new 28 watt stereo amplifier and By some oversight nothing had been pre -amplifier with ganged controls for simplified said about the television engagement stereo operation. Two 14 watt channels, to Peter Andry, who had charge of the 56 watts peak. Frequency response ±0.5DES. recordings. One evening when Menu- 20- 20,000 CPS- Selector for Aux, Tuner, hin, solo flute, harpsichord, and the rest NARTB Tape, RIAA Phono, Crystal Phono. were up to the knees in No. 5, techni- GROMMES CUSTOM 102GTB Function, Channel Balance, Loudness, Bass, cally one of the stiffest Brandenburgs FM -AM TUNER Treble, Filter Controls. 14 "x4'/, "x11 ", to record, two strangers appeared in Matching FM -AM Tuner. Highly sen- Audiophile Net, $119.95 the studio. sitive, stable cascode circuit. Foster "We have corne to collect Mr. Men - Discriminator. Crystal diode Seeley +Handsome saddle tan simulated they said. detector. Audiophile Net, $129.95 leather enclosure $10.00 extra. uhin," "Collect him for what ?" inquired Andry. "For TV. He's due on at nine Even those who can afford more, buy o'clock." "But you can't collect him. I shan't be finished with Mr. Menuhin for quite a while." geiZe#11Me/I-- The prospects at the moment were S T E R E O that retouches to No. 5 might keep Menuhin and team busy until at least 10 p.m. Miraculously, No. 5 was Ask your Hl- Fidelity Dealer to demonstrate GROMM£S -the best buy In Stereo Hi -FI played and taped to perfection at one go. At 8:52 p.m. Andry handed Menu- Please send me FREE hin over to the TV emissaries. These CRDMMES DIVISION OF PRECISION ELECTRONICS, INC. a lull color catalog of 9101 -A King Street, Franklin Park, Illinois gentlemen bundled their catch into the 1960 Grommes line running, al- along with detailed car which waited, engine specifications. Name most in the studio lobby and made him up for the screen during a journey to Street TV studios in Kingsway usually reck- oned at fifteen minutes but accom- City State Continued on page 22

20 MICH FIDELITY MAGAZINE

www.americanradiohistory.com ACOUSTIC RESEARCH ANNOUNCES A NEW AR SPEAKER SYSTEM,

Tie AR -2a consists of an AR -2 (ten -inch acoustic suspension woofer with a newly improved cone, and two five -inch cone tweeters) in combination with our 1% -inch dome -type super -tweeter (the same one used in the AR -3). The AR -2 has earned a unique reputation in both home and professional use. The 1% -inch super -tweeter that converts the AR -2 to an AR -2a is our most nearly perfect driver -its performance, in the high treble range, conforms more closely to the ideal* than any of our other speaker drivers in their frequency ranges. AR -2a prices range from $109 to $128, depending on cabinet finish. Except for the pine model, cabinets are finished on all four sides. Further information is available on request.

*On -axis response from 7,500 cps to 20,000 cps is ± 11/2 db; maintenance of excellent (although somewhat attenuated) response off-axis, both horizontally and vertically, is inherent in fhc use of the very small, stiff diaphragm as a direct- radiator.

We invite you to hear this and other models of AR speakers at the AR Music Room, our permanent display on the west balcony of New York's Grand Central Terminal.

ACOUSTIC RESEARCH, INC. 24 Thorndtke St. Cambridge 41, Mass.

FEBRUARY 1960 21

www.americanradiohistory.com NOTES FROM ABROAD hi new knight -kit stereo -fi Continued from pane 16 A PRODUCT OF ALLIED RADIO plishcd on this occasion in seven minutes flat. build the best... and save On two discs, the Menuhin Bran- denburg series is expected to be on Exclúsive Money tack Guarantee Exclusive "Convenience Engineering" means sale in America in September. In the Knight -Kitsare an exclusive product easiest building -no previous electronic experience of Allied Radio. Every Knight -Kit needed. Ingenious packaging and carding identifies all case of No. 3, the "missing" middle meets or exceeds published speci- parts instantly and accurately; wire is pre -cut, stripped movement, represented in the score by fications. or we refund your money and color-coded; exclusive wall -sized diagrams and in full. You can have every confi- step- by-step instructions make assembly a marvel of two chords, is supplied by an interpo- dence in the Knight -Kits you build. simplicity. Building success is assured! lated movement from one of the Bach violin and organ sonatas rescored for violin, viola, and harpsichord by Benja- min Britten.

More Opera -in- English. With the Sad - ler's Wells company EMI has signed a three -year contract to make not fewer than three records per year of opera and operetta in English. The records will be marketed in this country on the HM \' label, in the U.S. on Capi- tol. The enterprise dates back to Nor- man Newell's discovery of the Wells Merry Widow production daring its run at the Coliseum here. Hitherto Newell had contented himself with un- earthing and promoting new pop talents for HMV. His Coliseum experience left him with a yearning for less ephem- eral achievements. The Widow recording which he inspired lias, at this Writ - ing, sold about 100,000 copies in the British Isles; a disc of highlights is clue for release in America this April. Under the new long -term contract, Newell has completed a Madame But- knight -kit Deluxe 40 -Watt Stereo Amplifier Kit Model terfly highlights disc with Marie Y -774 Features: Full 40 watts of clean stereo sound Two fully integrated, Collier (name part), Charles Craig built -in preamps Exceptional control versatility Single knob channel (Pinkerton), and a relative Wells new- only tone balance and separate dual concentric controls for each channel comer, Gwyn Ciiffiths (Sharpless). $7950 Full- frequency range center channel output for 3- speaker stereo system Exclusive printed circuit switches for easy assembly With Griffiths' singing 1 am unac- Outputs for stereo tape recording Beautiful case in Cordovan gray quainted, but to my taste both Collier SS down vinyl plastic bonded to steel; Desert Beige and Sand Gold extruded and Craig have first -rate Butterfly aluminum escutcheon: 4/ x 15/ x 11 / Shpg. wt., 23 lbs. voices. Sadler's Wells and HMV alike diagnose a greater appetite for opera - knight -kit Deluxe FM -AM Stereo Tuner Kit Model in- English both overseas and at home V -731 Features: Separate FM and AM tuning sections, with moving -bar than would be conceded by opera -in- "magic eye" tuning indicator for each Dynamic Sideband Regulation the- original zealots. Next on Newell's only (DSR) on FM for purest. distortion -free reception Sectionalized list comes La Bohèrne; after that-may- $8750 construction for easy addition of "built -in" multiplex 2`/, µv sensitivity Double limiter -discriminator FM circuit -adjustable AFC Precisely be-Hansel and Cretel. aligned RF and IF transformer in FM section Styling matches CHARLES REID SS down 40 -watt amplifier above; 4''/ x 15/ x 12- Shpg. wt., 18 lbs. PARIS -Jean Cocteau's play La Voix build your own stereo hi -fi - save up to 50% Humaine is now thirty years old, and order from some of the cleverness creaks. But it New Easy Terms: is still probably the world's champion Only $5 down (or less) on orders up to $200. ALLIED RADIO tour de force in its category. The ac- Up to 24 months to pay. tion is close to zero. A young woman, ALLIED RADIO, Dept. 12 -8 alone on the stage, rises from a disor- SEND FOR FREE 1960 100 N. Western Ave., Chicago 80, III. dered bed and walks towards the ALLIED CATALOG Ship the following Knight-Kits: 1D Y -774 D Y -73! bathroom. The telephone rings. and See the complete Knight -Kit S enclosed. she answers it -for half an hour. One hi -fi component line. including scores of amplifiers. Send FREE 1960 ALLIED Catalog. gathers she is talking to a man who has tuners and speaker sys- jilted her. She walks back to her bed tems. For everything in Name buildyourown hi.fi, for and falls on it face down. The tele- everything in Electronics. Address phone drops heavily from her lifeless get the 1960 Allied Catalog. hand. Voila. Send for FREE copy today. City Zone Stale_ Continued on page 24

ceo H1ci1 FIDELITY MAGAZINE

www.americanradiohistory.com °O our British cousins at Collaro stress meticulous care and precision engineering in every Collaro stereo record player!

The Constellation, Model TC99-$59.50 The Continental II, Model TSC840- $49.50 The Coronation Il, Model TSC- 740 -$42.50 The Conquest II, Model TSC640- $3a.50

Transcription Turntable, Model 4TR- 2D0- 549.50 Manual Player, Model TP -59- $29.95

Every Collaro stereo record player is built with typical British attention to every detail. They are precision engineered and rigidly tested to give truly profes. sional performance and the ultimate in operating convenience. Here are some of the important features that make Collaro the logical choice for stereo or monophonic records. Performance specifications exceed NARTB standards for wow, flutter and rumble -with actual performance test reports accompanying each model TC -99. Extra -heavy, die -cast, non -magnetic turntables (weighing up to 81/2 lbs.). Extra -heavy weight is carefully distributed for flywheel effect and smooth, constant rotation. Shielded four -pole motors are precision balanced, screened with triple interleaved shields to provide extra 25 db reduction in magnetic hum pick -up. Detachable five- terminal plug -in head shells (on TC-99, TSC -840, TSC -140, TP -59) provide two completely independent circuits, guaran- teeing ultimate in noise reduction circuitry. Transcription -type stereo tonearms are spring- damped and dynamically counterbalanced to permit the last record on a stack to be played with virtually the same low stylus pressure as the first. All units are handsomely styled, available with optional walnut, blond and mahogany finished bases or unfinished utility base. There's a 4 -speed Collaro stereo record player for every need and budget! Prices slightly higher in the West. For free catalog on the Collaro line, write to: Rockbar Corporation, Dept. HF2, Mamaroneck, N. Y. ('Not shown. Similar in appearance to The Coronation.) www.americanradiohistory.com NOTES FROM ABROAD MADE FOR Continued from page 22 In 1958 Francis Poulenc doubled EACH and reinforced Cocteau's tour by turning it into an opera, or rather into a long recitative broken by lyric flights and points d'orgue and "bathed in orchestral sensuality" (Poulenc's instruction). Soprano Denise Duval, Nr'hose Botticelli look makes it hard to imagine ber being jilted by anyone, triumphed as the telephoning "anti -prima donna" (Cocteau's instruction) in both Milan and Paris, and this month she and Poulenc are bringing the work to Car- negie Hall. Now the Ricordi firm has tripled the trick by recording it in stereo, with ?14mc. Duval and the Opéra- Comique orchestra, conducted by 1 young Georges Prêtre, who is developing into one of the- best opera WEBSTER ELECTRIC men in Paris. The disc should be released in America (RCA Victor) about the time you are reading this - nraicit?cL STEREO COMPONENTS and, to judge by Mme. Duval's reac- tions, it should be well worth having. I asked her about it the other night backstage at the Opéra -Comique, and With Webster you get all you expect STEREO TAPE DECK (Model 362) -fine, found her full of enthusiasm. from your stereo installation. Each precise tape handling mechanism - gives Of course there had been problems. Webster Ekotape component is the you Webster's acclaimed "true -life" stereo There is a good deal of verismo in the reproduction. II records and plays back perfect mate for the other ... each work, and some of Poulenc's musical four -channel and two -channel stereo and one is Fidelity- Matched to the Eko- monologue recalls the theories of the monaural tapes. Only three controls for tape deck in -line heads. This Webster early Florentine operatic composers. simple cperation - channel selector adjusts advantage gives you superb repro- In short, La Voix Humaine, even in its head for half -track or quarter -track, speed musical version, remains very much a duction, professional results. control and off /on switch are combined to play, and at first, at nine in the morn- Ekotape components feature a neutralize the tape mechanism when in "off" ing in a bleak recording studio, Mine. minimum of controls, precise opera- position, central control selects tope direc- Duval had trouble warming up as an tion, compact design ... complement lion. Other features include automatic tape- actress. She missed the bed, the bath- the finest custom installation. Attrac- out switch, program selection finder, hori- and the telephone; she also zontal or vertical mounting. room, tively finished in gold and black. missed the tension between herself mu] an audience out front. The fact that STEREO RECORD- PLAYBACK PREAMP Poulenc was against stereo on princi- Finest construction and superb performance of o ple added to the general chill. professional unit - yet it carries a modest price "We started," she said, "by doing it tog. The Gt04 is the ideal dual -channel control in sections, and then we listened to it. center for recording, erasing and playing stereo It %vas nothing. Cocteau was there, tapes, for playing stereo discs. Ten controls - with corners of his mouth pulled plus a professional -type meter for each channel. the Tone controls do not affect recording preamplifier clown. Poulenc was very difficult. And 0.07 during recording. I was in the middle of the thing. So I proposed going through a:1 of it with- so I DUAL- CHANNEL PREAMPLIFIER -AMPLIFIER out stopping. That was better, full 40 watt amplification without drop or distor- asked them to let me do it again all at tion! A prec rely engineered component with once. By this time it was one o'clock. exceptional fidelity. The 20 -20 is a combined They gave me a telephone to hold; the control, .preamp and amplifier center for either microphones were arranged so you two- or four -channel stereo or monaural playback could tell when I walked over to the - in one compact unit. Single selector switch for bed. Georges Prêtre and the orchestra tuner, ceramic magnetic or phono cartridge, tape were marvelous. I didn't care whether playback heed. 20 watts output for each channel. I had any vocal technique or not. I Frequency response: flot within 1 db. 20 to 20,000 cps. just let myself go straight through it. At the end Poulenc was crying, Coc- teau was crying, and the technicians All ELECTRONICS DIVISION See the Yellow Pages for your Ekotape dealer - were crying. It was wonderful. WEBSTER ELECTRIC the man from Webster. they ha I to do was to fix one little Ask him to show you these Webster stereo com- ta-ta-ta of the orchestra. Everybody RACINE WIS ponents ... Fidelity -Motched for the best in stereo! was wonderful." Irrar. .,s ROY MCMULLEN

24 HlciT FIDELITY MAGAZINE

www.americanradiohistory.com Announcing the Great New FISHER 800 Stereophonic FM -AM Receiver

T TOOK FISHER to improve on FISHER! The fabulous 600, today both the best as well as the I best -selling stereo receiver in the world, will shortly have a senior companion -the FISHER 800! The latter has been designed as the world's most sensitive and most powerful stereo receiver. Nothing has been spared to incorporate the best of everything on one, beautifully compact chassis. Its specifications are truly an engineer's dream. Whichever you are, amateur or professional, you will be delighted with the finger -tip simplicity and grand -organ flexibility of the FISHER 800.

OUTSTANDING SPECIFICATIONS OF THE FISHER 800

THE STEREO TUNERS: Fabulous 1 us, FM sensitivity for 20 db of quiet- inaudible. TWO, separate power supplies to prevent circuit inter- ing. Exclusive Golden Cascode front -end identical to the !nest FISHER action. Frequency response, 19 to 32,000 cycles. THE STEREO CON- tuners used by broadcast stations, TWICE the sensitivity of the nearest TROLS: 22 controls. for all present and future program sources and competitor. Signal-to -noise ratio 62 db at l00 us, input. New, Auto. applications. 15 input and output jacks. Exclusive, new Center - matte Interstatìon Noise Suppressor. High sensitivity AM tuner. Channel Volume Control on tronc panel for unlimited flexibility in absolutely free of hiss and 'birdies.' THREE -position AM selectivity. multi- channel stereo and remote speaker operation. Separate, dual Rotatable AM antenna. THE STEREO AMPLIFIERS: The most power- Bass and Treble tone controls. Tape Monitor switch. New, wide - ful used in any stereo receiver. Hum, noise and distortion totally range Channel Balance control. Solid, architectural -brass front panel.

WRITE TODAY FOR THE COMPLETE STORY ON THE FISHER 800! FISHER RADIO CORPORATION 21 -25 44th DRIVE LONG ISLAND CITY 1, N. Y.

FEBRUARY 1960 25

www.americanradiohistory.com Without touching a finger to it... PLAYS CONTINUOUSLY OR TURNS OFF AUTOMATICALLY

,,a

SETTING BY PAUL MCCOBB Plays continuous music. Repeats any passage. Rewinds or turns off automatically! Back spaces!

Incomparable listening luxury! Hours and hours of musical enjoyment, without any attention whatsoever! Or, if you desire, the reel rewinds and recorder shuts itself off automatically. You'll find equal pleasure in recording. Just a feather touch of a key electronically changes function of the recorder, instantly and effortlessly. A "Back Space Bar" plays back a word or a sentence -an invaluable aid for correction and teaching. Exclusive "Balanced- Tone" emphasizes treble and bass, giving exquisite depth, more realistic high - fidelity quality. Full range of 40- 16,000 cps., simplified drop -in loading; dual speeds of 33/4 and 711 ips.; 2 -level record indicators; index counter; accepts 7" reels which play for four hours, using lung play tape. Model T -1600 with remote control, ceramic -type microphone; two reels; tape and cords, $299.50. Ultra -lightweight and portable carry it anywhere! IN STEREO, TOO ... Model T -1616 with built -in Letterhead -size, with full pre -amp. Plugs directly into hi -fi system. Track 10 -watts of power -enough shifting mechanism enables playing 2 and 4 -track to fill an auditorium. stereo tape. Track dialing feature permits recording up to 4 separate monaural tracks on single roll of tape saving up to 4 to 1 in tape cost. $329.50. WOLLE N SAK "1600" Egget/C u2- e , Push -To -Talk Back Space Bar, Illuminated HI- FIDELITY TAPE RECORDER switch on micro- provides instant "record" and phone permits replay of a word, "play" keys on Ask your Wollensak dealer b demonstrate these exciting new features! precise remote phrase, or musical panel light up control of recorder. pssagc as desired, w hen pressed. WOLLENSAK OPTICAL COMPANY CHICAGO 16, ILLINOIS

26 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Acclaimed by HF Reports! FISHERThe Fabulous 600 Stereophonic FM -AM Receiver

THERE HAVE BEEN TIMES in our 22 -year history when the end results, in new product design, have outrun even the highest expectations of our design engineers. THE FISHER 600 Stereo Receiver is just such an achievement. Others have tried, without success, to copy its technical excellence, its astonishing simplicity, its superb wiring and assembly. Before you buy any receiver, prolect your investment- insist Oil removing the bottom cover and compare it to the magnificent workman- ship of the 600. Yon will be amazed at the difference. $34950 From the HF Reports On the FISHER 600

"Practically all system interconnections have been eliminated with- "The amplifiers of the Fisher 600 showed less distortion at very low out sacrificing the performance obtainable from separate components frequencies than any other integrated stereo or mono amplifier we of good quality. The performance of each portion of the Model 600 is have tested." of top caliber, and the complete unit requires only the addition of a receive weak signals pair of good speakers, a turntable, and a stereo pickup to form a truly "The Fisher 600 has adequate IF bandwidth to high fidelity stereo music system." without clipping or distortion even at high -modulation levels. It is very easy to tune. The tuning eye is remarkably sensitive, showing a "(Loudness control) contours are well- chosen. The result is a well - definite indication for signals as weak as two microvolts. "" balanced sound, free of boominess at any volume setting. The rumble were surprised to find that the AM sound the 600 did nor and filters "We of scratch are nearly ideal. These filters, which are most suffer a bit by comparison with its FM sound. With this receiver we effective in their intended functions, hardly disturb musical content." were able to appreciate FM -AM stereo broadcasts fully, which is more "The amplifiers arc absolutely stable and free from ringing under than we can say for most stereo tuners we have used. Much of the any conditions of capacitive or resistive loading." tuner's outstanding sound was due ro the silent background."

Write Today For the Complete Story On the FISHER 600! FISHER RADIO CORPORATION 21 -25 44th DRIVE LONG ISLAND CITY 1, N. Y.

FERRUARY 1960 27 www.americanradiohistory.com from Sonotone- Now... gooks ;h llzedíw

The Joy of Music, by Leonard Bern- stein, is impressive documentation of this Jack -of -all- trades' achievements in 4 Big bringing common sense, direct contact with tonal essentials, and infectious enthusiasm to the usually school - mannish popularization methods of music appreciation. To be sure, his Improvements written texts -even when augmented as here by a wealth of photographs, cartoons, and examples in musical no- stereo cartridge tation- lose much of the immediacy of in the quality the originally televised presentations (1954 -58); but the present pages are reminders that the "Omnibus" Sonotone STA cartridge ... also programs' success stemmed as solidly higher than ever quality from the presentation of pertinent and substantial information as from the The new Sonotone STA persuasiveness of Bernstein's own per- cartridge gives greater than sonality. My only complaint is that ever stereo performance... the seven "Omnibus" scripts are, of . has 4 big extras: course, no more than bare introduc- lor)it_aa - tions to a handful of subjects (Bee- thoven, jazz, conducting, musical fuller, frequency response smoother ONLY comedy, modern music, Bach, and higher compliance than ever before opera ) , and the present book would lighter tracking pressure 9145O^: have been even more valuable if practically eliminates dust pile -up these "lessons" had been expanded, rather than somewhat incongruously paddcd -out with three "Imaginary New 10T cartridge at lowest price ever Conversations" Imd a brief piece on - easiest to install fihnscore- composers' problems. These too are provocatively written, but they The 10T sells at record low price of $6.45.* And it covers the complete high fidelity range. 10T's uni- are far more sophisticated in tone and tized construction makes it easiest to install, even by no meals as illuminating for the for the person with ten thumbs. Snaps right in or novice listener to whom the rest of out. Cuts stereo conversion costs, too. the book is so effectively directed (Simon et Schuster. $5.95).

SPECIFICATIONS The Country Blues. Great as has been ETA 1OT the attention paid to The Blues by Frequency Response Smooth 20 to 20,000 cycles. Flat from 20 to 15,000 cycles every major writer on jazz, it has been Flat to 15,000 with gradual = 2.5 db. itself and its best- rolloff beyond. focused on the form Channel Isolation 25 decibels 18 decibels known urban interpreters, to the neg- Compliance 3.0 x 10-6 cm /dyne 1.5 x 10-6 cm /dyne lect of hack- country practitioners. Tracking Pressure 3.5 grams in professional 5-7 grams arms Samuel P. Charters performs a real 4.6 grams in changers in filling this gap with a com- Output Voltage 0.3 volt 0.5 volt service Cartridge Weight 7.5 grams 2.8 grams bined history and biographical survey Recommended Load I.5 megohms 1-5 megohms which reminds us how much the fa- Stylus Dual jewel tips, sapphire or Dual jewel tips, sapphire or diamond. diamond. mous blues singers (and instrumental jazz idioms) owe to such itinerant, including mounting brocketa comparatively primitive musicians as Sonotone ceramic cartridges have more than impressive Blind Lemon Jefferson, Leroy Carr, Big Bill Broonzey, Robert Johnson, specifications...always give brilliant performance. You'll Brownie McGhee, Sam "Lightning" hear the difference with Sonotone. For highest stereo fidel- Johnson, and many others. Charters' ity, use genuine Sonotone needles. approach is more sociological than musical, but it leads to a fascinating Electronic Applications Division, Dept. C4.20 exploration into off- the -beaten -path ELMSFORD, NEW YORK Americana. And it was undertaken just SonotoneJ. in time. Most of the country-blues singers are already dead or silent, their brief moments of specialized popularity have passed into legend, and rock

Leading makers of fine ceramic cartridges, speakers, microphones, electronic tubes. Continued on page 30

28 HIGH FIDELITY MAGAZINE www.americanradiohistory.com

mreiellt ASIR.

We don't pack an engineer into each new Citation Kit but...... the engineering built into each kit Rigid terminal boards are provided for THE CITATION H, 120 Watt Stereo- is so precise that the unit constructed mounting resistors and condensers. Once phonic Power Amplifier, has a peak tower in the home will be the equal of the amounted, these components are suspended output of 260 Watts! This remarkable in- factory -produced instrument. tightly between turret lugs. Lead length strument will reproduce frequencies as low as 5 cycles virtually without phase shift, and It is far more difficult to design n kit is sharply defined. The uniform spacing of components and uniform lead length frequencies as high as 100,000 cycles with- than to produce a completely manufac- out any evidence of instability or ringing. of tured product. In the plant the engineer insure the overall stability the unit. At normal listening levels, the only measure can control his design front the moment Improper routing of leads, particularly able distortion in this unit conies from the of inception until the final packaging. The long leads, can result in unstable perform- laboratory testing equipment. (The Citation kit builder has only his tools, his ingenuity ance. To prevent this, the Citation H is II - $159.95; Factory-Wired - $219.95; and little, if any, test equipment. equipped with a template to construct a Charcoal Brown Enclosure, AC -2 - $7.95.) Therefore, the complex process of in- Cable Harness. The result: each wire is All prices slightly higher in the West. right length and in just the right plant production and control which guar- just the Harman -Kardon has prepared a free detailed antees the fine finished product must place to achieve perfect performance. report on both of these remarkable new instru- somehow be embedded in the kit design. These truly remarkable achievements in ments which we will be pleased to send to you. Control Engineering are only a few of the Simply write to Dept. HP-2. Citation Kit Division, The Citation engineering group at Hannan -Kardon, Inc.. Westbury, L. I. Harman- Kardon, headed by Stewart many exciting new developments in kit Hegeman, has succeeded in doing just this design from the Citation Division of in the design of the new Citation I, Stereo- Harman -Karon. phonic Preamplifier Control Center and THE CITATION I, Stereophonic Pre. brilliantly Citation II, 120 Watt Stereophonic Power amplifier Control Center, is a designed instrument, reflecting engineering Amplifier. advances found only in the best professional Only heavy duty components, operating equipment. The control over program mate- at tight tolerances, have been selected for rial offered by the new Citation I enables the the Citation Kits. As a result, even if every user to perfectly re-create every character- component is operated at its limit - remote istic of the original performance. (The Cita- as this possibility is - the instruments will tion I - $139.95; Factory-Wired - $239.95; perform well within their specifications. Walnut Enclosure, WW-1 - $29.95.)

Build the Very Best CITATION KITS by harman kardon

FEBRUARY 1960 óg

www.americanradiohistory.com BOOKS IN REVIEW

Continued from page 28 .

'n' roll has fatally warped if not entirely killed the traditional style. Even these performers' records, mostly issued by obscure "race" producers and often in small editions, have become nearly impossible to find. Charters' field researches have been a labor of true love, and his anecdotal history ranks as a document of quite unique value (Rinehart, $4.95).

Two Centuries of Opera at Covent Carden, by Harold Rosenthal, is one of the dullest compilations of historical data ever published -and the hard- est to put down once even the wariest reader ventures into its 863 densely packed pages. The Royal Opera House's archivist is at best a pedes- trian \vriter: bis only virtues are ex- haustive -and exhausting- complete- ness (the index alone runs to more than 40 pages of double -columned small print) and an unusual candor in reporting both critical estimates of actual performances and backstage squabbles. But for anyone with even the slightest interest in opera and its stars, the full story of their meteoric ups and downs at Covent Garden is so CHOICE rich in personalities and conflicts that it must be followed with almost breath- OF THE less excitement. In particular, this sober charting of the fluctuations in public taste, the indomitable yet large- PERFECTIONIST ly futile attempts to establish a truly "national" school of opera, and the get- rich -quick / go -broke- even - faster Bozak Speakers and Speaker Systems are designed and built for a spe- fates of producers provides abundant evidence for the justness of Samuel cific function re- music, as - to create the living presence of it sounds Johnson's notorious definition of opera when performed. The instrument for music lovers, Bozak has won as "an exotic and irrational entertain- world wide acceptance as the choice of perfectionists. ment" (Putnam, London, via W. S. Heinman, $17.50). The B302A Urban shown is a full three -way system, and outperforms Note: Records in Review, 1959, The many larger and costlier speakers. Its compact size makes it right for Fifth High Fidelity Annual, edited the smaller living room; in pairs it's ideal for stereo. Available also in by Frances Newbury, is a cumulation beautifully crafted provincial cabinetry. of reviews (both monophonic and stereo) which first appeared in the Hear it soon at a Bozak Franchised Dealer. July 1958 through June 1959 issues of this journal, Matching the format and arrangement of earlier volumes in the series, this one devotes 206 double- columned pages to Works Listed Alphabetically by Composer, 5S to Collections and Miscellany, 12 to The Spoken Word, and 23 to Reviews of Stereo Tapes. Twenty -three authors are represented and the Index to Per- formers runs to five triple- columned pages (Wyeth Press, $5.95). R. D. DARRELL AAAAAAAAAA T H E V E R Y B E S T I N M U S I C

30 HICH FIDELITY MAGAZINE

www.americanradiohistory.com New Stereo Amplifiers

MORE OF THE BEST FROM

THE LEADER . , e

Heathkit, first in performance, quality and dependability, proudly presents a host of new, outstanding do- it- yourself projects designed, as always, to bring you the finest in kit -form electronics.

FOR THE FINEST IN STEREO

14/14 -WATT STEREO AMPLIFIER KIT (SA -2) A complete dual channel amplifier /preamplifier combination, the new HEATHKIT SA-2 Hcathkit SA -2, in one compact, handsomely styled unit provides every modern feature required for superb stereo reproduction ... yet is priced $5295 well within your budget. Delivers 14 watts per channel stereo, or 28 watts total monophonic. Maximum flexibility is provided by the 6- position function switch which gives you instant selection of "Amp. A" or "Amp. B" for single channel monophonic; "Mono. A" or "Mono. ß" for dual channel monophonic using both amplifiers and either prcamp; and "Stereo' or "Stereo reverse ". A four- position input selector switch provides choice of magnetic phono, crystal phono, tuner, and high level auxiliary input for tape recorder, TV, etc. The magnetic phono input is RIAA equalized and features 3 my sensitivity -adequate for the lowest output cartridges available today. Other features include a speaker phasing switch, two AC outlets for accessory equipment and hum balance controls in each channel. As beautiful as it is functional, the SA -2 will be a proud addition to your stereo sound system. Shpg. Wt. 23 lbs.

SPECIFICATIONS -Power output: 14 watts per channel. "h li": 1 2walls nee charnel. "prole;sicnal "; 16 walls per channel. "utility ". Pow ± db from 20 cos l0 20 k.c at 14 watts output. Total harmonic distortion: less than 2¡5. 30 cps to 15 ke at 14 walls output. Intermodulation distortion: less than 1% at 16 watts output using 60 cps and 6 ke signal mitten 4:1. Hum and noise: moo phono input. 47 do below 14 watts; tuner and crystal phono. 63 CO below 14 walls. Controls: duel clutched vó ume; ganged bass, ganged treble; ¿.position selector; sneaker phosinn swdpn. AC receptacle: I swd:hed, I normal. Inputs: 4 stereo or a mont phonic, Outputs: 4, 8 and 16 ohms. Dimensions: ;y." H. 4 18" W. x 8" D. Power requiremnts: II7 yells 50/60 cycle. AC, 150 watts (fused).

STEREO PERFORMANCE AT MINIMUM COST

ECONOMY STEREO AMPLIFIER KIT (SA -3) The amazing SA -3 delivers more than enough power for pure undistorted room -filling stereophonic sound at the lowest price anywhere. Delivers 3 watts per channel stereo -or 6 watts monophonic. The built -in high level preamplifier has two separate inputs for each channel, designed for use with ceramic or crystal cartridge record players, tuners, tape recorders, etc. Ganged tone controls provide convenient bass "boost" and treble "cut" action, while a dual concentric clutched volume control makes possible precise channel balancing. A channel reversing position is provided on the function switch and a speaker phasing switch on the HEATHKIT SA-3 back panel allows optimum performance with any speaker system. Taste- fully styled in black with gold trim. Shpg. Wt. 13 lbs. $2995

SPECIFICATIONS -Power output: 3 watts per channel. Power rsponse: st db Isom 50 cps. 20 he at 3 wattS out. Total harmonic distortion: loss then 37.:60 con. 70 he. Intermodulatlon distortion: less Than 2'/, . 3 walls output using 60 cycle & 6 he signal mixed 4:1. Hum and nais: 65 ¿b below lull Output. Controls: dual clutched volume; ganged treble, ganged bass; 7.00sition selector: speaker phasing switch; onoit switch. Inputs (each channel): tuner. crystal or ceramic phone. Outputs (each chann.l):1. 8. 16 ohms. Finish: black with gold trim. Dimensions: 12%' W. x 634" D. s 3;4' H.

HEATH COMPANY / Benton Ha rbor, Michigan [2, a subs/d/ary of Daysfrom, Inc.

FEBRUARY 1960 31

www.americanradiohistory.com New Amplifiers & Tuners a

A NEW AMPLIFIER AND PREAMP UNIT PRICED WELL WITHIN ANY BUDGET

14 -WATT HI -FI AMPLIFIER KIT (EA -3) This thrilling successor to the famous Hcathkit EA -2 is one of 'the finest investments anyone, can make in a top quality monophonic high fidelity amplifier. It delivers a full 14 watts of hi -fi rated power and easily meets professional standards as a 12 watt amplifier. Rich, full range sound reproduction and low noise and distortion arc achieved through careful design using the latest developments in the audio field. Miniature cubes are used throughout. including EL -84 output tubes in a push -pull output circuit with.a special - design output transformer. The built -in preamplifier has three separate switch -selected inputs for magnetic phono, crystal phono or tape and AM -FM tuner. RL\A equalization is featured on the magnetic phono input. The stunning new styling of the EA -3 represents the latest word in modern design. with HEATHKIT EA-3 mar -proof vinyl -clad steel cover in black leather-like texture, inlaid gold design and brushed gold trim. Shpg. Wt. 15 lbs. $2995 NOTE THESE OUTSTANDING SPECIFICATIONS- -Power output: 14 wott5. Hi -Fl; I? wail. Pro- Iesaienal; 16 warts Utility. Power rcaponsa: ± I db from 2.7 cet w 20 kc e 14 xw,Il5 output. Total harmonic distortion: lnss tle.n 2;c :Xi cps to IS kc at 14 :veux orllnOr lotermodulation distortion: less than lis et 16 catie cutout t oins 60 Cps obit 6 1.c atonal mixed 4:1. Hum and noise: ma /. Coon= input. 47 Ob below 14 watts: tuner and Crvalal ehone, 63 db below 14 watts. Output impedances:4, e and 16 O11mi.

MORE STAT IONS AND TRUE FM QUALITY ARE YOURS WITH THIS FINE TUNER KiT NEW HIGH FIDELITY FM TUNER KIT (FM -4) This handsomely styled F\1 tuner features better than 2.5 microvolt sensitivity, automatic frequency control (AFC) wish on -off switch, flywheel tuning and prewircd, prcaligncd and pretested tuning unit. Clean chassis layout, prealigned intermediate stage transformers and assembled tuning unit makes construction simple- guarantees top performance. Flywheel tuning and new soft, evenly- lighted dial scale provide smooth, effortless operation. Vinyl- covered case has black, simulated -leather texture with gold design and trim. Multiplex adapter output also provided. Shpg. Wt. 8 lbs. HEATHKIT FM-4 SPECIFICATIONS -Tuning ranee: 63 to t05 mc. Quieting sensitivity: 2.5 uv for 20 db of qa -mlim. IF frequency: 10.7 mc. bocce ratio: 45 db. AFC correction factor: 75 Lc per troll. AM supp,esslen: ä cc. Frequency response: r2 do 10 to 20,OrO cos. Harmonic distortion: less tren 1.5',2.1132 423

modular ion. IrS, lean 124.63 Cyc I cs and 6 tc nu ' c.:::1 $3495 cycles 102% Intrmodulanon distortion: mcdclotion. Antenna: 330 enms unbalanced. Output Impedance: 633 alms (cathode fall'v.c,). Output voltage: nominal .5 troll (with 30% modulation, 20 un signal). Overall dimensions: 1;2' I -I. x13 %- y:. s 5%' D.

NEVER BEFORE HAS ANY HI -FI AMPLIFIER NEW OFFERED SO MUCH AT SO LOW A PRICE!

"UNIVERSAL" 14 -WATT HI -FI AMPLIFIER KIT (UA -2) Meeting 14 -watt "hi -fi" and I2- watt "professional-' standards the UA -2 lives up to its title "universal" performing with equal brilliance in the most demanding HEATHKIT UA-2 monophonic or stereophonic high fidelity systems. Its high quality. remarkable NEW economy and ease of assembly make it one of the finest values in high fidelity $2295 equipment. Buy two for stereo. Shpg. \Vt. 13 lbs.

WORLD'S BIGGEST BARGAIN IN A HI -FI AMPLIFIER 55 -WATT HI -FI AMPLIFIER KIT (W -7A) Utilizing advanced design in components and tubes to achieve unprecedented performance with fewer parts, Hcathkit has produced the world's first and only "dollar -a- watt" genuine high fidelity amplifier. Meeting full 55 watt hi -ii rating HEATHKIT W-7A and 55 -watt professional standards, the new improved \V -7A provides a comfort. $5495 NEW able margin of distortion -fret' power for any high fidelity application. The clean, open layout of chassis and precut cabled wiring harness makes the b1' -7A extremely easy to assemble. Shpg. Wt. 28 lbs. HEATHKIT SP -2A (two channel sterro). STEREO -MONO PREAMPLIFIER KIT (SP -2A) SBpp. Wt. IS lhs, Available in two outstanding versions! SP -2A (stereo) and SP-1A (monophonic). $5695 SP -iA convertible to stereo with conversion kit C- SP -IA. Usc with any basic HEATHKIT C -SP -1A (converts SP -IA to SP -2A), amplifier as the control center of your entire high fidelity system. Six inputs in Stipp. WI. 4 lbs. $21.95 each channel accommodate most any program source. Switch selection of HEATHKIT SP-1A (slnnic channel monophonic). Shoo. NARTB or RiAA, LP, and 78 rpm record compensation. Wt. 13 iba. $37.E5

32 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com New H- t Tape Recorders

PROFESSIONAL QUALITY STEREO -MONO TAPE RECORDER KITS TAPE RECORDER KITS (TR -I Series) (TR -1A Series) Enjoy thc incomparable performance of these professional qual- Here are the tape recorders the avid hi -fi fan will find most ity tape recorders at less than half the usual cost. These out- appealing! Their complete flexibility in installation and many standing kits offer a combination of features found only in much functions make them our most versatile tape recorder kits. This higher priced professional equipment, generally selling for 5350 outstanding tape recorder now can be purchased in any of the to 5400. Not thc (cast of these special features is the handsome three versions. You can buy the new two -track (TR -iAH) or styling which characterizes the kits ... a semi -gloss black panel four -track (TR -I AQ) versions which record and playback both is set off by a plastic escutcheon in soft gold, which is matched stereo and monophonic programming, or the two -track mono- by black control knobs with gold inserts. The mechanical phonic record- playback version (TR -lA) and later convert to assembly, with fast forward and rewind (unctions, comes to you either two -track or four -track record- playback models by pur- completely assembled and adjusted; you build only the tape chasing the MK -4 or MK -5 conversion kits. The tape deck amplifier. And, you'll find this very easy to accomplish, since mechanism is extremely simple to assemble. Lang, faithful the two circuit boards eliminate much of the wiring. Separate service is assurcd by precision bearings and close machining record and playback heads and amplifiers allow monitoring tolerances that hold flutter and wow to less than 0.35%. Power from tape while recording and a "pause" control permits instant is provided by a four -pole, fan -cooled induction motor. One starting and stopping of tape for accurate cueing and tape lever controls all tape handling functions of forward, fast -for- editing. A digit counter is provided for convenient selection of ward or rewind modes of operation. The deck handles up to 7e any particular recording. Push -pull knob provides instant selec- tape reels at 7.5 or 3.75 I PS as determined by belt position. The tion of 33/4 or 71 IPS tape speed. Safety interlock on record TR -I A series decks may be mounted in either a vertical or switch reduces possibility of accidental erasure of recorded horizontal position (mounting brackets included;. The TE -1 tapes. Shpg. Wt. 30 lbs. Tape Electronics kits supplied feature NARTB equalization, gain and a safety inter- SPECIFICATIONS -Tape speed: 7.5' and 3.75' Der second. Maximum reel sire: r. separate record and playback controls Frequency reaoonse (record -playback): ± 2.5 db. 33 to 12.000 cps at 7.5 IPS: ±2.5 da. lock. Provision is made for mike or line inputs and recording 30 to 6.500 cps at 3.75 IPS. Harmonic distortion: 1% or less at normal recording level: 3% a or less al Desk recording 1yol. Signal -lo -noise ratio: 50 db a better; referred to normal level is indicated on 6E5 "magic cyc" tube. Two circuit recording level. Flutter and wow: 0.3 RMS at 7.5 IPS; 0.35% RMS at 3.75 IPS. Heads (3): boards simplify assembly. erase. record, and inline stereo playback (TA-IC. monophonic playback). Playback equalisation: NARTR curve. within ±2 do. Inputs (2): microphone and line. Input inn- pedance: t megohm. Model TR -1D & TR -lE outputs (2): A and a stereo cnanne(s. MODEL TR -1A: Monophonic two -track record /playback with fast Model TR -1C output (I): monophonic. Output levels: anpro.lmately 2 volts maximum. forward and rewind functions. includes one TE -4 Tape Electronics kit. Output Impedance: approximately GAO ohm (cathode Iollowers). Recording level indi- Shpg. \%'t. 24 lbs. cator: professional type CO meter. Blas erase frequency:60 he. Timing accuracy: ±2`S Power requirements: 105.125 volts AC. 60 cycles, 35 walls. Dimensions: 15/.' W. o 13W $10.00 DN., $9.00 MO. O. Total ne.ont 10W. Mounting: requires minimum al l3W below and I j' above mounting $9995 surface. May be operated to either horizontal or vertical oosihon. TR -1A SPECIFICATIONS -Frequency : 7.5 IPS ±3 db 50 to 12.0)3 cos; 3. 5 IPS ±3 db 5010 7,000 Cps. Signal- to-noise ratio: better than 55 db below lull output of MODEL TR -1C Monophonic Tape Deck: 1.25 volts /channel. Harmonic distortion: less than 2% at full output. Was erase Ire. queney: 60 kc (push.pull oscillator). Monophonic Record and Playback. $15995 $16.00 DN., $14.00 MO. MODEL TR -IAH: Two -track monophonic and stereo record /playback MODELTR -ID Two Track Stereo Tape Deck: Monophonic Record with fast furn:ud and rewind functions. Two TE-I Tape Electronics and Playback, plus Playback of 2-track Pre-recorded $16995 kits. Slhpg. Wt. 36 lbs. Stereo Tapes (stacked). V 7 $13.00 $11.00 DN., $15.00 MO. $15.00 DN., MO. 514995 TRIAH SPECIFICATIONS -Frequency response: 7.5 IPS ±3 dt CO to 15.000 cps:

MODEL TR -1E Four Track Stereo Tape Deck: Monophonic Record 3.75 IPS ±3 db :0 to 10.000 cos. 5ignaI.lonoise ratio:.15 db below furl output of 1 volt! and Playback, plus Playback of 4 -track Pre- recorded $17995 channel. Harmonic distortion: less Ivan 2% at lull getout. Bias erase Iequaney: 60 Cc (poshDull oscillator). Stereo Tapes (stacked). $18.00 DN., $16.00 MO. MODEL TR -1A0: Four -track monophonic and stereo record /playback MODEL C -TR -1C Conversion Kit: Converts TR -1C tc TR -ID (sec with fast forward and rewind functions. Two TE -1 Tape Electronics TR -1D description above). Shpg. \Vt. 2 lbs. $19.95 kits. Shpg. Wt. 36 :bs. MODEL C -TR -1D Conversion Kit: Converts 1'R -ID to TR -1E (see $15.00 DN., $13.00 MO. $14995 TR -1E description above). Shpg. Wt. 2 lbs. $14.95 TR -IAC) SPECIFICATIONS -Frequency response: 7.5 IPS ±3 db 50 to 15.000 cos; 3.75 IPS ±3 db 5310 10,C00 cps. Signal- to-nolse ratio: :0 do below lull output of .75votts/ MODEL C -TR -1 CO: Converts TR -I C to TR -1 E (sec TR -1 E description channel. Harmonic distortion: loss than 2% al full output. Blas erase 60 ke (pushDull above). Shpg. Wt. 2 Iba. $19.95 oscillator).

HEATH COMPANY / Benton Harbor, Michigan na subsidiary of Dayslrom, fnc.

FEBRUARY 1960 33

www.americanradiohistory.com NEW

HEATHKIT AS-2U (unfinished) Superlative praise by hi -fi authorities and experts $6995 $7.05 DN., 31.00 MO. Licensed exclusively to HEATHKIT HEATHKIT AS-2M (maho0eny)579.95 Revolutionary principle in speaker design HEATHKIT AS-2B (birch) $79.95 Preassembled and prefinished cabinets $8.00 DN., $0.00 MO, New "Acoustic Suspension" Speaker System NOW -FOR THE FIRST TIME IN KIT FORM .. , EXCLUSIVELY FROM HEATH

"Best we've ever heard" ... "cleanest bass response I have ever The size of the AS -2 speaker cabinet is dictated by acoustical heard" ... "achieves the seemingly impossible" ... "an out- considerations and represents an advance, rather than a com- standing speaker because of its small size. not in spite of it" ... promise, in quality. The 10" Acoustic Suspension woofer de- such superlatives flowed from the pens of noted authors and livers clean. clear bass response over an extended range with editors of audiophile magazines when the Acoustic Research ntarkahly low harmonic distortion. Outstanding high frequency speaker appeared on the market a few years ago. A revolution- distribution is a result of the specially designed "cross- fired" ary principle in speaker design. the Acoustic Research speaker two speaker tweeter assembly. has been universally accepted as one of the most praiseworthy Another first in the Hcathkit line with the AS -2 is the avail- speaker systems in the world of high fidelity sound reproduction. ability of completely pre -assembled, pre -finished cabinets; the HEATHKIT is proud to be the sole kit licensee of this AS -2 cabinets arc available in pre -finished birch (blonde) or Acoustic Suspension principle from AR, Inc. and now offers mahogany, or unfinished birch models. The unfinished birch for the first time this remarkable speaker system in money- model is of furniture grade wood suitable for the finish of your saving. easy -to -build kit form. choice, walnut, mahogany, blonde, etc. Kit assembly consists The Acoustic Suspension principle involves the use of a freely merely of mounting the speakers, wiring the simple crossover suspended bass woofer, using the "cushion" of air inside the network and filling the cabinet with the fiberglass included with cabinet as a "spring ". In conventional loudspeakers the moving the kit. Shpg. Wt. 32 lbs. cone is mounted on clastic suspensions -thus, when the cone is moved and then released. it springs back to its normal position. RECOMMENDED AMPLIFIER FOR THE AS -2 The necessarily imperfect quality of these mechanical springs The Hcathkit \V -7A high fidelity amplifier has proven by is the greatest single source of speaker distortion. The Acoustic laboratory tests to he ideal for driving the new Hcathkit AS -2 Suspension principle replaces the mechanical spring of the bass acoustic suspension speaker. See full details and specifications speaker suspension with a pneumatic spring of near -perfect for the W -7A in this ad. characteristics -the sealed -in air of the cabinet. This funda- SPECIFICATIONS -Frequency respgn.. (at 10 watts input)::5 db, 42 to 14,000 mentally new approach to speaker design results in: reduction cos; to db down at 30 and 15.00) cos. Harmonie distortion: below 25.; down to $0 co;; of bass harmonic distortion by a factor of 4; a uniform and ex- below 3% down to 40 Cps: al 10 watts mous in corner ro :rn location. Impedance: 0 ohms. S led dampino factor: bien (5:1 or 0roater). Efficiency: about T'.;. Distribution tended low frequency Icsponse. establishing the new standards; angle: D0 in htri:ontat alone. Dimensions:2r W. x 13W H. x 11W D. ability to realize optimum speaker performance from con- 'Power input level required for average listening level will not exceed 10:ß,_::r. veniently small cabinet size.

T NEW COAXIAL HI -FI SPEAKER KIT (US -3) Newest addition to the Hcathkit "US" series of speakers. the US -3 takes its rightful place at the top of the line as your best buy in a coaxial type of speaker. Capable of handling 15 watts with a frequency response from 50 to 15.000 cps. the US -3 uses a 12" I'M "woofer" (6.8 oz. magnet) and a 3" PM "tweeter" (1.47 oz. magnet); crossover frequency of the built -in network is approximately 2.000 cps. Instructions for building a suggested speaker enclosure are provided with the kit. Suitable for a variety of installations. the US -3 is an excellent speaker for high quality sound re- J production at minimum cost. Shpg. Wt. 7 lbs.

34 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com More New Hobby Kits from

-- $4595HEATHKIT TCR-1 HEATHKIT XI-1 $2795 monta) HEATHKIT XIR -1 $6.95 Shop. WI. e lbs. (remote)

"YOUR CUE" TRANSISTOR CLOCK TRANSISTOR INTERCOM KIT (XI -1 and XIR -1) RADIO KIT (TCR -1) Consisting of a master unit (XI -1) and up to five remote stations Take all the deluxe features found in the most expensive clock - (XIR -1), the system is designed for any remote unit to call the radios, add the convenience of complete portability, plus a master, for any remote station to call any other remote station, modern 6- transistor battery operated circuitry ... then slash the or for the master unit to call any single remote or any combi- price at least in half, and you have the new HEATHKIT "Your nation of rcmotc.units. Used with clock -radio (opposite), it can Cue" Transistor Portable Clock Radio. Lulls you to sleep, serve as a music or "selective alarm" system. wakes you up, gives you the correct time and provides top qual- Transistor circuitry means long life. instant operation and ity radio entertainment; can also be used with the Heathkit minimum battery drain. Eight ordinary. inexpensive "C" flash- Transistor Intercom system to provide music or a "selective light batteries will run .a unit for up to 300 hours of normal "on" alarm" system. The "lull -to- sleep" control sets the radio for up time. Circuitry is especially designed for crisp, clear intelligible to an hour's playing time, automatically shutting offthc receiver communications and the instant operation feature allows turn- when you arc deep in slumber. Other controls set "Your Cue" ing off units between calls. extending battery life. Use of battery to wake you to soft music, or conventional "buzzer" alarm. A power does away with power cords. Only two wires arc required special earphone jack is provided for private listening or connec- between the master unit and each remote station. Beautifully tion to your intercom or music system. Six penlight -size mercury styled in ivory and turquoise for a rich, quality appearance. batteries power the radio receiver up to 500 hours; the clock Batteries not included. Shpg. Wt. 6 lbs. operates up to 5 months from one battery. Ordinary penlight cells may also be used. The handsome turquoise and ivory cabi- AC POWER SUPPLY (XP -1) net. measuring only 31" H. x 8' W. x 71" D. fits neatly into A permanent power supply for 24 hour operation of the XI -1 the optional carrying case for beach use, boating, sporting on household current. Converts 110 V. AC to well -filtered 12- events, hunting, hiking or camping. Shpg. Wt. 5 lbs. volt DC output, eliminating the need for batteries. Power supply is small, compact and fits easily in space normally occupied LEATHER CARRYING CASE No. 53-3 (2 lbs.) $4,95 by batteries. HEATHKIT XP -1 (2 lbs.) $9.95

HEATH COMPANY/ BENTON HARBOR 8, MICH,

a subsidiary of Dayslrom, Inc.

Please send the latest Free Heathkit catalog. Enclosed lind E Please enclose postage for name parcel pest -caprons orders are shipped delivery charges collect. All prices F.O.B. address Benton Harbor, M ch. A 20% deposit is repui od on ell C.O.D. orders. Pricessubiect city á slate to change without notice. Write today for free catalog describing over 100easy- to- I:uild kits in QUANTITY ITEM MODEL NO. PRICE test- marine and amateur radio fields.

Send for FREE Catalog

FEBRUARY 1960 35

www.americanradiohistory.com I-I tJ 1aE

Cartridge in GARRARD SHELL

"Nothing Short of Superb," "Complaints from Garrard says Raymond E. Ward Brothers, Inc. Users? Practically Zero!" Distributor -Sales Mgr., Shure says Joseph Pickert, "That's our unanimous verdict on the results 'we have Mgr., Service Dept., Shure Brothers, Inc. had with the Garrards used for laboratory testing of our new Stereo Dynctic Cartridges. Because we can rely on Garrard's precision construction and "That's right! Garrard owners who install the new consistently accurate performance, we have been able Shure Stereo Dynetic Cartridge get such perfect sound to concentrate fully on developing the exceptional sound reproduction that we rarely get a complaint. The exact reproduction Garrard and Shure users expect...and get. Now, fit of the cartridge in the Garrard shell, the precision mounting our sales records show that more of our new cartridges are of the tone arm, the controlled arm action and tracking at being installed in Garrard Record Changers than in any other the lightest specified weight mean longer life for cartridge changer or turntable. This is only natural, because they and records...along with the finest audio for work so well together." stereo and monaural." changers are eminently superior with S H Lamm stereo cartridges" What Mr. Ward and Mr. Pickert say about the Garrard Changer -for stereo -is typical of its universal acceptance by component manufacturers and high fidelity enthusiasts. In fact, more Garrard Changers are sold today as components for stereo -than all other turntables and changers combined! That's why-before you buy -you should see and hear stereo records played on a Garrard Changer such as the incomparable RC88.

The same reasons why Garrard Changers perform so well with Shure Dynetic Stereo Cartridges account for Garrard's popufnrity with all other manufacturers of fine stereo cartridges- lilcelro- Voice, Fairchild, General Electric, Pickering, etc. Vibration -free turntable. Vertical and lateral rumble completely inaudible. Now and flutter far below exacting "broadcast tolerance" standards. Exclusive Aluminum tone arm precision-mounted at engineering works for optimum tracking angle, perfect sound reptoduet ion. CHANGER Unrestricted choice of stereo cartridges -any of them will THE WORLD'S FINEST) track nt the manufacturer's lightest specified weight. Record handling gentler than the surest human hand. Send for lroo Go,ra,d Comporolar Guld. The important convenience of manual play plus completely automatic operation without compromise in performance. You, Hone These are the FACTS, no one can deny them with authority - Add,',: and they are backed by the 36 years o/ experience that havo created Garrard's unique reputation for unsurpassed quality. Cy Slat. Moil to Deal. G8.20 of cddreu below. 1

There's a Garrard for every high fidelity system-all engineered and wired for Stereo and Monaural records. t,oyuoarc m RCia1/57 TPA /12 301 4Hr meets T/a 11.n,¡Ilaltn Trtu%:t. Manaal 11 C^.i( Cass1 Taw Soo T..utayi. 11.4nual P arrr .7 hart, fG9.:0 359.50 S/T.SO 519.50 509.00 559.50 532.50

GARRARD SALES CORPORATION, Division of British Industries Corporation. PORT WASHINGTON. N. Y. Canadian Inquiries to Chat. W. Pointen, Ltd., i Ate",o A.... Toronto Terdtorlos other thon U.S.A. and Canada to Garrard Ent/tooting S Mtg. Co.. ltd., Swindon, W{ht., Englund

www.americanradiohistory.com A Love Letter .. .

AN EDITORIALIST is always abashed by the prospect of ing, we-my wife and I -hcnrd Leontyne Price sing in a twice -told talc, though he knows all the while Town Hall, New York. It is a hall kind to singers, and that he is wrong. If it were not for the tale twice told we like it, and for an hour we had it all to ourselves, (a hundred times), we would never have heard of Achilles except for Miss Price and the Messrs. Faun!, Poulenc, or Sir Lancelot or Robin Hood. Patently, the same thing Strauss, and Wolf. Outside the windows hung Massa- applies to sermons and thus, by extension, to editorials. chusetts icicles, but we didn't sec them, and we picked up Just the same, it is a pleasure to have one's persistence and set down our coffee cups gently, so as not to disturb reinforced. a performance that had taken place four months ago My reinforcement conies across the sca from Sir and 125 miles away. Compton Mackenzie. Sir Compton is a most unusual That is stereo. It .convinces and grips the attention. man. At seventy -five, he has written nearly seventy One can almost see. Ansernter's slick flicker and Beetho- books (including such gems of hilarity as Tight Little ven's kettledrums respond, back yonder, and one is hard Island) and thousands of shorter pieces, and he has never, put not to stand tip and (in the old military expression) in his life, received a rejection slip. Which is interesting face the music. It is something truly new and vital, and but irrelevant: more to the point, he is editor of the something we needed. There had been developing. and Gramophone and dean of British record fanciers. He has I do not know why- perhaps because of a kind of satia- one other singular distinction, which is relevant. I -k tion-a slump in attentive listening. was perhaps the stubbornest of all notable listeners who Maybe the cause has been the invasion of our leisure held out for the 7S against the LP in the days of the by too much passive entertainment, of which the most change, ten years ago. passive is always the most seductive (it is so easy nor to Thus it is plain that Sir Compton is a man of strong think!). I do mean television. I have nothing against loyalties and affections, and thus it becomes news when, Major Adams, Peter Gunn, Ancient Archie Moore, or in his first Gramophone editorial on the subject, he comes Edward R. Murrow'. but my feeling is that when their out for stereophony with an unqualified and positively exploits are done, they should be turned off, the hyp- joyful brightness. Music, he says (to condense his state- notic tube darkened, before the tawdry «'e tern or the ment), finally has been released from imprisonment in a dismal old movie begins. box. "... The effect of installing stereo equipment," The best provocation to this action (assuming that it he writes, "has been to make me fed thirty years younger is too early to go to bed with Jane Austen) is to have when I am putting on a disc." across the room two good loudspeakers properly posi- This is exactly the contention I have been advancing tioned, set that between them may come real, at the touch -more timidly than Sir Compton, because if I felt of your forefinger: E.. Power Biggs. Sir Adrian 13oult, a thirty years younger I would be a teen -ager -since stereo brisk little English church organ, and the brave tunes of came upon us. It seems to me the most important de- George Frideric Handel; or a glinting trout brook from velopment in home music since the invention of the elec- the imagination of Franz Peter Schubert, portrayed by tric audio amplifier, much more significant than the Clifford Curzon and four delighted Viennese fiddlers; microgroove long -play disc or than noise -free FM radio or an inspired cross -talk between Figaro and his Susanna, transmission. These last two developments were needful punctuated in silver by a discreet and wary harpsichord. accessories, perhaps, but stereo is the capstone. Hence- The point of this discourse is that stereo is something forth the young listener, or the beginning listener not more than an inconvenience -which admittedly it has necessarily young, can hear music in the dimensions its been, to both manufacturer and serious listener. pt's creators conceived it in. And this is like learning a lan- worth all the trouble it's caused. It is a new liberation of guage by growing up in the land where it is spoken. No music in the home, something epochal. And it should be substitute, no schoolbook nor boxed single loudspeaker, viewed, evaluated, and discussed as such. can yield quite the saute effect. The afternoon of this writ- Jonn> M. CONLY

AS THE EDITORS SEE IT

FEBRUARY 1960 37

www.americanradiohistory.com Photo by Charles Geckle,

by MARTIN MAYER

Orchestra Hall (front left) lacks grandeur, but it's fine for recording. einer's Orchestra

Relationships between conductor chatting with the Maestro. Then Reiner mounts -and mounts is the operative word -the very high chair which has been the conductor's rehearsal chair in and men of the Chicago Symphony Chicago since the days of Frederick Stock. He opens his score. glances again at Harth, who has resumed his couldn't be termed cozy; but if affection is seat, and coughs lightly. The period of informality has ended, and the orchestra lacking, mutual respect rides high. focuses on its conductor with nervous attention. "Pini di Roma," Reiner says. The smile rakes on meaning. the wrist flicks, the tip of the white baton descends - and the orchestra attacks. RFINER walks onto the stage for rehearsals in a rather The chair on which Reiner perches is absurdly too preoccupied way. nodding distantly to the mem- tall for hint The long iron legs are made rigid by cross- bers of the Chicago Symphony Orchestra, a large but bars, and Reiner, after climbing up them. rests the balls meaningless smile fixed on his round fact. l-k wears of his feet on the bars. He does not so much sit as settle crescent- shaped half- glasses to help him read the score, on the round, brown -leather scat: and he treats it as a his shirt is open at the neck, and he buttons only the stool. his back never making contact with the back of bottom button of his single-breasted jacket. There is the chair. Everything about hint pushes forward towards nothing imposing about his presence, the dumpiness of the orchestra; knees, stomach, shoulders, chin, baton. his figure accentuated by the informality of his entrance. From the rear he seems a slumped gnome, but from the At the podium, he may exchange a word with his front his appearance is very different. The bright. sharp associate conductor, \\'alter blend', a blond, square- eyes dart everywhere in the orchestra: the skin is taut shouldered, businesslike musician, young and American on the forehead as though to help the ears pull in the and serious behind black -rimmed glasses. Or he may sound; the right arm, elbow suspended, bears precisely, comment on something to Sidney Harth. his concert- economically, with the smallest visible gestures. Reiner 's master, a very large young man in a smoking jacket, famous "vest -pocket beat" is not something he reserves who does not interrupt his tuning and flexing while for concerts. Its purpose is to make sure that the men are

38 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com watching the conductor rather than counting their own ordinary matter, even in so tricky a score for the con- measures, and Reiner wants his men to watch the conductor as Stravinsky's Marra, a joining of independent ductor at rehearsal, too. When attention seems well motions by right elbow, right wrist, left shoulder, and fixed, the beat expands to normal patterns. chin is sufficient to make his desires completely clear. If Reiner hears something he does not like, he halts Sometimes, when he is really concerned about a soloist's the orchestra by stopping his beat and shaking his head. phrasing, he will point the baton at the man and twist He scorns the usual practice of rapping the baton on the it as the solo proceeds -but the loving, crowd- pleasing music stand, with its clear implication that the men shaping of a phrase with a graceful gesture of the hand would not know the conductor had stopped unless they is a conducting technique he regards as below his per- heard something from the podium. The head- shaking sonal dignity and that of his orchestra. continues until the music has ceased. and then Reiner Chicago's Orchestra Hall is by no means an easy place peers at the offending spot, visibly impatient. trying to in which to prepare a program. It has the most shallow control his irritation before phrasing his objection. As stage of any major hall in America, which means that the head stops wagging, the left foot begins. the heel Reiner must spread out his 106 men across a great stretch shaking rapidly back and forth until the music resumes. of space. The different choirs cannot hear each other; Reiner wastes no time. if an instrument makes a wrong men who are to play solos together must rely heavily on entry or plays a wrong note, he makes a mental jotting their conductor, and on their own advance planning. of the matter and keeps going: such routine mechanical Indeed. it was not until the orchestra went on tour in errors are not serious enough to stop the work. Despite 1958 that anybody knew for sure how good it seas. After his apparently authoritarian attitude, he delegates more the concert in Boston's Symphony Hall, Reiner came responsibility than most conductors would consider safe. backstage with his eyes shining, and marveled at what First -desk men in Chicago are supposed to be more than Gott had wrought. Today. Reiner (part of whose patent soloists: they are also "section men," held accountable is infallibility) tends to say that he had known all along for the work of the musicians who play behind them. what a superlative orchestra the Chicago was -"but the

After a rehearsal, Reiner may call one of them aside and men," he says, "the men never really heard themselves tell him that a man in his section played an A rather than until Boston." an A flat; could he find out which man it vas, and make It is widely believed, even among members of the certain that the part is correct? The members of the orchestra (who should know better), that Reiner has orchestra respect this approach, and admire the section improved the Chicago by means of wholesale replace- men who can handle the extra work involved. A cellist ments of personnel. In fact, today's orchestra is largely speaks rhapsodically of Frank Miller, who took over as the same group that Reiner inherited from Kubelik principal cello in Chicago this year, after a career as first more than six years ago. During Reiner's reign to date cellist for the NBC Symphony and conductor of the there have been only thirty -six replacements -fewer Florida Symphony in Orlando. "That man," says the cellist, "has eves in the back of his head; he knows just who is doing what." Technical discussions of performance or of music itself are time consumers for which Reiner has no raste. His language with the orchestra is ordinary (slightly ac- cented) English, with few interpo- lations about bowings or tonguings. In spite of his impatience, he has enormous confidence in his men, and will illustrate what he wants in the line of phrasing by singing the notes once, with remarkably good pitch, then plunging into the full orchestration. His direction of complicated rhythms, of course, is a legend in the trade: nobody subdivides a bear so easily or so efficiently. Occasionally, in really complicated passages, he will bring the left hand into play, but as an Reiner's "crest- pocket bear" is famous-and it's not resereec% for concerts.

39 FEBRUARY 1960

www.americanradiohistory.com Thomas; and no conductor anywhere has ever duplicated the feat of Frederick Stock, who held the musical directorship of the Chicago Symphony for the lengthy term of thirty -eight years. Thomas founded the orchestra in 1891, and lived long enough to sec it established in its own building, and to conduct its first Five concerts there. \\'hen he died in 1905, he deeded his position to his assistant, Frederick Stock -like Thomas, a German by birth. Under Stock, the orchestra formed the pattern of activities which still continues. In 1916, while on a visit to New York, the Chicago Symphony played for the first recordings ever made by an orchestra under its permanent conductor. Stock put the Saturday -night Popular Concerts on a regular basis, and started the first subscription series of children's concerts, to build future audiences for the orchestra. Perhaps his most spectacular innovation was the Chicago Civic Orchestra, a tuition -free permanent training ensemble for students looking towards a sym- Photo oy Bill Spilka phonic career, which Stock founded in 1919, after his The Reiners have an apartment in the Loop, but they live in l'estport. largely German orchestra had been riddled by the enthusiasm and bigotry of the First World War. Today, about half the members of the Chicago Symphony are than the union contract would allow, and very little Civic graduates -and, says George Kuyper, who was more than normal turnover in any large musical group. the Chicago's manager until mid -November, "there Of the orchestra's fifteen principals, only six are Reiner's isn't a prominent orchestra in America without at least appointments; of the four first -desk men in the brass one Civic alumnus. Conductors come through here section, which is the orchestra's particular glory, three every spring, to audition Civic talent." were in their places when Reiner arrived. Rcincr can The structure Stock left behind him was solid enough be unceremonious to the point of cruelty when he does to survive a confused decade after his death in 1942. fire people (last year's one -season first cellist learned his For a season the orchestra worked with a succession of Late from a source outside the orchestra). But he has guest conductors, and then Desiré Defauw took it over brought the Chicago Symphony to its present pitch by for three difficult years. Thereupon followed a dazzling stimulating and controlling the existing personnel, not and demoralizing season with Artur Rodzinski. whose by importing a flock of protégés. farewell gesture at the end of his one -year tenure was to Reiner does not have pets, anyway. He is not the sort bring his little son out on the stage before the embar- of conductor who takes (or pretends to také) an interest rassed but cheering audience, to show him that "the in the private lives of his men. Musicians who have people really love me in Chicago." Two more years of troubles are more likely to take them to the manage- guest conducting kept the orchestra playing in public ment of the orchestra than to Reiner. On occasion, a before the management engaged Rafael Kubelik. whose few Hungarians in the orchestra have tried to appeal to three years as music director were marred, to say the Reiner's recollections of his childhood by speaking to least, by the unwavering disapproval of Claudia Cassidy, him privately in his native tongue, but he does not like the critic of the Chicago Tribune. The orchestra Reiner it. "You arc in America now," is his usual reply. "Speak inherited from Kubelik was unquestionably on the way English." Reiner and his orchestra do not seem to feel up once again (among the reasons Reiner had to make much warmth for each other-but the coolness of the so few personnel changes was the quality of the musi- relationship is easily counterbalanced by a deep and cians Kubelik brought in). But RCA Victor's Richard very genuine respect on both sides. Mohr, \vho has been director for most Chicago recordings tinder Reiner, testifies to a continuing tonal improve- One of the oldest saws in the concert business holds that ment throughout the six years of Reiner's supervision. there are no bad orchestras -only bad conductors. In a A past in the Chicago is one of the hall-dozen most sense, every orchestra is the property of its permanent desirable ensemble jobs in America. Union scale mini- director, and picks up his qualities and defects. The mum is $170 a week, and something like half the or- dominance of the conductor has probably been stronger chestra is paid more than the minimum. The season is in Chicago, however. than anywhere else. No other twenty -eight weeks long, with a maximum of four resident orchestra in America ever took a conductor's concerts and five two-and- one -half-hour rehearsals a name for its own, as Chicago once dici to honor Theodore week. The men arc paid extra for the year's dozen or so

40 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com recording sessions and for the Sunday -night television Nevertheless, despite an average ninety -plus per cent concerts over R'GN. ( "Color television, if you please," sellout of the hall's 2,580 scats, the Chicago's deficit is Reiner observes, shrugging his shoulders.) Every so very large. In the 1958 -59 season, music making cost the often, the season is extended by a fall or spring tour, and orchestra about $450,000 more than its receipts. (The every summer most of the men play the six -week out- Philadelphia Orchestra, by comparison, lost only door festival at Ravinia, north of the city. Like orches- $234,00); no orchestra made money.) Chicago has a good tral musicians everywhere, they give private lessons in endowment-$8,20),000, at conservative valuation, ex- what little time remains; and the first -desk men give clusive of the value of its building -but a chunk of the section lessons to the aspiring talent of the Civic Orches- total is restricted to the pension fund or to educational tra. A man who plays in the Chicago Symphony can uses, among them the operation of the Civic Orchestra. probably expect an annual income of $8,000 to $11,000 Income from the endowment fund, applicable to the a year-not munificent, but well above average as this operating loss, Caine to about $220,000 in 1958 -59, and country rewards :ts musicians. And a first -class card another $165,000 was raised from current contributions player can augment that income by participating in the -leaving about $60.0X)0 to be extracted from capital four -handed cribbage game which goes on during every and paid to creditors. break in a rehearsal or a recording session. Wrestling with these problems is the task of a fifteen - Orchestra Hall, the fruit of Theodore "Thorns' appeal member Board of Trustees and of the orchestra's man- to the civic initiative of Chicago nearly sixty years ago, ager, a post which was held for fifteen years by George sits on South Michigan Avenue, overlooking Grant Kuyper and has recently passed into the hands of Sey- Park, Lake Michigan, and the Art Institute. Its carved mour Raven, formerly a critic and editor for the Chicago sandstone façade, doubtless impressive when new, lacks Tribune. President of the Board is Dr. Eric Oldbcrg, a grandeur by comparison with the two large office build- socially prominent Chicago surgeon whose father was ings that squeeze it onto its rather small plot in the professor of music at Northwestern, and whose wife is middle of the block. Inside, the building offers a rather a pianist good enough to have studied with Schnabel impressive marble lobby, and a wide, shallow auditorium and played with the Chicago Symphony (before Old - to match the %vide, shallow stage. The wall behind the berg was its president, of course). Kuyper, who left just stage is a shell -shaped reflector -Wedgwood blue with the other day to take over the Hollywood Bow! and Wedgwood -type white decorations- rising from a the Los Angeles Philharmonic, is a tall, large- boned, wooden chorus -platform to the ceiling. rather Lincolnesque man with a mane of white hair and Acoustically the hall is adequate, though there arc a solid grasp on the two first requisites of a successful dead spots on the stage and in the audience. When a manager -a calm tempera- Continued on page 110 work calls for vocal soloists, Reiner places them on a high stand at the rear of center stage. ( "Singers don't like it," says a man who works with the Orchestra, "but Reiner's Reiner. And it's true that voices carry better in this hall from that location. ") Get the people out of it, however, as the engineers sav, and Orchestra Hall makes a fine recording studio, especially for sterco. Reiner says that he would rather record in Orchestra Hall than anywhere else in the world. The side walls of the auditorium arc the walls of the building, and space behind the stage is restricted to a narrow runway and a few small rooms. Downstairs in the basement there is a large dressing room with green metal lockers for the musicians, plus a trunk room (emptied of trunks and turned into a makeshift control room when Victor cores to record), and a modest but rather pleasant rectangular recreation room featuring card tables, Morris chairs, and a machine which sells coffee, hot chocolate, and hot soup. Most of the men spend their rehearsal breaks in the dressing room, however, playing bridge on the piano, upended trunks, and folding tables. Upstairs, alxwc the hall, reached by an elevator with wrought -iron gates, are half -a -dozen floors of offices. The Orchestra owns the lot, and their rental fees, plus recitals and religious meetings in the auditorium, about pay the cost of maintaining the building. He "does not so much sil as settle" on the rehearsal chair.

FEBRUARY 1960 4]

www.americanradiohistory.com Ever bean' of 1 l' irtur.ii ßíi l'rori.r. You wilt, bereru -.ntd of the s: holy flooviNbiag musics; l fc that may well urakt vu, llic /u r.lt-ra t.;1e> toe,

germinating forca /II l Alce :.',: . N /n1r...

Music in the Midwest

by ROBERT C. MARSH Chicago to the Des Plaines rivers in 1673, but settlement lagged far behind exploration. In 1812, the year before the London Philharmonic carne into being, the population of Chicago, prtly as a result of British inspiration, f' ONLY PLACE I see where another great foeringflowering was largely massacred by Indians. Even so, Chicago had Tof European culture might conic is in the American its Philharmonic Society in 1850, not many years after \fiddle West, where the start could be fresh and from the New York's Philharmonic was founded. ground up... . Americans must not copy Europe. As is characteristic of America in general. the primary They must be themselves. must create do novo." emphasis in the Midwest has always been on instrumental These words of philosopher Alfred North Whitehead, music. One of the first men to take the symphony spoken in a Cambridge, Massachusetts, drawing room orchestra westward was Louis Antoine Jullien, among twenty -five years ago, might strike many ears today as the most colorful figures ever to wield a baton. Adored strangely as they dici then. For the Midwest, like every by the English, he recruited an orchestra in Europe and principal region of the United States, is often regarded visited the United States in 1853 -54. bringing his band by the inhabitants of other parts of the country in terns to 100 -man strength by engaging American instrumen- of outmoded stereotypes, such as Sinclair Lewis' Main talists. After two months in New York, Jullien set off on Street or Carl Sandburg's even more dated evocation of a national tour that took his forces as far as the Mississippi. the city of Chicago. Supreme as a showman. Jullien was just the sort to Lewis' Gopher Prairie. revisited this winter. would bring culture to the hinterland. One of his desires was to probably have a Community Concerts series and might publish a setting of The Lord's Prayer with the title even boast as esoteric a (lowering of local culture as the page reading "Words by Jesus Christ, Music by JUL Illinois group who began performing last autumn as f LIEN." This urge to seize top billing even from the rrraiosi di Peoria. Chicago, the Midwest's largest city, is second person of the Trinity betrayed a fundamental no longer hog- butcher for the world, or, indeed, for instability of mind, and Jullien died in poverty in a itself. Its hoodlum empires arc gone, and with the St. French madhouse without ever making a second tour of Lawrence Seaway linking it directly to the Atlantic. it this country. dominates America's inland coastline as a prosperous, For one of his players, however, a German -Ixen energetic, and expanding metropolitan arca of some six eighteen-year-old violinist who had been hired in New million persons. York, America had revealed a challenge and a promise. Midwestern history and traditions, admittedly. have His name was Theodore Thomas, In 1854 he was on the a half- century less depth than those of the Atlantic sea- road again, touring the Midwest with violinist Ole Bull, board. Marquette and Joliet found the portage from the and in 1855 he was himself violin soloist with a touring

42 MICH FIDELITY MAGAZINE

www.americanradiohistory.com orchestra in Chicago, playing Club chorus he had presented Vieuxtemps's Reverie. Chicagoans with such stimulating If any one man can be credited fare as Berlioi s Damnation of with creating an audience for seri- Faust and the first half of Les ous music in the Midwest, it is Troyens. With sixty of his New Thomas. Fifteen years after that York players and twenty -four solo appearance he formed the Midwestern instrumentalists, he Theodore Thomas Orchestra and, directed the Chicago Symphony still only thirty -four, began his in its initial concert in October winter tours along "the great high- 1891. This was the first such or- way" to the West. They were ro chestra west of the Hudson, and. continue more than twenty years, since the amalgamation of the New and they produced direct progeny York Philharmonic and the New in three great American orchestras: York Symphony in 1928, it has the Chicago Symphony (1891), been third in seniority among the Cincinnati Symphony (1895), American symphonic foundations. and the St. Louis Symphony The Chicago Symphony soon Orchestra (1907). Theodore Thomas lost its isolated position. Cincin- How good was the Theodore nati had an orchestra four years Thomas Orchestra? From the evidence, it was remark- later, and Minneapolis joined the movement in 1903. St. ably fine. When the great Anton Rubinstein toured with Louis. with a long tradition of musical groups, put its it, he told piano builder William Steinway that he "little orchestra on a professional foundation in 1907, and the thought to find in this new country the finest orchestra close of the First World \Var in 1918 provided the stimu- in the world! Alan for man the orchestra of the Paris lus for the establishment of the Cleveland Orchestra. The Conservatoire is perhaps equal to them, but unfortu- same year Detroit appointed Ossip Gabrilowitsch to head nately they have not Theodore Thomas to direct." its four-year -old orchestra and began Co secure national Cincinnati responded to the Thomas orchestra by attention. Indianapolis established an orchestra in 1929. organizing a biennial festival for the conductor and his Today every Midwestern population center can claim men in 1873. In Chicago, the arrival of Thomas and his some kind of orchestral activity on the amateur, profes- professionals in 1869 killed off the city's second effort to sional, or semiprofessional level. Often, all three are form a philharmonic society of its own, and the Thomas flourishing. The Chicago area, for example, has about orchestra became the nonresident but prime source of twenty orchestras of some consequence, including a the city's music. Twenty years later, when after the great youth .symphony that gives the best instrumentalists fire of 1871 Chicago had built The Auditorium (de- front the local secondary schools a chance to play to- signed by Dankmar Adler and Louis Sullivan and seating gether. Recent tours overseas have put the reputations of 4,250 persons), Thomas transferred himself to that city the Cleveland and Minneapolis ensembles on a solid, on a permanent basis. I-Ie was sick of the road, and pre- international basis. pared to "go ro hell if they would give me a permanent It is not, however, simply in the renown of highly orchestra." Chicago had provided him with his most professional symphonic organizations that the character consistent support, and in coöperarion with the Apollo of Midwestern music can be judged. A large and wealthy

Under Herman Clebun jJ, Evanston's Symphony Orchestra. A University of Illinois seminar in musique concrète.

www.americanradiohistory.com city can support an orchestra, even if its concerts are Repertory contains standard items such as the Men - remote from the lives and interests of all but a minority dclssohn Italian Symphony and Tchaikovsky Fifth, but of the local population. It is grass roots musical activity in recent Years the orchestra has also played Hovhanes. that tells the more important tale. Mysterious Mountain, Liadov's Enchanted Lac, and the Admittedly the Twin City Symphony of St. Joseph Vivaldi A minor concerto for two violins. Ticket sales and Benton Harbor (Michigan), the Duluth Symphony, and contributions are the only source of income, but no or the Evansville (Indiana) Philharmonic are not to be member of the orchestra is charged dues or required to counted among the world's great orchestras, but they engage in fund raising. Recently the Evanston Bureau of are live music in communities that, not so long ago. had Recreation took interest in the group and now provides no such artistic resources. If population density is taken such benefits as transportation for bulky instruments and into account, the Midwestern concentration of smaller partial subsidy for a rehearsal room. orchestras is the greatest in the count ry. Perhaps the best evidence of the group's spirit is that Theodore Thomas' dictum was "play a[ the people music director Herman Clebanoff, who recently moved until they catch on." After that, of course, one starts to California. didn't want to resign and is commuting playing io them. Eventually, one hopes, they start play- from the Coast to direct the opening and closing events ing themselves. "Throughout my life my aim has been to of the season. make good music popular," Thomas wrote in 1874, The thing that makes a symphony orchestra a center of "acting constantly on the belief that the people would musical creativity. rather than a sound-museum preserv- enjoy and support the best in art when continually set ing the work of the past, is a steady and systematic cul- before them in a clear and intelligent manner." tivation of composers and their works. Midwestern audi- If one can characterize Midwestern music in 1960, it ences are conservative, and Midwestern concerts tend to is the Thomas operation on the grandest scale. One be dominated by "The Fifty Famous Pieces" and annual American in four is a Midwesterner, and beuer than one virtuoso readings of the celebrated concertos. but rarely Midwesterner in two has access to serious live music in do customers suffering from arrested musical develop- his community. He has an opportunity to hear a variety ment survive a winter without some exposure to un- of musical works; to widen and clarify his interests, and orthodox fare. to form the basis for sound musical taste. And just be- In recent years the most consistent flow of new music yond the horizon of the smaller cities are great urban in the United States has come from Louisville, which centers where opera and most of the world's leading (like Cincinnati) occupies a geographically important recitalists can be heard annually. position on the frontier between Midwest and South. Between 1948-59 the Louisville Orchestra presented 131 AGOOD EXAMPLE of grass roots music is the Evanston world premieres, of which 110 were short compositions (Illinois) Symphony, which this winter is present- commissioned by the orchestra with local financial aid ing its fourteenth season. The primary reason for Evans - and a grant from the Rockefeller Foundation. All of the ton's having a symphony orchestra of its own is that scores played since 1954 have been recorded. seventy men and women from Chicago's North Shore Naturally, many of these works are something less want one. if these people merely wished to listen to a than masterpieces, and not every one was received with symphonic ensemble, they vould find the opportunity particular enthusiasm even in Louisville; but the pro- already in town, in the form of the Northwestern Uni- portion of interesting music has been high. It is via these versity Orchestra. and a short drive into Chicago's Louisville premieres that a great deal of the new music

Loop makes many musical events easily accessible. recently heard in Chicago has conic, and Louisville - Evanston Symphony personnel numbers a contingent commissioned works have been applauded as far from of music teachers and professional performers, but the Kentucky bluegrass and bourbon as Moscow. It was no majority of its members earn their livings in other than surprise, therefore, when the delegation of Soviet com- musical activities. A department store executive, a metal- posers which visited this country last autumn made lurgical engineer, a paper products wholesaler, a secre- Louisville their one midcontinent stop. tary, a radio announcer, an architect, and thc sales manager for a property protection service are included in the AonIEe increasingly important factor in Midwest- present roster. What do they have in common? A desire ern musical life is the tradition of state- supported to work together making music. higher education. Somewhere in the complexity of the With this incentive goes an interest in offering per- State U. campus there is sure to be a center for the arts. formance opportunities to others. For seven years the In all probability its role extends beyond formal instruc- orchestra has sponsored a competition to find a young tion to include the presentation of public concerts by musician from the northern Chicago suburban arca who students and professionals and possibly even a festival of could be presented as soloist on the final program of the extramural significance. The annual May Festival of the season. No Heifetz has been discovered so far, but the University of Michigan is an established instance, while opportunity is always open. the festivals of contemporary- Continued on page 106

44 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com by NORMAN H. CROWHURST

6)1111111111 11.1r7

FROM SMALL BOXES

SEVERAL EXPERTS if loudspeakers can be reduced quantity of air a little way (timpani), or to move a small ASK in size without losing fidelity and, as with most quantity of air a long way, and let the movement spread questions related to high fidelity, you'll get at least two out to the larger quantity as list it can (horns). Thus answers -conflicting, naturally. One school says you part one of the problem is to set big waves in motion need big speakers to get good bass. (Some of its members from a loudspeaker unit whose size is only a fraction of go further and even specify the kind of big speaker you that of the waves. must have.) The opposite school blithely continues to Next comes resonance. The fundamental resonance shrink woofers and to produce effective bass from rela- for a moving -coil loudspeaker is usually located some- tively small boxes. There are, however, several engineer- where between 50 and 140 cycles, although speakers can ing approaches to the problem of how the woofer is be designed with a resonance higher or lower than that, to be shrunk. The proponent of each method invariably if needed. The resonance results in greater movement insists that his particular approach avoids all the pitfalls of the cone at this particular frequency than at other of all the others. Argument is, of course, half the audio- frequencies. phile's fun, but for practical purposes it's well to know With the unit unmounted, resonance does not give precisely what to listen for when you set out to choose a greater volume of sound, because the corresponding loudspeaker and want to determine whether or not the wavelength is about IO feet, while the air path from shrinking has been effective. front to back of the cone is a matter of mere inches. Consequently the air shuffles back and forth around the Big Waves and Little Waves rim without making an appreciable wave. Put the same The problem starts with the fact that low- frequency unit in a large baffle and it will produce more sound at waves are big, while high -frequency ones arc small. A its resonance frequency than at any other. 100 -cycle wave measures 11 feet from crest to crest; a Using the baffle stops the round-the -edge shuffling. 40 -cycle one measures 27.5 feet; a 10,000 -cycle wave To what extent depends on the baffle size and frequency. measures only 1.3 inches. Here is one of the most im- A bigger baffle is effective to lower frequencies. But the portant concepts of sound reproduction: low- frequency primitive baffle that is big enough to reinforce the sound waves result from large amounts of air moving speaker's resonance makes the resonance boom, without relatively slowly; high frequencies require a small filling in the "middle bass" -frequencies immediately amount of air vibrating very rapidly. A single 12- or above the resonance. 15-inch loudspeaker is called upon to perform feats of One important thing about the point of fundamental sound production never required of any single musical resonance: cone movement decreases both above and tone generator. (A violin, with four strings, has four tone below the frequency involved. Above, this does not generators.) No tone generator, for example, is expected necessarily mean a loss, since the cone has to produce to produce a 40 -cycle note and also a 10,000 -cycle one, smaller sound waves, anyway. But below, where longer but a loudspeaker is required to re- create the whole sound waves have to be set in motion, a bigger cone range of frequencies at once. movement would be required. This bigger movement, The problem of speaker size involves primarily the as we have stated above, is something that the loud- bass -the big, low-frequency waves. To produce a low - speaker cone simply cannot provide below the resonant frequency wave, it is necessary either to move a large frequency. From this we can draw a simple conclusion:

FEBRUARY 1960 45

www.americanradiohistory.com the multiple complex function of the resonant frequency of a speaker represents the point same engineers that at all but can below which that loudspeaker normally ceases to be the speaker not only can be accomplished confusion . . . really useful. (We will discuss later the ways in which be executed with so remarkably little this problem is overcome.) or, if you like, distortion. After getting the lowest frequencies properly cared These arc basic aspects of the problem. A few side for, we need to make sure that higher frequencies - issues will appear as we consider different approaches midrange and up-are also properly handled. They need to its solution. to be produced uniformly, and they must not get dis- The Cotner Horn torted in any way by the presence of the low frequencies. Any cone unit that moves a relatively long way in The first solution -the horn -was used for other pur- handling the low bass frequencies is liable to produce poses long before loudspeakers were even thought of- more distortion of the midrange frequencies it also and probably before the acoustic principles behind it handles. This again is the result of requiring a lowly were understood. loudspeaker to do what no musical instrument can The earliest horns of concern to us were used on achieve. It should be apparent that if a speaker is busy acoustic phonographs. In a fashion parallel to that use, producing a pedal -note C for an organ sound, and it is a loudspeaker, the horn expands a small -area, high - then asked to do a trill on high E flat for a (lute sound, intensity wave into a large -area, low- intensity one. At it is going to have to rub its stomach and pat its head its mouth, the horn develops sound by making a large at the same time, so to speak, and there may be some quantity of air move only a little way with less effort. confusion -which, in the parlance of high- fidelity All sorts of analogies can be suggested, including the engineers, is called distortion. It is to the credit of these cheer -leader's megaphone.

SPEAKER COMPARISON TABLE

UNIT DETAILS

TYPE SPEAKER FRONT OF BACK OF RELATIVE CONE ACOUSTIC LOWEST RESONANCE CONE WORKS CONE WORKS MOVEMENT AT PRINCIPLE FREQUENCIES UNMOUNTED AGAINST AGAINST LOW FREQUENCY USED COME FROM

High acoustic Normal air Expanding Large area HORN Unimportant. back pressure pressure, little Small. wave prop- horn mouth. of horn. radiation. agation.

Normal air High acoustic Low pressure, little back-pressure Acoustic cavity BACK - freq. radiation. of horn. between unit Large area LOADED Unimportant. Small. Normal air Acoustic back and horn makes horn mouth. HORN Med. pressure, pressure, more crossover action. Ireq direct into room than front.

Normal. Acoustic back Totally encloses Normal air According Front INFINITE Raised a pressure, sound waves pressure, direct to size, of BAFFLE little by greater than from back of into room. average. cone. baffle. front. cone.

Reversal of Equally from Normal air Pressure approx. Hall that BASS back wave by front of cone Normal. pressure, direct equal to front for equivalent REFLEX box and air and reflex into room. at resonance. infinite baffle. in port. port.

low. Ultra Resonance Raised to Normal air Pressure much Front ACOUSTIC controlled by normal by pressure, direct greater than Large. of SUSPENSION air cushion acoustic into roam. normal, in box. Cone. cOshioning. in box.

Normal air Pressure much Low pressure, little greater than Acoustic reson- Normal or freq. ance converts DUCTED radiation. normal. Mouth of slightly Small. high pressure to REFLEX Normal air Acoustic back duct. lower. Med. large volume pressure, pressure, more movement. direct into room (req. than front.

Normal air Distributed Slightly lower Fairly high mechanical VARIABLE pressure, plus Front of than normal, acoustic Large resonance holds MASS variable mass cone. but distributed. back pressure. up efficiency element. over range.

www.americanradiohistory.com The relatively high pressures built up in the horn's Otherwise, to get 40 cycles, you would need a con- throat tend to hold down movement of air, at resonance trivance with a ten -foot -square opening. as well as other frequencies. Thus the resonance created The innards of a horn have to be designed so that a when a speaker is relatively free- acting disappears when sound wave can expand properly. For low frequencies, it has a horn to work into. this means the horn throat has to be long, as well as Furthermore, because a horn acts rather like an large -mouthed. For a horn twelve or fifteen feet long amplifier, it steps up the sound output a unit can give to be accommodated in that piece of corner furniture, for the same electrical drive power (its efficiency is it must be folded. Folding helps get the lower frequen- higher) and helps it to produce a very uniform response. cies, but the higher ones, with their shorter wavelengths, In fact, a properly designed horn is, without question, bounce around all the corners. That problem is solved the best kind of loudspeaker. by using the big folded horn for the lowest range of Unfortunately, few listening rooms can conveniently frequencies only, and then using smaller units (also house a horn big enough for present standards of high usually horns, which can now be straight) for the higher fidelity, and as a result we have to be content with some frequencies. compromises. The only horns of practical use arc the folded, corner variety, of which some of the best have Baffling the Infinite been patented by Paul Klipsch. At its lowest frequencies, a horn develops a wave until The next serious development was the closed -back it is almost half a wavelength across. The corner horn system, which provided complete separation of the achieves this end by utilizing the three -way corner, soaves from front and back, instead of the partial separa- formed by the two walls and floor, to finish the job. tion that a reasonably dimensioned open back could

SPEAKER COMPARISON TABLE

SYSTEM DETAILS REMARKS

RATE LOW IS LOW-FRE- MANUFACTURING SPECIAL CARE FREQUENCIES QUENCY PRO- DETAILS TO IN USE FALL OFF TECTION NEEDED? LOOK FOR

Accurate Must Very suddenly be placed construction in corner, at critical Yes. of horn shape unobstructed frequency of internally. for few feel horn. Rigidity. from speaker.

Very suddenly Same Sano at critical Yes. as as frequency of horn. horn. horn.

Well- sealed 12 db, octave enclosure. Not below No. Use of acoustic critical. resonance. damping on interior.

18 db /octave Use of acoustic Nol below Yes. damping on critical. resonance. interior.

Additional units Well- sealed and 12 db /octave for higher freq. damped enclosure. below No. Place near resonance. Unit with free wall, floor,or moving cone. ceiling.

Well- sealed Less critical if spacing of 18 db/octave enclosure. duct from or more below Duct facing Yes. wall or floor resonance. floor or wall is controlled preferred. by design.

Good security of mass element 12db /octave Place near No. to cone. or more. wall. Well-damped cavity.

www.americanradiohistory.com accomplish. For this reason they arc sometimes called however, that there must be some way of making a infinite -baffle enclosures. That's the polite name. They're small box give out real low frequencies -and without also called boom boxes, because the interior of the box recourse to false harmonics. resonates at a variety of frequencies. The Air Cushion The boom -box effect can be minimised, if nor eliminated, by suitable choke of enclosure shape, careful Three ways have so far been used. Two of them are placement of speaker unit. and treatment of the box adaptations of the closed box, and one a variation of the interior with acoustic padding. But this type inevitably reflex principle. The first one to appear was called will reinforce, to some extent, a frequency a little above acoustic suspension. Since reduction in box size normally the free resonance of the unit. pushes up the speaker's resonance frequency and reduces Another deficiency of the closed box is that, the smaller efficiency, the designers decided (since audio power is it is made, the less efficient it is; that is, it needs that relatively cheap) to accept the reduced efficiency, but many more electrical watts from an amplifier to produce to do something about the resonance frequency. a given loudness in terms of acoustic watts. Sound waves Since putting a box around a speaker makes it act come from both the front and the back of the cone, and against an air cushion, which has a certain amount of opposition to cone movement is incurred on both sides. stiffness, the natural stiffness of the speaker cone's me- When the back is enclosed in a box, and the front is chanical suspension is increased. Thus the resonance fre- exposed to a large room, the small volume of air in the quency of a cone might jump from 70 to 110 cycles. The back will act as a small cushion, limiting the cone move- acoustic -suspension method counteracts this effect by get- ment, so that less sound comes out at the front. ting the resonance of the unit itself down -to a few cycles A horn speaker with an efficiency of 40% (which is -by making its suspension extra floppy and by making about the highest in high- fidelity Luse) needs a quarter the cone slightly heavier. Then, by putting it in a much of an electrical watt to produce one tenth of an acoustic smaller closed box, the system resonance goes hack up watt in the room. But a low -efficiency speaker system - only to 30 or 40 cycles or so, and it can give good bass. say I% (they do come lower) -needs ten watts to give This method certainly works, at a lass in efficiency. the same sound loudness. To equal two watts into the It also wins a bonus in reduction of distortion. The air horn would require 30 watts with the other speaker. in the box, being the major part of the stillness that controls cone movement, works as an almost perfect Bass Reflex pneumatic spring, which the corrugated surround of This limitation of sound from the front led to the idea an ordinary speaker can never be. of the bass reflex: why not use sound waves from the Regardless of the mechanics of achieving bass response back as well, at least for the lowest frequencies? To do from a small box, a relatively large movement of air is this the cancellation effect must he overcome, so that needed from the small box to get the bass power. In the sound waves from both back and front can compress the acoustic- suspension type, this comes directly from the air at the same :ink. cone front, so the cone has to have much greater move- The bass reflex enclosure has two openings, one con- ment than larger speaker systems. taining the loudspeaker and the odor -the port -to This fact may negate some of its advantage in reducing permit air to move in and out. By designing the en- distortion, because it is always much more difficult to closure so that the weight of air in the port is equal to get large movements with low distortion. that moved directly by the loudspeaker (including its own cone), the air inside the enclosure gets compressed, Making a Duct Do the Work concertina -fashion, at the box resonant frequency..' it The next type to appear was an adaptation of the reflex in both holes cones and goes together. The loudspeaker principle. With the original reflex idea. the care and drives one part, and resonance action the other. Com- port each radiated about equal parts of the total sound pression of air in the box, combined with the momentum at the lowest frequency. With ducted port reflexes, of the movement in the other hole, enables the two most of the sound at the lowest frequency conies from the sound waves to work together at this frequency. port, because it has a long tube attached (usually inside) Bass reflex enclosures come in all sizes, using moving - allowing a relatively large weight of air to be moved. coil units of different sizes, with correspondingly differ- This avoids the acoustic -suspension need for an extra - ent degrees of low -frequency response. By and large, floppy unit, although lowering the frequency of the the size of a loudspeaker, whether corner horn, infinite resonance may sometimes be advantageous. The com- baffle, or bass reflex, is pretty much the same for a bined action of the weight of air in the duct and the corresponding low -frequency response. There are Other cushion of air in back offers a large resistance to cone differences we shall mention presently. But this general movement, so it does not move much at the lowest principle of requiring a size inversely proportional to frequencies. But the air in the duct, which brings out the lowest frequency desired seemed quite inflexible most of the sound, moves freely at large amplitude. for a long while. There came a growing conviction, If anything, this is a better Continued on page 108

48 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com CHICAGO is about to embark on a Midwest run of l-Icllaapoppin, in 1942, verted and adapted to the needs of a major cultural adventure: the restoration the Auditorium was closed. Except for modern educational institution. The uni- and reopening of the Auditorium Thea- its wartime role as a Servicemen's Cen- versity has a lively interest in keeping the ter, a structure described by Frank Lloyd ter, it has remained closed ever since. structure intact and in restoring as much Wright shortly before his death as "the \Vc paid a visit to the old hall not long of the interior as is passible and desirable. greatest room for music and opera in the ago in company with Mrs. ¡obit V. Recently the former Banquet Hall was world." The present owners of the build- Spachner, who heads the Auditorium rehabilitated and turned into a recital ing have approved the plans, volunteer Restoration and Development undertak- hall. It now looks as fresh as it mast committees have been organized, and a ing. It was an experience at once sadden- have in 1889, and its gleaming appear- vigorous fund -raising campaign is now ing and exciting. Nothing is quite so ance is in striking contrast to the dilapi- under way. If the needed $2,700,000 can forlorn as a noble building in disuse and dation of the opera house. Mrs. Spachner, be found, and there is strong reason to decay, and eighteen years of inattention who helped raise funds for this work believe it will, Chicagoans will be wit- have done the Auditorium no good. The also, views the recital hall as a trial run nessing the rehabilitation of the Audi- plaster is crumbly, the floor boards sag, for the very much more difficult and torium at the very same time that New and everything in it seems almost hope- costly job of restoring the Auditorium Yorkers will be viewing the demolition lessly dirty and lusterless. But the basic Theater. We found it a heartening prom- of Carnegie Hall. structure, experts say, is still sound, and ise of things to come. The Auditorium Theater was the crea- we can testify that the acoustics are as Chicago's musical life has already tion of two famous nineteenth- century superb as ever; one of our party talking reached the point where an additional architects, Dankmar Adler and Louis casually on stage could be plainly heard hall would prove of considerable use. Sullivan. In it they achieved not only in the topmost gallery. If the necessity money can be raised, their architectural masterpiece but (again Roosevelt University today holds title the city will have a "brand new" nine- to quote Frank Lloyd Wright) "a build- to the entire Auditorium Building. com- teenth- century opera house -one both ing at least fifty years ahead of its time prising not only the Theater but also the aesthetically pleasing and acoustically and only now coming into its own." The former Auditorium Hotel and Office irreproachable -ready for the opening of Auditorium's doors first opened in 1589 Building, which have now been con- the 1961 -62 season. to the straits of Adelina Patti singing in Gounotl's Roméo et Juliette. Grand opera continued to hold its stage for forty years-a span of time that took in the palmicst days of Mary Garden's Chicago Opera Company. Then. in 1929, opera deserted the old Auditorium for a new but acoustically inferior house built by Samuel Instill. The Auditorium Theater thereafter stumbled into a slow decline, though it continued to enjoy some isolated moments of glory. We well recall catching our first glimpses there of George Gersh- win, Artur Schnabel, Leopold Stokowski, and Arturo Toscanini during the decade of the Thirties, and we conceived at that time an enduring affection for the Audi- torium's vast but friendly layout, its wild Victorian filigree. its musty corri- dors and tunnels, and above all its unfailingly good acoustics. Finally, after a Chicago's Aurlllorirna Theater torlau: ownibly planer, superb acoaslics.

FEBRUARY 1960 51

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52 HIGH FIDELITY MAGAZINE,

www.americanradiohistory.com PAUL AFFELDER NATHAN BRODER O. B. BEI MMELL R. D. DARRELL RAY ERICSON reviewed by .1LFREI) FRANKENSTEIN TOIIN E. INDCOX ROBERT C. MARSH Records CONRAD L. OSBORNE JOHN 5. WILSON in Review

The First Stereo Aida

Comes Vested in Grandeur .. .

by Roger Dettmer

Hen, Wild MacNeil, Tebaldi, Dergonzi Simionalo, Corenu, Vrn, Ali/l

IN view of the wide appeal of did,, and fusion of wltaat arc really two operas in one. the sacerdotal quiz. (IV, I). complete with public clamor for a performance in stereo, Just as. in the mind's car, we hear a per- trombones and a thundering bass drum; and the first twin- channel recording of Verdi s formance of Beethoven's last piano sonata finally for the entombment (IV, 2) to give opera perhaps comes to us belatedly. But that no one has attained, so an integrated the crypt, with its immovable stone. a -as demonstrated in the present version Aida has long haunted our subconscious. depth. So acute is the recording that one -how much better late than later. London To hear it at last realized is a kind of can, even without recourse to pictures in a has met sonic challenges before (notably in psychic shock. The recording itself is con- presentation book, pinpoint orchestral, La Fancinlla del Wes, and Das Rheingold). summate. \\'c have not the standard two or choral, and solo voice placement. In didrr the demands arc staggering -tem- even three channels here. but instead a stage Karajan's reading is not so urgently head- ple rites with offstage priestesses. triumphal that stretches undivided from wall to wall. long as Toscanini's, but the tension is as scene. subterranean inquisition. and en- The sound is so close to truth that one can great and the proportions even greater. tombment. Let it be said at once that John play these discs and none other at a sitting. Instrumental sound is both sensuous and Culshaw and his aides have conquered all. In the matter of "staging." circumambula- incisive, but also unfailingly precise. The Withal-as it should be -the work result- tion prevails -very appropriately when the chorus -no matter those patches of furry ing from Herbert von Karajan's leadership implied action so precisely dovetails the li- diction -sings with a stylistic variety that is a wonder greater yet than the engineers' bretto as it does here. An echo chamber is encompasses the profane as well as the achievements in operatic stcrcophony. Here featured with taste and dramatic discretion sacred, and with a sonority that meets the is not only a performance that combines the on three occasions: in the temple scene orchestra head on. As for Karajan's front - sternest technical discipline with unfettered (Act I, Scene 2) for the offstage priestesses rank cast, Renata Tcbaldi and Giulietta interpretative expression, but a creative and their accompanying harp and brass; for Simionato, especially, sing with an emo-

FEBRUARY 1960 53

www.americanradiohistory.com tional fervor that fills out character where before only stereotype sufficed. It makes but the littlest difference that Mme. Te baldi's at }issuuo register continues to trouble her, notably when she sings the climactic high C of "O patria mia" a fraction under pitch (not flat, but under pitch all the same). \\'c have, as compensation, a fresh intensity of expression -hear "Ritarna tneitor"i -that Surrounding Sir Thomas - makes her latter -day Aida actually a princess and invariably a woman. And Miss Simion- De los Angeles, ato emerges here as a finely shaded singing actress. The sound of her voice, when she Victor Olof (of EM /j, calls time and again "Ah! Vieni nmor mil)" (1I, 2), is ravishing. In Act 1V, Scene I, when and Nicol ri Gedlla. she prowls the stage in jealous agony, there is starkest drama in the throat. The priestess of Eugenia Ratti, no less, surpasses all heard Capitol Reccrds heretofore on records. lier diction, like Tebaldi's, is periodically smudged, but the voice itself is caressingly beautiful, and sin gularly suggestive of more than brazier - Beecham's Carmen: A Definitive Statement banking in the back room. The gentlemen of the cast also deserve plaudits. Carlo Bergonzi, a remarkable by Conrad L. Osborne musician among contemporary tenors and a singer without flaw, will be in time the clarion Radames he is not vet. Intelligence prevails, however. and a sensitive conception T'S finally happened: Capitol's Beecham/ tends to take things a bit slower than is of the role. The Amonasro. without vocal r De los Angeles Carmen is on three long - customary. The orchestra's buoyancy of parallel on discs of the past or present, is I playing records (stereo or monophonic). tone and the conductor's ability to pull Cornell MacNeil. Perhaps he does not Labels have been pasted on the records. the things together more than compensate for muster the insinuating menace of Gobbi. but records have been placed in a box. and the the loss in sheer velocity (there is less speed, he brings much more voice to the part, whole package is available. as they say. at but more momentum), and the gain in painstakingly coached and incorporated by all better stores. According editors and col- lucidity is startling. Karajan. and soundest theatrical instincts. umnists trill now have to turn elsewhere for For once. Mercédès and Frasquita are For Ramlis, London summoned Arnold van a sure -lire story. having made merry long together on their "Tra- la -las" in the "Les Mill from the Netherlands -a dark, sinuous enough with play -by -play recitations of the tringles des sstres," and the number does nor basso cantate who pronounces alien Italian sinister happenings at the Salle Wagram. No disintegrate as a result of having nowhere better than passably and possesses the dra- purpose would be served by recapitulating to go from an overwrought initial tempo. matic equipment to sound like a High Priest. the dark talc of the feud that suspended re- The choruses in the first act have a wonderful Fernando Corona, the King, sings a non - cording sessions from one year to the next; lyric sweep, and the Smugglers' Quintet buffo role (for the first time on records to my the spirit of Camp David apparently pre- (which is not taken at a slower -than -usual personal recollection) and sings it forcefully. vails, and the only task remaining is to Pace). for the first time in my experience. Artistic intelligence cannot quite conceal a evaluate the finished product. observes the expected balances. From first technique that is tremulous on sustained This is not the Carmen to end all Carmes, note to list, the orchestra and chorus per- tones, and elsewhere effortful. but it carries but it is the most interesting recorded pres- form with beautiful tone (even the horns) him a long way. Pietro de Palma is that entation of the work to date. (N.B.: Epic's and a spendid freedom -freedom gained. I tenor messenger who so regularly in the nest version is scheduled for release in the assume. through the most exacting precision opera house announces ill tidings in a voice very near future.) The first point of interest drill. Number after number is so "right" to match. But not Signor Dc Palma, a is the leadership of Sir Thomas. I do not that I found myself ignoring the perform- eomprimario of present -day primacy. doubt that his treatment will displease those ance altogether, and considering afresh the Some will complain that the breaks arc for whom frenzy is the score's one indis- astounding riches of the music. No reading otkl. but it is to London's commercial credit pensable ingredient. but even they cannot can do more. that sound of this range and registration has challenge the brilliant execution of his con- Most collectors of my acquaintance arc been contained on six sides, at a saving to cept. Pot me. Sir Thomas' statement of apprehensive as to Victoria do los Angeles' the consumer of $5.98. lf, then, this com- Carmen is as close to definitive as I expect to contribution. A good many soprano prima pany's Das Rheingold was widely regarded as hear. I will not sty that he has demonstrated donnas -Farrar, Jcritza. Ponsellc, to isame a the supreme operatic endeavor of 1959. its anything new in the music. But his reading few -have had a turn at the role in the past, Aida is comparably vested with the grandeur calls back to the listener all the excitement and that Miss De los Angeles, a Spanish that corners "aye" votes :n any election year. and terror of a second or third hearing of the singer who has had impressive success in the VERDI: Aida opera; it brings back the feelings we know French repertory, should undertake the Carmen ought to arouse. but which seasons part is not surprising. The essential question Reims Tebakli (s). Aida: Eugenia Ratti (s), of mediocre playings have buried. was one of temperament: would she prove Priestess: Giulietta Simionato (nu). r\mneris: The dramatic pitch of the performance is extrovert enough for the role? The answer is Carlo Itergnnzi (t), Radamen: l'ietrodc Palma (t). unmistakable from the time the overture is yes, though she shows us a Carmen quite Messenger: Cornell MacNeil (b). Amonasm: Arnold van Mill (bs), Raufis: Fernando Corona under way, especially with the first entrance unlike the wild- behaving, chesty- sounding (bs). King of Egypt. Si.tgvercut der Gesell- of the Fate Theme, where the strings' toughie we generally encounter at the opera schaft der Musikfreunde, Vienna Philharmonic tremolo has a chilling bite and the under- house. This Carmen is calculating. insinuat- Orchestra, Herbert von Karajan. cond. lying drumbeats sound like thuds of a death ing -the loping Habanera is a subtly pro- LONDON OS 25133/5. Three SD. $17.94. roll. Throughout the score. Sir Thomas vocative sample. The soprano's lower tones

54 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com arc quite adequate to the music's demands, passages are stillborn. I ought to say, how- de Versailles, who. unsurprisingly, sound and the evenness and focus of her voice are ever. that he is at least as good as his LP like a well -trained group of very street boys; certainly welcome in a part that seldom gets competitors. with the possible exception of result. the changing of the guard sunnnons either. Jobin on the Columbia set. Ernest Blanc, about the same effect as a couple of verses In opposition to Nicolai Gedda's fresh. Bayreuth's latest Telramund, has a sonor- of "II e;t né, le divin en/nu." It may be small- scaled José, there is just a suggestion of ous, wide -open baritone, and it's good to argued that a recording is a recording, and motherliness in her portrayal. It is quite hear "Notre toast" barreled forth this way. that no one is fooling anyone, but other feasible to set forth the Carmen /Jose I rela- even if he does not do much with the companies have demonstrated how vivid a tionship in this light -Jose more than 'once character. The weakest of the four prin- stereo performance can become through sings about his deep attachment for his cipals is Micheau. She is musicianly and intelligent use of stage sounds, and Carmen mother, and it makes good sense that he well routined, but her voice has lost its would hardly seem to be the opera for would desert the fragile, sweet Micaëla for gleam, and a Micaela who sounds a couple pussyfooting. a woman who would take the lead, as indeed of decades older than her José will never do. The above reservations notwithstanding, Carmen does. We might note that José The supporting players are all Paris stal- I would not trade this Carmen for any other returns with Micaela only when he I) feels warts, and fit into the frame, though the on the market. Certainly no opera lover that he has been betrayed. and 2) hears that only first -line voice amongst them is that of should he without Sir Thomas' magnificent his mother is dying. (Though it has only an Dcpraz, who sings Zuniga. exposition of the score. incidental relevance, i should add that this I have listened to the stereophonic ver- idea is lent further weight in the Merimée sion only. The sound per se is fine. but BIZET: Carmen novel, where the aspect of José as a wanderer, EMI's approach to the production offers Victoria de los Angeles (s), Carmen; Janine a searcher after a resting place, is much more grounds fo: serious complaint. There is no Micheau (s). Micaela: Denise Montcil (s). Pras- fully developed.) attempt made to bring us a performance of quita: Marcel Crosier (ms) slid Monique Linval The remaining participants do not attain Carmen. All stage effects have been abjured. (nus). Mcrehlà; Nicolai Gedda (t), Don losé; Michel Hamel (t). Renmendado: Ernest Blanc quite the same level of performance as does The gunshot that supposedly frightens (b), liscamillo; Jean. Christophe Benoit (h). the leading lady. Gedda sings cleanly and Micaela at the smugglers' stronghold pancake; Bernard Plantey (b), Morales: Xavier resonantly, but a voice of larger caliber is wouldn't scare a reasonably secure eight - Depraz (hs). Zuniga. Chorus and Orchestra of required. particularly in Act Ill; he also year -old, and the sound of the crowd as Radiodiffusion Française, Sir Thomas Beecham, tends to disjoin phrases in an effort to Carmen breaks away from José in Act I is conch. render each of them perfectly, with the re- extremely fainthearted. The children's CAPITOL GCR 7207. Three LP. 513.98. sult that the "Flower Song" and a few other chorus is rendered by Les Petits Chanteurs o CAPITOL SGCR 7207. Three SD. $16.98.

S. 1001: Sarabande: Chorale: Ein' feste hand there is the poetic yet overwhelm- Burg, Terry Nos. 77-8-0; Weihnechts- ingly dramatic Passacaglia and Fugue, CLASSICAL oratoriutn, S. 248: "Shepherds' Song" and the piquant scoring of the Little G (i.e., No. IO, Sinfonie); "Little" Organ minor Fugue (at least tap to its incon- Fugue in G minor, 5..578. gruously grandiose ending ); on the other there is the lugubrious Komm, ABENSKY: Variations on A Theme by Tchaikovsky, Op. 35a-See Tchaikov- Symphony Orchestra, Leopold Stokowski, siisser Tod and "Shepherd: Song." And whatever one may think of the tran- sky: Serenade in C, Op. 48. cond. CAPrrot. SP 8489. SD. $5.98. scriptions themselves, even at their most sentimental and inflated they still have BACH: Concertos for Violin and Orches- Away back in January 1928, in reviewing the incomparable magic of the Stokowski tra: in A minor, S. 1041; in E, S. 1042 the first Bach -Stokowski transcription to orchestral sound, which in these latest appear on records ( the now world -fa- least more seduc- Henryk Szeryng, violin; Association des recordings is aurally at mous Toccata and Fugue in D minor), Concerts Pasdeloup, Gabriel Bouillon, tive and electrifying than ever. Only I wrote: "Does the popular mind at- cond. still the slurred wind- and -strings opening of tach the adjectives 'dry' and 'cold' to have Ongox KOC 112. LP. $4.98. the present Sarabande would not Bach? A single playing of this record will been passed by the near -infallible con- Szcryng's tone is lovely, his phrasing pulverize the popular mind." Since that ductor in his Philadelphian days. B.D.D. musicianly, his playing in general aris- time Stokowski's discography has been tocratic in style but not cold. In the first studded with further Bach arrangements (and re- recordings of the most successful BEETHOVEN: Concertos for Piano and movement of the E major he slurs a few Orchestra: No. 4, in G, Op. 58; No. 5, short sixteenth -note figures, and there is among them ). Many of these slid indeed onetime in E flat, Op. 73 ( "Emperor") a moment in the finale when he seems "pulverize" the popular concep- deliberately to play an important held tion of Bach as a "dry" or "intellectual" Emil Gilds, piano; Leningrad Philhar- note sharp, but everywhere else his ar- composer, while at the same time they monic Orchestra, Kurt Sanderling, cond. ticulation and intonation seem faithless. inflamed controversies among purists and MONITOR MC 2032/33. LP. $4.98 The orchestra's contribution is less praise- musicologists which still rage. At this each. worthy: the violins are sometimes too late date, however, the arguments on timid when they carry the thematic ball, both sides seem futile: for better or Gilels' Soviet editions of these works con- to offer competition to the Angel and on occasion the orchestra is a hair's worse, the Stokowski transcriptions have tinue him breadth behind the soloist. Good record- become a permanent part of the reper- sets (which are the only ones to pay ing. N.B. tory aril it is only fair that today's listen- royalties). As yet, they can do so only ers be given a chance to judge them monophonically, but in the one -channel (now endowed with new sonic excite- format the engineering is comparable to BACH: "Orchestral Program" (trans. Sto- ments ) for themselves. Angel's, with the Soviet sound, if any- kowski) Stokowski's present collection of tran- thing, a little more vivid. (The stereo ver- Passacaglia and Fugue in C minor, S. scriptions is far from a definitive or uni- sions of the Angel releases are not par- 582; Komm, siisser Tod, S. 478; English formly successful one, but it certainly is ticularly exciting.) Suite No. 2, in A minor, S. 807: Bourrée; representative of both his most admira- Since both these and the Angel sets Solo Violin Sonata No. 1, in G minor, ble and most lamentable essays. On one are relatively new, there is not a great

FEBRUARY 1960 55

www.americanradiohistory.com deal of variation between the two solo BEETHOVEN: Quintet for Piano and BEETHOVEN: Symphony No. 5, in C performances. (In the Fourth both make Winds, in E fiat, Op. 16 minor, Op. 67 use of the alternate short cadenza in the {Mozart: Quintet for Piano and Winds, Vienna Philharmonic Orchestra, Georg first movement.) Gilels seems to play a in E fiat, K. 452 Solti, conci. little better in the Monitor editions, but Frank Glazer, piano; Ncw York Wood- LONDON CS 6092. SD. $4.98. Sanderling occasionally gives the soloist wind Quintet. a somewhat less sensitive accompani- London has had good luck with its Fifths, CONCERT -Disc CS 213. SD. $5.95. ment than Ludwig provides for Angel. and this new So. hi version follows the Neither conductor, however, offers dis- The Beethoven exists in two versions, Kleiber and Ansermet editions with tinguished As sees support of the type Gilets re- both of them lumped together as Op. 16, equal distinction. Solti the score, ceived from Reiner in the recently re- of which this is the first. The composer's strong contrast is needed between the leased Brahms B flat Concerto. second thoughts, which converted the two themes of the opening movement, so Choice between the is a surging outburst of two complex work to a quartet for piano and strings, the the fate theme affair. I happen to prefer the full -bodied can be heard in stereo on RCA Victor stands out sharply from the other mate- sound of the Leningrad orchestra and the LSC 6068. The wind version is the rial. This was Toscanini's approach, but piano to the orchestra balances of the better treatment of the work -Beethoven Solti's reading is thoroughly his own. Angel edition; consequently, my vote goes paying homage to Mozart, whose earlier The martial character of the music the to Soviet recordings by a small mar- masterpiece is heard on the overside. dominates this performance, although gin. R.C. \i. The performances arc both winning, never to an offensive degree. This is a much more view of the sym- and the presence stereo achieves with a penetrating phony than usual fast statement of BEETHOVEN: Overture in C, Op. 11$ living- room -sized wind band such as this the music or the Sturm (' Namensfeier ") -See Brahms: Sym- provides a genuinely delightful experi- the familiar Gentian The result is a phony No. 4, in E minor, Op. 98. ence. R.0 \i. and Drang interpretation. stereo Fifth with all the characteristic individuality of a great performance. We have already had some valid and interesting editions in stereo, but never one that seemed likely to attract a following comparable to the admiration many have for one or another of the monophonic NEXT MONTH IN sets. Solti, I think, has crossed that bar- rier between excellent and superior. The recording was obviously made very close to the orchestra, which is heard with extremely vivid presence and firm stereo registration of the instru- high fidelity mental lines. The brass quality is particularly realistic. On the basis of having heard the Vienna Philharmonic on its American tour last fall, I can testify that this is how the orchestra sounds at short range. R.C.M.

Tape The Coming Break -Through in BEETHOVEN: Trio for Piano and An exclusive interview with Dr. Peter Goldmark Strings, No. 7, in B flat, Op. 97 ("Arch - on the CBS -3M tape cartridge duke") Alfred Cortot, piano; Jacques Thibaud, by Ralph Freas violín; Pablo Casals, cello. ANGEL COLH 29. LP. $5.98.

Steinways and Steinwayism Who wants a recording node in Novem- In Steinway's basement are fifteen concert grands ber of 1928? It isn't "Iii -fi." It's defi- nonstereophonic. How can it pos- wants to nitely that every virtuoso play sibly secure an audience? by Joseph Roddy This sort of reasoning explains why many of the greatest of all recorded performances are unavailable. Angel's "Great A Fanfare for Piotr Ilyich Recordings of the Century" series is much too limited and its appeal restricted by The world's most popular Russian is due for a its price, but nonetheless it attempts to critical reappraisal fulfill a responsibility towards the collector by Russell Smith whose primary interest is interpretation rather than realism in sonies. This twenty -two- year -old Archduke And a Cartridge in a Pear Tree captured one of the most remarkable trios of all time at the peak of its virtuosity. Notes on a fabulous home sound system Individually and collectively the per- by Russell Clancy formances are superb, for many the finest ever put on discs. The recording was exceptional for its clay, and the long -play Karl Böhm: A Beginning Made Good transfer is technically most satisfying. Portrait of the Met's Strauss specialist There is plenty to hear on these sur- -Wagner faces, and you can hear it with clarity and by Edward Downes satisfaction. As far as I am concerned, when I next reach for the Archduke, this is the edi-

Continued on page 58

56 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com in this brand -new recording of Beethoven's LIVING STEREO ,IIK:III*SLRFAIC FIRST Appassionata and the Sonata No. 7 in D, Sonata in O. Op. 10, No. 3 - - F Sonata in Minor, Op. 57 1 "Appauionatá') CLASSICAL HITS Horowitz has broken with "traditional" BEETHOVEN /HOROWITZ OF THE interpretations. Going back to the source - GOLDEN 60's the composer's original notations -the ...ON RCA VICTOR honored pianist has produced penetrating In Living Stereo and regular L. P. and majestic new readings of both sonatas. Toscanini's "Eroica ":

111 LIVING 'STEREO 0 'II 6Ai K W I Pianist Earl Wild has been called one of the The Maestro conducts GERSHWIN RCAVICTOR I greatest of all Gershwin interpreters. When the NBC Symphony RHAPSODY IN BLUE FIEDLER BOSTON POPS Toscanini performed the "Rhapsody," he Orchestra in an all -time EARL WILD, PIANO. great performance of t. selected Wild to be his soloist. Now comes Beethoven's Third Sym- this superb new version by Wild and the Boston Pops, conducted by Arthur Fiedler. phony. First time on rec- Also in the album: in Paris." ords. Monophonic only. "An American

Tchaikovsky Violin Con- Sigmund Romberg's beloved "Studer', LIVING 'STEREO MIr;;CIF*>IRFAAF Rennberg iIYMiE/M certo: Henryk Szeryng. Prince," in this new recording, is a major MARIOThe Student LANZA Prince with Munch conducting achievement in sound, as well as an artis- the Boston Symphony. tic triumph. Mario Lanza, from his child- "Dazzling virtuosity one hood, cherished this music. He was perfect seldom encounters," for it. The fact that he turns out to be the writes High Fidelity. best Prince of them all conies as no surprise.

LIVING 10 IV$ Concertos For Cello: So- ,4 I STEREO hIRAI 'NFAtI. This new album, a brilliant interpretation

RCA V IeMR loist Antonio Janigro and .dfL of Gustav Mahler's 4th Symphony, and the MAHLER the di Zagreb SYMPHONY No. 4 Solisti REINER /CHICAGO SYMPHONY first Mahler recording by Fritz Reiner and LISA DELLA CASA join in a masterful record the Chicago Symphony Orchestra, is an debut on RCAVictor,They eloquent tribute to the composer in this play works by Boccherini, "Mahler year" (marking the 100th anniver- Vivaldi, Vivaldi -Bach. sary of the birth of the Austrian master).

LIVINGISTEREO 511RAttf*ARFA[I Formula for sweetening opera haters: get Rì AVIr T / the best singers, let them sing. RCA Victor FOR PEOPLE WHO HATE OPERA did just that, getting Bjoerling, Della Casa, Di Stefano, Elias, Milanov, Moffo, Peerce, Peters, Rysanek, Tozzi, Valletti, Warren. The arias they sing are lovely, and in the process they win new friends for opera.

the world's greatest artists are on... RcA_ opict,

FEBRUARY 1960 57

www.americanradiohistory.com is first lion 1 shall choose. High -fidelity sound is monophonic version -rate, but thrilling indeed. but such achievements stereo spreads out the four voices across in perfomlance as this are even more re- the aural stage, giving the illusion of an warding. R.C.M. actual concert performance. P.A.

BIZET: Carmen BRAHMS: Symphonies: No. I, in C minor, Op. 68; No. 4, in E minor, Op. Victoria de los Angeles (s), Carmen; 93. Academic Festival Overture, Op. Janine ,;Micheal' (s), Micaela; Denise 80 Monteil (s), Frasquita; \Marcel Crosier (ms) and Monique Linval (ms), Mercé- Amsterdam Concertgehouw Orchestra, dès; Nicolai Cedda (t), Don José; Michel Eduard van Beinum, cond, Horne] (t), Remeudado; Ernest Blanc Eric SC 8033. Two LP. $9.98. h), Escamillo; Jean -Christophe Benoit Eric BSC 103. Two SD. $11.98. ( b), Dane: ire; Bernard Plantey (b), Morales; Xavier Depraz (hs), Zuniga. BRAHMS: Symphony No. 4, in E minor, Chorus and Orchestra of Radiodiffusion Op. 98 Française, Sir Thomas Beecham, cond. }Beethoven: Overture in C, Op. 115 CAPrroL GCR 7207. Three LP. ('.\'atnettafeie ,/') $13.98. CArrror. SCCR 7207. Three SD. Lamoureux Orchestra, Igor Markevitch. $ 18,98. cond. Brahms: in stereo, much is added. s DEUTSCHE GRAMMOPHON DCrM 12017. For a feature review of this album, seo LP. $4.98. page 54, DEUTSCHE GRAMMOPHON DCS wood's work continues in the line of the 712017. SD. $5.98. romantic symphony. Haieff's is the sym- BLACKWOOD: Symphony No.1 phony reduced to essentials- pointed. Van Beinum's ideas about Brahms, as expressed on the two Epic discs, are sound f Haieff: Symphony No. vividly compressed, supremely logical in every dimension. it is the neoclassical orles. The music emerges with power and Boston Symphony Orchestra, Charles symphony par excellence among those dignity, vet it moves along very nicely. ?Attach, cond. submitted to us, Another hearing of his Fourth has even RCA VrcrroR LM 2352. LP. $4.98. These two works, then, help to define canceled my former reservations about RCA VICTOR LSC 2352. SD. $5.98. the present status of symphonic composi- his opening movement. As always, the or- tion in America. That the Boston Sym- chestral playing is wonderfully smooth This is the first release to be issued under phony always defines the status of or- and rich in texture, while the recorded the Recording Cuaraatee Project of the chestral playing at its highest goes with- sound, especially in stereo, is pleasingly American International Music of Fund, out saying, and the recording is excel- balanced. The only puzzle here is why which Mrs. Serge is Koussevftzky presi- lent in both versions. Epic elected to issue these works in a dent. I review it with some trepidation, Cupies of all the tapes submitted for two-disc set with automatic coupling since J was a member of the jury which the Recording Guarantee Project, in 1958 n'hen they could and should have been selected these two works for this purpose. and again last year, have been deposited released as singles. In 1958 several all the major and of in the Library of Congress, the Edwin A. Compared with Van Bciuum's, Marke- symphony the minor orchestras in this Fleisher Collection at the Free Library of vitcdr's conception of the Brahms Fourth works, were country taped new which Philadelphia, and in the music depart- is more rough -hewn. The most marked then submitted te a jury of consisting ments of the public libraries of Cincin- differences are in the. rather boisterous Nadia Boulanger, Carlos Chavez, and nati, Dallas, Los Angeles, Minneapolis, Scherzo and in the Finale, half of which There were fifty -two entries, myself. and New York. Thus a continuing archive is taken at an extremely deliberate pace. and we spent three days listening to of modem nrchetral Huai', iu its most only to be speeded up out of all propor- them. The Blackwood symphony came readily accessible form. is being built up tion at the end. But the roughness is not along towards the end of the third day, -as important a part of the enterprise as all the conductor's. Although the wood- and it all field but completely swept the the public issuance of discs. A.F. winds and strings are first -rate, the French so far as one member of the auditioning brasses have a tendency to become rau- committee was concerned. cous. and the timpani pound heavily Chavez and I had never heard of throng /rem. This is all somewhat less no- Easley Blackwood. Mlle. Boulanger, who BRAHMS: Lichealieder Waltzes, Op. 52; Neue Liebeslieder Waltzes, Op. 65 ticeable in the monophonic version than knows everything, had heard of him, but in the stereo, where it is pointed up by that was all. He is a twenty- six -year-old Elsie Morison, soprano; Marjorie Thomas, the greater separation of voices and American, and it pupil of Messiaen and contralto: Richard Lewis, tenor; Donald choirs. Hindemith: not long ago he joined the Bell, baritone; Vitya Vronsky and Victor It was a novel idea to include the faculty at the University of Chicago. Babin, duo -pianists. seldom -heard Namre -Dati Overture as a What captivated us about this sym- EMI- CaerroL G 7189. LP. $4.98. filler. Frankly. I don't recall ever having was phony its freshness, its vitality, its EMI-CamTOL SC 7189. SD. $5.93. encountered it before, though this is not dramatic, epical qualities, and the sense its first appearance on discs. Just as frank- of a lively, original, uncompromising tal- The first set of Liebeslieder Waltzes was ly, however, I found it to be fourth -rate ent at work. if Blackwood's idiom re- composed during Brahma: first year of Beethoven, definitely an uninspired piece sembles that of any other composer, it is residence in Vienna; the. second set cane of hack work. P.A. the idiom of his teacher, Hindemith, but five years later. This is vocal chamber the resemblance is mostly in terms of music of the highest and most enjoyable tough-mindedness, integrity, and willing- order, and it is as chamber music that CHOPIN: Vahea (14) ness to pursue a complex formal scheme it is petfurmed here. Whether singing to its ultimate implications. Anyhow, this solos, ducts, trios, or quartets, the four Barbara Hesse- Buknwska, piano. symphony struck us as being a brilliant, vocalists de a superior job, as does the WESThUNSTEn XWN 18883. LP. $4.98. formidable, and truly symphonic crea- fine two -piano team. The poems by C. F. WFSThrnssTEn WST 14071. SD. tion. As I hear it again in this magnifi- Downer, which provided the texts for $5.98. cent recording, it strikes me as more Brahms, arc light and bright in the first brilliant, more formidable, and more sig- set, darer and more serious in the sec- Miss Hesse- Bukowska is the liveliest and nificantly symphonic than ever. ond. The music points up the contrast most satisfactory of the three Polish pi- The symphony by Mexei Haieff on the in moods, and the performers here vary other side is altogether different. Black- their interpretations accordingly. The Continued on page 80

58 HICII FIDELITY MAGAZINE

www.americanradiohistory.com RISE TO THE

OCCASION with MERCURY LIVING PRESENCE

STEREO BARTÒK dance suite deux portraits... -.... mikrokoamos:- ü- entai dorati phllhnrmonla hunganca orchestra

MC50216/SR90216 MC5021I/SR90211 MC50223/SR90223 MC50183/SR90183

STRAVINSKY Petrouchka. Minneapolis Symphony, Dorati. MG50216/SR90216 VIVE LA MARCHE! BERLIOZ Marche Hongroise, Marche Troyenne; GOUNOD Funeral March of a Marionette; SAINT-SAENS Marche Heroique, Marche Mili- taire Francaise; CHABRIER Marche Joyeuse; de LISLE L.ì Marseillaise; MEYER- BEER Coronation March. Detroit Orchestra, Paray. MG5021I/SR90211.

BLOCI -I Concerto Grosso No. I ; Concerto Grosso No. 2. Eastman -Rochester Symphony, Hanson. MG50223/SR90223 BARTÓK Dance Suite; Deux Portraits, Op. 5; Mikrokosmos: Bourrée, From the Diary of a Fly. Philharmonia Hungarica, Dorati. MG50183/SR90183

41teieit-D

IN indicates the stereo album number, me, Ibe monaural number. RC'`

FEBRUARY 1960 59

www.americanradiohistory.com ver- insists in the Weshninster Anniversary sounds even better today, no doubt be- vantage, even in the monophonic Chopin series. Of course, she is here work- cause Stevens has revised it in the mean- sion. Although Angel's balances are good it has the ing with the least profound material, and, time. and surfaces quiet enough, set ran more distant per- like her countrymen, she plays with a Composers Recordings is an enterprise whole performance a result has lost some basic straightforwardness that is an asset devoted entirely to the works of con- spective. and as a of presence in the waltzes. But she has a tone with a temporary Americans, but all its orches- of the immediacy and sense delightful ping to it, and she keeps the tral issuCS are made by foreign orchestras, characterizing London's recording. Elisir faster waltzes moving along with light, unquestionably because it would cnst too does not exactly cry out for stereo. and dancing accents. When these elements are much to make them in this country. This London's version uses directional effects combined with a touch of melancholy, as is the first recording by a Japanese only occasionally. Still, stereo's greater in the C sharp minor Waltz, the result is symphony orchestra that I have bad the depth and breadth do add to the total perfect. Slow waltzes come off well but pleasure of hearing. It is an extremely impact. C.L.O. withnut the same high. degree of charm. fine one, both in interpretation and registration. A.F. Both the monophonic and stereo versions FISCHER, J. K. F.: Sidle No. 8, in C- give ideal reproduction of the piano tone. See Méhul: Symphony No. 2. But Rubinstein, Lipatti, and Novaes re- DONIZETTI: L'Elisir d'amore main still the outstanding pianists in this Rosanna Carteri (s), Adina; Angela Ver- music. R.E. celli (ms), Giannetta; Luigi Alva (t), GERSHWIN: "Porgy and Bess" (ex- Nemorino; Rolando l'ancrai (b), Bel- cerpts) core; Giuseppe Taddei (b), Dulcamara. Soloists; Orchestra, Warren Edward Vin- COPLAND: Dance Symphony Chorus and Orchestra of Teatro alla cent, cond. lStevens: Symphony No.1 Scala ( Milan ), Tullio Serafin, cond. STEREO- SPECT7iuM SS 53. SD. Japan Philharmonic Symphony Orchestra, Amore_ 3594 B /L. Two LP. $10.96. $2.98. Akeo Watanabe, cond. Hilde Adina; Lnisa Man - Cuelen (s), Gershwininns may quibble a bit at the COMPOSERS RECORDINGS CRI 129. LP. di Stefano delli (s), Giannetta; Giuseppe "Original Broadway Cast" billing here, $5.95. Nemorino; Renato Capecchi (t), (b). but Avon Long and Levers Hutcherson Belcore; Fernando Corena (bs), DuI- The Dance Symphony, composed in at (cast were featured in cclalively early camara. Chorus and Orchestra of Maggio 1931, is very early but very good Cop- productions. What's more to the point, Musical Fiorentino, Francesco Molinari - land. composer had gotten over the both they and Margaret Tyres sing with The Pradelli, cond. stony, rigorous, ethical idiom of his early much of the individuality and fervor of Lo,:Dosr OSA 1311. Three SD. had not yet entered the folk- the folk operi s first interpreters. and days, hut $17.94. loric period in which he was to win such they are given notably straight accom- great success. Despite the title, there is The release of Angel's Elisir coincides paniments, although by a rather small little more of the dance hero than in any with the appearance of London's stereo and hard -toned orchestra. Long's Sportin' symphony; whist is here has the luminos- version, which was already in the cata- Life airs are extremely amusing, if a unit ity, fineness, breadth, lyricism, and dra- logue in monophonic form. HMV's pro- overidiosyncratic for some tastes; Tynes if not matic power of Copland at his best. Al- duction is now out of circulation, so that, is an excitingly brilliant perfectly though Copland is certainly not a neg- with the Cetra entry. there are three steady -voiced Bess; while Hutcherson s lected composer, there are unjustly neg- available recordings of Elisir. The opera Porgy airs and duos are remarkably bold, his effec- lected compositions among output, itself is one of Donizetti's best comic ef- ringingly sung, and dramatically the is one of tive. recording too is brilliant, if and Dance Symphony these. forts, though not quite on a plane with The The symphony by Halsey Stevens on the incomparable Don Pasquale. While somewhat hard and ovorintense at times. the other side of the disc is vigorously my preference remains with the London All in all, this is indeed a bargain disc contrapuntal without being in the slight- album, the new Angel performance is for those who like Gershwin's master- est degree academic; the work blazes not without interest. Serafin's conducting piece done with a maximum of verve with rhythmic inventiveness, is enchant- is brisk and the choruses have a nice and a minimum of scoring and interpre- ing in its melodic freshness, and has a cohesion; the fact that Angel gots the tative changes. R.D.D. grandeur of address that stamps it as a entire opera onto four sides, as opposed symphony in the great tradition. The to London's six, will be of importance to GLINKA: Iota Aragonesa -See Tchai- jacket notes quote a somewhat similar the budget- minded. kovsky: Capriccio italien, Op. 45. opinion 1 expressed in a review published I am not very much pleased with the fourteen years ago, but the symphony singing, however, particularly that of Carted, from whom better things are ex- ILAIEFF: Symphony No. 2 -See Black- pected. Her voice sounds edgy, espe- wood: Symphony No. 1. cially in the first act, and she is neither girlish nor coquettish. Tisis is just an av- Italian Adina, decidedly below the HANDEL: Eight Suites for Harpsichord erage (1720) level of Carerï s other recordings and of Gueden's work for London. Alva makes Anton Heiller, harpsichord. good use of his slim vocal resources, but VANGUARD BC 592/93. Two LP, his tasteful diminuendos and easy at- $4.98 each. tack do not quite compensate for the VANGUARD BCS SO2O /21. Two small size and thin quality of his tone; SD. $5.95 each. though Di Stefano's Nemorino is cruder, it is snore alive. Panerai leaps brashly Christopher \Vood, harpsichord. after the higher tones, and his singing Fonsnt F 70011/12. Two LP. here is generally stiff and unvarying in $1.98 each. color- Capecehi's Belcore is snitch the l' onom SF 70011/12. Two SD. more intelligent portrayal. Taddei (Dul- $2.98 each. camara) is more successful. Though he is not a bass, and though his buffo styling While these Suites do not as a whole rep- may he a bit mare consciously applied resent Handel at his greatest, there is not than Corena's, his dark, warm baritone one of them that does not contain at always nmakes for pleasurable listening, least one movement that could only have and he patters through the Act 1 scene been written by a master, anti No. 7 is of with Nemorino in excellent fashion. high quality almost throughout. They Finally, there is the matter of the Copland: an early symphony reeked. sound, and here, too, London has the ad- Continued on page 62

60 HIM FIDELITY ?-IACAZINE

www.americanradiohistory.com Epic Records presents 6 new releases by George Szell and Cleveland Orchestra in hoïïw' of their 18 -city winter tour

IN YOUR CITY Syracuse, N.Y. Jan. 31

New York, N.Y. Feb. 1 Princeton, N.J. Feb. 2 Bronxville, N.Y. Feb. 3 Hartford, Conn. Feb. 4 South Hadley. Mass, Feb. 5 Northampton, Mass. Feb. 6 Boston, Mass. Feb. 7 TCHAIKOVSKY: Symphony No. 5 in E SCHUMANN: Symphony No. I in B -Etat New York, N.Y. Feb. 8 Minor LC 3647 BC 1064 (stereo) Major ( "Spring "): Manfred Overture Wilkes- Barre, Pa. Feb. 9 LC 3612 BC 1039 (stereo) Rochester, N.Y. Feb. 10 DVORAK: Symphony No. 4 in G Major DVORAK: Symphony No. S in E Minor Elmira, N.Y. Feb. 11 LC 3532 BC ( "From the New World 1015,(stereo) ") Ithaca, N.Y. Feb. 12 LC 3575 BC 1026 (stereo) Bethlehem, Pa. Feb. 13

BEETHOVEN: Piano Concerto No. 4 in WALTON: Partita for Orchestra Great Neck, N.Y. Feb. 14 G Major MOZART: Piano Concerto No. MAHLER: Symphony No. 10 in F -Sharp New York, N.Y. Feb. 15 25 in C Major. Leon Fleisher, Pianist Minor LC 3568 BC 1024 (stereo) Delaware, Ohio Feb. 28 LC 3574 BC 1025 (stereo) Columbus, Ohio Feb. 29 Szell and the Cleveland Orch- FREE! 12 -inch Szell- Cleveland CO "Profile" with the purchase at regular price of any al- estra will also make a Western bum. "Profile" contains excerpts from all the exciting new Szell- Cleveland releases plus a brief discussion by Maestro SzelI himself on music in general and his orchestra in particular. tour in the Spring.

W/////ice_ THE WORLD OF WONDERFUL MUSIC IS YOURS ON _EPIC . RECORDS

"Epic- Mati Be(. "CBS" T M. A Ptoducl of CBS.

61 FEBRUARY 1960

www.americanradiohistory.com cover a variety of formal patterns, from has the spirit and amplitude of a true the great Quintet, too, it seems to me. the improvisational Prelude of No. 1 to scherzo. The symphony of Simon Le The recording, to judge by the sound of the Passacaglia of No. 7, and an assort- Duc (1748 -1777) is an attractive work the piano, is first-class, but the oboe ment of moods, from the cheery Fugue in the international Italianate style of sounds pinched, the clarinet occasionally of No. 2 to the poetic Prelude of No. 8. the 1770s, and the Suite by Fischer rather coarse, and the horn a bit cavern- Heller, who is an organist, a conduc- (1865 -1748) is elegant, French, and fes- ous and booty. Two or three details, like tor, and a composer as well as a harpsi- tive with trumpets and drums. I am the omission of certain embellishments, chordist, plays very competently here, happy to say that the performances are indicate that the players unfortunately did from the technical standpoint, but a little lively and the sound good. N.B. not use the best available edition of the mechanically in some movements. He is Quintet. N.B. evidently not one of those rare harpsi- MENDELSSOHN: Sonatas for Organ, chordists who can achieve nuance in MOZART: Quintet for Piano and Winds, phrasing, and he avoids even such ob- Op. 65: No. I, in P minor; No. 6, in D minor in E fiat, K. 452-See Beethoven: Quin- vious means to maintain interest as tet for Piano and Winds, in E fiat, Op. changing the registration when repeating E. Power Biggs, organ. 16. a section. Wood is fax more imaginative. + CoL nsana ML 5409. LP. $4.98. He ornaments the music freely, employs a COLUamtA MS 6087. SD. $5.98. unwritten dotted rhythms in some places, PISTON: The Incredible Flutist: Suite }Moore: and exploits all the color properties of Mendelssohn played the organ in St. Pageant of P. T. Barnum his generously endowed instrument. The Paul's Cathedral in London with great Eastman-Rochester Orchestra, Howard academically trained listener may gulp success, and it seems appropriate enough Hanson, cond. at a few of the things he hears here, like that E. Power Biggs should record some MxncrmY MG 50206. LP. $3.98. the wild arpeggios in the Prelude of No. of the composer's organ sonatas in the MzncanY SR 90206. SD. $5.95. 1, but he won't be bored. The recording same edifice, as he does here. The organ is excellent in all four versions. N.B. is not the same any more, but the acous- The suite from Walter Piston's ballet The tics in the vaulting structure presumably Incredible Flutist threatened at one time are identical, with a "die -away" period of to do for this composer what L'Apprenti LE DUC: Symphony in D -See Méhul: sound up to twelve seconds. sorcier did for Paul Dukas; in other Symphony No. 2. These sonatas are sober, well-con- words, it nearly drove all the rest of his structed, admirable works, which can music out of the repertoire and prevent- LOCATELLI: L'Arte del violino, Op. 3: sound dull without the best possible per- ed him from ever getting a proper hear- Concerto in C minor, No. 2; Concerto formances. Mr. Biggs has, I'm afraid, in ing. Fortunately, that fate has been in F, No. 3 this case given the sober element his averted so far as Piston is concerned, but most earnest attention; the results are the popularity of this masterpiece of sat- Susi Lautenbacher, violin; Mains Cham- sturdy, well intentioned, and -dull. The ire, wit, and lyric tunefulness is easily ber Orchestra, Gunter Kehr, cond. organ has a strong, beefy sound, some- understood. Humor is not a leading char- Vox DL 500. LP. $5.95. what spiced by bright, very reedy stops, acteristic of Piston's work as a whole, but and Mr. Biggs plays rather slowly, prob- there is enough humor for an entire life's In the histories of music, Locatelli. ably because of the long "die -away" pe- output in this delightful score. This is es- (1895 -1764) is credited with extending riod. He also is chary of contrasts in vol- pecially true when Hanson conducts it. the technique of violin playing, especially ume, and the First Sonata, anyway, Douglas Moore is an old hand at the in the twelve concertos he published as seldom seems softer than a mezo- forte, folksy sort of thing, and his Pageant of Art works "The of the Violin." But these although the Sixth, Sonata, a more inter- P. T. Barnum is au especially persuasive are of more than historical interest They esting work, enjoys greater variety in example of his style. Its five movements are full of expressive melody and warm color and dynamics from the organist. concern themselves with the barn dances harmony, and the sometimes compli- The monophonic recording is relatively of the hero's youth; with the old slave, cated writing for the solo instrument clean in texture; it was bound to have Joyce Heth, who was said to have been seldom is mere violinistic hocus- pocus. some blurring. The stereo disc improves George Washington's nurse and who was Similarly with the "capriccios" for solo the clarity somewhat and gives more Barnum's first attraction; with General violin, which are interpolated near the aural perspective. Some of the more bril- Tom Thumb and his wife; with Jenny of first last end each and movement and liant, loud stops blasted on my machine. Lind; and with a circus parade. The mu- serve as cadenzas. Although the capric- Just two sonatas make a skimpy record- sic sounds like Ives with all the notes in cios in the tend to F major Concerto ing here. It is a pity that there no longer the right places. The recording is super- wear out their welcome, those in the C is available John Eggington's disc of So- lative in both versions, but the stereo is minor of are workings out substantial natas Nos. 1, 3, and 6, together with a the better because of the numerous trick ideas. Miss Lautenbacher plays the ca- Prelude and Fugue, offering at once more effects employed by both Piston and priccios especially firmly and cleanly, but playing time and performances superior Moore. A.F. elsewhere neither her performance nor to the present ones. R.E. the orchestra's is notable for polish or finesse. N.B. PURCELL: King Arthur MOORE: Pageant of P. T. Barnum- Elsie Morison, Heather Harper, Mary See Piston: The Incredible Flutist: Thomas, sopranos; John Whitworth, MEHUL: Symphony No. 2, in D Suite. countertenor; David Galliver, Wilfred ¡Le Due: Symphony in D Brown, tenors; John Cameron, baritone; .u. C. F. Fischer: Suite No. 8, in C Hervey Alan, Trevor Anthony, basses; Quintet Piana and Winds, Association des Concerts de Chambre de MOZART: for Thurston Dart, harpsichord, continuo, K. 452; Trio for Piano, Clari- Paris, Fernand Oubradous, con& in E flat, organ; Saint Anthony Singers; Orchestra net, flat, K 498 PAS DTX 249. LP. $5.95. and Viola, in E of the Philomusica of London, Anthony Walter Panhoffer, piano; Members of the Lewis, cond. The Méhul is an eye opener. Written in Vienna Octet. Orsr .0-Lynx OL 50176177. Two LP. 1808, it has a boldness and sweep that a LONDON CS 8109. SD. $4.98. $4.98 each. remind one of early Beethoven. Al- though the material itself may not be The Trio-one of Mozart's loveliest works Despite Purcell's own description of bis especially striking, it is treated with im- in that form, having the special, mellow King Arthur as a "dramatick opera," it agination developed with both power quality that the clarinet seems always to . is really an elaborate incidental score for and delicacy. The first and last move- have evoked in his mature writing -is Dryden's play of the same name. The ments are particularly Beethovenish in capably performed here, even though characters who perform the play and their breadth of style and dramatic con- neither clarinetist nor violist achieves the those who sing the music are entirely trasts. The slow movement is a set of far beauty of tone one has heard in other from routine variations, and the Minuet performances. This is the chief defect in Continued on page 84

62 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com separate, though at least two of the sing- RACHMANINOFF: Concerto for Piano cording with a lifelike, unexaggerated ers do play sonic part in the advance- and Orchestra, No. 2, in C minor, Op. clarity and a nice roundness of orchestral ment of the plot, if a plot such as this 18 tone. R.E. may he said to advance. The play is Peter Katin, piano; New Symphony Or. concerned with the final stages of the diestra of London, Colin Davis, cond. stniggle the by TCHAIKOVSKY: Serenade in C, Op. 48 between Britons, led RICHMOND S 29059. SD. $2.98. Arthur and the magician 'Merlin, and the iArensky: Variations on a Theme by Saxons, led by Oswald and the magician The low price is the major factor here. Tchaikovsky, Op. 35a Osmoud. Arthur's victory returns Kent to The sound is clean, a little dead, with a Phillmarmmúa Iiungarica, Antal Dorati, British rule, and chases the invaders from slight dryness in. the piano tone. The cond. the isle; it also secures for him the hand solo instrument is well blended with the MEncuns MG 50200. LP. $3.98. of Emmeline, who had been abducted ensemble, and there is spaciousness of by Oswald. Meanwhile, various repre- sound if no special stereo effect. Mr. The strings of the Philharmonia Hun - sentatives of the world of classic myth- Katin, an English pianist who seems to gauica, alternately mellow and intense, ology (Cupid, Venus, Aeolus, Pan, and specialize in the romantic literature, sound first -rate in the much-recorded company) offer some philosophizing and plays with enormous facility and a cer- Serenade, although tiny blemishes in the paint the musical pleutre, finally taking tain emotional reserve, with the result playing are noticeable.. Mr. Dorati con- things over entirely by producing a that he is best in display passages. R.E. ducts with grace. sensibly moderate tem- lengthy pastoral tableau in the fort of pos, and not quite enough variety in a vision Of Britain. The Order of the RIMSKY-KORSAKOV: Tsar Salta». Op. dynamics. The lovely Arensky Variations, Garter appears, the chores (4/4, maes- 57: Suite -See Tchaikovsky: Capriccio once popular yet new to current record tasv) boasts that , .. foreign kings italien, Op. 45. catalogues, are also for strings and dnn- adopted here /Their crowns at home de- stitute a much shorter work. its presence spise " and all concludes with a cha- makes this disc worthwhile, and further STEVENS: Symphony No. 1 -See Cop- conne. land: Dance Symphony. use of quieter dynamics makes for an It is probably too much to hope that even more enjoyable performance. The Oiseau -Lyre might someday find the engineering is as good as can be, pro- means to present us a complete Restora- TCHAiKOVSKY: Capriccio italien, Op. viding a full, vibrant tone throughout tion drama -plus- incidental- score. In any 45; Quartet for Strings, No. 1, in D, the ensemble. Rua. event, the music stands very well on its Op. II: Andante cantabile own, much as a rendition of at least some Rimsky-Korsakov: Tsar Saltan, Op. 57: of Drydens verse (in this ease, perhaps Suite TCHAiKOVSKY: Symphony No. 8, in B no more than the witty Prologue and ¡Glinka: Iota Aragonesa itinor, Op. 74 ( "Pathétique ") Epilogue) would be welcome, The ver- Philharmonia Orchestra, Panl Kletzld, Vienna State Opera Orchestra, Vladimir sion presented follows Quite closely the conch, Golschmmnn, cond. collection of numbers edited for Novelle AmsnEL 357G0. LP. $4.98. VANcunnn SRV 112. LP. $1.98. by William H. Cummings. The only VANcuuD SRV 112. SD. $2.9S. changes are in die reordering of one or Refinement marks Mr. Kletzki s stylish two selections, the omission of the air readings of these Russian works -espe- i.n orchestral perfonnance and engineer - "St. George, the Patron of our isle!," daily evident in the Tsar Saltan Strife, ing this is a striking recording, and Van- and occasional reassignment of pints. where Rimsky- Korsaknv's sophisticated, guard is generous in presenting it in its (An example is "Your hay it is mow'd," ingenious orchestral effects are precisely low -price 'demonstration" series. In the here sting by baritone John Cameron, anti elegantly achieved. Welcome, too, is stereo version the instrumental choirs are though in the Novello score it is given a rendition of Capriccio Mtalien played heard in a kind of two-dimensional frieze to a soprano in the guise of Cornus. with some regard for the listener's toler- between the two speakers, which gives There is, of necessity, some doubling of ance for decibels (the superior and more au extraordinary, almost chamber music parts as well.) full -bodied Knndrashin version for Vic- clarity to the sound, This in turn makes 'l'he opening sacrificial scene is pretty tor shares with Kletzki this nunbmu- it possible to hear with what breathtak- much of a dud, consisting largely of a bastic virtue). No small credit for the ing delicacy and beauty of phrasing the very dull chorus in praise of Woden, aural beauty of this record goes to the Viennese orchestra plays. Fortunately, Freya, and Thor (a fine jumble of myth- Philharnnnia, for the mellow loveliness there is no loss of ensemble in this spread - ologies, this). The rest of the score could of its strings in the Andante cantabile out sound; there is it gain in hearing inner hardly be better -one intriguing num- and the soft glitter of its winds in the detail, as well as some sacrifice in musical ber follows another in a shrewdly calcu- other works. The engineering bother emphasis and balance. lated succession. To me, the most fasci- contributes to the tastefulness of the re- Mr. Colsehmann's reading is judicious; nating section of all is the Frost Scene, it has pace, clean line, e..cpressivity, to- especially the bass air "What Power art gether with an element of reserve. So it thou." sung from beginning to end on a is natural that the two middle move- sustained tremolo, and the succeeding ments should conic off best -the second chorus, "See, see, we assemble," Every- being suavely graceful, the third march- thing else is on nearly the same level of ing along very crisply and smartly. A full interest, and not a bar is less than thor- measure of dramatic passion and tension oughly pleasing. The forces brought to- would have brought the outer move- gether under Lewis' direction are praise- ments closer to the ideal. In the mono- worthy. Orchestra and Chorus are very phonic version, the sound has the sane fine -including the harpsichord, trumpet, dry, intimate clarity, but makes less im- and violin soloists-and the solo singers pact coming from a single source. R.E. are all at least in the style. Among them I like best Miss Morison, Mr. Cameron, and Mr. Anthony, who shrikes his way VERDI: Aida through the aforementioned "What Pow- Renata Tebaldi (s), Aida; Eugenia Ratti er art thou" to good effect. The only (s), Priestess; Giulietta Sirnionato (ums), two who strike me as inadequate are Amneris; Carlo Bergonzi Radarres; Gulliver, who (t), simply hasn't enough voice Pietro de Patina Messenger; Cornell for his martial (t), measures, and Miss MacNeil Amonasro; Arnold van Mill Harper, whose (b), soprano sounds colorless (bs), Raufis; Fernando Corenn anti worn. The (bs), others perform dutifully. King of Egypt. Singverein der Gesellschaft The sound on the Oiseau -Lyre is splendid. der Musikfreunde, Vieroma Philharmonic C.L.O. Colscl»namit Tchaikovsky with dignity. Orchestra, Herbert von Karajan, cond.

64 HIGH Finwr7C MAGAZINE

www.americanradiohistory.com LONDON OS 25133/5. Three SD. $17.94.

For a feature review of this album, see page 53.

VILLA LOBOS: Music for Spanish Gui- tar Laurindo Almeida, guitar. CaPrror. P 8497. LP. $4.98. CArrror. SP 8497. SD. $5.98. CALLAS Sings MANON LESCAUT Here are two chóros, three études, and THE QUEEN OF OPERA bring. her unique, penetrating three preludes, all of them charming, all interpretive gift to a new role -ss Puccini's poignant of them beautifully played and extremely heroine, Manon Lescaut -in a "robust and vivid" well recorded; but they add up to a (Gramophone) LA SCALA Production! deadly bore if you try to take them all "A romantic heroine interpreted by Callas is an absorb- at once. A.F. ing, believably human person, with dramatic qualities beyond most operatic, stars" (Ni.Fi Review). With VIVALDI: Concertos for Bassoon Giuseppe di Stefano as Des Grimm Tullio Serafin, the and "doyen" of Italian opera, conducts La Scala Orchestra Strings: in F, P. 318; in C, P. 48; in C, and Chorus. Monophonic only. P. 45; in C minor, P. 432 3 records, handsomely illust. libretto Angel 3564 CIL Sherman Walt, bassoon; Zimbler Sin - fonietta. RCA Vrcron LM 2353. LP. $4.98. SCHEHERAZADE (Rimsky ..Korsakov) RCA VICTOR LSC 2353. SD. $5.98. A- thousand- and -one- nights of high romance in high fidelity, tape. cially when performed by the fabulous Philharmonia, conducted by Lovm P. 318 is already available via micro- von Mataoic, whose recent Russian Program Angel album was called "One of the finest symphonic stereo discs available groove, but the other three concertos, so today" (High Fidelity). The cover is a work of art. Angel (S) 35767 far as 1 can discover, are not. P. 46 is run -of- the -mill Vivaldi. P. 432 will he of PLUS -FOR A LIMITED TIME -AT NO EXTRA COSr- ANOEI. APERITIFS -An L.P. of generous and representative from new special Vivaldians excerpts Angel interest to because it releases to whet your musical appetite for snore! contains the slow movement that Pin - chcrle thought was missing. The most inventive of the four are P. 318 and P. 45, both of which have imaginative first Court Jesters movements and gay finales; P. 45 has in addition a rather striking slow movement, FLANDERS & SWANH ON BROADWAY -In Stereo! a plaintive song for the bassoon flanked AT TUF DROP OF A lIAT is... (which critic do you read ?) by a mysterious passage for the strings. "lively, witty, literate, explosively funny" (NY Mudd All are played impeccably by Mr. Walt, Tribune) -"merry, sharp, adult" (NY World Telegram) first bassoonist of the Boston Symphony, .. "satire at its best" (NY Mirror). Author. performers of the two -man revue. Michael Flanders and by those of or- and Donald Swann other members that recorded the new Original Cast Stereo Albnm for Angel chestra who call themselves the Zimbler in London, shortly before they crossed the Atlantic to Sinfonietta. The sound in both versions convulse Broadway audiences. (They did 759 London per. is lovely. N.B. formsnces frost.) You'll enjoy hearing about love among Ike wart hogs, etc. Angel (S) 35797 WEILL: "Kurt Weill in Berlin" HERBERT VON KARAJAN Peter Sandloff Orchestra, Peter Sandloff, cond. PRIME MINISTER OF Wale, Conductor Von Karajan "dominates the world of music than ANGEL 35727. LP. $4.98. more anyone olas. alive" (Esquire). This month, two new Karujan-Philhar- monis albums. Both beautifully recorded and packaged, If the possession of a style instantly rec- either one a choice Valentino! ognizable and altogether unlike that of anyone else is the signal mark of a major TCUAIKOVS[Y: BALLET SUITES SLEEPING composer, then the Kurt Weill of the BEAUTY AND SWAN L.AKe "Million dollar per- Berlin operettas was unquestionably a formances" (Gramophone) Angel (S) 35740 composer of major stature. Thanks to the TeleatCovskY: 1812 OVERTURE Plus program widespread popularity of the Dreigro- favorites by Berlioz, Liszt, Sibelius, Weber. .sclrenoper, everyone knows what Weill's Angel (S) 35614 Berlin style was like. Bitter, satirical, seemingly based on the music of the café And more, recorded in Europe for ANGEL STEREO and the popular theatre, yet resembling no style to which one can specifically Concerto point, it consistently presents a highly CL.AuDIO AnRAU Plays BEETHOVEN PIANO CONCERTO No. 3 in C paradoxical feature: it seems to be minor. With the Philharmonia, Alcco Calliera cond. Angel (S) 35724 utterly vocal in character, but it lends DAVID OnSTRAKn Plays BEETHOVEN VIOLIN CONCERTO. With the itself wonderfully to instrumental treat- French National Radio Orch. André Cluytena cond. Angel (S) 35780 ment. Weill's tunes often seem to do little Angel Bandstand more than underline the rhythm of the BAND OF THE WEISD GUARDS makes its Angel debut with 1IELTEa words; once you have heard them, how- SKELTER! No mere military oom-pah but a real Concert in the Park, like ever, you never forget then as times. you wish you'd heard summer Sundays in your home town. includes Peter Sandloff understands Weill's the circusy Helier Skelter march, folk -based Welsh Rhapsody, tunes Berlin style extremely well, and his ar- from My Fair Lady, Angel (S) 35720 rangements of some fourteen melodies SCOTS GUARDS IN STEREO! Highlights from beat -sailing monophonic from bis operettas of that period make album. Stirs your spirits even more so in Angel Stereo. Angel (S) 35792 very good listening indeed. The orches- Stereo album numbers shown; for monophonic omit S

FEBRtrAAtr 1960 65

www.americanradiohistory.com tra is neither a dance hand nor a cham- that forni the basically thin core of this ber ensemble, but something in between lavishly embellished package. H.D.D. the two. The transcriptions are devilishly clever, employing instruments as widely divergent as the harpsichord and the con- PHILIPPE CAiLLARD VOCAL EN- certina and learned references to musi- SEMBLE: Motets for Double Chorus, cians as far apart as Bach and Louis Arm- Brass, and Organ strong. The whole thing is vivid and in- Practoriu.s: Canticum trium puerorum. ventive, bas the blessing of Weill's Johann Christoph Bach: Ich fasse dich widow, Lotte Lenya, and, one suspects, meld. Scheidt: Duo seraphim. Schütz: would have had the blessing of Weil Supercminet omnent scienaiatn. himself. Five of the pieces are from Drei- groschenoper, four are from Happy End, Philippe Caillard Vocal Ensemble; Cho- two are from Au /stieg rind Fall der Stadt rales "A Coeur Joie" de la Région Pari- Mahagovty, and the rest are from the sienne; Brass Ensemble of the Musique Berliner Requiem, Konjunktur, and Die des Cardions de la Paix de Paris, Philippe Petroleum Inseln. The recording is first - Caillard, cond. class. A.F. WCSTNIINSTIM WST 14090. SD. 85.98. An extraordinarily interesting disc, despite some weaknesses in performance RECITALS AND and recording. Every one of the four pieces is of remarkable beauty. The Hear and sense true stereo realism both in MISCELI.,ANY Praetorius is the most elaborately con- dimension and excitement. structed: it consists of seven verses, start- The lush magnificence and emotional depth of ing with two voices and working up to "101 Strings" is due to a combination of eight, and after each verse there is one factors. first, in importance, is the concept of ERNEST ANSERMET: "Royal Ballet or the other of two refrains, for double scoring for strings. Stereo Fidelity uses 101 Gala Performances" chorus and instruments. There is consid- string instruments to produce various har- Excerpts from Tchaikovsky; The Nut- erable tone painting in the verses. When monies and voicings and yet not weaken the cracker. Op. 71; Swan Lake. Op. 20; they speak of nights and shadows (No. dynamics or quality of any one line when play. The Sleeping Beauty, Op. 66. Rossini - 5), the rrnisic turns soft and dark; when ing countet lines. This is particularly important Respighi: La Boutique fantasque. De- the "fowls of the air" .are exhorted to with the violins and violas. The listener will libes: Cuppélia. Adam: Giselle. Schu- bless the Lord (No. 7), the notes swoop note that at times the melody line is in lull mann: Carnaval. Chopin -Douglas: Les up and down; in No. 11 fountains and presence while an equally full counter line is Sylphides. slithering fishes are represented in the being played without sacrificing the dynamic music. No. 13, for eight voices, is ex- values of either. '101 Strings" is composed of Royal Opera House Orchestra (Covent quisite. The verses are sung by a small 128 to 141 players. Of these there are 30 first Garden), Ernest Ansermet, cond. chorus, instead of the solo voices called violins (among which are II concertmeisters), RCA VICTOR LD 6065. Two LP. for by Praetorius, and he does not- stipu- 26 second violins, 20 violas, 18 cellos and 7 $11.98. late brasses and organ in the refrains string basses. The rest are in the woodwind, RCA VICTOR LDS 6065. Two SD. but simply says 'instruments," by which brass and percussion sections. These players $13.98. he is more likely to have meant a mix- represent the finest musicians in Europe today, ture of woodwinds, trombones, and "Gala" is the operative word here: this than the is plucked and bowed strings Soria -series "spectacular" a do luxe trumpets and trombones used here. GRANO CANYON SUITE SF-7900 presentation throughout, from the elabo- The perfonnance seems to have em- SILVER SCREEN rate album and 24 -page color -illustrated SF-7000 ployed large forces in a very large haft booklet (printed in Italy), through its THE SOUL OF SPAIN SF-9900 In the Praetorius there is much rever- choice of contents (a half side or so of beration, blurring the refrains, and a CONCERTO UNDER THE STARS SF6i00 highlights from no less than eight of the similar blurring occurs in portions of the most popular showpiece ballets, such as 101 STRINGS PLAY THE BLUES SF-5800 Scheidt, a lovely piece. The Schütz might provide the program of a com- is not for double chorus, nor does it em- GYPSY CAMPFIRES SF-8100 mand performance at the Royal Ballet), ploy brasses. It is full of vitality and fine its oversumpluuns performances PORGY AND BESS SF-8600 to almost ideas. Echo is no problem here or in the recordings themselves ( surely made and work by Johann Christoph Bach, uncle RUSSIAN FIREWORKS SF-8500 with as well as musicians, engineers, of Sebastian and composer of that strik- THE RIVIERAS SF-9000 wearing white tie and tails). ing cantata in the Boston Music of the In comparison with the more extensive EAST OF SUEZ SF .11200 Bach Family set, Es erhub sich ein Tchaikovsky ballet releases which An- Streit. ich fosse dich nicht is a tender and his Suisse Romande sermet own unaccompanied chorus gem. for London, -a Orchestra recently made The enthusiastic brass players are here there are somewhat slower tempos from the Paris police department band. I and the orchestra plays more lushly and have been trying to the New with richer sonorities (if also with some- picture York Chicago, or Los what less precision and delicacy). The (or Angeles) police band engaged in a sinular enterprise, acoustics too (actually those of Kingsway Hall rather than the Royal Opera House but there are some things at which the imagination boggles. N.B. itself ) are more reverberant and impos- Available at ingly big -hallish than in the earlier Lon- better don disc, and the extremely broadspread record WINIFRED CECIL: "Two Centuries of stores everywhere recording is somewhat more closely each stereo Italian Song" 12" long -play miked and a trifle overlifesize -especially in the stereo edition (the LP is no less Strozzi: Amer' dormiglione. Pasquini: Con clean and bold, but scarcely as spacious- tranquillo riposo. A. Scarlatti; Toglietanei Also available on Somerset monophonic ly big). One could hardly find a hand- la vita ancor; Cosi, amor, mt fai languir. and in Stereo on. Bel Canto magnetic tape. somer gift, yet 1 doubt whether any ad- Perri: lo son zitella. Caluppi: Evviva Write for complete catalog to Dept. HF260, Box 45, mirer of the music itself will be fully rose bella. Vinci: La tuedovella. Bottega - Swarthmore, Pa. Stereo Fidelity Mfd by Miller Inc. Co., Swarthmore, Pa., U.S.A. satisfied by the heterogeneous samplings th Mi parto. Monteverdi: Maledetto sia

66 HICH FIDELITY lÑACAZI2vE

www.americanradiohistory.com rtlspctto; Latncnto di Arimma. Caccini: Amarilli. The Landmarks Winifred Cecil, soprano; Gibner King, piano. TowN HALL. XTV 62291. LP. $4.95 (plus I5t postage). of recorded The press release accompanying this disc (on a new label, distributed by Colum- bia) rather immodestly proclaims \Liss Opera are on Cecil "one of the great singers of this generation." She is hardly that, but she is a communicative artist. with a bright, steady soprano of some flexibility and a real feeling for this material. She seems ffrr 4vz ON ffss so intent on producing clean vowels- Ri COR aS especially the Italian "1" and "e" -that the sense of motion and fluency in the idiom is sacrificed; the song becomes a Just three from our fabulous catalog demonstration of syllabic enunciation Puooemot rather than a performance. Some pinch- LA FA NC1[vLLA ing also results, as is inevitable with DEL LYEBT singers whose names are not John Mc- rM a1.1 .r t. Goldes West) Cormack. As one might guess, she is at her best in the lighter songs, such as the little Monteverdi number from the Scherzi musical; or Perti's lo son ziteia. However, she grasps and at least partly projects the mood in every case, and the selections themselves are very strong; of Sorso OSA.1306 Mono A -4338 -1309 Mono A.3 :0 the several I didn't know, I was most Stereo OSA impressed by Bottegarï s powerful Mi parto. Of course, it would be satisfying to Last month's magnificent release hear the original accompaniment in the Lamento di Arianna (the entire scene is included, incidentally), but the best next 0HEME e VERDI QO DA e thing is Gibner King's work at the piano, TEBALDI TEBALDI which could hardly be better and which BERGONZI lifts the recital at more than one point. - SASTIANINI BERCONZI The sound is first- class; notes and prose SIEPI SIMIONATO English versions by Miss CeciL C.L.O. tl CORENA P MacNEIL

Vienna CHOIR OF KING'S w COLLEGE CHAP- Philharmonic EL; "A Festival of Lessons and Carols" SERAFlN Von KARAJAN Simon Preston, organ; Choir of King's College Chapel (Cambridge), David Ka Willcocks, cond. Sterco OSA-1208 Mono A-4236 Stereo OSA-1313 Mono k 4345 LONDON 5523. LP. $4.98. LONDON OS 25119. SD. $5.98. and During the last Chrishnas season I heard no sound, live or recorded, more ethereal than the singing that opens this superb recording. From the far reaches of a chapel floats a treble voice of the utmost nowt\ purity, barely audible, serenely launch- ing the processional hymn Once in Royal David's City. Thus begins the historic and traditional Festival of Lessons and Carols, as it was sung on Christmas Eve in 1958 in King's College Chapel. This forty -year -old service, through the reading of the Lessons by persons in a variety of stations, symbolizes among other things the good will between Uni- versity and City at Cambridge, England -"the peace within the whole Church, as well as the joy and worship of all at Christmas." The stately alternation of music and of Scripture spoken in diverse voices carries the centuries -old reassur- ance and hope of its theme. In the carols and hymns (Adam lay bounden; thrillingly vivid performance. Tebaldi is "Brilliantly recorded, this exciting perform- I Saw Three Ships; Gabriel's a vibrant. feminine Florin, Del Monaco a ance is full of high spots, notably Mae Neil's Message; Cod Rest Ye Meinn, Gentle - heroic. ardent Cavaradosai, and London a magni /;cent Prologue and Del Monaco's men; Sussex Carol; In Dulci Jubilo; sardonic and opulent -toned Scarpia." heart-rending 'Vesti In giubba'." Away in a Manger; While Shepherds Stareo: OSA 1210 Mono: A4235 Sterco: OSA 1212 Mono: Not available yot Watched; O Come, All Ye Faithful; LONDON RECORDS, INC., 539 W. 25 STREET, NEW YORK 1, N. Y.

FEBRUARY 1960 67

www.americanradiohistory.com Hark, the Herald Angels Sing), the AMELITA CALLI -CURCI: "The Art of 1913 Edison recording), but by none choir of sixteen choristers and fourteen Celli -Curai, Vol. 2° other I know of; every one of the Son - men produces as beautiful a tone as I nambuln excerpts is perfection itself; and can remember. The pitch of the treble Amelita Galli -Cerci, soprano; Tito Sehi- Culli -Curers Lucia Marl Scene is the voices is precise, and the piercing quality pa, tenor. classic version. Callas- oriented collectors of so many boy choirs is happily absent. s RCA CAarDEN CAL 525. LP. $1.98. may protest the quick tempo of the lat- Perhaps the acoustics of the chapel help, ter's "Verrafno a te" or the rather per - for they seem to give just the right The second volume of Camden's LP functory handling of the recitative lead- bloom to the voices. And in the non - pressings of Calli -Curci discs concen- ing into "O lice di quest'unime," but a contrapuntal music sung here there is no trates on arias and duets by Bellini and fete playings will serve to show that problem of clarity raised by the slightly Donizetti. The recordings are all acous- Galli -Cure-i had her own points to make; echoing walls. The hymns and carols are tical, which seems that they originated in any event, the singing is quite enough. sung in hannonizations at once com- during the decade or so when the so- Schipa is an excellent partner in the fortably traditional and in good taste. pranos powers were at their fullest. The three duets. The stereo engineering is perfect be- voice, always clear and limpid (and. at Several of the bands contain some cause it calls no attention to itself-the that time, on pitch), was as elastic as noise ( the fault of the 7S originals, not music wells up seemingly from nowhere. they come, capable of dashing through the transfers), but for the most part the In its own way the monophonic version, the wide -ranging nos without hesitancy sound is quite. free of distortion or inter- too, is perfect. This is a record to re- and of spinning an unexcelled diminu- ference, and the voices are well for- member for any season and for many endo. Her rendition of Norina's aria from ward. At the low price, there is 110 ex- years. R.E. Don Pasquale is surpassed by Bon's (a cuse for not making the purchase. C.L.O.

WALTER GIESEXIN*G: "Souvenirs" HERE'S THE YEAR'S BIGGEST NEWS IN STEREO Mozart: Eine kleine Gigue, in G, K.574. Chopin: Berceuse. Sclunnann: Schlum- ...and look at the price! merlted; Vogel ais Prophet; Triiumerei. Mendelssohn: Spring Song. Gricg: But - ter/iy; French Serenade; To Spring. De- bussy: Clair de lime; The Gniiwogg's Cake -walk; La fille nus cheveux de lift; Jardins sous la pluie, Serial-An: Puent in F sharp, Op. 32, No. 2; Prelude In E, Op. 15, No. 4. Ravel: Jeux d'eau. Walter Gieseking, piano. ANGEL 35488. LP. $4.98.

Stereo Recorder Monaural Recorder Angel releases here a few more of Giese - Sound on Sound Recorder king's final recordings (the works by Chopin, Schumann, and Plays Half Track Scriabin) and adds excerpts from previously issued re- and full Track Monaural cordings to fill out the disc. These are 2 Track and pieces small in size, sometimes in con- 4 Track Stereo tent, but in all of them the pianist's ravishing tonal effects and direct musical expression never fail to exert a spell on from s4J5 the listener. Chopin 's Berceuse has a kw studied ruhatos, but the ethereally float- ing melody over the gently rocking rhythm mesmerizes the senses. The Schu- mann pieces have the beauty of utter NOW... for the first time... a t - ' simplicity, the Scriabin the beauty of modestly priced professional delicate colors subtly blended. In the stereo recorder that has exciting features found only in the finest end, one turns back to Giesekin6s spe- instruments. You won't believe it until you see it! cialty, his matchless, magical way with Debussy's piano music. where even the overplayed Clair dc lone, sounding so FEATHER TOUCH PUSH -BUTTON OPERATION 4 HEADS, INCLUDING SEPA- poised and luminous in his hands, seems RATE 2 -TRACK AND 4 -TRACK PLAYBACK HEADS 3 MOTORS, INCLUDING like a fresh masterpiece. R.E. HYSTERESIS DRIVE MECHANICAL FLUTTER FILTER DYNAMICALLY BAL- ANCED CAPSTAN FLYWHEEL INSTANT SOURCE /TAPE MONITORING TWO RECORD /PLAYBACK PREAMPLIFIERS INSTANT START /STOP AUTOMATIC GREGOR PIATICORSICY: Recital CUT -OFF SWITCH 33/4 -71/2 IPS SPEEDS AUTOMATIC TAPE LIFTERS TAPE Debussy: Sonata. for Cello and Piano, LOCATION INDICATOR SEPARATE MICROPHONE /LINE INPUTS, EACH No. 1, in D minor. Stravinsky: Suite CHANNEL. italienne. Busoni: Kleine Suite, Op. 23: Espressivo Lamentoso. Foss: Capriccio for f 1 AMERICAN ELECTRONICS, INC. Cello and Piano. See the phenomenal AMERICAN CONCERTONE DIVISION 9449 West Jefferson Boulevard, Dept. NF -2 Gregor Piatigorsky, cello; Lukas Foss, CONCERTONE 505 Culver City, California piano. al your dealer, or send Gentlemen: RCA Vrcron LM 2293. LP. $4.98. Please send your illustrated brochure on the new CONCERTONE RCA Victor: LSC 2293. SD. $5.98. Me coupon for a 505 STEREO RECOROER, and the name of nearest dealer. descriptive brochure and Name The pieces by Busoni and Foss are pleas- the name of your ant little fillers of no special importance. Address nearest dealer. The Debussy and Stravinsky are both City Zone State works of considerable stature, very well L known, often recorded before. Pinti-

68 HICH FIDELITY MAGAZINE

www.americanradiohistory.com gorsky's big, romantic, Russian- virtuoso the unidentified bass is much too light of This is a rich -sounding, beautifully style does something very good for De- voice for the Cardinal's music. Only played collection, one of the best of its hussy's subtle, witty sonata; it may not be one verse of "Fuyez, douce image' is kind. A large share of the material is the best that can be done for the work, sung, while ( Itere is a useless repeat in overfamiliar, but the record does give us but the interpretation has style, personal- the Otello excerpt. Louis Cuxac's bio- the exciting Berlioz Hunt and Storm Mu- ity, and color. The Stravinsky is conscien- graphical notes will be enjoyed by those sic, in a wonderfully galvanic perform- tious and skillful, but lacks the distinc- who can read French. C.L.O. ance; and the Schmidt intermezzo, after tive character of the Debussy perform- a dull start, turns into a surprisingly sus- ance. HERBERT VON KARAJAN: Opera In- tained lyrical passage. The rest of the Piatigorsky provides some very amus- termezzos material is played in properly fish- blood- notes for this recording on the back ed or elegant manner. Angel's sound in ing Puccini: hlrtnan Lescaut. Verdi: La Tra- of the jacket. Rather strangely, however, this LP is top -drawer, but I suspect that viata. Lconc::vallo: I Pagliacci. Masca- he makes nothing of the fact that De- this music (I am thinking particularly gni: L'Amico Fritz. Schmidt: Notre Dare. bussÿ s sonatas, with their evocation of of the Berlioz) is even more impressive Berlioz: Les Troyens. Mussorgsky: Kho- Couperin and their old -style, copper -en- in the stereo edition, which I have not vanschira. Offenbach: Les Contes d'IIofJ- graved title pages, are the direct ancestor yet heard. C.L.O. mann. Granados: Goyescas. of the neoclassicism which was, within very to Philhannonia Orchestra, Herbert von a short time, to lead Stravinsky Reviews continued on page 71 such things as the Suite italienne. This Karajan, cond. work is, of course, derived from the Anci:I. 35793. LP. $4.98. score of Stravinsky's ballet, Pulcinella, based on themes by or ascribed to Pergo- lesi. The suite is one of Stravinsky's most decorative and decorous compositions; his reputation will neither stand nor fall "THE REPORTS OF MY DEATH HAVE BEEN by it, but it gains a little something from it, if only credit for a superb piece of GREATLY EXAGGERATED" Mark Twain entertainment music added to the virtu- Time was when was heard on the oso repertoire. folk music The LP recording is first- class. The countryside, and written music was heard in the stereo is, too, for that matter, but stere- cities. Then came the movies, radio, records ophony does not greatly enhance the ef- and television, and "urbanized" the countryside. fect folk here. A.F. This (lid away with music, as the sociologists FOLK FESTIVAL lamented. And so. what are they now singing in the cities? Folk music, that anyone AT NEWPORT CESAR VEZZANI: Recital except Vol. I. Presenting Leon Bibb, interested can now know a lot more of it than Pat Clancy, Tom Makem, Martha Grétry: Richard Coeur Lion: Si l'uni- and Pete de of Schlamme Seeger. vers entier. Massenet: Werther: Lorsque could be heard before in any one section VRS -9052 (VSD-2053') Tentant revient d'un voyage; Pourquoi the countryside. What accounts for this Vol. 2. Presenting loan Baer. Barbara Dane, Bob Gibson, me reneilbtr? Marron: Le réac: Ah! fuyez, renaissance of folk music we do not know, Brownie McGhee, New Lost City douce image. Verdi: Oteao: Tout except that we are happy to have given it an impetus Ramblers, Quetta, Sonnv Terry. VRS (VSD -2054') m'abandonne, adieu. Bazin: Maitre with recordings of like Weavers, -9063 artists the Vol. 3. Presenting Oscar grand, Pathelin: Je pense d vous quand je Orietta, Leon Bibb, Cisco Houston and others, Cynthia Gooding. Frank Hamil- ot ëveille. Schubert: Serenade, Meyer- ton. Ed McCurdy, John Jacob which are now spreading the contagion. And Niles, Jean Ritchie, Earl beer: Le Pardon de Ploënnel: Air du we present cross of Scruggs, Frank Warner. are proud to the great -section VRS-5054 (VSD- 2055') faucheur. L'Africaine: O Paradis. Bizet: outstanding folk artists, Carmen: Air de la Fleur. Halévy: La BIBB Juive: Duo d'Eleazar et du Cardinal. devoted to this rich LEON SINGS Leoncavallo: Paillasse: Me grimer. American heritage, that "TOL' MY CAPTAIN" Gounod: Mireille: Anges 15,000 people came to Chain Gang and Work Songs. du Paradis. VRS -9058 20521 Gratticr: Hosanna: Chant de Pluiues. see and hear at the (VSD- Newport Folk Festival CISCO HOUSTON SINGS César Vezzani, tenor; Orchestra. of July 11 -1.2, 1959. THE CISCO SPECIAL" ODEON 128. LP. $5.95. Songs of railroads, travel and the open road, and songs in One of the really significant French ten- tribute to Woody Guthrie. ors of the century, Vezzani made his VRS -9051 (VSD- 2042') debut at the Opéra- Comique in 1911 in Richard Coeur de Lion, and continued SONGS AND FUN singing until felled by an attack during WITH THE BABY SITTERS a rehearsal in 1948; he died in 1951. His Vol. 2 of folk songs for "Babies, Small Children, Baby repertoire ranged over both the dra- Sitters and Parents," by the matic and lyric roles. While his voice was new celebrated group of "two young mothers, a lather and a strong, clear, and resonant and his ap- professional uncle." VRS -9053 proach headleng, he also had a good command of mecca voce and the legato THE WEAVERS AT line, as those who own the fine old 78- CARNEGIE HALL vRs.goto rpm Faust with Journet surely know. The selections on the present disc are THE WEAVERS ON TOUR from the acoustical Odéon series, re- VRS -9013 corded between 1012 and 1920. The THE WEAVERS AT HOME sound is admirably free of distortion and VRS -9024 (VSD- 2030') interference, the only serious noise coming in the first part of the Carmen aria. TRAVELING ON WITH THE Vczzanï s most vibrant, youthful- sound- WEAVERS ing work is Pardon in the de Pbtërmel VRS-9043 (VSD- 2022') selection, but he is also exemplary in the VANGUARD Granier and Grétry numbers; the only rccorrlinpc for (lre connoisseur Monaural $4.98 ' Stereolab $5.95 one I do not care for is the (lull La Juive duet, where Vezzani sounds strained and Send for Catalogue to: Vanguard Recording Society, Inc., 154 West 14 Street, New York Il, N. Y.

FL-,anIIAptY 1960 69

www.americanradiohistory.com KAPP REC RDS ROGER VOISI\ MUSIC FOR TRUMPET & ORCHESTRA

Music for TRUMPET & ORCHESTRA VOL2

maim TO LIL RG: MaSFMmm . nwum VOLUME 2 No knowledgeable record library will OtherKappalbumsfealnringRoger Voisin want to be without Roger Voisin's newest volume of "Music for Trum- MUSIC FOR TRUMPET AND ORCHESTRA, pet and Orchestra." This brilliant VOL. I. HAYDN: Concerto for Trumpet album brings together the world's and Orchestra in E -flat. VIVALDI: Con- great Baroque trumpet music - and certo for Two Trumpets and Orches- the world's foremost trumpeter. tra in C -and others. KCL 9017 -(S) ROGER VOISIN, Album features John THE GOLDEN AGE OE BRASS. Roger Voi- Rhea, soloists; orchestra directed by sin and his Ensemble in Italian, Eng- Kenneth Schermerhorn. Concerto in lish and German Brass Music. E -flat Major for Two Trumpets and KCL 9028 VIVALDI), Strings { Concerto for Two THE MODERN AGE OF BRASS. Roger Voi- Trumpets, Strings, Clavicembalo and sin and his Brass Ensemble in works Organ (MANFREDINI), Sinfonia con by Dahl, Hindemith, Berezowski, Tromba for Solo Trumpet, Strings Sanders. KCL 9020 and Continuo (TORELLI), Sonata a 6 for Trumpet and Strings (I1IBER), new classical feathers in our KAPP* Concerto in D Major for Trumpet, Two Oboes and Continuo (TELE- MANN). KCL 9033 -(S) KAPP Ae a(aQ '(o/ course) FREE: Send for our latest full color

(C)AYAILLCLC IN 1TCCC0 catalog and record guide. 136 East 57th Street, New York 22, N. Y.

70 HIGII FIDELITY MAGAZINE

www.americanradiohistory.com 'F'.] orld of intertaì n men

back booklet containing all the pertinent feathered world. Generally speaking the Here at Home details concerning the production of the bird choices are fairly predictable (Sky- film. In addition, there are brief biogra- lark, Flamingo, Red, Red Robin, Wild phies of the players, several colored stills Goose, etc.), although I was pleasantly from the film, and five colored reproduc- surprised to find Jerome Kern's delicious "Li l Abner." Recording from the sound tions of memorable moments from the duct from Sunny, Two Little Blue Birds, track of the film. Soloists; Chorus and story, painted by Ben Stahl. The latter, also included. All of the numbers have Orchestra, Nelson Riddle and Joseph incidentally, can be removed simply, for been arranged by Philip Creen, who J. Lilley, conds. Columbia OS 2021, (raining. has given Flamingo a bright shuffle $5.98 (SD). rhythm treahment, The Woodpecker This joyously wacky musical on the an- "Larry Adler ... Harmonica Virtuoso." Song a pronounced Latin beat, and tic behavior of the residents of Dog - Nightingale an attractive samba attire. patch has been transferred to the screen Audio Fidelity AFSD 5916, $6.95 (SD). And the sound is stunning, of extraor- with its original Broadway cast virtually dinary clarity and warmth. intact except for the replacement of In his liner notes, Larry Adler says that Eclie Adams by Leslie Parrish in the role he considers the harmonica to he "a of Daisy Mae. Miss Parrish is as delight- singing instrument, but it does tend to "Phil Foster at Grossinger's." Phil Foster. ful as her predecessor. Peter Palmer is mess up its consonants." He may be Epic LN 3632, $3.98 (LP ). still the hero, and still more muscular right on the latter point, but there's no Phil Foster, an alumnus of the Catskill than musical. Stubby Kaye is around to evidence of anything's being "messed hotel usually considered The Palace of in fascinating improvisations extol the virtues of "Jubilation T. Corn - up" these the Borsch Belt, may not be as famous pone" and to give assurance that The on thirteen more or less standard songs. as some other Crossinger graduates, but Country's in the Very Best of Hands. in Adler is able to produce a fabulous array he is certainly as funny. Unlike some the course of its travels, Gene de Paul's of tone colors from his small instrment, other comedians, he does not purvey lively score has lost three of its original turning it into an unusually articulate "sick" humor, nor humor that derides or numbers (Progress Is the Root of All musical voice. Although Adler himself insults. His is a warm, human line of Evil, Love in a Home, and Oh Happy seems to be having a whale of a time comedy, with routines built on observa- with the songs of Porter and Rodgers, i Day) hut has also acquired one I do not tion of recognizable human foibles and he is with the recall, Otherwise. This is music that think more successful two projected with masterly timing. In this perfectly reflects uninhibited high spirits, Gershwin songs from Porgy and Bess "on location" recording, which appears being especially successful when it gets and with his own composition, Gene- to have been made a couple of years resistance is around to The Matrimonial Stomp and vieve. For me the piece do ago, Foster has some very funny things the frenzied hoedown Don't That Take his luminous performance of Jean Wien- to say on the upbringing of modern the Rag Offen the Bush. The stereo er's wailing blues Crisbï. The stereo re- children, nomenclature, the perils of sound track recording is superior to many courtship in the Catskills, plus the fickle- that come from this source, both for its ness of the Dodger fan. There are other unusual clarity and proportion. hilarious stories, and though the record is not exactly a blockbuster, it is genuinely humorous. "Benálur." Symphony Orchestra of Rome, Carlo Savina, cond. M -G-M 1E1, $4.98 (LP). "By Candlelight." Max Jaffa, His Violin These are fourteen episodes from Mikl6s and His Orchestra. Capitol ST 10220, Rózsi s score for the film Ben -Nur. Lis- $4.98 (SD). tened to in conjunction with the synopses The really curious aspect of this excel- supplied in the liner notes, the music ap- lent recording is the very personal rap- pears to be as spectacular in its own way port that Jaffa immediately establishes as the film is in its. In the panoramic with the listener. It is like the contact a music written for "The Burning Desert" Palmer and Kaye: heroes of Dogpalch. gypsy violinist may achieve when he is and in the frenzied finale of "The Row- playing to an individual diner in some ing of the Galley Slaves," Mr. Rózsa has cording is a complete success, with splen- smart continental café. Jaffa produces a gone back to some rather familiar film didly clear sound and ideal balance. Ad- particularly lush and insinuating violin music devices; but elsewhere -in the ler is just about dead center throughout, tone, and when this is backed by the skillful suggestion of Hebraic, Greek, surrounded and supported by a quartet mellow sound of his orchestra's massed and Oriental music, in the moving leit- ( piano, trumpet, bass, guitar) and drums. violins, the result is a most pleasurable motiv for each appearance of The Christ, listening experience. The program consists and in his tender melody depicting the "Wings of Song." Philip Creen and His of old standards, all very well played, but love of Ben -Hur and Esther -the music Orchestra. Jaro International JAM some do not adapt themselves very well is altogether admirable. 5002, $3.98 (LP). to the seductive treatment. Certainly Em- The sound of the recording is clean Except For two numbers, this is an or- braceable You needs more zip than it is and bright, and the presentation is cer- chestral program of songs written about given, and George Shearing fine Lullaby tainly de luxe, with the record housed in winged creatures-including the Bee and of Birdland would benefit by being treated a box -type album, plus a handsome hard- the Butterfly along with this otherwise as a jump number. Such things do not

FEBRUARY 1960 71

www.americanradiohistory.com really greatly detract from this fascinating eliminated. Also missing are America the world of pop songs, and has made record, however, and Capitol has provided and that little gem of comedy, Gee, Of- the transition with reasonable success. a nice intimate sound, recorded at low ficer Krupke. (lt would have been par - Most of these numbers are rather tepid, level, but with excellent spatial illusion. ticularly interesting to hear what an but because Miss Washington sings them English chorus would do with that one.) with a good jazz feeling, warm tones, and The lead parts are most capably sung a proper appreciation of their lyric con- "The Musical World of Lerner and by Lucille Graham and Bruce Trent, al- tents, she lifts the entire program out of Loewe." Starlight Symphony, Cyril Or- though the latter's voice sounds loo ma- the usual rut. She is most effective in nadel, cond. M -C -M E 3781, $3.98 ture for the youthful Tony and he has songs that have a bluish feeling, like A (LP). not quite caught the feel of Something's Sunday Kind of Love, I Thought About The musical world of Lerner and Loewe Canning or Cool. Lawrence Leonard You, and I W'on't Cry Any Afore; she does is still a relatively small one. It consists leads a performance that has all the nec- not cope with the sophistication of Man- of only half -a -dozen scores, and of these, essary bite and vitality and that has hattan or the ballad style of It's Magic What's Up (1943) and The Day Before been recorded in good, if a little over - with quite the saine success. A strong Spring (1945) failed to produce any- reverberant, sound. in the stereo ver- complement of strings provides fine thing musically memorable. From the sion. the love ducts might have been backing; I take a dim view of the word- remaining restricted territory-My Fair more convincing had Miss Graham, al- less choir. Good sound on both versions, Lady, Brigadoon, Cigi, and Paint Your ways in the left speaker. been in closer but in the stereo version the singer is Wagon- Ornadel has chosen eighteen proximity to Mr. Trent, far off in the rooted throughout in the right speaker. songs as representative of the team's outright. put. Needless to say, they are the most popular as well as the most often record- "Casanova." Soloists; Chorus and Orches- ed numbers from the four shows. It "Ragtime Piano Cal." Jo Ann Castle, tra, 1Val -Berg, cond. Pathé ATX 119, seems a pity that some of Loewe's lesser piano; rhythm accompaniment. Dot $5.95 (LP). known songs could not have been se- DLP 25249, $4.98 (SD). This Casanova, a French operetta based lected. Mr. Lerner, who shares the bill- Miss Castle, a young woman of twenty, on the amorous exploits of the celebrated ing, is merely permitted to bask in the attacks these dozen piano rags with all Italian adventurer, must not he confused glory of his partner's music; none of his the gusto of a veteran performer. Fortu- with the spectacularly successful Cemuan lyrics is in evidence. The orchestra plays nately, she has not yet joined the school operetta of the same name, produced in very well, and the recording is easily of pianists who feel that this type of mu- Europe in the early 1930s, with music the finest sounding M -C -M record to sic is greatly improved by being played of Johann Strauss. This later French pres- have come my way in the last two years. at top speed. Her tempos are fast, but not entation sounds an altogether gayer frolic, outrageously so, and her sense of rhythm thanks to Wal- Berg's excellent score. is excellent, except for one strange lapse There are no less Than three attractive "Behind Closed Doors at a Recording Ses. in the first sixteen bars of Tickle the Ivo- waltz songs, a melodious serenade in sion." Warner Bros. B 1348, $4.98 ries Rag. I wish that she had been per- Italian style, and half -a -dozen sparkling (LP); WS 1348, $4.98 (SD). mitted to record solo; the rhythm and in- ensemble numbers, all of which are su- For the average listener who knows only strumental support given her I find rather perbly handled by the excellent cast. Al- a little about the inner mysteries of cur- distracting. On the whole, these arc ex- though Willy Clémcnt's baritone voice rent recording techniques this recording hilarating performances of an old and sounds a little tired, he is still capable of offers a really engrossing forty minutes uniquely American music. handling his songs with ease, and he is of listening. One side is devoted to the ably partnered by Lina Dachary, a bright - evolution of an orchestral arrangement sounding soprano who makes a pert "F Sharp . Where There Is Music." of What Is This Thing Love, Called Ernest Maxin and His Orchestra. Top Théresc. Between them they carry the during which the uses of a number of of the music, although Roland Rank International RS 607, $4.98 (SD). burden recording devices are not only explained Couge sings the serenade very "Chic" is the word for 'l'op Rank's pack- agreeably. but fascinatingly demonstrated. These Under the composer's knowing direction aging of this album -a double -faced black - include the of general as well as just matter suede sleeve, with an attractive white the whole performance shines with interior instrumental balance, reverbera- the right amount of joie de viere, and it line -drawing of a model dressed in the tion, mike placements and pickups, and has been well recorded in high- fidelity height of haute couture. The whole is lib- intercutting. The override shows how an sound, circa 1953. erally drenched with a new Faberge per- arranger builds a new sound for an fume, which, not unexpectedly, is named oldie like Am I Blue ?, hoping that it will "F Sharp." ( The producers "believe" it "One Hundred Strings and Joni." Joni be the sound that will catch the public to he the first perfumed album in musical James; Orchestra, Acquaviva, cond. fancy. The vocalist, thanks to an assist history, although Columbia beat them to M -G -M SE 3755, $4.98 (SD). has what- from the engineers, no trouble the idea with the Marlene Dietrich al- if the use of greatly inflated orchestral soever in turning herself into a trio. it bum Café de Paris of 1955.) It's a rather forces was intended to inspire Joni James is an intriguing record, and poses only cloying perfume, well suited to the ac- to new vocal heights, i am afraid the de- problem in my mind: after all one this, companying musical program. Maxin's or- vice lias not achieved its purpose. Miss who needs a conductor? Although the chestra is predominantly one of massed Jaunes is a fair enough singer of pop ma- is version, the sound excellent on each strings, with occasional solos by piano, terial, but she lacks variety of style and a wonderful stereo edition which gives harp, and trumpet, and the arrangements color and her handling of these dozen illusion of instrumental placement and arc heavily flavored with ideas in vogue standard numbers is heavily loaded with im- studio dimensions, is much the more during the Forties -some extremely at- saccharine. Two of England's top arrang- pressive. tractive, others on the forced side. On the ers, Tony Osborne and Geoff Love, have whole, however, this is a very listenable provided extremely ripe arrangements for "West Side Story." Soloists; Orchestra, program of good songs. The stereo sound the hundred massed strings, and Acqua- viva, Lawrence Leonard, cond. Form F has been well managed, but listeners the singer's husband, takes good should be warned 70013, S1.98 (LP); SF 70013, $2.98 that the strings require care that every small detail of the orches- (SD). considerable reduction of treble in order trations is properly, exposed. The M -C -M This English recording of Leonard Bern - to make them free from an unpleasant stereo sound is strikingly expansive, but stein's score for West Side Story con- piercing shrillness. suffers from excess bass. fines itself to the solo numbers phis the two ballet sequences. Since much of the "What a Diff'rence a Day Makes." Dinah "Rookie." Edd Byrnes with Connie Ste- excitement of the story stems from the Washington; Orchestra. Mercury MG vens, Joanie Sommers, and Some Other rivalry of two gangs, it is a pity to find 20479, $3.98 (LP); SR 60158, $4.98 Friends; Orchestra, Don Ralke, cond. the electric opening chorus The Jet (SD). Warner Bros. \VS 1309, $4.98 (SD). Song, as well as the interesting music "The Queen of the Blues" has temporar- that accompanies The Dance at the Gym, ily moved out of her usual medium into Continued on page 74

72 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com Previously unaware of the existence of star -studded item also includes contribu- either Kookie or 77 Sunset Strip, I was Foreign Flavor tions by Jacqueline François, Catherine almost completely baffled by this record. Sauvage, and Patachou. Thanks to the presence of some small fry, who translated the current vernacu- 'The Girls of Paris." Epic LN 3627 "Songs of the Exodus." Hillel and the lar into King's English, I was able to get $3.98 (LP). Sons of Galilee. Kapp KL 1174, $3.98 the gist of what was going on. And what A first -rate collection of French songs (LP). was going on was pretty bad. Even when sung by outstanding chanteuses of the The resonant bass voice of Hillel, to- assisted by Connie Stevens, Joanie Som- day, this disc provides a variety of both gether with a small chorus of young mers, and Some Other Friends, Edd style and repertoire rarely come upon in men, gives us an inspiring collection of Byrnes seemed to be a singer of extreme- a single recording. There is the evoca- Israeli melodies. The starkly simple -and ly limited talent. i am assured that he tive Demain, fl fera four of deep- voiced highly effective- accompaniment is pro- has tremendous visual appeal. I hope so. Juliette Greco, a bouncy version of I vided by an accordion, khallil (a shep- This may be, as Kookie says, "The Love My Babb -My Baby Loves Me (Un herd's pipe fashioned from reeds), and Ginchiest," but I'm afraid I don't dig it. Coup de Foudre) from Magali Noël, Miriam drum (a pottery and goat -skin Just a square. and a tender and moving Parlez -moi instrument). The songs reflect the cour- JOHN F. INDCOx d' moor sung by Lucienne Verney. This age and indomitable spirit of a people not unfamiliar with a twentieth- century exodus.

"Presenting José Greco." José Greco and His Company. RCA Victor LM 2300, $4.98 (LP). \Vida habitual theatrical aplomb, José Greco and his company present here an GRADO attractive program of Spanish music. A background of vocalists, castanets, extravagant orchestrations, and effective "Truly the world's finest..." guitar accompany the "Master of Fla- menco' as he energetically executes jotas and zapateados. Moments when Master Stereo Cartridge $49.50 there is only the isolated sound of his taconeo (heelwork) are undeniably Custom Stereo Cartridge $32.50 spellbinding. Though a far cry from pure Micro Balance Tone Arm $29.95 flamenco art, Greco's smooth profes- sionalism has a definite appeal of its own.

"Gods and Demons of Bolivia." Tito Yu- panqui; Khosinaira. Vanguard VRS 9054, $4.08 (LP). To the accompaniment of rarely heard South American instruments, the chars]. go, kena, zampona, and bombos, Tito Yupanqui and Khosinaira- known as "The Morning Stars" -sing a variety of love songs and folk music from Bolivia. Although the addition of the six -string guitar tends to make some selections Spanish -sounding, as in Puñal envenena- r1o, the music is mainly representative of pre -Hispanic Indian cultures. Fiery and exciting dances to evoke the presence of gods, songs of love and sadness, versos de contrapunlo (in which two or more singers improvise verses) -all combine to make this a unique and fascinating disc. Skilled watchmakers working to almost unbelievable tolerances, handcraft each GRADO Stereo Cartridge to a degree "This Is Portugal." London TW 91196, of performance which has become a universal standard of $4.98 (LP). quality. The moody fado, sung in the streets and cafés of Portugal, is a curious blend of Extremely low surface noise due to phenomenally wide fre- sophistication and passim with simplicity quency response, coupled with extremely low distortion and and straightforwardness. Here fadistas excellent channel separation, achieve uncompromising realism. Herminia Silva, Lucilia do Carino, and Tristao da Silva convey Full bodied sound alive with delicate timbres, combined with unprententious- ly all the pathos and penetrating melan- wide dynamic range, will thrill with you the impact of a live choly characteristic of these expressions performance. of basic emotions.

GRADO LABORATORIES, INC. "Koto Music." Kimio Eto. World Pacific WP 1278, $4.98 (LP). 4614 Seventh Ave., Brooklyn 20, N. Y.- Export- Simontrice, 25 Warren St.. N.Y.C. Kinnio Eta is one of Japan's foremost instrumentalists in the art of koto playing. Sounding very much like a cross between harp and guitar, the koto is a thirteen- stringed instrument brought to

74 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Japan from China about the eighth centre organ in a sonically overwhelming Czech composer -lecturer Vaclav Nelhy- tury. Mr. Eto exhibits marvelous dexter- climax). The discographie premiere here bel instead of the usual, overfamiliar ity and brings out every potential of his is Gustav Holst's Hammersmith Prelude classic examples. A few of the more am- instrument from the many and difficult and Scherzo, Op. 52, but the liveliest bitious materials, especially those on techniques he exhibits in Kar,oe Uta delight of the program is Cordon Jacob's Latin-American and jazz idioms, are un- (Children at Play) to the soft, senti- superb set of transcriptions on keyboard intentionally comic, but for the most part mental melody of Omoide (Nostalgia). works of William Byrd. In short, a con- both the short passages and more exten- Included in his repertoire are some of cert band release truly outstanding for sive pieces have unusual piquancy and his own compositions as well as tradition- both sonic and musical felicities. point. The lecture-demonstration is par- al Japanese music. ticularly notable for its abundance of "The Orchestra and Its Instruments." examples in less conventional solo instrumental ranges and unusual combinations "Xangô Chants and Folk Ballads of Latin Folkways FT 3602, $5.95 (LP). its inclusion America." Olga Coelho. Decca DL Unlike earlier essays in instrumental and of instrments, as well as for of some illustrations of electronic and 710018, $5.98 (SD). orchestral introductions, this album, Singer- guitarist Olga Coelho performs straightforwardly narrated by Alexander tape "enhancement" techniques. The un- admirahly in this program of Latin - Semmler, features exclusively the novel identified players arc merely routine and American folk music and chants. Her contemporary musical illustrations of the the necessarily closely miked recording renditions of love songs, Elvira, escutal, and Azulao, are poignantly beautiful, but she is equally at home in the exotic rhythms of Negro laborers and songs of street vendors.

"Polynesian Paradise," Phil Moore and His Orchestra. Strand SL 1004, $3.98, (LP); SLS 1004, $4.98 (SD). If you like exotic music from the South ANOTHER FIRST FROM SCANDINAVIA Sea Islands punctuated with wild -bird calls, the flapping of wings, and the screeching of various animals, don't over- From the birthplace of two important look Polynesian Paradise. There arc also discoveries, electromagnetism and magnetic elephant bells, gongs. finger cymbals, recording, comes the ultimate in marimba, ukelele, and a chorus that sings application ...stereo sound recording and in muted tones. Despite the great variety reproduction by Movic. The MOVICORDER of sounds, however, the over -all effect represents a superb combination of is that of an extraordinarily potent sopo- rific. today's finest engineering techniques and the acknowledged skill of Denmark's "Accordion d'España." Jo Basile, His Ac- "old country" craftsmen. A HYSTERESIS cordion and Orchestra. Audio Fidelity, SYNCHRONOUS capstan motor plus two AFSD 5870, S6.95 (SD). custom -built reel motors are examples of Aside from the titles of the selections Movic's careful attention to mechanical here, any relationship between authentic detailing. Its ability to record SOUND ON Spanish music and that offered on this SOUND and to record stereo or monaural recording is purely coincidental. Jo Ba- on either of its two complete recording and sile, with the help of an orchestra and playback channels are only two of its his accordion (an instrument almost nev- many electronic features. The MOVICORDER er heard in Spain), proceeds to mutilate and distort such favorites as Espana has a signal to noise ratio exceeding Cani, La Maxlxa, and Pa,n ,lonian. Re- 50 db, wow and flutter of only .18% and lentless rhythms, mannered effects, bi- a frequency response of ±2 db from 40 to zarre orchestrations- better to say no 12,000 cps. For the complete facts on one of more, except that the jacket notes are Denmark's finest products, see and hear the among the most misleading ever printed MOVICORDER at your dealer or write direct. about Spain. O. B. BRUAfAiELL MOVIC COMPANY, INC. 12432 SANTA MONICA BLVD., LOS ANGELES 25, CALIF. Ii/fi musk

"British Band Classics," Vol. 2. Eastman Wind Ensemble, Frederick Fennell, cond. Mercury MG 50197, $3.98 (LP). As in Vol. 1 of this series, here again the gleamingly clean wide -range recording is brilliant and ultrasonorous even in mo- nophony, probably even more impressive in a simultaneously released stereo edition. The contents too are again well off the beaten track, except for Walton's Crown imperial (given unusual freshness by the lack of swagger in Fennell's reading and MOVIC "Danish modern" means quality in tape recorders, too. by the enlistment of the Eastman Thea-

FEttßUA2i1 1960 75

www.americanradiohistory.com rather overdry and thin, but both nar- ration and music are admirably clear as well as refreshingly original.

"Spain." Symphony of the Air, Alphonso D'Artega, cond. Stereo-Spectrum SS 55, $2.98 (SD ). A real sleeper in the bargain -counter lists: a conventional-enough Iberian- flavored program, but one which is played by a first -rate big orchestra in ef- conducted Julius Jean -Pierre fective arrangements, with Baker Rampal genuine verve and skill, and recorded in warmly natural acoustics and vividly Particularly attractive is Flute Duets clear stercoism. the example of what such treatment can On the iollowing pages you will by JULIUS BAKER achieve even in as relatively slight a and find announcements of the new re- Moods of Spain. JEAN -PIERRE RAMPAL leases in Artia Records' "Cultural genre piece as De Solti: Exchange" Series. The series is designed to make "Western Songs." Johnny Pules and His A historic recording with two available to record collectors in the Harmonica Gang. Audio Fidelity AFSD States and Canada the finest United 5910, $6.95 (SD). of the world's foremost flutists High Fidelity and Stereophonic re- Vol. 4 of the best- selling Puleo series is performing selections from cordings of classical and folk music. easily the best to elate, partly because the Distinctive packaging and superb- Schultze, Quantz, Telemann, here are so muela better suited ly engineered pressings are produced materials and Stamitz. A new release, in America from European tapes. for harmonica ensemble than most of the earlier programs; partly hecause the 419, BUY ARTIA RECORDS WR from the Washing- and AND YOU BUY THE FINEST odd varieties of wheezing, chugging, ton "Catalog of Exclusives." reedy mouth -organ timbre potentialities Available at fine record stores every- have been more clearly differen- where in the United States & Canada. never at better record stores or write tiated in extremely stcreoistic, ultrabril- Write for free catalog to liant recordings. Arlie Recording Corp. i Musimarl of Canada, Ltd. WASHINGTON 600 Fifth Avenue 0 901 Bleury street New York 20, N. Y. ,r Montreal, Canada Band of the Royal Marines, Lt. Col. F. RECORDS Vivian Dunn, cond. Capitol ST 10215, S4.98 postage paid. 1340 Connecti- $4.98 (SD). cut Ave., N .tif Washington 6, D.C. When a British hand ventures outside its normal martial repertory to play light and novelty pieces, the results -to American listeners at least- usually are more curious than exhilarating. But the present program is an electrifying exception: this moderate -sized ensemble Amazing new method would be notable anywhere for its clar- Speak teaches you to speak a foreign ity, precision, and coloristic variety; its is distinctive for his zest and in, conductor tongue just 21 hours - éclat; and the ultratransparent, unexag- French, or your money back! geratedly stercoistic recording is as good as any band has ever enjoyed. Dunn This new psychological learning technique brings a quite American verve to Leroy German, called "Reinforced Response ", developed Anderson's Serenata and Sandpaper Bal- at Harvard and Columbia Universities, let, as well as British full- bloodedness to enables you to speak and understand his own fine Commando Patrol, More- 3,500 words -1,000 colloquial phrases - ton's rousing The Medallion, and Elgar's Spanish like a native. Fifth Pomp and Circumstance ,larch. Only this course teaches you so much - Even the novelty pieces are imagina- so fast -so easily -without tiresome lively scored and divertingly performed: or memorizing. Spend just 15 minutes and Godfrey's arrangement of Berlioz's a day lO days you will actually start -in Rakdcztf March is one of the most re- the language of your choice! speaking markably individual readings of this war- Four courses available- French, Russian horse 1 have ever heard. German, Spanish, Russian. Each course consists of two 12" 331/2 rpm hi- fidelity AS THOUGH records, two special workbooks, and a "Giant Wurlitzer Pipe Organ." Vol. 6. Leon Berry. Audio Fidelity AFSD 5904, YOU WERE 25,000 word dictionary. But this is not just another record course -it's a new, $6.95 (SD). NATIVE -BORN! easy way to learn. Bigger and more boldly recorded than ever, this sixth in Berry's series might r well have been titled "Wurlitzer -Organ 'INSTANT' LANGUAGES William Barton Marsh Company Percussive and Novelty Effects," for it is IS East 48 Street, New York 17, N. Y. these which, along with some notably Order your ! enclose $9.95 (check or money order) for low and solid pedal tones. dominate the each 'INSTANT' LANGUAGE Course checked below. -brash, now -schmaltzy `INSTANT LANGUAGE' Please send, Postage free, m: present now per- Course today! formances of Seventy -Six Trombones, NAM Moonlight and Roses, and a dozen other $9.95 complete ADDRESC familiar pops pieces. Satisfaction guaranteed CITY TONE---SrATF or money YES! I want to speak back! French_ Spanish_ German_ Russian_ "Provocatif." John McFarland Sextet. United Artists UAL 4053, $4.98 (LP).

76 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com McFarland f» mself is a pianist and composer of such evident skill and assurance that it's regrettable he's chosen to fall EVERYBODY back so completely on the now familiar clichés (extravagant use of percussion SAYS and jungle cries) of pseudo- exoticism. STEREO Except for the ostinato "pongs" in his own The Chimp and the Bumble-Bee, ALBUMS the no less ostinato wild -pig (string MUST bass ?) grunts and groans in The head Hunters, some gently atmospheric COST touches in Where or When, and the glassy tinkling in Midnight by a Persian MORE! \S'aterjall, the effects here are painfully synthetic. The recording, however, is exceptionally brilliant and boasts, for all its overdose miking, an almost stereolike clarity and lucidity.

"Music for Quiet Listening." Eastman - Rochester Symphony Orchestra, How- ard Hanson, cond. Mercury MC 50053, $398 (LP). Edward B. Benjamin's project for com- missioning "Restful Music" might be more gratefully received if it were not confined to student composers at the Eastman -Rochester School of Music. Just one of the nine award -winning pieces here, Martin Mailman's Autumn Landscape, exhibits any real personality and charm. The others arc vapid affairs at best, and the basic purpose of achieving "restful" or "quiet" listening is largely defeated by the overintense playing of the high -register strings, the high modulation level, and the overbrilliant, yet thin and dry, recording throughout.

"Pipe Organ Favorites in Stereo." D. J. ONLY EVEREST GIVES YO Rees, organ. London CS 6102, $4.98 the greatest artists on recordings of unequalled sound quality, at (SD). if you've ever wondered what Victorian - era church organs sound like, or what ONE PRICE FOR STEREO AND MONAURAL and how old- fashioned organists play, here's sonic evidence collected in a chapel in Glamorgan, Wales, which mu- NEW FROM EVEREST sical progress evidently has passed com- suggested retail list price pletely by. The recording is London's Popular SOUNDS DIFFERENT finest, but the instrument itself is a 398 Joe Venuto g Nis Quartet LPBR -5053 SDBR 1053 thick -voiced monster, and poor Mr. Rees THE SOLID SOUTH wades as through molasses in his bum- Deane Kincaide Quintet LPBR -5064 SDBR -1054 GYPSY ECSTASY bling performances of Handel's Largo, Yoska Nemeth & His GYPSY Ensemble Halleluiah Chonts, Air from the Water LPBR -5065 No Stereo I'LL REMEMBER APRIL Music, and Berenice Minuet, Bach's Jesu, Poliakin & His Orchestra LPBR -5001 SDBR -1001 Joy of Man's Desiring, and assorted Brit- THE MUSIC OF RICHARD RODGERS ish sweetmeats. THE MUSIC OF HAROLD ARLEN Pollatin Conducting Orchestra and Chorale R. D. DARRELL LPDR -5066 SDBR1066 suggested retail list price

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APPARATUS DEVELOPMENT CO. WETHERSFIELD 9, CONN meBODuCT Of EVEREST RECORDS. DIVISION Of ECLOCN INSTRUMENT CORP.

FEBRUARY 1960 77

www.americanradiohistory.com JAZZ i THE EAR Van Alexander and His Orchestra: "The THAT HAS Home of Happy Feet." Capitol T 1243, $3.98 (LP); ST 1243, $4.98 (SD). HEARD A welcome variation on the nostalgic ex- cursions from the Swing Era is this col- EVERYTHING, lection of some of the tunes associated with HAS HEARD bands which played at the Savoy New Releases from Ballroom. Alexander -onetime arranger NOTHING for two Savoy standbys, Chick \ \rebb and CZECHOSLOVAKIA Teddy Hill, and arranger of Ella Fitz - ALP -117 UNTIL gerald's first success, A- Tisket A- Tasket- SMETANA: RICHARD III; has all the credentials for a memory an- HAAKON IARL; WALLENSTEIN'S CAMP IT HEARS thology such as this. He has wisely avoid- The Czech Philharmonic Orchestra ed any attempt to imitate the Savoy Conducted by Karel Sejna IRVING BERLIN GOES LATIN bands ( Don Redman, Andy Kirk, Claude ALP -122 Hopkins, the Savoy Sultans, Lucky ?etillin- JANACEK: Such Berlin favorites as: Alexander's Ragtime der, and Duke Ellington are represented SINFONIETTA; SiX LACH DANCES Band, Heat Wave, Easter Parade, Marie, Always, along with \Vehb and Hill), but in some The Czech Philharmonic Orchestra Blue Skies and others ...All refurbished Kirk, Hill conveys a Conducted by Bretislav Bakela cases -Webb, -he with an infectious tango, mambo, cha -cha, suggestion of their styles. The perform- ALP -123 samba, merengue or bolero tempo. SVIATOSLAV RICHTER PLAYS: ances are crisp and. swinging -the only BACH PIANO CONCERTO #1 in D MINOR real miscalculation is. ironically, Stomp - Available both The Czech Philharmonic Savoy Orchestra In Stereo and Monaural in' at the -and the inclusion of the Conducted by Vaclav Talich excellent but otherwise unavailable pieces, PROKOFIEV PIANO CONCERTO #1 \Vebb's Let's Get Together and Hill's Up- in D FLAT MAJOR HI-FIDELITY town Rhapsody, gives the disc added im- The Prague Symphony Orchestra portance for big -band enthusiasts. Conducted by Karel Ancerl Ken Alford's Dixie Cats: "At Waikiki." STEREOPHONIC RECORDS Liberty LRP 3136, $3.98 (LP); LST CELP 433 7136, $4.98 (SD). The fiftieth state has a Dixieland pand- SEECO RECORDS, 39 W. 60 ST., N.Y.C. a pretty good one, too, and one that has brought some new and valid ideas to a generally dog -eared repertory. Appropri- ately enough, Alford's band, which sounds somewhat like Wilbur de Paris', pla 1411 Yoti &kid features Hawaiian tunes, both native products and Tin Perna Alley's output. In Wake up your Hi -Fi set these the hands of this group they lend them- with selves extremely well to the Dixie idiom. unique Golden. Crest recordings... Clarinetist Red Souza, who sports a rich New Orleans tone, is the best soloist in for sound in all its glory, the band, although Alford, on trumpet, excitement & perfection- has a direct, punching style and trombonist Al Anderson produces helpfully rough and gusty fill -ins. AVAILABLE Louis Armstrong: "Armstrong Forever." AT ALL Odéon OSX 143/49, $9.98 (Two LP). SHEP FIELDS "Louis Armstrong Meets Oscar Peter- RECORD CR5 3061 / CR 3061 An on the spot recording of the rip- son." Verve 8322, $4.98 (LP). pling, bubbling melodies of the fa- DEALERS mous Shen Fields Orchestra at the The Odéon set is a superb two -disc sum- lamed Emerald Room of the Sham- or write rock Hilton, includes wonderful tunes mation of classic Armstrong. It covers the like Avalon, Harbor Lights. direct to years from 1926 through 1931 -the years Both Monaural & Stereo -33.98 of the Hot Five, the Hot Seven, and the GOLDEN earliest, least stodgy big -hand works. THE KOSHER WIDOW Nineteen of its selections (including such CR5 4018 - CR 4018 essential pieces as Lonesome Blutes, Fire - The tremendous new off -Broadway Show CREST works, Beau Kan Jack, Mahogany Hall widely acclaimed by the critics with its original cost and exclusive with Golden RECORDS, INC. Stomp, My Sweet, and Wrap Your Trou- Crest Full Spectrum Sound 220 bles in Dreams) are not found in Co- Both Monaural & Stereo- $4.98 Broadway Su9gsled list price. Huntington Station, lumbia's long -established four -disc set New York and four numbers -Knee Drops, Beau Koo Jack, Dallas Blues, and My Sweet - are not on either the Colombins or the MERRY GO ROUND MUSIC previously released Odéon ten -inchers. CR 3054 Anmstrong at Thrilling High Fidelity presentation The present records show of exciting realism of Mcrny -go -Round the height of his powers, playing and selections appealing to "Young At l1 Heart" Includes 4 stirring marches singing with warmth and freshness and which bring back memories of State Fair, Carnival and Midway. an eternal sense of surprise. They make A complete listing of all Golden Crest Records is available bons Dent. H-2-220 Monaural $3.98 Broadway, Huntington Station, New York. Dealer territories available -Wrilt ton. seining your area. Continued on page 80

78 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com why the most advanced professional cartridge...

gleerigeZ' NEW MAGNERAMIC has ceramic

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For more than 35 years, Electro -Voice has been a leader in FREEDOM FROM HUM - The increased amplifier gain required the development and manufacture of dynamic microphones to satisfactorily drive low- efficiency speakers coupled with and loudspeakers. Why then, with this extensive experience decreased cartridge output has significantly increased sys- in designing and producing electro- magnetic devices, is tem hum problems. Also, conventional methods of hum Electro -Voice introducing the new Magneramic 31 Series elimination used in monaural magnetic cartridges become stereo cartridge using ceramic elements? difficult or impossible to apply to stereo magnetics. The The reason is that Electro -Voice is genuinely convinced that Magneramic 31 completely eliminates these problems -it a precision ceramic cartridge is the finest type that can be is non -inductive and has adequate output. made today ... definitely superior to the magnetic type. The Electro -Voice Magneramic 31 MD7 cartridge directly The superiority of the Magneramic 31 is demonstrated in replaces any monophonic or stereophonic magnetic cartridge these three areas. now on the market. It feeds into the preamp input -jack specified for magnetic cartridges and does not require adaptors or circuit modifications. GREATER FLEXIBILITY - The 31 Series cartridge will operate perfectly at any stylus pressure from 2 to 20 grams. The same stylus assembly can be used for operation on both SPECIFICATIONS - MAGNERAMIC 31 MD7 turntable and record changers; performance need not be Response Range: 20 to 15,000 cps ± 2 db compromised by using a special, stiff stylus assembly for Compliance, Vertical: 3.5 x 10- cm /dyne record changers. Record wear is the only criterion in setting Compliance. Lateral: 3.5 x 10-s cm /dyne stylus pressure - cartridge operation is not affected. Thus, Isolation: 28 db C: 1000 cycles when Tracking Forte: 2 to 4 grams in transcription arms converting from a changer to a turntable, or vice 4 to 6 grams in changer arms versa, replacement of the stylus assembly is not necessary Styli: .7 mil diamond when using the Magneramic 31. Output: 8 millivolts Recommended Load: 22,000 to 47,000 ohms (Magnetic phono inputs) HIGHER OUTPUT - Along with the trend toward less efficient Elements: 2, Lead Zirconium Titanatc (Ceramic) speaker systems, more amplifier power has become a neces- IVcigbt: 8 grams sity. While most stereo amplifiers are now designed with Terminals: 4, standard .050' connectors Mounting Centers: IV and t,{ÿ fits both input sensitivities to match the typical 5- millivolt output of magnetic stereo cartridges, nearly all monaural amplifiers Audiophile Net 324.00 were designed for at least 8- millivolt input. These cannot Wont more Inlormotton? Write to Dept. 20E for the booklet unfilled. be driven to full output with a magnetic stereo cartridge. "FACTS ABOUT THE ELECTRO -VOICE MAGNERAMIC CARTRIDGE" The Magneramic 31 develops a full 8- millivolt output and cnuples directly into any "magnetic" preamp unit. This higher output should especially be considered by those planning conversion to stereo utilizing existent monaural amplifiers. V yt INC. BUCHANAN. MICHIGAN

FEBRUARY 1960 79

www.americanradiohistory.com an ideal starting point for an Armstrong New collection (or for a jazz collection) and for stereo and monophonic ! are essential for the seasoned collector. On the Verve disc Armstrong returns to the twilight world between jazz and THE NEW TURNTABLE ARGOJCZZ pop music which he used to visit fre- quently with Gordon Jenkins on the THAT CHANGES RECORDS! Decca label. Oscar Peterson's trio pro- AL GREY vides ouch more suitable backing than ai d Tho Haste Vcring Jenkins did, and on the faster tempos things work out quite amiably. But there is something almost frightening about Louis' huffing and puffing his way through the vocal portions of a slow ballad. A great deal of this disc is taken up with these noble but fruitless efforts.

Count Basic: "Chairman of the Board." Roulette 52032, $3.98 (LP); S 52032, $4.98 (SD). in the past year the Basie hand has ac- mIRACORD XS-200 both quired the polish and the character The pushbutton miracle of high fidelity missing from its work earlier in the Fif- sound -with every practical and proven feature for the perfect reproduction of AL GREY LP 653 ties. After fumbling around for several stereophonic or monophonic records. In which Count Basie's trombone star is years, the band has finally found itself as . it's a heavyweight, professional -type surrounded by such company as Joe Newman, an ensemble group. It plays with sharp turntable- and a fully -automatic Billy Mitchell, Benny Powell, and Sonny precision and allows for occasiohal solo changer! . n special switch adapts Miracord to Payne. Arrangements by Thad Jones and interludes which are disciplined and stereophonic or monophonic reproduc- Frank Foster. pointed. The band also has acquired tion, with finest quality output on a either system! distinctive soloist in trombonist Al Grey vibration eliminated by special mounts! -the most inventive employer of the 5 push -buttons permit you to start. stop, pause, repeat or filter, without growl and wah -wah style since Tricky touching tone arm! Sam Nanton was enlivening Duke El- Magic Wand spindles eliminate pusher lington s band. This album is a good platforms and stabilizing arms! intermixes 10" and 12' in any sequence; representation of the present Basic band plays all 4 speeds, has a 4 -pole motor. in its best form -relaxed yet brimming Plug -in head! shuts off automatically, returns tone with power, disciplined but loose and arm to rest position! lithe, a proper extension of Basic's own and many other outstanding features, qualities as a pianist. not found in any other record changer or record player! -yet it coats only $ 6750 Louis Bellson and His Orchestra: "The Brilliant Bellson Sound." Verve 2123, $4.98 (LP); VS 6093, $5.98 (SD). Bellson -one of the few really capable LOU McGARITY LP 654 ensemble chltnlmers now playing -here One of the all-time trombone greats and his leads a clean, strong big band. There is an emphasis on percussive octet roam j oyously through a dozen stand- effects -not ards. The glistening trumpet of Doc Sever - only Bellson's drumming but boo -gam insen and the clarinet and tenor of Bob Wil- solos by Jack Arnold (a boo-barn sounds ber contribute generously to the proceedings. like a giant, muffled marimba) and mass use of jingle sticks, scratchers, and cow- bells. Yet there is relatively little banging just for the sake of banging in these modest, nnflashy efforts. It would be nice to report that modesty has paid off, STEREOTWIN 2101D hurt unfortunately the performances are a thrilling new standard simply pleasant, not memorable. in a stereo cartridge I Dave Carey Q ' tet: "Bandwagon Plus Acclaimed by engineers and audiophiles, STEReOTWIw 210 /D is the finest cartridge 2." Laurie 1004, $4.95 (LP). for the stereo age. "Moving -magnet" Airy performances of eight tunes from principle gives new high in quality performance. Hunt is eliminated by Mu- The Bandwagon plus two other selections Metal casing. Stylus replacement is in- by a highly rhythmic, tightly knit group stant. Phenomenal separation: 22 db at 1000 cps. ExcLustve ADJUSTMENT puts which might be described as conserva- stylus in proper position both vertically tively modern. Carey has a gently roll- and horizontally for record changers or manual tone arms. Truly an audio engi- ing, linear piano style, while clarinetist neer's cartridge at an audiophile's price! SMOKEY STOVER LP 652 Chuck Russo plays with a clean, cool tone Brimming -over- the -barrel Dixieland from a reminiscent of Buddy de Franco. The NOW $3450 group of guys who know what it's all about. group is rounded out by Howie Collins, Star -on- the -rise Stover, with a trumpet tone guitar, Dante \lartucci, bass, and Ray W that would bore through a brick wall, sets a Mosca, drtons. FAR \IIEAD) VIE FINEST BY FAR driving pace. Available at selected dealers, Dick Cathcart: "Bis MC\1LIX." ARGO Warner For F,-cc cataloTlc, please irrite Dept. 11 RECORDS Bros. W 1275, $3.98 (LP); \VS 1275, for free catalog write AUDIOGERSH CORP. $4.98 (SD). 514Broadway,NeWYDrk12,N.Y. CHESS PRODUCING CORP. Cathcart plays a lyric-al trumpet that is, 2120S. Michigan Ave., Chicago 16, Ill. WORTH 6 -0800 Continued on page 82

SO HIGH FIDELITY MAGAZINE

www.americanradiohistory.com AN URGENT SUGGESTION TO FRIENDS OF LIBERTY MUSIC SHOPS: When we received our limited allocation of new Pilot "Curtain of Sound" THE EXPERT you stereophonic console systems we realized that no more than 350 New York families will be able to obtain one this year. In our often consult is the vast experience with high fidelity stereo, we have seldom found dealer who handles consoles with the thrilling musical quality of Pilot "Curtain of Sound" instruments. We made our own listening test of the many brands, and is Pilot console vs. precisely the same Pilot components set up in a custom system. The result was a startling and absolute in the best position to draw. It is uncommonly clear why the production of Pilot compare quality. stereo consoles is limited: each piece of furniture is made with the same magnificent attention to detail -each contains exactly This advertisement, the same custom components that audio enthusiasts have hailed published by one of right here at Liberty. A word of explanation about Pilot "Curtain of Sound" stereo: Pilot takes a full -voiced stereo- America's largest, phonic console which by itself recreates any stereophonic pro- quality music stores gramming with breathtaking realism. Then Pilot flanks this console with two additional Pilot speaker systems, in the November 8th each containing treble, mid -range and bass speakers. The listener is virtually engulfed in sound. Please hear issue of The New York these rare Pilot instruments at one of our shops as soon Times, is evidence of as possible. Pilot Stereo from $259 to $1130. Pilot "Curtain of Sound" Stereo Systems from $738 the high esteem with which it regards

PILOT stereophonic components and consoles. Write today for complete, illustrated brochure.

Liberty opens tomorrow at 9 a.m. We recommend that those who want to be assured of being one of the 350 owners of a FOUNDED Pilot stereo console arrive shortly after. PILOT 1919 4S0 MADISON AVOWS AT SOTS STILLT, M. Y. PILOT RADIO CORPORATION ISO (ST .:ND STrt(LT INA. 6e,.., sb6), N. T. PL A Z A 971 MADISON AVL AT )STN ST9tLT (NeT.I CA.I,I.). N Y. 3 . 01 a 0 -02 795 MADISON AVtNUt AT 677N SNtL7, H. V. 37 36TH STREET, L. I. CITY 1, N. Y 197 LAST POST, AOAD, WHITE PLAINS WNITL PLAINS 5.7000

FEBRUARY 1960 81

www.americanradiohistory.com perhaps, closer to that of Bobby Hackett than to Bic Beiderbeeke. But this has its advantages in approaching Ileidcr- becke s material since it avoids any tendency towards outright imitation. Cath- cart runs out soft, pretty phrases in the Bcidcrbeckc node but he does not have Bix's sudden plunges of roaring exuber- ance. This should have been a warm and pleasant set, but unfortunately Cathcart is buried trader arrangements by Warren Barker for a mass of strings New Releases from on some numbers and for a brass ensemble on others. Occasionally he is left alone with a rhythm section, but the disc RUMANIA as a whole is disappointing when it is ALP -118 not downright dull. ENESCO: TONE ARM CONTROL SYMPHONY ,.1 in E FLAT MAJOR Rumanian State Symphony Orchestra Emile Christian and His New Orleans Conducted by George Georgescu Jazz Band. Southland 223, $4.98 (LP). ALP -119 with Guards records, stylus Christian, trombonist the Original ENESCO: Dixieland Jazz Band when the group OCTET IN C FOR STRINGS, OP. 7 Prevent accidental went to England after its New York suc- String Ensemble dropping of tonearm. cess, DOW back in New Orleans, plays of the Rumanian Symphony Orchestra Gently lowers tonearm a Conducted by Constantin Silvestri bass as rule, occasionally returns to into lead -in groove - trombone. He plays bass most of the ALP -I25 lifts it after play. Pays time with this fresh, rugged Dixieland PRESENTING LI- MINTCHAN: for itself in record you RACHMANINOFF: RHAPSODY ON A save. Installs in band, allowing Bob Havens, a young THEME BY PAGANINI, OP. 43 seconds. Ask your trombonist who is developing a strong Rumanian Symphony Orchestra dealer for dextrafix talent in the Teagarden vein, to do all Conducted by Mircea Cristescu tonearm control, $4.95 the solo work. Besides the surging play- LISZT: PIANO SONATA IN B MINOR ing of Havens, the band has a clean, forceful lead trumpeter in Mike Lala. who also does extremely well with mutes. This band has the combination of easy mussing chemical corp. relaxation and rhythmic strength dexter from most present -day Dixie bands. Sev- consumer products division 845 Edgewater Rd., New York 59 eral overenthusiastic vocals by Phil Doo- ley are the only drawbacks to an other- IT TAKES A PRACTICED EYE TO TELL wise excellent disc. Wilbur de Paris and Ris New Orleans THESE CLEViTE `WALCO NEEDLES APART Jazz: "Chat's a Plenty." Atlantic 1318, $4.98 (LP). i It's high time that some enterprising label gave Sidney de Paris an opportunity to be heard on records with a group other than brother 4Vilbur's band. Sidney -one of the fete masters of a biting, hot, muted trumpet style -here provides the sparks Of vitality in \\'ilbur's otherwise plodding band. He appears on only four of the nine selections ( Doc Cheatham plays a surprisingly ineffective trumpet on the others) and he almost alone brings the From left to right, a Clecite "Waled' W -75 with n short wire shank; the R -77 with a longer shank mode of tubing; the W -I03 for stereo. with shank -length generally static performances to life. midway- between the other two: the W -107 stereo model. identical with the except that the twin tips are not diametrically opposite each other. W -103 Armand Mug: "Rags and Blues." Golden Though you have to look hard to see is your assurance of rigid adherence Crest 3064, $4.98 (LP). their subtle variations, if you put the to the specifications of the audio en- Although Hug has been playing for the wrong one of these look -alike needles gineers who designed your equipment. past twenty -five years, his recent re- in your phonograph, the most inex- The only sure way for you to avoid cordings suggest that this New Orleans perienced ear will hear the difference mistaking one needle for another is pianist has of late steadily developed. in at once. In each case, the differences to bring the name and number you this collection he tackles boogiewoogic, varying degrees of legitimacy, were designed to meet the audio needs find on your cartridge to your local blues of rags, and a pop tune. He does well by Clevite " Walco" of different systems. dealer. His catalog all of them. He has a strong but spright- Because Clevite " Walco" manufac- shows instantly which needle was de- ly way with rags, while on the pop tune tures needles like these as well as signed for the specific audio require- (Singiri the Blues) he shows a crisp at- hundreds of other models for instal- ments of your system. tack in the Jess Stacy manner. These lation in original factory- assembled Don't let superficial similarities con- pieces show Hug to be an assured, highly phonograph equipment, the Clevite fuse you . . . your Clevite " Walco" knowledgeable performer with technical "Walco" name on a replacement needle dealer has the answers. ability to carry off his ideas swell.

cLev1Te Bill Jennings: "Enough Said!" Prestige CLEViTE WALCO FREE 7164, $4.98 (LP). Write today for a sample Clevite "Walco" DisCover 60 -H Franklin Street Jennings, a guitarist, is a product of the clear plastic protective record sleeve. WAiICO East Orange, New Jersey ... REPLACEMENT PHONOGRAPH NEEOLES - RECORD CARE ACCESSORIES - CLEVITE 'ORUSH' uir, HEADPHONES Continued on page 84

S3 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com 1N: Stromberg- Carlson's new 8.80 stereo amplifier will be the most highly regarded... the most sought after amplifier in the history of high fidelity

The combination of features, performance, and price makes Strombere Carlson's new 8.80 one of the most unusual values ever offered in high fidelity. Its control features and listening quality -engineered to Integrity in Music standards-provide a degree and flexibility of performance not available in any other amplifier. Stromnberg- Carlson dealers invite you to read, listen, and judge for yourself. THE POWER AMPLIFIER uses grain- oriented steel transformers and a new circuit design, the exclusive High Frequency Phase Equalization Network. These design innovations dramatically reduce distortion -radically improve performance. The specifications are conservative. (The power output of each channel could actually be rated at 36 watts rather than our 32 -watt rating.) Perhaps more important, the standard Music Power Rating and the more exacting RMS rating are identical because Stromberg- Carlson uses silicon rectifiers for highly effective power supply regulation. THE PREAMPLIFIER is actually separate even though mounted on the same chassis. It has an extremely wide range of precise control features. Its circuitry includes: ECC83 tubes and D.C. powered filaments for low noise; specific feedback circuit for RIAA and NARTB equalization; improved feedback circuit for tone controls. The 8.80 is available now for only $199.95. We suggest you compare it-in an actual listening test-with any amplifier, at any price. You be the judge. For details, write Special Products Division, 1419 -02 N. Goodman St., Rochester 3, N. Y.

Individual Bass, Treble anc Volume c. +:ín: . Controls for each Chancel

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ASR -880 SPECIFICATIONS: Power: 64 watts (2 -32 -watt channels) ; Response: 20- 20,000 cps ± 0.9 db; Distortion: Harmonic: less than 0.6% at full output, IM: less than 1% at program level; Hum and Noise: down 70 db. Full Frequency Feedback Loop. High Fre- quency Phase Equalization Network. D.C. on preamp filament; Inputs: Phono (2 -mag. and ceramic), Tapehead, Tuner, Tape, Aux.; Outputs: Low, High 4, 8, 16 ohm. Third

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"There is nothing finer than a Stromberg- Carlson" STROMBERG -CARLSON ,- - A DIVISION OF GENERAL DYNAMICS

FEBRUARY 1960 S3

www.americanradiohistory.com rhythm and blues field who works in a equivalent, as Mehegan shows, worms his Here's what style that avoids the common extremes way into the listener's attention, taking of present -day guitar playing-the loose, hint not by storm but by seduction. Me- the experts are twanging, ultrafunkiness on the one hand hegan performs this quiet miracle time and jet -sped virtuosity on the other. He after time On this disc, ably supported by saying about is conservative in that he works close to Ernie Furtado, bass, and Chuck Wayne, the melody and within a relatively lim- guitar ( who also plays several solos that ited range. Simply because he gets away are completely in the Mehegan mood). the Bell Carillon from present norms, Jennings is pleasant Fortunately, Dorham remains tacit much to hear. The group backing him (organ, of the time. Stereo Amplifier bass, and drms) is helpful as a supporting ensemble, but organist Jack McDuff is an uninspired soloist. Memphis Slim: "The Real Boogie Woo - gie." Folkways FG 3,524, $5.95 (LP). The boogiewoogic recorded these days Quincy Jones: "The Birth of a Band." consists almost entirely of attempts by Mercury 20444, $3.98 (LP); 60129, pianists to re- create some of the more fa- $5.05 (SD). miliar selections from the popular hey- disc is The band born on this only in day of boogie twenty years ago. So it's with which Jones is part the new band refreshing to hear, in Memphis Slim, a currently touring in the Broadway-bound pianist grown up in the boogiewoogie Harold Arlen- Johnny Mercer show, Free milieu, who rreates inoenrl of imitating. Easy. is suf- and But the representation \lemphis Slim has a forceful approach ficient to suggest that the group may be- which can take on extremely graceful come a really exciting big -band aggrega- outlines. There are times, in fact, when who tion. Of the soloists are regular he sounds as though the delicacy and of members the Jones band, Clark Terry, thoughtfulness of Jimmy Yancey had Phil Woods, and Jerome Richardson are been blended with the raw force of Pete in heard here, with Terry, particular, Johnson. An accompanying booklet Con- showing himself to he a mountain of tains excellent notes by Charles Edward strength. The over -all sound is very much Smith on both Memphis Slim and the like that of the present Basis band, but on boogicwoogic style. several occasions Jones uses a compelling, surging reed voicing which might be the first step toward achieving group Mary Meredith and His Orchestras individuality. In view of the fact that this "Strings (and all that ) Jazz." Strand HiGH FIDELITY Magazine was a big-band studio session, Jones has 1003, $3.98 (LP); S 1003, $4.98 (SD). (The Carillon Stereo Amplifier) "is managed to imbue the band with a George Romanis has written arrange- rated at 30 watts output (per channel) surprising amount of character. ments of jazz standards ( Ruby My Dear, at 1000 cps with less than 1 %r, distortion, Bound About Midnight, Django, Early but can, in fact, develop this power at Max Kaminsky and His Jazz Band: Autumn) and ballads (Angel Eyes, Vi- 20 cps with less than 0.7% distortion. "Dixieland Horn." Commodore 30013, olets for Her Furs, Mist) for a big band Its intermodulation distortion is so low $4.98 (LP). featuring strings, trombones, and reeds that we would have considered 50 watts In the slow but, fortunately, steady proc- and using devices of both the lush mood per channel to be an honest rating." ess of transferring its recordings of the music school and of jazz. His use of late 'Thirties and early Forties to LP, strings in a jazz context is often sually HiFI /STEREO REVIEW Magazine Commodore has now turned a well -dc- good; he weaves them in with the jazz "This amplifier is going to be one of the served spotlight on Max Kaminsky. Ka- horns instead of hanging therm in the great ones. Our reviewers rank the Car- minsky is one of the indispensable team background as a setting. But the net re- illon the most flexible (among those omen of jazz, a lean trumpet of clarity sult is not especially satisfactory because tested in the last eight months) in all and certainty who can set the tone and the only really strong, outgoing jazz voice categories in its power rating." temper for a good ensemble. He is also to be heard is Urbic Green's trombone, a soloist whose playing is totally to the scarcely sufficient to carry the whole dise. AUDIO Magazine point. The groups in this collection, taken "is good to listen to, just from sessions in the early Forties, have (The Carillon) Modern Jazz Quartet: "Music from to look a the sharp, rasping attack common to The as good at (as handsome unit Against Tomorrow." United Art- as reviewer has the Commodore dates organized by Ed- Odds this seen)." $4.98 5063, $5.98 die Condon. Aside from Kaminskv's de- ists 4063, (LP); Get full facts about the Carillon Stereo pendable playing, there are enticing con- (SD). Using portions of the background score Amplifier and new matching Carillon tributions by two clarinetists, Rod Cless for the films Odds Against Tomorrow, the Stereo Tuner. Ask, too, the fine and Pee Wee Russell, and by the briefly about Modem Jazz Quartet has made them the heard Joe Sullivan on piano. James P. Bell Stereo Tape Transports to complete basis for the most completely jazz -ori- is present on tour selections your music system. Send coupon today. Johnson it has made. Its some- without himself. The re- ented recording distinguishing from Eu- were times self- conscious borrowings cording echoes as though it done in ropean music are here successfully sub- an air raid shelter. .zet Sound Division ordinated in these freely flowing per- Thompson Ramo Wooldridge Inc. formances. John Lewis' deliberate solo 555 Marion Road, Columbus 7, Ohio John Mehegan Quartet: "Casual Affair." style, beginning in an almost negative TJ Record Corp. 171, $4.98 (LP). manner and then building through ex- Please send free literature and specifications on these Bell products: Were it not for the presence of Kenny tremely subtle changes to a tremendously Carillon Stereo Amplifier. Model 6060 Dorham's harsh, stumbling trumpet, these compelling momentum, is set out with selections might have been models of delightful clarity throughout the disc. It Stereo Tuner. Model 6070 Carillon finely bodied but unostentatious jazz. In is the emergence of Lewis as an unfet- Bell Stereo Tape Transports his piano playing, Mehegan illustrates the tered, extemporizing soloist which gives essential difference between the unob- this set much of its impact. Here he NAME tntsivc cocktail pianist and the unob- makes it clear that the cumulative ADDPE.SS trusive jazz pianist. A good cocktail pi- strength of his seemingly simple lines CITY ZONE-STATP anist provides music in the background L J of the listener's awareness; his jazz Continued on page 86

84 Hicii FIDELITY MAGAZINE

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Thclonious Monk: "Work.' Prestige 7160, $4.98 (LP). THE VERY BEST Less! Both Monk and tenor saxophonist Sonny for Rollins are shown in their early- Fifties form on this disc made up of two Monk trio pieces recorded in 1954, two Rollins quartet selections with Monk on piano from the same year, and a Monk quintet which includes Rollins dating from 1953. The interest of the program lies almost entirely in the two Monk trio pieces, NEW ! Arkay SQ -9 "SKY -VOX" Work and Nutty, on which the pianist is CITIZENS' 2 -WAY RADIO accompanied by Percy Heath, bass, and Completely !Wired and Awned Front End Makes It the Easiest Kit to Assemble Art Blakey, drms. On both pieces Monk The finest 2 -way ell lieus' baud communication system is in for buslncas. pleasure. aulo faon, irae. Industry, etc. a more gentle, lyric mood than one Magnificently engineered for outstanding perfnrmallre% is accustomed to find him. But he swings r:1xe of axxumbly and operation, the Sky -Vox otters high sensitivity. selectivity). stability and fidelity of sound- along with the same lean force that im- Advanced design features include: Completely aasrmfdM pels his more angular pieces. Rollins' trout end with a channels aligned ready to Install In main ehassIS t'plo- Ihemhuite circuitry with S tubes and 5 playing is light, loose, and bright on his diodes Stipes e'na111ve crystal controlled s111.Crhet receiving circuit Crystal controlled oscillator rentoile RF two quartet selections (The Way You and tuner transmitting circuit Front Panel controls include 3 position channel selector Receive-Transmit Look Tonight and I Want To Be Happy), twitch Volume control Squelch control Mike input Nuise balance Control In rear chassis. t but his solos last much longer than his Power Requirements: 117 Colts GO cycles AC or 12 Cotta ideas. Neither Monk nor Rollins can over- DC. Sensitivity: I u /v. 400 rye. at 27.015 Me. for full output (2.5 Watts): Signal/Noise Better than 35 DR come the phlegmatic, lackluster charac- Image 30 DB IF Bandwidth S KC. Complete with 2 rabies. microphone and set of rrySlals. Attractive. com- ter of the quintet piece. pact metal ease. Site: 5" li x S34" x I I" W. Wired and Tested 5119.95 Easy -fn -build Kit 579.95

Turk Murphy and His Jazz Band: "Music THE ARKAY MS -5 for Wise Guys and Boosters, Card Sharps and Crap Shooters." Roulette STEREO plIoybu 1, 2.5088, $3.98 (LP); S 25088, $4.98 (SD). TAPE DECK Turk Murphy's lusty, stomping band has Professional quality at a finally found the kind of rowdy music popular price! ideally suited to it in the pieces snaking A mlpreme achievement In fripe deck drslpl and per - formance. the A RKA C records your favorite mlislr with up this disc. They tend to reek of alco- the same superb performance of alpe recorders confine muer' threw mnre. Ao nfher enta Jett -- reenrdfece hol, low life, and cynical sentimentality pry,- titers xn maap tin porlard feature.. llrre i Jia t¡11 loir: Hole, a Wise Guy, Cembinli.n Bead for 2 of 4 AS- mNttaw Snr. -Ace in the You're tordi Sterro -Tv. Speed. Dma-I,. Isdne Ragged But Right, The Torch That 50- 140000 rpm : Z db. rdl- ...filar eu..a n,ue, and arrow: -. el I% L... (si' ä.m.1 capstan Didn't Go Out, Rut Eye, and others of F,e.butlen .wr.tien Sit., 12.ír," N,,, ¿° -SS db, 5/N deep. similar ilk. Murphy's whisky baritone fits 2 track Only $17295 4 rack Slightly nigher into this atmosphere readily, and a tune like You've Got to See Mama Every ARKAY CS -28 Night serves his girl singer, Pat Yankee, STEREO AMP /PRE -AMP much better than her ventures into Cñ. COMPLETE pseudo- Bessie Smith. This disc may be "__ '' CONTROL CENTER dismissed in some quarters as not jazz, Full 28 walls stereo or monaural. GO watts peak 14 watts each but it's the kind of thing that jazz could channel resole stereo balance control twD`chmnel pip stand a great deal more of. The focus is eaM,ol lull rani. bass ana treble controls IM distortion, 4 tu 1 harmonic aulortion, 1% )70.000 cps dual pre.amp 2V on entertainment laced with jazz, and output jacks speaker outputs. I, 8, 16, 32 ohms response, the lacing becomes real sturdy when 20.20.000 cps push.pull El/14 Wlloamson wood. $6495L Wired tested 599.95 Easyto-huild Kit Bob Short is taking off on a trumpet solo and ARKAY ST -II AM -FM or Bob Helm's clarinet can be heard. STEREO TUNER 3 ere. for the I time. dM -Pol he 6R Ki Tuner The Salt City Six: "Dixieland at the within the reach of every Round- Table." Roulette 25080, $3.98 a Idlooli lie. t'llmat cltt<1 by u tits costing twlrc mho price. (LI'); S 25080, $4.98 (SD). the 51' -11 Is two distinct ree leers Im one featuring 4 jV. for 210

SG HIGII FIDELITY MAGAZINE

www.americanradiohistory.com two saxophones, flute, French horn, and his own piano to create fascinating and varied developments of Bernstein tunes. The treatments run from splashy bravura to the utmost gentleness, and put a fresh and revealing light on some of the more familiar pieces -New York, New York, for instance, opens with a quiet lyricism in sharp contrast to the usual train an- nouncement approach. Scott seems to have been listening closely to the Mod- ern Jazz Quartet. Not that his arrangements suggest their work at all -he is thoroughly original in this respect -hut his piano playing shows strong traces of a John Lewis influence and when he switches to vibraphone he is a thorough- Four Exciting New Recordings Sltrts 60001 Monaural 20111 going follower of Milt Jackson. An ad- of A Tapestry of New venturous and rewarding disc. FOLK MUSIC Sound Patterns - Billy Taylor: "Taylor Made Jazz." Argo ALP -115 -woven through with unusual har- 850, $3.98 (LP). FOLKLORE ROMANE IN HI -FI monies, and unexpected tempos! No wonder This is a showcase for several Ellington Folk Songs of Rumania this album (with its sequel, sidemen rather than for Taylor. 'Taylor "Let's Dance Again ") has become ALP -116 required listening in the world of wrote all the pieces but, like his piano RUMANIA, RUMANIA audiophiles. work, they tend to be bland and, at best, The instrumental Folk Music of Rumania Hear David Carroll's imaginative simply pleasant. Yet when such perform- treatments of the title song; "Dark- ers as Johnny Hodges, Clark Terry, and ALP -120 est India "; "My Sin "; "Glow on APHRO - GYPSIA Britt Woodman go to work them, they The exotic music of Transylvania's Nomads Worm "; Marimba Charleston take on strength and interest that they seven more. have not had before. For all practical ALP -121 purposes, this might be counted as an HUNGARIAN FOLK SONGS AND DANCES Authentic The New Sound of Leisure-. Ellington small -group disc, for it is Performances in High Fidelity split almost equally between Hodges in best his suave mood and Terry's crisp and Interpreted buoyant trumpet work. on Jack Teagarden: "At the Roundtable." Roulette 25001, $3.98 (LP); S 25091, $9.98 (SD). Jack Teagarden has finally assembled a small group worthy of his talents. It is a TWO JEWELS bright, spirited band with special serv- Lend to enhance your listening pleasure an ear ings of brightness and spirit coining from to the greatest pianist Don Ewell, trumpeter Don savings in classical Coldie, and drummer Ronnie Greb. Ew- recordings! ell has already established himself as 5TATiCinaste; VOX BOX one of the finest exponents of stride piano he as ex- 3 RECORDS in a playing today, and performs and your DIAMOND NEEDLE box pected (especially in a solo selection, for only $695 Honeysuckle Rose). The real revelation Now you can odd these great selections to here is Goldie; this Armstrong- influenced your record library at only a fraction of trumpeter with an amazing facility for their usual cost. Each VOX BOX contains catching Louis' vocal qualities (he shows Three 12 -inch, long- playing records - a it briefly on one number ) has developed cycle of compositions in unified perform - into strong, creative, and individual once by the a some brilliant artists-3 $14.94 plays and sings value for only 56.95. performer. Teagarden Just Released! with great freshness and evident joy TCNAIKOVSKY: SYMPHONY r4, F MINOR, throughout, and who can blame him when OPUS 36. SYMPHONY 1`3, E MINOR, OPUS 64. he has a band behind him which can SYMPHONY ¡6, B MINOR, I "PATHETIOUE ") OPUS 74. Bamberg Symphony and Filormonico make even The Saints a pleasure. Trieur- Heinrich Hollroisor, conductor VBX -102 CHOPIN: PIANO MUSIC (COMPLETE): VOL. The amazing STATICMASTER Record Brush I- Etudes, Opus 10 and 25; Preludes, Opus 28; Teddy Wilson: "The Touch of Teddy operates on a simple nuclear principle. Sonora ¡2, B Flot Minor, Opus 35; Waltzes. Guiomar Novices, Pionist VOX-401 Wilson." Verve 8330, $4.98 (LP). When the record is brushed, a shower of Others In The VOX 80X Series Teddy Wilson is such an impeccable and alpha particles neutralizes the stAtic SCHUBERT: PIANO SONATAS (Complete), consistent performer that the release of charge. Soft jaguar hair bristles provide VOL. 1 Friedrich Mohr.", Piano VX - another set of trio performances leaves the exact degree of stiffness to remove the MOZART: STRING OUARTETS (Complete): Static free dust and lint from the record VOL. I. Barthel Guadet VBX almost no margin for comment. This col- 42 grooves. A few circular sweeps of a. rotat- 6 STRING OUINTETS IComplole) Botcher lection has the expected Wilson hall - Oocrtet -Emil Kes,in5er, 2nd viola VBX -3' ing record make dust and lint vanish like marks-it is light, bright, rhythmic, and magic.STEREO AND MONAURAL RECORDS BACH: MASS IN B MINOR VBX -7' melodic; the pieces are developed with Winne, of the "Grand Prix dú Disque" SOUND BETTER AND LAST LONGER. unfailing logic and touches of humor; WRITE POR and the whole thing is carried out with p:Bvy STATfC6tA5r ER5 front your local audio dealer CO.IPLETr skill. And rer order'dlrcct -sent postpaid -cosh with ardor. CATALOG 70 tremendous but unobtrusive DEPT. H the program is a little bit more adven- turous than Wilson's records are usually VOX PRODUCTIONS, INC, NUCLEAR PRODUCTS CO. 23G WEST 55TH ST.. N. Y. 19. N. Y. apt to he. 10173 E. RUSH STREET, EL MONTE 1, CALIF JOHN S. WttsoN

FE RRu.a7Tr 1960 57

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88 HIGH FIDELITY MAGAZLNE

www.americanradiohistory.com Tape Deck

Reviewed by R. D. DARRELL

The following reviews are of 4 -track 7.5- VANGUARD VTF 1612 (twin- pack). liveliest admiration should be qualified ips stereo tapes in normal reel form. 83 min. $9.95. by the admission that Job always has baffled me. Possibly it is my unfamiliar- Rossi's Scheherazade is so well known by ity with any stage production that makes BARTOK: Concerto for Orchestra this time that there is nothing new to it impossible for me to supply the visual Bamberg Symphony Orchestra, Heinrich say about its many engaging merits. 1 and story links perhaps needed to in- Hollreiser, cond. doubt, however, if its discophile owners tegrate the strictly musical episodes as Vox XTC 704. 39 min. $7.95. have been able to appreciate fully its re- well as to reconcile its mélange of styles. cording merits, first made evident in the At any rate, other listeners well may find Some reviewers found processing faults two -track taping of 1957 and now glit- this Masque more persuasive and elo- in the SD edition of this performance tering more brightly than ever in the quent, less naive and disjointed, than i not evident in the LP. The present tap- present four -track edition. Certainly few can. They may also find the searchingly ing, with faults wholly eliminated, is a stereo recordings which date hack as far clean, strongly stcrcoistic recording too beautiful example of transparent, well - can stand up as well today. closely mikecl and with excessive dy- spread, and blended stereo recording. It Fistoulari's four Hungarian Rhapso- namic contrasts. As I remember Boult's is not, however, as wide in dynamic dies. issued in LP and SD form in 1958, 1954 LP version, it was-if sonically less range or as distantly miked as the great are more powerfully recorded, if scarcely powerful and lucid -considerably more Reiner -Chicago version; and while Hol1- with as precise differentiation of orches- assured and smoothly contoured. reiser does extremely well with the more tral timbres. Or perhaps the greater sonic lyrical and piquant passages in score, the weight is the conductor's responsibility. ALIRIO DIAZ: "Guitarra de Venezuela" he can scarcely match Reiner's immense since he goes all out for circusy melo- power and somber sonorities in the more drama -for which the composer indeed Alirio Diaz, guitar. dramatic moments. Nevertheless, his gave him ample excuse. Fistoulari con- HTFIT APE 47' 812. 50 min. $7.95. reading throws fresh and valuable illumi- vinces us that there is a lot of life left nations on one of the most multifaceted in these warhorses. but it is Rossi's treat- Without daring to assign a specific rank- of contemporary masterpieces. ment of Schcherazade to which one re- ing to the young Venezuelan, a onetime turns most gratefully. student of Segovia's, I have no hesitation in acclaiming him as one of the rising LISZT: Hungarian Rhapsodies, Nos. 1-4 concert guitarists of our day -less per- -See Rimsky- Korsakov: Schelierazade, TCHAIKOVSKY: The Nutcracker, Op. 71 haps for sheer virtuosity (although he is Op. 35. (complete) an extremely skillful executant) than for New York City Ballet Orchestra, Robert his distinctive musical insights, restrained MAHLER: Symphony No. 1, in D ("Ti- Irving, coral. lyricism, and refined command of subtle tan") Knee Ki' 95007 (twin- pack). 79 coloristic differentiations. Moreover, he is an adept program maker: 1 seldom have London Sir min. $11.95. Philharmonic Orchestra, enjoyed a better varied hour of unac- Boult, Adrian cond. companied guitar music, in which the EVEREST T4 3005. 49 min. $7.95. Coining hard on the heels of the recently released LP and SD versions, the taping high points are the entrancingly intricate and sonorous Waltzes by Antonio Lauro, This performance, released in LP and of Irving's Nutcracker reveals even more the lovely anonymous Catalan Popular SD just over a year ago, first established clearly its merits of grace and festivity, Songs, tenderly antique. Pavane y the then new Everest Company's reputa- as well as convinces that the very highest Sanr.'s Folio, and the warmly zestful Fugue tion for outstanding recording skill. It is praise of the recording is needed to do from Bach's Sonata No. 1 for violin solo. almost needless to say that the tech- full justice to its engineers' skill and At the beginning, the extreme channel nological felicities here (above all the taste. Of conrse the less than overwhelm- differentiation gave me a somewhat dis- sweetness and purity of the warm, un- ing dramatic climaxes, Irving's own oc- concerting impressidn of a split or dou- exaggerated, yet superbly open store - casional fussy mannerisms, and the mere- bled instrument, but within a few mo- oism) up to even better advantage ly competent orchestral playing restrict slroa' ments the taw stereo illusion took com- on a flawlessly processed tape. In some the work from a top rating ( and it is fur- mand, and I remained conscious of the interpretative details, i have preferred ther handicapped by the absence of the technology involved only insofar as i other conductors, but Boultss version is illustrated album and booklet provided delighted in how it captured every one in stereo for this score, with the disc editions). But despite all the only -and nuance of Diaz's poetic playing. with its piquant woodwinds, sonorous this, it does remain a very special delight brass, and apocalyptic percussion, stereo to one's ears. is an absolute essential. VAUCIHAN WILLIAMS: lob ( "A "Concerto Under the Stars." Harry Heine- Masque for Dancing") man, piano; 101 Strings Orchestra. Bel RIMSKY- KORSAKOV : Scheherazade,Op. London Philharmonic Orchestra, Sir Canto ST 64 -4, 20 min., $6.95. 35 the now commonplace elas- Hungarian Rhapsodies: No. I, in Adrian Boult, cond. Overlooking 1Liszt: of the Hollywood definition of con- 2, in D minor; No. 3, in EvenesT T9 3019. 99 min. $7.95. ticity F minor; No. certo -which includes (as here) not only D; Nu. 4, in D minor This minority report on a work ac- the Cornish and Swedish Rhapsodies, Vienna State Opera Orchestra, Mario claimed as the masterpiece of a com- Rossi and Anatol Fistoulari, conds. poser whose other works command my Continued on next page

FEBRUARY 1960 89

www.americanradiohistory.com TAPE DECK

Continued from preceding page

but also transcriptions of Debussÿs Clair do lune, Liszt's Liebestraunl, Chopin 's Etude in E and Nocturne in E flat, and even the Meditation from Thais (!) -it is to Heineman 's and the anonymous con- e ductor's credit that they play with better taste, more tonal variety, less inflated 67.-: dramatics than almost any other practi- . `' tioners of this genre. And ex- (P- they are pansively recorded in luscious, yet never overripe, stereo sound. e , _ e - "Dukes of Dixieland, Vol. 3" (Marching fl Along); Vol. 4 (On Bourbon Street). ¡ Audio Fidelity AFST 1851 -4 and 18G0-4, 36 min. and 48 min. respectively, 88.95 each. The Durable Dukes sound even better on tape than in the early SD versions of //I these familiar programs, and Vol. 4 demonstrates even more marked stereoìsm in the recording -especially effective in the Chfnres Blues, Weary Blues, and Back Home in Indiana. Yet I still am a sucker (74()- for the more slapdash performances in Vol. 3, among which When Johnny Reb a Comes Marching Home still must rank - no matter how often heard -as a piece A reel of quite sui generis. A special

spirited classics, . . "Flamenco España." Bcrnabé de Monín, bonus package guitar; instrumental and dance ensem- professionally recorded ble. HiFiTape 9T 811, 32 min., $7.95. ...from the makers. if you've never been able to cultivate the taste for flamenco singing, yet relish of Audiotape on Audiotape the oftentimes electrifying guitar playing and dancing alone, this brilliantly recorded tape should be an unalloyed de- Put yourself in high spirits! Here's a great opportunity for This reel of bright and melodic light, since it concentrates exclusively on tape fans. "High Spirits," a classics will make a fine addi- tlorón's florid, vibrant guitar solos and sparkling program of toe -tap- tion to your tape library. And, his participation with three other guitar- ping classics, is now available it's available on a bargain basis. ists and four dancers /castanet players from Audiotape dealers in a The makers of Audiotape have in ensemble pieces. The performances money -saving bonus package. not gone into the music business. are high -spirited, even rambunctious No matter what type of tape They are simply using this reel throughout, but the singularly intricate equipment you have, you can to demonstrate how life -like and exotic Gitanería Morisco is partic- enjoy this exhilarating pro- music can sound when it's re- ularly, distinctive. gram, for it's available in two - corded on Audiotape. The result track stereo, four -track stereo is a delightful listening experi- and dual -track monaural sound ence for you. "High Spirits" - "The Gaiety of Strauss." Graz Philhar- (all at 7 ips on 1200 ft. of at Audiotape dealers everywhere. monic Orchestra, Gustav Cenny, cond. Audiotape) Livingston 4T 2, 29 min., $7.95. This is apparently the saute program (minus the Richard Strauss Aosenkac- THE PROGRAM alier Waltzes) released last spring on a THE OFFER "High Spirits" includes these bright Janus stereo disc under the title "Strauss You get the "High Spirits" recording selections, professionally recorded on in Stereo." As there, the recording is re- and a 7" reel of Audiotape (on 11/2.mll Audiotape: verberantly open and broadspread, the acetate base) for the price of two 7" Strauss Frisch ins Feld performances relentlessly heavy- handed. reels of tape plus $1.DO. And since you're getting two I200-ft. reels of pro- Strauss from Fledermaus Waltz But while the Night in Venice and Fle- fessional.quality Audiotape -with "High Beethoven from Symphony No. I in C dermaus Overtures and the Artist's Life Waltz arc routine at best, Cerny does Spirits" recorded on one of them -you're Tchaikovsky from Capriccio Italien actually paying only a dolar for this line bring considerable lustiness, along with Bizet from Carmen Suite program of lively classics. Don't watt. less rough orchestral playing, to the fa- See your Audiotape dealer now. Berlioz Rakoczy March miliar Frisch ins Feld march and Ellen a Magyar schnell- polka.

"Gone with the Wind." Sinfonia of Lon- don, Muir \lnthieson, cond. \Varner Bros. WST 1322, 37 min., $7.95. auctiotape to be Claimed the only modern complete recording of Max Steiner's film score, Manufactured by AUDIO DEVICES, INC. Manufactured by AUDIO DEVICES, INC. 444 Madison Ave., New York 22, New York 444 Madison Ave., New York 22, New York Offices in Hollywood & Chicago Continued on page 92 Offices in Hollywood & Chicago

90 HIGH FIDELITY MAGAZINE

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Continued from page 90

this is a valuable reminder that the GWTW music contained much more than the unforgettable "Tara" theme. Indeed it now seems to be a true symphonic poem which must rank, for all its frank sentiment and freely borrowed ideas, as at its best a surprisingly poignant and dramatic work. And it is definitely at its best here in a quite straightforward yet 5TH impressively full -blooded symphonic performance and the biggest of big-auditorium sound - achieved, miraculously, HIGH FIDELITY ANNUAL without stereoistic exaggerations.

"High Spirits." Audiotape special offer. 49 min., $1.00 plus the regular cost of two 7 -in. reels of No. 2501 Audiotape. RECORDS IN REVIEW 1959 Like the sensationally popular Blood and Thunder Classics of July 1959, this pro- Now includes STEREO reviews - disc and tape! motional bonus program undoubtedly will enjoy enormous circulation (it is also Here is the most important and practical book a record and tape available in two -track monophonic form collector can own. It will save you money ... save you time ... and a somewhat abbreviated two -track save you frustration - insure your building an outstanding library stereo version). but i doubt whether it of recorded music that will bring you and your family maxiwum will be as well liked, mainly because it listening enjoyment for years and years. is so much more uneven in both musical and recording qualities. As usual, the main fun (at least for tape specialists) It's the fifth High Fidelity Annual Records in Review 1959 - - is identifying the unaccredited perform- containing reviews of classical and semiclassical music, and the ers- which, thanks partly to the near- spoken word, that appeared in High Fidelity from July 1958 simultaneousltaneous release of the Strauss -Cerny through June 1959. program, turns out to be relatively easy. Apparently all the present recordings are Records in Review 19.59 is the most complete and authoritative drawn from Livingston originals, al- book of its kind published. though in at least one case ( the last two movements of Beethoven's First Sym- Brings you lively, informative reviews of approximately phony by Rosenstock and the Jlannheini 1. 1,000 releases - disc and tape, mono and stereo. Symphony) no previous taping was issued and the work has appeared only as Reviews are by thigh Fidelity's staff of eminent critics a Janus stereo disc. Cerny and the Graz 2. - each an expert in his particular field. Philharmonic are represented by the Frisch ins Feld and Fledermaus pieces Reviews cover the merits of performance, the quality of in the aforementioned Livingston 4T 2; recording... and make comparative evaluations 3. with also by a routine Berlioz Rakóczy March releases of previous years. and an almost incompetent (and here in- complete) Tchaikovsky Capriccio italien Records in Review 1959 is convenient to use, too. Reviews are previously issued in two -track stereo tap - organized for quick, easy reference - alphabetically by composer. ings. By far the best work in the present And there's a special performer index included. program, both in performance and really brilliant, rather than merely bottom - heavy, recording is the Rosenstock/ The new Records in. Review belongs in every record collector's Mannheim Carmen Suite-and it alone is and you will save that, and more, library. The cost only $5.95 ... provides genuine justification for the the first few times you refer to the hook. Order extra copies, too, program's over -all title. for friends who share your interest in music and lri -li recordings. "Holidays for Percussion." Murray Solo- mon, string bass; New York Percussion Money Back! Trio, Ray Wright, cond. Vox XTB 705, Satisfaction Guaranteed ... or Your 29 min., $6.95. Even among the plethora of recent percussion divertissements, this is outstand- THE WYETH PRESS The Publishing House Great Barrington, Mass. ing, both for the precision and verve of I enclose $ for which please send me copies of the new its performances and the dazzling clarity RECORDS IN REVIEW 1939 at only $3.95 each. (No C.O.D.'s or charge of the engineering ( which includes many orders please.) ingenious multi- dubbing tricks without loss of superbly natural acoustics or NAME markedly stereogcnic effectiveness). Here the imaginative variety of percussive ADDRESS timbres is never allowed to substitute for genuine tunefulness, and the players com- CITY ZONE STATE municate a real enthusiasm for what they are doing. All eleven pops and novelty Foreign orders sent at buyer's risk. Add 25s' per book for postage on foreign orders except Canadian. pieces arc good fun, but the jauntiest of

AMID II I all are leader Ray Wright's clever yet

112 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com never overfancy arrangements of Turkey of The Princess and the Pea has been so Hayes, cond. Vanguard VTC 1602, 43 in the Straw, Easter Parade, Mexican successful on the stage that I probably min., $7.95. Honeymoon, and Parade of the Wooden expected too much of it on records - Just a year ago the SD release of this Soldiers. where, for me at least, it seems only British documentary was acclaimed as mildly interesting despite the considera- one of the most breathtaking sonic spec- "Louis Under the Stars." Louis Arm - ble attractions of the singing (especially taculars ever achieved; in the present strong; Orchestra, Russell Garcia, conch. the airs by Carol Burnett, Jane \Vhite, taping it sounds, if anything, even more Verve VSTC 208, 36 min., $7.05. and Matt Mattox) and the tunefulness vividly realistic and overwhelming. It Even as a pops balladeer, hacked up by of the songs themselves (the catchy also proves to have more substantial mu- a nondescript cocktail hour ensemble Very Soft Shoes in particular). Un- sical interest than was perhaps evident and with only the husks of his voice left, doubtedly this tape will appeal much at first to listeners stunned by the sheer Armstrong still is able to project his more strongly to those who have seen impact of thundering mounted regi- unique personality and bring vitality to the stage production, for it is admirably ments, the blazing heralding trimipct Have You Met Miss Jones?, I Only Have recorded with the theatrical presence fanfares, and the blasts of a twenty -one- Eyes for You, You're Blasé, etc. And and immediacy that only stereo at its gun cannonade. Yet perhaps the most when he turns to his trumpet for a chorus best can provide. And perhaps such lis- lasting fascination of this work is the or two, even his now cautious playing teners also will be able to find more ra- mystery of just how its engineering tri- and avoidance of a once sensational top tionality than 1 can in the shifts in sing- umphs were achieved, for surely it can- register can't prevent his still providing ers' locations, which take place even not all have ieen recorded in the open moments of genuine aural thrills. during a given song as well as between air. Some kind of electronic trickery and/ scenes. or combinations of recording environ- "Once Upon a Mattress." Original Cast ments must have been involved; but if Recording. Kapp KT 41012, 45 min., "The Queen's Birthday Salute." Herald so, the editing has miraculously blended $7.95. Trumpeters and Band of the Royal them to give an overpowering impression Mary Rodgers' musical- comedy version Regiment of Artillery, Major S. V. of on- the -spot sonic documentation.

The same material cannot properly be a rigid cone and a compliant suspension. In all KLH speakers, cone and suspension are separate parts. Research and Development Corp. Here the suspension is being formed, Cambridge, Massechusells by hand, of liquid butyl rubber. A KLli cone is rigid. Its suspension is compliant.

FEBRUARY 1960 93

www.americanradiohistory.com Stereo Preamplifier HF8S

0 and Mono Hi -Fi ...the experts say sTtO your best buy is /tcrOLii) 70W Stereo Power Amplifier HF87 28W Stereo Power Amplifier HF86

"The overall design of the HF -81 is conservative, honest and functional. It is a good value considered purely on its own merits, and a better one when its price is considered as well." FM Tuner HFT90 FM /AM Tuner - Hirsch-Houck Labs (HIGH FIDELITY Magazine) AM Tuner HFT94 HF192 Advanced engineering Finest quality components "Beginner- Tested," easy step -by -step instructions LIFETIME service & calibration guarantee at nominal cost IN STOCK - compare, then take home any EICO equipment - right "off the shelf " - from 1500 neighborhood EICO dealers. Stereo integrated Amplifier AF4

IOLUS LIVIL 12W Mono Integrated Amplifier HF12 Other Mono Integrated Amplltiersr 1;4, n 50, 30, & 20W (use 2 for stereo) IMPW an . rVMr:ripriSFl

Stereo Amplifier -Preamplifier HF81

HFBI Stereo Amplifier -Preamplifier selects, from 25 us. IF' bandwidth 260 kc at 6 db points. amplifies. controls any stereo source & feeds it Both cathode follower & FM- multiplex stereo Oro self-contained dual 14W amplifiers to a outputs. prevent obsolescence. Very low distor- pair of speakers. Provides 28W monophonically. tion. "Une Of the best buys in high fidelity Mils." Ganged level controls, separate balance control, - AUDIOCRAFT. Kit $39.95'. Wired 565.95'. independent bass & treble controls for each Cover $3.95. 'Less cover, F.E.T. Incl. channel. Identical Williamsonlype, push -pull EL84 amplifiers. "Excellent" SATURDAY New AM Tuner HFT94. Matches HFT90. Selects power - weak. REVIEW; HIFI MUSIC AT HOME. "Outstanding "hi -fi" wide (20c - 9kc r7a -3 db) or 2-Way Bookshelf versatile. -ELECTRONICS Station narrow (20e -5kc _ -3 db) bandpass. quality .. extremely " g Speaker System HFS1 WORLD LABTESTED. Kit $69.95. Wired $109.95. Tuned RF stage for high selectivity 8 sensitiv. Includes cover. ity; precision eye- tronie Ike tuning. Kit $39.95. 3 -Way Speaker System HFS3 Cover & F.E.T. 2Way Speaker System HFSS HF65 Stereo Preamplifier is a complete. master Wired $65.95. Incl. stereo preamplifier -control unit, sell- powered for New FM /AM Tuner HFT92 combines the re flexibdìly & to avoid power- supply problems. Dis- nowned EICO HFT90 FM Tuner with excellent tortion borders on unmeasurable even at high AM tuning facilities. Kit $59.95. Wired output levels. Level, bass, & treble controls inde- $94.95. Includes cover 8 F.E.T. lion, 8" woofer (45 cps res.), 8 31/2" cone pendent for each channel or ganged for both New AF.4 Stereo Amplifier provides clean 4W tweeter. IN cu. It. ducted-port enclosure. Sys- channels. Inputs for phono, tape head. mike, AM, per channel or 8W total output. Inputs for tem 0 of sh for smoothest frequency 8 best FM, L FM- multiples. One each auxiliary A 8 U ceramic /crystal stereo pick -ups, AM -FM stereo, transient response, 45.14,000 cps clean, useful input in each channel. Switched -in loudness com- FM -multi stereo. 6- position stereo /mono selec response. HWD: 24", 121/2", 101/2". Unfinished pensator. "Extreme flexibility .. a bargain...- tor. Clutch- concentric level 8 tone controls. Use birch $47.50. Walnut, mahogany or teak $59.50. HI-FI REVIEW. Kit $39.95. Wired $64.95. Includes with a pair of HIS -5 Speaker Systems for good HFSI Bookshelf Speaker System complete with cover. quality. Iow.eoSt Stereo. Kit $38.95. Wired $64.95. factory -built cabinet. Jensen B" roofer, match New HF87 70 -Watt Stereo Power Amplifier: ing Jensen compression-driver exponential horn Dual HFI2 Mono Integrated Amplifier provides com- 35W power amplifiers of the highest tweeter. Smooth clean bass: crisp extended quality. plete and true high fidel- Uses top-quality transformers for "front-end" facilities highs. 70-12,000 cps range. 8 ohms, H1' /D, 23" x output undis- ity performance. Inputs for lape head, TV. torted response across the entire audio range at phono, 11" x 9 ". Price $39.95. tuner and crystal cartridge. Preferred full power to provide utmost clarity on full /ceramic variable crossover, feedback type tone control HFS2 Omni- Directional Speaker System (not illus.) Orchestra & organ. IM distortion 1% at 7019, circuit. Highly stable Williamson type power HWD: 36", 151.k ", 111/2". musical" harmonic distortion less than 1% from 20 to "Eminently amplifier circuit. Power Output: 12W continuous. - H10K FIDELITY. "Fine for stereo" - MODERN 20,000 cps within 1 db of 70W. Ultra- linear con- Wired Includes HI -Fl. factory- built. Mahogany or icat- nected EL34 output stages 8 surgistor- prolected 25W peak. Kit $34.95. $57.95. Completely nut Blond silicon diode rectifier power supply. Selector cover. $139.95. $144.95. switch chooses mono or stereo service; 4, 8, New HFS3 3 -Way Speaker System Semi-Kil com- 16, and 32 ohm speaker taps, input level con plete with factory -built /-- veneered plywood (4 EICO. 33-00 Northern Blvd., L.I.C. 1, N. Y. trots: basic sensitivity 0.38 volts, Without exag- sides) cabinet. Bel lowssuspension, lull -inch ex- TO 50% geration, one of the very finest stereo amplifiers cursion 12" woofer (22 cps res.), 8" mid -range SHOW ME HOW SAVE on 65 models of top available regardless of price. Use with self. speaker with high internal damning cone for quality: EJ Hi -FI Test Instruments powered stereo preamplifier -control unit (HFSS smooth response, 35/2'' cone tweeter. 3U4 cu. ft. "Ham" Gear Free STEREO Hi -FI Guide recommended). Kit $74.95. Wired ducted -port enclosure. System 0 of 42 for smooth- Cl $114.95. Send FREE catalog & name of neigh. HF86 28W est frequency & best transient response. 32 Stereo Power Amplifier Kit $43.95. borhood EICO dealer. Wired $74.95. 14,000 cps clean, useful response. 16 ohms M Tuner HFT90: Prewired, prealigned, tempera. impedance. HMS, 261/2", 1311r",143h". Unfinished NAME birch $72.50. Walnut, mahogany er teak $97.50, Lure- compensated "front end" is drill-free. Pre - Aboncsa wired exclusive 2 precision eye- VOnic9 traveling New HFSS -Way Speaker System Semi -Kit com- CITY tuning indicator. Sensitivity: 1.5 uv for 20 db plete with factory -built V." veneered plywood (4 quieting; 2.5 us for 30 db quieting, full limiting SOW cabinet. Bellows -suspension. Aá" excur- Listen to the EICO Hour, WBAI -FM, 99.5 MC Mon., lisura., Sat. 7 -8 P.M., and Sat. Ask your dealer about EICO's exclusive Stereo Records Bonus. 3.4 P.M. 94 HIG14 FIDELITY MAGAZINE

www.americanradiohistory.com .0 February 1960 c>t Lid ì oc n,ta.

From he puts something of himself into it. That being so, we figure he'll want to build the very best and spend the extra money to get it." the Not having tested -or even listened to-the new units, we are in no position to weigh Harman's evaluation High -Fidelity of "best." But if actual weight were any criterion, "Citation II" would take high honors, tipping the scales Newsfronts at sixty -one pounds.

"JENSExsATIoxAL "- that's the way Mike Renn nd, sales ONEE OP THE MORE provocative ideas for a music manager for Jensen Industries, describes his firm's new system is the tape cartridge player "Lifetime" diamond needle. By "lifetime" Jensen means developed by CBS Labs for the giant tape firm Minne- you pay $25 for a replacement stylus, and they'll replace sota Mining and Manufacturing. The player operates at it at no cost whenever it shows wear. the very low -for high -fidelity reproduction of music - So- called "lifetime" needles aren't new. Packaged - speed of I % inches per second (ips). phonograph makers, in particular, used needle perma- As we go to press, reliable sources report that two nency as a sales feature some time ago, and a good many firms have been licensed and arc tooling up to prmlucc gullible buyers ruined a lot of records before finding out the players -Zenith in this country and Grundig. major that needles wouldn't last forever. Conscious of the fact European electronics firm. CBS Labs and Minnesota that when one material, under pressure, rubs against Mining have said little to date except that the unit is another, %'ear has to result, we asked Mike Rcmund how under development. Official debut, however, may take Jensen's "Lifetime" differs from ordinary, garden- place at the end of this month or soon thereafter. variet y diamonds. In our March issue. we will publish an exclusive inter- Said Rcmund: "The 'lifetime' diamonds arc 'super view with Dr. Peter Goldmark, Director of CBS Labs number ones.' The tips have the best polish, and friction and chief architect of the cartridge development. is reduced to a minimum. Size and shape are as close to Don't take this as a signal to toss away your present perfect as we can make them." half -track or quarter -track rape playing equipment. Far Not to detract from Jensen's sales approach, we sug- from it! Quarter -track tapes of proven quality have been gest that users of all types of styli give them a micro- released in increasing numbers and with varied program scopic check periodically. material for all tastes.

DON'T BE SURPRISED TO sec a de luxe, precision -made THE SOLDER-IT-YOURSELP fraternity will have to dig turntable from Audio Empire later in the year. That deeper than usual into hi -fi budgets to buy one of company's Herb Horowitz was cagey about committing I Iarman- Kardon's "Citations " -newest kits to hit dealer himself but admitted that a prototype is currently under- shelves. The "Citation II" stereo amplifier kit carries a going tests. $159.95 tag, and its companion preamp, the "Citation Incidentally, Horowitz's engineering aide, Marty Fine, 1," Is priced aí$139.95 in kit form. told us he had to go to five different studios to get a "Why," we asked Sid Harman, "didn't you turn out stereo test disc cut for checking Audio Empire's cartridge something more competitive in price ?" output. One engineer offered him 10 -db separation and "No point to it," said Harman. "There are already told him they often leak one channel into another be- several kits aimed at the customer with just so- and -so- cause "listeners don't like wide separation." It may not many dollars. Producing still another for that market have occurred to him that the buyer of the record can just doesn't make sense. We give value for the extra mix channels himself if that's what he wants. Finally, money-extra power (60 watts per channel), extra fea- Fine got that he wanted from recording engineer Jerry tures, special circuitry. Everything about the Citation Minter, of Components Corporation. Fine suggested kits is de luxe. The engineering stall, under Stu Hege- that Minter put out the disc in a commercial pressing nun's direction, didn't spare anything. We feel that for home listeners to check their own equipment. when an audiophile builds his own playing equipment, Sounds like a good idea. RALPH FRE.S

FEBRUARY 1960 95

www.americanradiohistory.com AUDIONEWS

t..1 Preview of New Equipment

EX- static for Record Care A new product of British electronic research, this antistatic record cleaner will, according to its distributor (Ex- static Ltd., Kew Gardens, N. Y.), gel out the superfine grit that ruins micro - grooves; reduces friction between stylus and groove walls, thus reducing wear; and overcomes static attraction of dust for several months. Spray and then wipe off with pod. Price: $1.85.

Ampex Stereo Tape Recorder This portable stereo tape recorder (Model 970) features a self -contained matched pair of amplifier -speakers for playback monitoring, with two- channel stereo amplifier and two 7 -in. oval speakers. The effective center -to- center distance between the two speakers, which face outward from each end of the unit, is obtained by using sound -directing panels. Head gap alignment within the stack is held to 20 seconds of arc. Playback head gap is 90 millionths of an inch. The 970 is priced at $750.

Kind -to -the- Budget Speaker Enclosure Rockford Special Furniture Company announces the availability of its Model 108 semi- back -loaded 8 -in. speaker enclosure for monophonic, stereo, and auxiliary extension use. Also accom- modates any size tweeter, which may be added at any time. Choice of natural walnut, hand- rubbed mahogany, blond, and ebony finishes. The over -oil size is 12" x 24" x 12 ". Price: $24.

Allied Stereo Amplifier Allied Radio states that its new Knight stereo amplifier (Model KN -760) delivers 30 watts per channel on stereo and 60 watts in monophonic operation, with a frequency response of t0.5 db, 25 to 20,000 cps; harmonic distortion is less than 0.75% at full rated output; IM distortion less than 2% at 30 waits per channel. Outputs: 4, 8, and 16 ohms each channel, plus blended center channel. Finished in gold and chorcool brown. Price: $149.95.

96 HIGII FIDELITY \fACAZIXI?

www.americanradiohistory.com Utility Speaker by Heathkit Heathkit's Model US -3 features c coaxial -type speaker, with 12 -in. woofer and 3 -in. tweeter. Built -in network provides crossover at 2,000 cps. Frequency response is from 50 to 15,000 cps and rated for full 15 waits. Instructions supplied with kit show how to build a recommended bass -reflex -type enclosure for the speaker. It con be adapted for either wall or ceiling mounts.

H. H. Scott's 399 This new stereo tuner -amplifier combines two preamplifiers, two 20 -watt power amplifiers, an AM tuner, and an FM tuner on one chassis. Input for phono. Among the many advantages of this new unit. according to the manufacturer, is the extreme com- pactness allowing great flexibility in installation. Price is $399.95.

Dustproof Record Envelopes Leslie Creations is putting out heavy, lint- proof, white wove paper envelopes, specially treated to eliminate dust -attracting static electricity. The "Envel- Liner" slips over any I2 -in. LP, then into the original cardboard jacket. Permits handling records without the danger of finger -soiling their sensitive surfaces. A package of fifty costs $4.95 plus an extra 500 for postage.

Selachron Elapsed -Time Indicator Seta Electronics Company now offers o compact electronic time ¡Seläçhrön meter with no moving parts, designed for direct wiring into TIME devices for straight scale reading of total operation time. Avail- IO 0 oins able for equipment or devices operating on 6 -, 12 -, I15 -volt AC 60 rvcrfs or DC and total elapsed -time reading of 100, 500, 1,000, and SfLA 10,000 hours. (Other combinations of voltages or time spans obtainable on special order to the company.) The price is $3.95.

Three Semi -kit Speaker Systems EICO announces three speaker systems, two 3 -way systems 0-IFS-3 and HFS -41 and HFS -5, a 2 -way bookshelf -size one. HFS -3 and HFS -4 are identical except for the tweeter. Both have o 12 -in. bellows -suspension woofer and an 8 -in. closed - back midrange speaker. The HFS -5 uses an 8 -in. bellows - suspension woofer and a 31/2-in. closed -back tweeter. Finishes: unfinished birch, walnut, mahogany, teak -at $47.50 to $87.50.

FGlìl'IUANl- 1.960 97

www.americanradiohistory.com prepared by Hirsch -Houck Laboratories and the technical staff of High Fidelity H Freports

is EICO AF -4 Stereo Amplifier former core, and this what we found. Intermodulation tests with a SPECIFICATIONS (furnished by manufactur- lower frequency of 60 cps also er); Model AF -4 dual- channel power amplifier. showed appreciable amounts of dis- Rated power: 8 walls full power; 4 watts per tortion at very low power outputs. channel; 16 watts peak. Frequency range: ±0.5 db, 30 to 20,000 cps. Damping factor of If the usual criterion of defining 9. Harmonic distortion: at 8 watts, 3% from power output at the 2% IM point is 200 to 5,000 cps. IM distortion: 8 watts out- employed, the AF -4 can deliver only put, 5% distortion from 200 to 7,000 cps. Hum 1 watt according to the manufactur- below -74 db. and noise: at full output, EICO's sterco amplifier. Our measurements show Tone controls: up to 9 db treble cut (at 10 er's ratings. kc), 8 db bass cut (at 50 cps). Inputs: 9 -4 only 0.5 watts per channel at 2% I \-I phono, 1 multiplex, 2 auxiliary, 1 AM, 1 FM. for enjoyable listening at moderate distortion. This, we feel, is entirely too Outputs: 2 tape jacks, 1 preamp jock. Dimen- levels. This is sions: 3%" x 12" x 81/4 ". Price: Kit, $38.95; especially true in a r, Wired, $64.95. MANUFACTURER: Electronic stereo system. +lo I Instrument Co., Inc., 33 -00 Northern Blvd., Long Unnecessary frills have been elimi- lo- Odb- ons

Island 1, N. Y. 1I City 1 nated from the AF-4. It has no mag- -70 r i IOM netic phono preamplifier, being de- 3o SO loo 300 500 1000 3e 5M 200 At a glance: The EICO AF -4, a budg- signed for crystal or ceramic cartridges Power Response 0 db = 10 waifs. et- priced stereo amplifier, is rated at or high -level tuner inputs. A unique 4 watts per channel. Though our tests tone -control circuit using one knob +5 1 showed that it came very close to p - Cenu gives flattest response in the center, meeting all important manufacturer's w and rolls off high frequencies or low specifications, we think that its very frequencies when rotated limited power output at low distortion counter- clockwise or clockwise. No boost is ;ç-1 levels makes it unsuitable for use in 20 50 loo 300 500 1000 3M SK IOM 200 provided. A - most high- fidelity music systems. moderate amount of low frequency boost, for loudness com- Tone control cruces. pensation, is incorporated in the vol- In detail: The design of the EICO ume control circuit. low for effective use, except possibly AF -4 is based on the philosophy -a Tone controls for the two ampli- with very expensive high -efficiency sound one, we feel -that with speaker fiers are concentrically mounted with speakers which are not likely to be systems of fairly high efficiency a clean slip clutches so that they can be oper- used with a low -priced amplifier. (undistorted) power output of as lit- ated individually or as a unit. The The AF -4's frequency response tle as 4 watts per channel is sufficient two volume controls are similarly ar- shows a rolloff of high frequencies, ranged. Channel balance is achieved which is not serious. The power output 1000 by individual adjustment of the vol- capability falls rapidly outside the lim- ume controls. its of 100 to 5,000 cps. Distortion vs. Power Output Unlike most amplifiers used in high- The tracking of the two volume .50 cps Ho monic Distortion fidelity installations, the AF -4 has controls is very poor -the outputs of single-ended output stages. The dis- the channels have to be rebalanced 10.0 tortion- reducing properties of push - after any level change. Hum levels are pull operation are absent, but an un- extremely low, and hum is quite in- usually large amount of negative feed- audible with any speaker system likely back is used to help compensate. to be used with the AF -4. The ampli-

1.0 The power output vs. distortion fier is stable under capacitive load curves we obtained show slightly more conditions. It has an AC power -line distortion than the specifications indi- leakage current of 1.25 milliamperes, cate, but the difference, we repeat, is which is within Underwriters' specifi- slight. One would expect greater low - cations, but is nevertheless capable of frequency distortion in a single -ended giving a most uncomfortable shock to 0.1 0.1 1 0 10.0 output stage than in a push -pull stage, the user. Harmonic and IM distortion. due to saturation of the output trans- Listening tests, using both tuner and

98 HICII FIDELITI \IACAZINE

www.americanradiohistory.com ceramic cartridge program sources, fidelity amplifier, but rather os on economy am- tone- control action rather than feedback. In confirmed our feelings about the AF- plifier. (Even the model number AF -4 implies these commercial packages, as a rule, distortion that it is not in the high -fidelity model series, at oll levels is many times higher than in the 4's inadequate power output. At any which hove model numbers starting with HF.) AF4. We do not agree that loudspeakers ef- level above that of background music, In our literature we say only that of average ficient enough to give reasonable results with distortion was unpleasantly audible. listening levels, with high- efficiency loudspeak- the 0.4 need be expensive. The 8 -in. Norelco A speaker system of moderately high ers, performance falls within high -fidelity stand- AD4877M provides a nominal efficiency of 10% is the at 400 cps and costs only $26. Our test showed was ards. This true and serves to indicate goal efficiency used. H. H. Labs. of the design. To be explicit, this goal was to that with this loudspeaker, distortion at normal offer a more desirable alternative to persons listening levels in o fairly large room was ac- MANUFACTURER'S COMMENT: One thing we with limited budgets for stereo thon the pur- ceptably low. We suspect that the loudspeakers wish to make clear at the outset is that the chose of a commercial package stereo phono- used in your tests were not as efficient os AF-4 was never described by EICO os o high- graph wherein the available gain is used for this.

Shure Stereo Studio Dynetic "Inte- The truly outstanding qualities of grated" Tone Arm and Cartridge the Shire M216 do not appear in response curves. For example, the unique SPECIFICATIONS (furnished by manufacturer): "dynamic damping" of the arm elimi- Sensitivity: output at 1,000 cycles -4.5 millivolts ± 2 db per channel on WS -1A Test nates all traces of low -frequency reso- Record. Frequency response: 20 to 20,000 cps nance. The response is smooth and flat 3- 2.5 db. Channel separation: more than 20 down to 15 cps, falls a couple of db at db at 1,000 cps. Tracking force: 1.5 to 2.5 12 cps, and drops off rapidly below grams, adjustable. Tone arm over -all length 12 and weight: Model M216, 16 ", 11.1 ounces. cps. The arm is perfectly balanced, Price: $89,50. MANUFACTURER: Shure Broth- and tracks flawlessly at 1.5 grams ers, Inc., 222 Hortrey Ave., Evanston, Ill. even when the turntable is violently jarred. Needle talk is nonexistent. This actually hampered response At a glance: The Shure M216 Stereo our Stu re Studio tone arm and cartridge. Studio Dynetic pickup is the finest +I0

I stereo reproducer we have so far en- é o I I I I g- IR.__I 1 1 L countered. It is the only stereo pickup 20 SO 100 300 sao loon 31 5c 10c tac than that of other cartridges we have that is, in our opinion, the equal of always considered outstandingly free the finest monophonic pickups. Response with channels paralleled. from hunt pickup. The most impressive quality of this Bt +10 detail: The original Shure Studio _Frequencyene pickup is its ability to track the heav- Dynetic ResponseRes moving- magnet monophonic -- le- (Westree 1 Tes' Reseal) iest recorded passages without break- pickup, introduced over three years ° Separation up or groove jumping. We used the _m Chanel -""=ter ago, was widely recognized as one of Is tac 70r Cook Series 60 record for this test. the best phonograph reproducers of- Response and channel separation. One side of this disc is recorded with fered for home use. The slender black Fletcher- Munson compensation. which arm held a tiny cartridge which was boosts the recorded amplitude at 30 neasurements -we usually depend on lifted from the record surface by press- cps by over 30 db. Only three of the ieedle talk to help us cue in to the ing a button on the arm. Tracking at top mono pickups in our experience. desired record bands. Sensitivity to only. 1 gram of stylus force, it was and none of the stereo pickups, have induced hum is more than 20 db lower virtually indestructible. Further, it been able to stay in the groove at could not damage a record if it were the lowest frequencies on this record, scraped across the record surface. and only one handled this material Now a stereo version of this pickup REPORT POLICY without some audible distress. The is available. We tested the 16" pick- Shure M216 tracked this record effort- Most equipment reports appearing in up, designated M216. A 12" version is lessly, a feat that must be attributed this section are propored for us by also available. The sanie arm, to its very high wired Hirsch -Houck Laboratories, a com- stylus compliance and for stereo, is used, though the car- pletely independent organization complete clamping of arm resonance. tridge is slightly higher than the mono whose staff was responsible for the When we measured the tracking- cartridge. We used the recommended original Audio League Reports. Their angle error of the arm, the thought we tracking force of 1.5 grams. Its output reports are signed: H. H. Lobs. Re- had found possibly the only weak- is close to the average for stereo pick- ports ore published exactly as they ness of this pickup. The tracking error ups, about 4.4 millivolts at 5 cm /sec are received. Neither we nor the was 5 degrees at a 6" radius, falling stylus velocity at 1,000 cps. manufacturers of the equipment to 3 degrees at 4" and 2 ". These are tested are permitted to delete in- The stereo performance measured rather high compared to some good formation from or add to the re- on the Westrex IA a record shows ports, to amend them in any way, arms we have used. Further study smooth response, free of any peaks or or to withhold them from publico- suggested that this is a misleading holes, and rising slightly between 10 tion. Manufacturers may add a short picture. The slight lateral force ex- kc and 15 kc. The general depression comment if they wish to do so. erted on the stylus by the outer of the midfrequencics is characteris- On equipment that demands more groove wall during playing is suffi- tic of this record. The over -all smooth- subjective appraisals (such os loud- cient to displace the stylus slightly in ness of the response curve is also ap- speakers), the reports may be pre- such a direction as to reduce the parent in listening tests, where there is pared by members of our own staff. tracking angle error. We cannot meas- remarkable freedom from record hiss. Suds reports do not carry a signa- ure how much displacement actually ture. The policy concerning report would to On the Cook 12 mono record, a publication and amendment by the occurs, but not be surprised peak appears at 15 kc. Below 12 ke manufacturer is the some os that for find it amounting to 2 or 3 degrees. or thereabouts the response is quite H. H. Reports. which would make the tracking -angle smooth. To measure this, we paralleled error nearly zero over most of the rec- the two channels of the cartridge. ord surface. H. H. Labs.

FEBRUARY 1960 99

www.americanradiohistory.com Eighteen Hours to Listening Pleasure

Heath SD -1 Stereo Phonograph should be decided by experiment. ning time was almost nineteen hours, The satellites are small and easy to not including the cabinet- finishing SPECIFICATIONS (furnished by manufacturer): as is Power: 9 watts. Peak power: 20 watts. Am- move around, so it's a temptation to process. The wood, supplied, plifier frequency response: ±1 db, 30 to fiddle with them, depending on the sanded smooth; that's the way I left 16,000 cps. Hum and noise: 70 db below 10. "size" of the music. But if you place it. for the time being. at least. The watt level. Crossover network: crossover at them too far apart, you may get a woodwork portion took ire almmt 250 cps. Changer: speeds, 16, 331/4, 45, 78 rpm. twelve hours, and the electronic sec- Cabinet dimensions: main cabinet, 30" x 3414' x 15" deep; wing speakers, 141/4" x 8" tion about seven. I've built a good x 61/2". Price: 5179.95. MANUFACTURER: many Heathkits in the past ten years, Heath Co., Renton Harbor, Mich. but this is the first one that raised a blister in the palm of my right hand This remarkable Heathkit includes: .. . all those wood screws! record changer; stereo ceramic car- Here are some passing thoughts. tridge with diamond tip; mono- stereo jotted down in the margin of the con- control amplifier rated at 9 watts per struction manual. Be careful in un- channel; center channel woofer, cross- packing. The innocent -looking card- over network, and two satellite speak- board tube with a transformer or ers; complete and attractive cabinet Typical arrangement of completed system. something and a can of wood putty with space for a tuner. The total cost inside is not mere wrapping; it's part is eighteen to nineteen hours of assem- hole in the middle. The center speak- of the speaker enclosure. Yes, I re- bly time exclusive of cabinet finish- er in this system is a sort of blended trieved it from the wastebasket after ing, and $ 179.95. All this, plus pleas- bass woofer, crossing over (at 12 db ant listening, is remarkable. The sound per octave) at 250 cycles. Thus, in a . . . it is customary to say that the properly set up system, the satellites sound, "considering the cost," was ex- should do a large share of the middle cellent. We certainly need to keep filling. I found seven to eight feet cost in mind, but the sound, regard- apart the best average in my room - less of cost, is clean, very well bal- which is very dead, by the way. anced, and very pleasant to listen to. The preamp section provides bass, It's the kind of sound that makes you treble, and volume controls -all ganged want to turn the volume control to a to work on both channels simultane- reasonable level and sit down to en- ously. In addition there is a balance joy the music. control, with which is combined the It's really a neat trick that Heath AC on -off switch. I'd prefer to have has accomplished here. The achieve- the on -off on the volume control, but ment is in listenability at low cost. that's a minor and personal matter. The system won't qualify as the ulti- The last knob on the panel is a func- mate in high fidelity. Specifications of tion selector: tuner (or auxiliary in- the amplifier are modest; the speak- put), stereo or mono, and phono- ers are simple: a good 8 -in. woofer also stereo or mono. Such subtleties as plus two 6- by 9 -in. ovals to carry the left -right reverse. rumble filters, and frequencies above 250 cycles. No su- so on, are omitted for the sake of sim- perwoofers; no supertweeters. Yet. for plicity of operation and low total cost. less than $200, Heath provides more The Heath system proves that the listening pleasure than many a $2,000 elusive quality of listenability is not system I have heard. Yes, I admit; the necessarily directly related either to grandiose music -big chorales, the cost or to complexity. 1812 Overture, huge symphonic works, these are more thrilling when Constriction Notes they blaze out over big systems at Construction of the kit is time -con- full volume. That's kind of fi that the suming, but no problems arise. Just brings listeners to their feet. The take it slowly, in small doses. My run- That's a speaker tube, not the packing . . . Heath SD -1 system will kindle your we put the grille cloth on the wrong way. enthusiasm to a quiet and contem- plative level. You'll probably wind up noticing the part numbers stamped listening to music, not just sheer on it. - The T nuts, to which the sound. Is that so bad? speakers will be bolted, should be The stereo effect is perfectly clear tapped into place below the surface yet the sound is well spread out of the wood. This is hard to do with through the listening area. Several a hammer; use an old bolt or a large people have heard this system since nail counterset. --The piece of grille construction was completed; all have cloth that covers the front of the main commented on how they could wander cabinet has an edge of plain cloth around the room and still have the (called selvage. I think) on it; be sense of perspective and breadth sure this is hidden or trimmed off. I which is the essence of stereo. slipped up here and had to untack Final positioning of the speaker Blisters? Predrill those .screw holes! things. The instructions are quite cor-

100 H1c:r1 Fun;i.rrv MACAZINL'

www.americanradiohistory.com machine are holding all right, and thing, and the nuts go on stiffly. Hold they are a lot easier to get in. - a screwdriver in place on the slotted There are a lot of tough screws in- end of the bolt when you tighten up volved in attaching the leg-plates. the chassis nuts; otherwise you may Predrill a little hole for the screws; it loosen the bolt in the transformer. will save blistered palms. - The -Those lugs on terminal strips, the speaker wires are coded, one of them ones that are cramped up against the having a small ridge. If it's hard to see chassis can be mean to solder if sev- this ridge, wrap a piece of colored tape eral wires are connected; it's hard to or something around the ridged wire. get the soldering iron down to the -The grille cloth is supposed to be bottom wire. I like to check with a glued to the back of the baffle boards low -power magnifying glass to be cer- for the satellite speakers. This is neat, tain the bottom wire isn't dry -sol- but a nuisance. The glue took forever dered. - i know- there's a nice little to dry -and furthermore I was in it up instruction that says "insert the #47 to my elbows; I got out the desk pilot bulb into socket X." I'm going stapler again. (Maybe the staples will out to Heath one clay and watch the resonate at 11,000 cycles and pop president of the company do it. My out, but that's a chance I'm willing to fingers, anyway, are too big and too take.) - Also, I used a sharp razor slippery; had to undo the socket -hold- blade for most of my grille -cloth trim- ing bolt (which was easy). -- And ming. -- When you get around to so it's all done, and it's plugged in, finishing the satellite speaker enclo- and the tubes glow nicely, and the sures, you have three pegs to get into record drops, and iT WOB KSI three holes and a piece of curved, CHA ISLES FOWLER grille- cloth -covered aluminum to slide into a slot. Predrill the pegs for the screws which will hold things together, then as soon as one peg snaps into place, screw it down lightly. Oth- erwise, you'll need a pair of extra Drawing versus real life. To make the hands to hold everything at the same drawing clearer, parts are compressed. in time. End of woodworking section. actual practice, the 400 -volt capacitor Only a couple of hints on the elec- comes almost top of marked on socket J. tronic section. - The power and output transformers have long bolts that reef and proper when they tell you to go through the transformers and are attach the grille cloth with the staples used for bolting the units to the chas- furnished in the kit. But I'm lazy; thus sis. The threads of these bolts have far the staples from my desk stapling been covered with shellac or some- Looking down on the final product.

Bell 6060 Stereo Amplifier signs of suffering when compared with than 1% distortion, but can in fact de- the better -quality monophonic ampli- velop this power at 20 cps with less SPECIFICATIONS (furnished by manufacturer): Power output: 30 watts RMS each channel; fiers of past years. Some manufactur- than 0.7% distortion. Its intermodula- total, 60; peak, 120, Power response: 20 to ers tend to reduce the low- frequency tion distortion is so low that, on the 20,000 cps at 30 watts ±1 db. Distortion: power-handling ability of amplifiers in basis of our tests, we would have con- less than 1% THD at 30 watts at 1,000 cps. a stereo unit, to avoid the higher cost, sidered 50 watts per channel to be an Frequency response: 15 to 30,000 cps ±1 db. weight Hum level: 71 db below rased output. Dual bulk, and of good- quality out- honest rating. inputs (7): microphone; NARTB tape head; put transformers; but we are happy to One point which should be empha- magnetic phono; ceramic phono; tuner; lape report that the "Carillon" will handle sized: as shipped from the factory, preamplifier; auxiliory. Controls (8): selector- the "Carillon" is wired for operation mike, tope head, RIAA, LP, EUR, tuner, lape amp, aux; left- and right -channel bass; left- and from a 125 -volt power line; the power right -channel treble; balance; loudness control; outputs we measured were on the basis level control, power switch. Lever switches: of such a line. If the line voltage does low filter; high filter; function- stereo reverse, not normally exceed 117 volts, a con- stereo, monophonic; stereo speaker selector be (AB, A, B). Size: 61/4" x 16' x 111/2". Price: nection inside the amplifier may $146.65. MANUFACTURER: Bell Sound Sys- changed to obtain full power from this tems, 555 Marion Rd., Columbus 7, Ohio. line voltage. If this is not done, the by At a glance: The Bell "Carillon," an maximum power output is reduced unusually powerful and flexible inte- nearly 50 %; the amount of distortion is 125 -volt connection grated stereo amplifier, is noteworthy not affected. The man- for its impressive specifications, and is mentioned in the instruction not On 125 volts also for a design so conservative that Lever switches simplify control panel. ual, but emphasized. tubes and the filter capaci- in many cases it exceeds these speci- the output 20 to 20,000 cps at its full rated tors are operated at, or slightly be- fications by a substantial margin. from power of 30 watts per channel,nel, with yond, their recommended maximum In detail: Unlike many integrated am- negligible distortion. It is rated at 30 ratings, which may shorten their life plifiers, the Bell "Carillon" shows no watts output at 1,000 cps with less somewhat. So even if your line voltage

FEBRUARY 1960 101

www.americanradiohistory.com The hum level of the "Carillon" is 4-10 very low -totally inaudible at any pos- e Right --- sible listening level, and practically lo 41211111111111 inaudible at full gain. It is perfectly 20 so 100 300 S00 1000 3K SK loo 70K stable under any type of speaker load, Phono equali:ation accuracy. and should prove ideal for driving a pair of low -efficiency speakers, with or without electrostatic tweeters. Besicles having all the normal controls of a stereo amplifier, the "Caril- so lao 300 S00 1000 lon" has provision for driving two pairs m1000I(T N CYQ[s of stereo speakers; you can choose Rumble and scratch filter characteristics. either or both pairs from the front Channels are clearly marked. panel, or can parallel the outputs to +10 make it a mono amplifier %with l a nom- does not exceed 117 volts, we recom- inal rating watts a o of 60 (though rating mend leaving the original wiring in of 100 watts would be more accurate). the power supply. One is not likely to ° to There is one slight drawback to 10 so loo 300 500 1000 31 A IOK 10K notice the reduction from a 50 -watt so ur0UINCY IN CY(ltS putting much power into a single to a 25- or 30 -watt amplifier, and the Amplifier power response. compact package: the "Carillon" gets longer tube life that %vill result will hot -not merely warm, but hot. The certainly be worthwhile. 10.0 instructions warn that at least six inches The tone controls provide more than IM must be left clear above the amplifier adequate boost or cut at frequency for adequate ventilation, but obviously extremes, with little effect on frequen- 20.cps Harmonic there are hazards in placing it on a cies between 300 cps and 2 kc. This, table top. we feel, is the most satisfactory type 1.0 Listening tests confirm our labora- of tone control. Two sets of cutoff fre- tory measurements. The Bell "Caril- quencies are provided by the high - lon" is a top -quality stereo amplifier, and low- frequency filters; the cutoff capable of driving the lowest- efficiency is sharp enough to allow you to elimi- speaker systems with adequate reserve nate noise and rumble with minimal 01 10 10,0 10 power and at very low distortion lev- loss of program material. IM and harmonic distortion. els. H. H. Labs.

Grommes 26OA 60-Watt Amplifier tor, and the bias supply regulator all 10.0 suggest that this amplifier should de- SPECIFICATIONS (furnished by manufacturer): Power output: 60 watts; with 120 watts peak. liver its rated 60 watts or more with- Distortion: 0.1% harmonic and 0.2% inter. out difficulty. modulation at 30 watts; less thon 0.5% bar. We were, therefore, somewhat sur- 1.0 monk and 1% intermodulation at 60 watts prised to find that it would put out (all distortions under 0.1% at 20.wott level or less). Frequency response: -!-.5 db, 5 to only some 98 watts (a second unit 50,000 cps (attenuated beyond 100,000 cps). provided about the same power). The Power response: ±.5 db, 20 to 20,000 cps instruction sheet accompanying the at 60 watts. Controls: (4) input gain; output amplifier supplied a clue: the 260A balance; bias; DC balance. Output imped- comes equipped with adjustments for 0.1 10 10,0 l00 ances 4, 8, and 16 ohms from terminal strip. IM and harmonic distortion. Hum and noise: 95 db below output. Size: individual output tube currents, and 14" x 81/4" x 8 ". Price: 5106.62. MANUFAC- these were set at the nominal 55 -ma +10 Ddb- -10 Wan TURER: Grommes- Division of Precision Elec- I I level suggested in the instructions. It - o I_ tronics, 9101 King St., Franklin Park, III. -lo Ddb r 0.1 Wen was stated that this could be increased 20 So 100 300 500 1000 3K 5K loK 7oK At a glance: The Grommes 260A is a to 60 ma to increase the output, at single- channel power amplifier rated the expense of tube life, or reduced straightedge over most of their length. to 50 ma, to prolong tube life. at 60 watts output. Under operating We be- One expects a power amplifier to have lieve longer is conditions specified below, our meas- that tube life worth the flat frequency response, but not many sacrifice watts; urements indicated a power output of of a few so we left the will deliver their full power from 20 original adjustments 98 watts, but the full undistorted unchanged. to 20,000 cps -as the Grammes 260A Both power of the amplifier can be realized the power- and frequency -re- does, without fuss or strain. sponse curves were a throughout the entire audio spectrum. drawn with us'l distortion was below the meas- The distortion of the 260A, both in- uring capabilities of our instruments termodulation and harmonic, is ex- up to about 5 watts output, and only tremely low at all output levels up to reached 0.5% at 50 watts. Harmonic its maximum, and also at the lowest distortion at 1,000 cps was well be- frequencies. low IM distortion at all power levels. Most gratifying %vas the 20 -cps har- In detail: No attempt has been made monic distortion, which was almost un- to make the Grammes 260A a "corn - measurable up to 10 watts, and at 40 amplifier. pact" It is large, solid, and watts reached only 0.4 %. In our ex- very heavy. The pair of 6550 output perience, only one other power am- tubes, plus the pair of 5U4G recti- plifier has produced so little distortion fiers. the 6L6G screen voltage regula- Straightforward layout of 260A. at this frequency.

102 HIGH I' IDELITy MAGAZINE

www.americanradiohistory.com The square wave response, to a 10- of the ringing being well outside the the peculiar square wave response we kc square wave, was not very pretty. audible frequency range. observed. Incidentally, we did find At slightly above 20 kc, a pronounced Hum level was totally inaudible, some considerable differences in the ringing could be seen with an ampli- being between 80 and 90 db below maximum power output at the various tude almost 20% of the square wave 10 watts output depending on the output taps. All our measurements are itself. This, however, does not denote gain control settings. normally made at the 8-ohm tap, but the presence of any instability or in- In part, the Grommes 260A is a we found that some 55 watts could be cipient oscillation, as it sometimes does survival of the time -only a few years obtained at the 16 -ohm tap. in power amplifiers. Placing any ca- ago -when amplifiers with a variable Considered without regard to pacitive load, even our 3 -mf simu- clamping factor were in vogue. This whether it is a 48 -, 55 -, or 60 -watt lated electrostatic speaker, across the feature has happily disappeared amplifier, the Grommes 280A emerges output had no effect whatever on the from most amplifiers today. \Ve did as one of the finest power amplifiers square wave response. We could not not attempt to evaluate the DF con- macle, by virtue of its rugged, con- find any evidence of it in listening trol, but would not be surprised to servative construction, and remarkably tests, nor would we expect to in view find that it has something to do with low distortion. H. H. Labs.

Grommes 209 Stereo Preamplifier The Grommes 209 has one feature which has appeared on very few pre - SPECIFICATIONS (furnished by manufacturer): high -impedance in- Frequency response: ±25 db, 10 to 20,000 amplifiers-a truly cps. Distortion: .05% harmonic and 0.1% put for ceramic or crystal cartridges. intermodulation or less at rated output. Rated This feature makes it possible to re- output: 1 volt, up to 20 volts output without alize the full low -frequency perform- overload. Sizes 14" x 41/2" x 9 ", complete with piezo- electric cartridge, cover. Price: $169.95. MANUFACTURER: ance of a Grommes-Division of Precision Electronics, 9101 The 209 has complete control facilities. which must be terminated in several King St., Franklin Park, III. megohms for proper operation. The function selector has the usual The IM distortion curve is almost At a glance: The Grommes 209 is a self -explanatory. The measured IM positions for stereo, reversed channel completely flexible, attractively styled, was less than 0.10 (the approximate functional preamplifier. Besides meet- stereo, and the feeding of either channel into both outputs. The balance limits of our test equipment) up to ing or exceeding all its specifications volts and did not control can reduce the level of either about 2 output, (except for a slightly higher -than- reach 2% until 25 volts output. This is channel by 9 db while raising the oth- rated hum level), it is outstanding for truly outstanding performance, unsur- er by a fraction of a db. This is an its unmeasurably kw distortion and passed by any other preamplifier and ideal type of control, having a mini- great output voltage capabilities. equaled by very few. mum effect on the over -all level. Many of the design features of the In detail: Many stereo preamplifiers A loudness compensator offers three Grommes 209 would be apparent only are being stripped, in the interests of degrees of low-frequency boost (which simplicity and lower costs, of such re- varies with the volume control set- a =^e= -EIsa1 WM finements as an separate phono turnover ting), and off position. The tone 10 - El e -10 n>t.ChonnelA and rolloff selectors, multiple phono controls are ganged for both channels, cartridge inputs, and individual input which may disturb some purists, 20 SO 100 Ooo 500 1000 SK Sr I-K 700 level set controls. The Grommes 209, though we find it a perfectly adequate 1111000101 IN CYCIIS however, retains all of these features, arrangement. The tone control knobs Effect of filter controls. tl +10 and many more, while avoiding an un- are very small and difficult to set visu- Tuner Input ChonnalA necessarily ally. Our complex control layout and frequency response curve 1 o lo 1 utilizing a very compactly propor- was taken with both tone controls in r70 SO 100 700 500 1000 SK SK 10K 700 tioned case. the indicated center positions. A slight IREOOENCr IN CMIS The need for the fully flexible pho- readjustment, which requires instru- Over-tall preatnp response. r10 no- equalization system, in this clay of ments, can provide a response within 1 RIAA Phono Equalionon Erto, T. o the RIAA characteristic, may be de- a fraction of a db from 20 to 20,000 lo [ -1-7 I r 20 SOi 100 700 500 1000 3< SK IOK 200 batable, except for the collector of cps. In fact, when so set, we measured Imam IR Crats old or esoteric records. Nevertheless, the -3 db points at 8 cps and 50 kc. accuracy. it is provided, together with NARTB The low -frequency filter is of the Phono equalization tape head equalization and a high - feedback type, with a 12 db /octave gain flat channel for microphone in- slope. It has no appreciable effect on put. Either of two magnetic cartridges frequencies over 40 cps, but removes may be selected from the front panel. subsonic rumble quite effectively. The One of them, presumably the stereo high- frequency filter is more gradual 1.0 cartridge, has RIAA low -frequency in its action, wipes out much of but % IM Distortion equalization only. the program material above 2 kc. The 60/5000 cps Input selection is by push buttons, presence peak (5 db at 2.5 kc) is with amber lights indicating the se- there for those who like such things lected program source. Individual -we don't. 0.1 push buttons are also used for high The hum level, though acceptably and low cutoff filters, a presence peak, low, is still about 6 db higher than and the power on -off switch. This fea- the manufacturer's specifications. It is ture makes it unnecessary to disturb not likely to be audible under any control settings when turning the unit conditions we can anticipate, so we 0.1 1 0 10 20 off. are not overconcerned about it. Internrodulalion distortion.

FEBRUARY 1960 103

www.americanradiohistory.com upon careful study of the schematic. corders are used. Despite the latter the two sections of the volume control Negative feedback is used extensively, precaution, or perhaps because of it. is not as good as it might be- tracking even for tone -control and stereo bal- crosstalk between inputs is down ont error exceeds 4 db at some points. ance- control circuits. All outputs, to about 40 db. and can be heard under This may be improved as better con- tape recorder or main amplifier, are some conditions; and the stereo chan- trols become available. through low -impedance cathode fol- nel isolation is only 33 db at 1.000 cps. Despite these criticisms, we con- lowers. All unused inputs are ground- This is not harmful. but comes disturb- sider the Crommes 209 to be very ed through resistors which prevent ingly close to the performance of the lunch above average in performance. the signal being shorted ont when better sceren cartridges. It belongs in the top rank of stereo certain types of three -head tape re- One final criticism: the tracking of control units. H. H. Labs.

EICO HFT94 AM Tuner than that of any other tuner of comparable performance which we have SPECIFICATIONS (furnished by manufacturer): seen. It Features o choice of wide or narrow band - would be an excellent choice pass; tuned RF stage; built -in ferrite loop; and for any unfortunate listener out of prewired precision "eye -tronic" tuning with range of an FM station %vimo still wish- the traveling indicator. Frequency response: es to enjoy a quality of reception well (Wide) 20 to 9,000 cps, (Narrow) 20 to 5,000 cps. Distortion: less than 1% harmonic beyond that offered by table model distortion at 100% modulation. Output: low Sintplicily characterizes EICO tuner. or potable radios. H. H. Labs. impedance. Size: 34k" e 12" x 8 1/4". Price: Kit, $39.95; Wired, $69.95. MANUFACTURER: quality ANI signal generator, MANUFACTURER'S COMMENT: We ore Electronic Instrument modu- Co., Inc., 33 -00 Northern lated 50% at 1,000 pleased to note that most of your measure- Blvd., Long Island City 1, N. Y. cps. Not being in ments agree with our specifications. The signal. a screened room, our background to -noise ratio discrepancy appears to be the At a glance: The EICO HFT94 AM noise level was higher than it would result of not making the measurement in a tuner, designed for high -fidelity ap- normally be, but some idea can be shielded room. This however is clearly stated in your report. plications, has a gained listening quality that of the signal -to -noise ratio va- There is just one point which wo feel should compares favorably with that of some riation with signal strength. The AGC be clarified- namely, Frequency response. tuners costing several times as much. action was only partially effective in As you probably noticed from the schematic, maintaining a constant output level, we are using IF transformers with capacitive In but was coupling bondspread, on inexpensive but effec- detail: The HFT94 matches the Adequate to prevent "blast- tive method that gives practically flat top EICO HFT90 FM tuner in size and ing" as one tuned front a weak station response on wide band. appearance. It has Rvo IF bandpass to a strong one. In this connection we wish to stress the characteristics, nominally 14 kc and 7 The frequency- response curves point that there is o measurable difference of NORMAL and WIDE po- kc wide. .A 10-kc whistle show relatively little response between the filter effec- difference be- sitions as can be seen from the graph we ex- tively removes the annoying whistle tween the response in the wide and tracted. On the basis of your aural testing it commonly found on AM receivers not narrow w bandwidth conditions. The would seem clear that you were actually ob- designed for good music systems. An audible difference, however, was im- taining the responses shown in ou graph. "exclamation point" tuning -eve tube mediately apparent. In thc wide posi- -10 acts as a dial pointer as well, in the tion, only a slight treble boost on our o ...... I- same manner as the one in the HFT90. preamplifier was needed to produce a ° ' Output Levelr 10 It is very practical and effective. reasonable facsimile of FM reception. at Moe. Gain - The HFT94 has a ferrite rod an- An "A -B" comparison with an FM 20 s showed tenna which we found to be per- broadcast up the limitations 30 fectly adequate within a thirty -mile of the .AM tuner, but without such a Agnal/No1se Ratio-, radius of New York City for reception direct comparison it was not immedi- 40 of major broadcasting stations. Back- ately apparent which one was being 10 100 IK 101( 100K ground noise is low, approaching the heard. Output level and signal-to -noise ratio. characteristics of an FM tuner on the The warm -up drift of the HFT94 stronger Stations. was less than 5 kc, and took place only +-l0 Our measurements do not attempt to in the first one or two minutes after 10 wide duplicate or verify EICO's figures, the set was turned on. 2o - 30 since the measuring equipment and We feel that the HFT94 is capable - 40 I techniques differ. In our sensitivity of getting almost everything of AM 20 so loo 2oosoo 1000 20 SK 10K 20K measurements we used a laboratory- program material, at a price far lower Response: wide and tsarina! IF positions.

Sonotone 8TA4 $29.50. MANUFACTURER: Sonotone Corp., Elmsford, N. Y. Stereo Cartridge At a glance: The Sonotone 8TA4 SPECIFICATIONS (furnished by manufacturer): ceramic stereo cartridge has smooth Frequency response: smooth 20 to 20,000 frequency response and adequate cycles. Flat to RIAA out to 15 kc with gradual channel separation to beyond 10 kc. rolloff to 20 kc. Channel isolation: 20 dec- is ibels. Compliance: 3.0 x 10-e cm /dyne. Its listening quality comparable to Tracking pressure: 3 to 5 grams in profes- that of many snore expensive car- sional arms, 4 to 6 grams in changers. Output voltage: 0.3 volt. Cartridge weight: 7.5 grams. Price: sapphires, $14.50; diamonds, Sonotone 8TA4 Stereo Cartridge. Continued on page 1I3

104 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com HERE'S WHY HERMON H. SCOTT MAKES HIS STEREO TUNER as different inside as out!

High fidelity stereo broadcasts make new In crowded signal areas Wide -Band AM 'detector ... a Wide -Range detector demands on AM and FM tuner per- Design lets you pick the station you that receives the full audio range, up to formance. Reception of the FM channel want from the many. With an ordinary 15,000 cps ... reception that is impossi- must be distortion free and wide range tuner it would be lost in a jumble. ble with ordinary design. The Wide - even though the signal may be very Range detector also accepts even the weak. The AM channel must be repro- Some FM tuners arc bothered by ghosts loudest musical climax without distortion. duced with a quality comparable to FM. similar to those that create problems in Most tuners are unable to achieve this Unless these high standards of perform- TV. A station is reflected from nearby without the sound breaking up or ance are met the true realism of the buildings or objects and creates second- distorting. stereo broadcast will be lost. To meet ary signals that make good reception these new requirements Hermon H. difficult or impossible. Wide -Band design Hear these differences for yourself. Go Scott designed a completely different blocks out all but the primary signal .. to your component dealer and ask to kind of AM -FM tuner. gives you clearer reception than was ever hear the tuner designed for stereo .. . possible before. from the inside,out . . the H. H. Scott On- the FRI side, the most important 330D AM -FM Stereo Tuner. difference is H. H. Scott's exclusive Wide -Band design guards your tuner "Wide- Band" Design .. a costlier, more against obsolescence because it provides difficult way to build a tuner ... but a the wide frequency range essential for way that gives important benefits to you, high fidelity multiplex reception. You the listener. will be able to receive these broadcasts H.H. SCOTT by adding a simple adaptor to your 330D. HF -2. Maynard, Wide -Band design gives muscle to weak H. H. Scott. Inc., 111 Powdermill Road, Dept. Maas.

. The AM side of H. H. is stations . lets you pull them in with the Scott 330D Please rush met the FREE booklets I've

such clarity you'll think they're strong. different too, because it was designed checked below. .1 Ordinary tuners can often receive weak specifically for stereo. Its sound is so "How To e Stereo Componcals 1 re stations, but they sound weak ... dis- perfect that good AM stations sound like }'our Decora?hrg Plans FM. This is essential to stereo reception E New 1960 Hi k'i Guide and Catalog torted and fuzzy. tcdsnical information on the as both AM signal and the FM Complete .. the H. H. Scott etárco tuner. . Wide -Band design eliminates AFC, with signal the two "sides" of the stereo ... Name all its disadvantages. Wide -Band holds message ... must be equal in quality to Address stations in tune ... strong or weak .. . give life-like stereo reception. without the danger of the weak station City State being pulled out of tune by a nearby This faithful AM signal is achieved stronger one ... which happens with AFC. through H. H. Scott's different kind of Export: Telesco International, 16 W. 40tn St., N. Y. C,

www.americanradiohistory.com MUSIC IN THE MIDWEST tions in the Midwest. First, since few American composers of serious music Continued from page 44 can sustain themselves economically Bo by that activity, a place on a music HUJ often uncompromisingly experimental faculty is what keeps many of them -art at the University of Illinois are alive. Happily, within the university winning international attention. community a fruitful relationship be- Among the distinguished conductors tween performers and creators is pos- STEREODYNE II to lead student groups in Illinois festi- sible, and such established figures in val programs are Leopold Stokowski American music as Aaron Copland and PHONO PICKUP and Ernest Ansermet. (The latter re- Roy Harris find their time spent on ported with surprise that there were campus to be thoroughly stimulating. more good flute players in the Urbana - was a recent s r (Even Nadia Boulanger Champaign community than in the visiting mentor.) The second contribu- leading orchestras of Europe.) Illinois tion comes from the fact that most has just begun experimentation with Midwestern state universities were musique concrète, thereby creating a deliberately established in the rural further opportunity for contrasting "downstate" areas rather than as part American achievement with that of the of the principal city of the state. The Continent. New, hum free push pull mag- university therefore tends to become a The postwar boom in music instruc- second cultural center, reaching those netic stereo pickup of superb tion can be seen conspicuously in the who live too far from a metropolitan characteristics. True stereo ratio of students currently enrolled in area to avail themselves of its re- reproduction because of wide music courses to the number of grad- sources. channel separation. Smooth uates of such courses. At Illinois there This influence is, of course, extended are 1,000 presently registered for mu- response and light tracking by the many university graduates who sic courses, as compared with only return to their homes in the smaller combine to give clean natural 1,400 alumni. Indiana University at communities and, whether they appre- sound from both stereo and Bloomington has had better than a ciate it or not, continue the Thomas monophonic recordings. hundred per cent increase in music operation either as performers or as students in the past dozen years, and Mounts in all standard arms. supporters of serious music along Main its music staff exceeds 160 members, of Mid- With replaceable diamond Street. The steady addition over half of whom are permanent fac- western stops to the itineraries of seri- stylus- $29.95' net. ulty. There has not yet been time for ous touring musicians and musical or- an international musical celebrity to ganizations can only be suggested here. emerge from these still young institu- Community concert associations are a tions, but to judge from the training well- anchored part of Midwestern life, Bó TONE ARM opportunities provided, it is reasonable providing such success stories as To- to assume that their alumni will in due peka's coup in presenting Herbert von course include artists of more than Integrated Karajan and the Berlin Philharmonic local reputation. in a municipal auditorium with fifty Arm and In any case musical life at the uni- per cent more seats than Carnegie Cartridge versities is increasingly creative. Since Hall. Mason City, Kokomo, and Mani- 1949 Indiana has offered an annual towoc may still sound like settlements production of Wagner's Parsifal, with in a corn-fed Siberia, but a visit might a student cast and orchestra. Approx- prove a surprise. imately sixty other operas and light One further strong voice of music in operas have received similar presentis- the Midwest is radio. The region is tions since 1948, among them such generously endowed with stations, taxing works as Strausti s Ariadne with a particularly high concentration MODEL TA -12 auf Naxos, Verdi's Falstaff, and Mo- of FM broadcasting. much of it very zart's Così fan tutte. Faculty members high -quality fare. Chicago listeners behind these productions include such have some thirty FM stations within familiar figures from the Metropolitan Combined arm and Stereodyne range of a powerful tuner, about half as tenor Charles Kullman and con- of them local. One of them, WEFM, II Cartridge for optimum ductor Frank St. Leger. them both of is the oldest FM channel still in opera- results. recently recruited Dynamically balanced, Indiana professors. tion and the original FM "Good On the instrumental side, this uni- gimbal- pivoted arm permits Music" station. Its continuing policy. versity offers instruction under such 2 gram trading. Simple to thanks to support Radio established artists as cellist Janos by the Zenith mount, handsome appearance, Starker, whose studio becomes open to Corporation, is to offer no commercials and outstanding in perfor- twenty-five or so young artists who whatsoever. Again the universities have an important role. Urbana's mance. Only $49.95' net. could never afford to work with him if state -subsidized tuition did not pay WILL (FM and AM) provides good 'Slightly higher in the West the greatest part of his salary. The music and other distinguished pro- presence of grams from the Illinois campus for a Available from leading high of musicians this stature fidelity dealers everywhere in a university community, and their potential audience of half the popula- freedom to appear in recitals there tion of the state. Ann Arbor (Michi- DYNACO, INC. without concern for box -office pro- gan), Bloomington ( Indiana), luwa graming, is another asset. City, Lawrence (Kansas), and other 3916 Powelton Ave.. Phila. 4, Po. Cable address: Dynoco, Philo.. Po.. U.S.A. The state universities also appear to university towns all have their access be performing two additional func- to the airwaves.

106 HIGH FIDELITY' MAGAZINE

www.americanradiohistory.com Ann Arbor is also the national center for educational television, with such programing as the complete Bartók WITH DYNAKIT YOU KNOW and Beethoven quartets analyzed and performed by the Fine Arts Quartet of Chicago. This series, in which the players discuss the music in informal YOU HAVE THE BEST! conversation and then play it in unin- terrupted performance, was one of the first real demonstrations of televi- The new Dynakit Stereophonic Preamplifier has all the sion's potential as a medium for in- quality features which you require for the finest high fidel- creased musical appreciation. ity reproduction. This handsomely styled control unit is a The primary gap in Midwestern model of classical quality and contemporary simplicity. musical life is opera. Theodore Thomas took one of the greatest financial de- feats of his career when his American Opera Company, intended to present standard repertory in English to the audiences that had welcomed his orchestra, failed to attract an adequate following. Chicago has maintained opera, with few long breaks in its production record, for seventy years, but meeting the annual budget is still a struggle. The NBC Opera Company found itself a Midwest audience during two years of touring from a South Bend (Indiana) springboard, and the PAS.2 $59.95 kit, market for summer opera -as shown in $99.95 assembled Cincinnati's "Zoo Opera," Kansas City's "Starlight Theatre," and like ventures -is established. But Midwestern opera companies cannot challenge those of BEST IN EVERY WAY the rest of the world on anything like the equal basis with which Midwestern In either kit or wired form, the new * Best Performance orchestras can claim recognition. This Dynakit Stereo Preamp represents Frequency response within 1 db 10 cps to 40 kc. Distortion (either IM or harmonic) less than will undoubtedly come in time. Recent both the finest quality and the finest .05 %. Response and distortion unaffected by square - value available. It utilizes the basic settings of volume control. Undistorted and memorable productions of Jana wove performance demonstrates outstandingly cek's Jenufa, Mozart's Così fan toile, circuitry of the famous Dynakit fine transient performance. Noise and hum in- monophonic preamplifier without audible at normal listening levels. High gain and Wagner's Tristan and Isolde by level cartridges. compromise of quality. This circuit permits operation with lowest the six- year -old Lyric Opera of Chi- (1 millivolt input gives 1 voll output on RIAA has the lowest possible distortion, input.) cago have attracted national as well an absolute minimum of hum and * Finest Quality Components as regional interest. noise, superior transient response, 1% tolerance components used in critical equalization-determining circuits. Tone con- Midwestern contributions to Ameri- and every other attribute which can trol components matched to provide absolutely can folk and popular music, the now - contribute to natural, satisfying nor response at center settings. Highest quality plastic molded capacitors, low noise historical places of Chicago and Kansas sound quality. resistors, conservatively operated electrolytics, City in jazz, hardly need al- plated chassis and hardware, all lead to long retelling, Dynakit's basic philosophy of sim- life with unchanging specifications. One year though they are another dimension of plicity of layout and control action, guarantee on all parts. the picture. along with impeccable performance, * Greatest Flexibility As Mid- is well in the design. 7 stereo inputs (or 14 monophonic ones) pro- America lives today, the exemplified vide for all present and future sources. "Spe- west is old and long -settled. Its ado- Every useful function is incorpo- cial" input provides option for special equali- rated, but the operation of the unit zation characteristics. Provision for tape head, lescent and brawling days are over; its tape playback amplifier, and monitoring tape country folk are aware of both the is not complex since the controls are recordings. Independent tone controls for each arranged and identified in a func- channel. Exclusive Dyne "Blend" switch to Book -of -the -Month Club and the Prai- control stereo separation. Unique feedback tional manner. Operation of con- leaves in rie Fanner; it thinks of scratch filter takes out the hash and and when en- trols and switches is smooth, noise - the music. Rear panel ac outlets enable switch. tertainment. both Puccini and Presley ing other components with preomp onoff free, and non -interacting. The unit switch. Selfpowered (with dc heater supply) are names with an attraction. Midwest- is a pleasure to assemble, a pleasure permits use with any amplifiers. erners will probably always have their to operate, and a pleasure to hear. * Outstanding Appearance own individuality, depending in part Choke of bone white or charcoal brown tex- It is not necessary to spend a lot of tured finish cover. Solid brass, etched front on the terrain, traditions- and his- panel. Designed by Raoul Iborguen, prominent money to have the best sound avail- industrial stylist. Requires only 13" by 33/e" tory of their region. But vitality is also able. Dynakit equipment has no panel space and can be readily mounted on a Midwestern trait so are curi- any thickness of panel with convenient PM -3 -and compromises in quality. It is de- auxiliary mounting kit. osity. regional pride, and ihard work. signed to be the finest and to be used * Easiest Assembly As these forces come to be channeled by those who are not satisfied with About 8 hour average assembly time -from more and more into the arts. they may less than the best. We suggest that one -third to one -fourth that of other kits. Assembly speeded by use of pre -assembled yet produce a regional metamorphosis you listen to it at your Hi Fi dealer, printed circuit boards plus ultra- simple and or write for our brochure which accessible layout of parts. Complete pictorial worthy of Whitehead's vision. diagrams included plus stepby -step instruc- gives complete specifications on all tions so that no technical skill is required. Also Dynakit high fidelity components. available fully wired and individually tested. DYNACO, INC., 3916 POWELTON AVENUE, PHILA. 4, PA. g22..M.g2g. CABLE ADDRESS. DYNACO, PHILA.

FEBRUARY 1960 107

www.americanradiohistory.com BIC BASS What the Continued from page 48 DUAL-1006 way to avoid distortion of the low -frequency waveform. The cone does not have to move so far, and the move- combination ment step -up is entirely acoustic and thus distortion -free. The cabinet must turntabl %hanger be well made and sealed well to pre- ent buzzes and air leaks, which can won't do more readily spoil performance of this type than some others. won't wear records'- because the tonearm is totally disengaged from Weight According to Frequency the cycling mechanism during play ... automatically and tracks perfectly The third entry into the small- speaker ... at as low as 1 t'2 grams stylus pressure. field uses what is called the variable - mass method. The resonance fre- TaHdbcly quency is controlled by the weight of DUAL-1006 the cone (and anything attached to it) and the stiffness of its suspension, won't produce rumble or hunt° - RECORDS or by the air enclosed behind it. One because totally shielded motor is way to improve efficiency at low fre- 100% balanced in both axes, and PLAYS quencies is to load the cone with extra rigid -equipoise motor suspension pre weight. but this destroys the efficiency vents noise at the source. 4 -TRACK STEREO of higher frequencies. The variable -mass principle over- DUAL -1006 with lowest distortion - comes this difficulty by coupling a pli- surpassing critical able lump of material to the cone. won't develop flat-spot idler thump - professional standards! All of the lump moves at low fre- because all gears and idler disengage quencies, but progressively less of it automatically after play - no neutral MUSIC SOUNDS BEST on the TANDBERG moves at high frequencies, until the position to worry about. 3- speed, 4 track recorder. It embodies cone eventually has only its own in a lightweight 127 lb.) compact chassis, weight to move. The effective weight, a sound system that literally meets and or mass, of the cone thus varies with DUAL-1006 surpasses critical professional broadcast requirements. frequency. won't wow or flutter*- because heavy This method enables a very small armor -gauge turntable is both lam- SENSITIVITY - box to be used to enclose the back of inated and concentrically girded to On microphone, 0.0015 volt.: on radio the speaker. Efficiency can be kept prevent warping and eccentricity. or phone, 0.075 volt. high because the amount of weight DYNAMIC RANGE - moving at any frequency adjusts it- Effortlessly records and reproduces the self. Of course. a relatively large cone DUAL-1006 full range of the symphonic orchestra. movement is still needed at low fre- won't chip record edges or enlarge Frequency response: 30- 16,000 cps quencies, as is true of acoustic suspen- 2 db. center holes - because Elevator sion. Action changer -spindle uses no FIDELITY - pusher arm, no offsets; lifts stack off The Compleat Listener Distortion only 8!10 of 1% at 1 volt out bottom record before it descends. put. Hum and noise inaudible: 55 db be With same knowledge Of how each low maximum recording level. Wow and principle works, flutter, 0.1% rms. Crosstalk, 60 db the prospective pur- down. chaser will want to know how to go DUAL -1006 about judging individual for PRECISION samples won't ever become obsolete - because - himself. Not all speaker systems fall any present (or future) size records Microscope-assembled, multi-laminar definitely into one category or another. from 5" to over 12" can be intermixed, heads. Low -friction precision drive with Some compromise to some extent, but V3 oz. tape tension. and in any sequence. it ought to be possible to determine OTHER FEATURES - which method is being followed in Automatic tape lifters 2 volume indi- any particular case. DUAL -1006 cators' Cathode follower outputs Any speaker must be well built to Clock counter Automatic cutoff. achieve fidelity, but our immediate won't disappoint you - because these As a self- contained stereo sound system, interest here has been: do the small are just a few of its wonderful features or combined with other components, the speakers really give good bass? As we that result in flawless, reliable per- Tandberg 5 converts your living room formance. See your dealer soon, or into "a sound stucio in a small space" said at the outset. they can do so. Any loudspeaker does its best, how- write us for the full story. Write for brochure. $419.50 ever, only when used in a room for Dept. which it is suited, and with proper .. i!h Mnd.l 741 tap' preaa.p''. ,Cr placement. The main thing is to be sure the speaker of your choice gives united i who of fidelity to satisfy you in your own PRODUCTS O F DISTINCTION America, listening room. 202-4 East .19th St., N. Y.3, N. 5: Ta u b e r y Inc. Box 171, Pelham, N. Y. °Comparable to professional equipment, avecvc.ac-.oc.ocv and eo vital ¡or stereo reproduction.

108 Hrcrr FIDELITY MAGAZINE

www.americanradiohistory.com GIULIETTA SIMIONATO RADIO SHACK /ash! Continued from page .50 f

exactly nervous, only my heart kept Send Coupon for Latest going bumpety- bumpety -bump. But now that i have started. I sec that I can adapt myself to them, and I enjoy S giving them." FREE Although her experience of concert- Catalog goers has been too limited to permit ELECTRONICS for 1960 drawing many deductions. Simionato plus every new issue has had ample opportunity to observe quite a distinction between opera Act today! See the house audiences in the United States newest, the best, and in Europe, especially in Italy. She the most complete has even worked out a mathematical line of electronic 'See HI -f1 Magazine, May 1959, page 39 ratio between curtain calls here and 1-71 equipment in Amer - abroad, according l '; ica- stereo, hi -fi, to which four bows I ham radio, LP rec- We have the franchise in Italy are the equivalent of eight in ords, tapes, optical for these exclusive the United States. "There they are goods and scores of manufacturers cooler, and not so outgoing in their re- a i others. Over 100,000 sponse," she says. "Here there is more items- everything of a spontaneous enthusiasm." for the amateur, the On records. Simionato-despite her pro, the devotee or misgivings as to the way she sounds just the interested. - Mail has left a distinct imprint in the the coupon field now! We will send of Italian opera, her activities ranging you immediately, from the minor role of Maddalena, the 7 Free and Postpaid, GRADO girl who makes up the fourth in the not only our latest

Quartet from Rigoletto, to that of the ¡ 312 page Electronics very major role of Rosina in the Barber Catalog but every of Seville in its original mezzo version. new issue for the marantz For London Records she holds the next 12 months -a same position among mezzos that Te- full year's Free subscription to the finest in electronics and baldi holds among sopranos and Del associated products all at famous money- Monaco among tenors. saving Radio Shack prices. Satisfaction She says that she follows no differ- guaranteed on every order or your ent approach in singing for the micro- money back. Invest in the best -and save phone and for a live audience. "The money too -shop at Radio Shack. technique is the saine," she explains, "but you have to control yourself more of closely. A big effect on the stage often oRfAtDhousands is not beautiful on a record. And I do just one SHACK buys eda not think a record can ever be as natural as a stage performance." Transistor PROMPT SERVICE In one respect, however, Simionato Battery Radio LARGEST SELECTION finds recording more to her taste than 19.95 Value d of guaranteed used equipment performing in the opera house: you only TRADE BACK PLAN can record early in the day. Her pref- -write for details erence for getting down to business Write Dept. 14F -20 for our unique Trade. Bari plan and Trading information. first thing in the morning makes her transistor bat, almost unique among opera singers. Radio Shtick i Exclusive ; x4x lS:snch assn tory rndioonlyy ' ounces. Is' "Tenors don't like to sing before one WeRhs toss than 10 c d and ferrite c s n p.m.." she says, "and I have met many sneaker handsome molded other singers who have said they can't markings, sing in the morning -that it is impossi- audio exchange hie for them. To me it doesn't make RADIO SHACK any difference. I even prefer the early CORPORATION DEPT. 60814 Registered Component Dealers morning; I am better rested then. But 730 Commonwealth Ave. Boston 17, Massachusetts I will sing whenever they want me to; w I am always ready to sing," Rodio Shock Corporation Dept. 60814 Ave, RICH rFIDELITY 730 Commonwealth Boston 17, Massachusetts

Please ,end me, FREE and POSTPAID, your tales; The Hi Fi Trading Organization Elcu ronics Casoloq. Also send me every neo issue for -21 153 Hillside Ave., Jamaica 32, N.Y. she nest 12 months -a full year', subscrlpl On FREE, Closed Mondoys Parking at oll stores Branches: Name Brooklyn 836 Flatbush Avenue White Plains .367 Mamaroneck Avenue Address Manhasset 451 Plondome Rood P os soffice or City Zone Ssole L 1

FEBRUARY 1960 709

www.americanradiohistory.com REINER'S ORCHESTRA pride, because Reiner takes no inter- TRADER'S MARKETPLACE est in what is done at Ravinia or by Continued from page 41 the guest conductors. Most conductors are appalled by the need to cram Here's the place to buy, swap, or sell used equipment, records or what have you. ment and a matured sense of humor. all preparation for a Ravinia concert Rates are only 45c' a word (no charge for it was a measure of Kuyper's diplo- into one three -hour rehearsal, and re- naine and address) and your advertise- matic skills that John Weicher, who act skeptic-ally to the assurance that ment will reach more than 110,000 music had been concertmaster of the Chicago the Chicago is one big, fast study. listeners. Remittance must accompany 1937 season, consented to skepti- copy and insertion instructions. Copy from to this They apologize later for their must be received by 5th of 2nd month remain with the orchestra as principal cism. Aaron Copland, who came to preceding publication and is subject to second violinist after Reiner decided Ravinia in 1956 for a program of his approval of publishers. that he wanted Louisville's Sidney own works, made his apology public. Harth as concertmaster. He opened the rehearsal by telling Chicago musicians credit Kuyper the orchestra that he didn't think they FOR SALE: Electra -Voice Regency Model 1148 Sys- tem Blonde -Good Condition -5175.00. Raymond A. with holding the orchestra together could master the pieces on the pro- Guilbert, 303 Bruce Park Ave., Greenwich, Conn. during the long interregnum separat- gram in three hours, 'but Kuyper ing Stock and Reiner. The manage- says you can do it." He wound up RECORD CUTTING for every occasion horn your tape ment has been at least as proud of dismissing the orchestra half an hour io unbreakable disc -weddings, socials, lectures, schools. Free information. Albergo Recording Studio, the orchestra as Reiner is, and has early with the words, "Kuyper was 121 -18 Rockaway 81vd., South Ozone Park 20, N. Y. had even more chance to show its right." On musical matters. of course, Rei- SALE: 78 R.P.M. RECORDINGS, 1902.1950. Many ner's word is law. Reiner is, for in- types. Free Hals. Collections bought. Mr. Ellie Hirsch. mann, P. O. B. 155 (HF), Varona, N. J. RECORDERS, VIOLS, Lutes -Woodwinds and strings stance, basically antagonistic to se- for the gentleman amateur by the world's best crafts. rial do not believe," men. Write Wayne J. Anderson, Dept. C, 545 West composition: "I EXCELLENT QUALITY RECORDING TAPE -7" reefs. 111th Street, Now York 25, N. Y. for free catalog. he says, "in using musical expression to 30.15000 cps. guaranteed. 1200' Acetate, 3/3.90- experiment %with mathematical formu- 6/7.50; 1800' Acetate, 3/5.10. 6/10.00; 1200' Mylar, SELL: Heath WA -P2 preamp, W -6M 70 Watt Amp. 3/4.80.6/9.00; 1800' Mylar, 3/6.60.6/13.00: 2400' Expertly wired. $100. R. Runyon, 18 Melanie Lane, las." He has programed Stravinsky's Mylar, 3/9.604/19.00: Plus 15! PP 8 Handling per Syosset, L. I., N. Y. Walnut 1-3633. reel. Foto Sound, 88 Harbor Road, Port Washington, Agon and the \Vebeln Six Pieces N. Y. ("which a he HI -FI DOCTOR -Will solve your hi.f problems onthe- made great failure," ob- spot. Acoustic, Radio engineer. Stereo designing. serves; "and they were very well Professional visits, day, ing. New York area, SALE: Thorens Automatic Player with E -V Stereo e Avenue, New played, too"). Otherwise, Reiner has Cartridge (D) and GE Mono (D) -550. Holt "Stereo" weekdays. William C. Bohn, 550 Fifth York City, Plaza 7-8569. Amplifier -S35. Gordon Augustson, 518 E. Second avoided twelve -tone music, which Street, Willmar, Minn. PROFESSIONAL QUALITY RECORDING TAPE, fre- means that his programs are some- quency response 20. 20,000 cycles, 1200 ft., 52.25; what light on current compositional Bloom. "HIGH FIDELITY" 1 -84. Best Offer. COD. Joseph 1800 ft., 53.25. No C.O.D. P.O.R.T., Box 445, Chandler, 52 Pya Rd., Portland, Maine. field, N. J. output. He continues, however, to play a great deal of the music of PRECISION RECEIVER ALIGNMENT: FM -55; AM /FM- and years ago by BUY -TRADE: Will purchase excess /surplus inventories 59. Hi -Fi equipment meticulously serviced. Telephone: twenty thirty -music new ind ' I electron tubes, semiconductors any ED- 4.4490. I. Pollack, Westbury, L. I., N. Y. Bartok, Hindemith, Prokofiev, and quantity 1.1000 or trade for hi11 equipment. Com- plete details first letter for prompt action. Jack Stravinsky, much of which-he was re- Kay, Room 402, 114 Liberty St., New York 6, N. Y. ALL MAKES HIGH FIDELITY speakers repaired. Amprire, 168 W. 23rd Sr., New York 11, N. Y. sponsible for introducing to America. CHelsea 3 -4812. And such music, as observers have TAPE RECORDERS! Recording tape, lape decks, boll RENT STEREO TAPES -over 900 different major noted all over the world, remains Hi -Fi Equipment, Norolco Speakers. We will not be -all labels -free catalog. Stereo -Parti, 1608 -D Centinela undersold! Sand for catalog and see whyl Corn - our Ave., Inglewood 3, quite radical enough for the ordinary missioned Electronics Company, Inc., 1776 Columbia Calif. Road, Northwest, Washington 9, D. C. symphony subscriber. STEREOPHONIC COMPONENTS, Recorders, Tapes. In 1957, Reiner and Margaret Hillis Package Quotes. Bayla Co,, 1470 -F Elmer Road, Wan - organized SELL FISHER 80 -R TUNER, Leatherette Covered Lens. tagh, N. Y. the first permanent chorus ing C34/D34001 Speaker system. Phone TA 2.4589. to be affiliated with the Chicago Sym- R. Sellati, 1749 Taylor Ave., New York 60, N. Y. PLAYER PIANO ROLLS, old disc records, send last stamped envelope for list. Private owner. Renna, 366 phony, and the three seasons Wolcott Rd., Wolcott 16, Conn. have seen greater numbers of choral WRITE FOR QUOTATION n any Hi -Fi components. Sound Reproduction, Inc., New Street, works on the programs. Though it is 34 Newark WOOD CABINETS 2, N. J. for discontinued Fisher components. Dress up your unit before trading. Inquire. not likely that RCA Victor or any other Electronic Co., 17368 Mendota, Detroit 21, Mich. force in heaven or earth could dic- INDUCTORS FOR Crossover Networks. 118 types in tate Reiner's choice of music to stock. Send for brochure. C 8 M Coils, 3016 Holmes ORGANIZE YOUR RECORDS! The exact record you play, Avenue N.W., Hunstville, Ala. want right away. Set of 48 index guides for 3x5 the Victor recording contract does in- file cards. Lists composer and dates. Categories for folk music, paps and Jazz. Only 52.00. Buff, salmon fluence what will be programed dur- or blue. $3.00 set in buff, 25% rag stock, rod - TAPE RECORDERS, HFi components, sleep learning ing any particular week. One Satur- equipment, tapes. Unusual Values. punched. Or send for free sample, information. Free Catalog. Recocards, Dept. A, 503 Hyde Park Bank Building, Dressner, 69.02A, 174 St., Flushing 65, N. Y, day -night Popular Concert, for ex- 1525 East 53rd Si., Chicago 15, III. ample, offered a group of four Rossini

SPECIAL SALE- Terrific Bargains in Recorders, Sup. NATIONAL Criterion AM /FM tuner with built -in overtures, because the orchestra was plies, Speakers, Hi -Fi Equipment. Write for list. horizon 5 preamp, metal cabinet, $115. R. J. Wacht, to record them the next clay. Sampson Electronics, Central Ciry, Nebraska. 120 East 13 Street, Dover, Ohio. Reiner usually stays away from 1959 J.B.L. Hartsfiold -5425. 1959 Marants Electronic managerial questions, but last year the WANTED -Copy of Fournet's Berlioz Requiem on Crossover -SSO. Perfect condition. Neil Brooks, P. O. Columbia in good condition. $10. Write William Box 2088, Sacramento, Calif. rule was broken with a bang. As is Robinson, Box 322, 3 Ames St., Cambridge 39, Mass. rather widely known, the New York UNUSUAL BUDGET VALUES. Tapo recorders, tape and Hi Fi components. Send for package quotations and Philharmonic's tour of Russia and ad- HI -FI RECORDERS, Tapes. Sand for free wholesale free catalogue. Budget Hi-Fi Distributors, 83 -06 Vietor jacent lands last summer was not origi- catalogue. Carston, 215 -N East 88 Street, New York Ave., Elmhurst, N.Y. 28, N. Y. nally planned for that orchestra. It

WILL BUY -McIntosh CBS, Wharfedale 3 -way. Robert was planned -by George Kuyper, his L. Manges, R. R. 6, Lafayette, Indiana. QUALITY SEEKERS: We distribute McIntosh, Fisher, assistant Philip Hart, and a posse of Sherwood, EICO, Dynakits; Thorens, Rok -0 -Kul; Shure, Grado, ESL; AR, Tannoy; many others. From AMPEX, CONCERTONE, Magnecord, Presto, Bogen, ANTA experts -for the Chicago and Canada? Most Welcome) Demonstration facilities, Tandborg, Pentron, Sherwood, RekOKut, Scott, Reiner. Everything was organized. Hi -Fi Service Lab at your command. Cambridge HiFi Shure, Dynakit, others. Trades. Boynton Studio, Dept. Center, 468 Westcolt St., Syracuse, New York. FH, 10 Pennsylvania Ave., Tuckahoo, N. Y. All that remained was to buy the tick-

110 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ets and pick up the visas, and ar- ififNIfa------range adequate European supplies of Chicago bottled water (which Reiner CHOSEN particularly likes )-when Reiner sud- BY DISCRIMINATING denly decided he did not wish to DEWALD make the tour. AUDIOPHILES! Nobody really knows Reiner's reasons, though it seems likely he re- STIF+;RIEO AND MONAURAL garded the original schedule as too LTruly- Instruments much and too quick for a man of his of Quality! age. (The tour the Philharmonic ¡ HI -FI COMPONENTS played was less crowded than the 50 WATTS! I The 1nrxlel N -2200 "Classical" one Reiner turned down, because the etera,plmnlc amplifier La the ultl- mate In blab fidelity amplifiers. musicians' union raised hell about it.) I Hutu level 75 011 below full output. (St distortion approximately The explanation he offered the orches- 1% at run output. Individual tone 1 and loudness commix for each tra was that the weather was wretched channel. Direct tape recording output Including tape monitor. Dec - in Eastern Europe at that time of orator Ktylerl cabinet of black with year; they wouldn't like it. To say brushed bras:., trout panel. AUDIO- that the orchestra was unhappy about PHtLE (CARD NET rACLCDDD) losing the trip would be decided un- , derstatement, and even now the men 1 "You Never Heard COMPLETELY HAND -WIRED CHASSIS FOR speak of "what the Philharmonic did It So Good!" QUALITY AND RELIABLE PERFORMANCE! on our trip to Russia." For some of Model N- soon -n. Model M- ßo4-n. Model N-803-R. Model N- 1000 -B. Model N- 1200.13. the musicians, who had already spent 1 IS Watt Monaural FM Tuner with FM -AM Tuner Stereo ,E Monaural 30 Watt Stereo the $2,000 or so they would earn on , Amplifier Tuning Eye AM -FM Tuner Control A ntplltler the trip, Reiner's decision was a per- $5295 $7435 $11.95 $99.95 $99.95 sonal disaster. It was reported that the 1 (CARE INCLUDED) (CASE INCLUDED) (CASP. INCLUDED) (CASE INCLUDED) (CASE. INCLUDED) orchestra hissed its conductor at the I OVER 35 YEARS OF DEPENDABILITY! start of the first rehearsal after he had EXPORT DEPT.: 25 Wa.,on St. vetoed the tour, but apparently the New York, N. Y. Free! Cablo Address: report was false. What happened was 1 SIMONTRICE ILLUSTRATED most the men that of had decided to In Conedo: A DIVISION OF BROCHURE give Reiner the silent treatment, while L. J. BARDWELL CO. UNITED SCIENTIFIC LABORATORIES, Inc. Box 142 -Spello, D ON REQUEST a few had decided to talk loudly as Toronto 9, Oniono 35.19 37th Ave., tong Island City I, N. Y. a sign of displeasure. The majority MI I= =1 NM NE IB11 BN NIB B1 MI= MI MI shushed the minority, creating a sound suspiciously like a hiss. Nevertheless, "Reiner's Reiner." The men were proud t- 7 of the quality of their orchestra and knew how much their conductor had done for it; relations presently re- Trader's Jllark.etplace Classified cAdvertising turned to normal.

Reiner and his wife live just outside 1Vestport, Connecticut, in a beautiful ORDER FORM two- story, L- shaped, white stucco en- largement of a European farmhouse which they built for themselves in Fill in coupon below and mail, with check or money order 1928. The property is a large one a (no cash). Rates 45¢ per word with no charge for name and park, formal garden, and swimming pool surrounded by acres of woods. address. Print or type your ad below. The rooms inside the house are large and dark and rather elaborately fitted; the front door, perhaps significantly, is HIGH FIDELITY MAGAZINE disproportionately small. For the Chi- Great Barrington, , \fassacbttsetts cago season, the Reiners maintain an apartment in the Loop, near Orchestra Hall; but it cannot be said that they live in Chicago. Unlike most conductors, Reiner will not go out of his way to cultivate the social leaders of the community which supports his orchestra. He knows few people in Chicago, and apparently does not care to know many more. The Chicago Symphony is Reiner's Next issue only NAME for as long as want it, but his Next 3 issues he may STREET aloof attitude toward the community Next 6 issues gives rise to constant rumors that he is Next 12 Issues CITY about to quit. Such rumors are pre- $ _Payment Enclosed STATE...... _...... _._..- .._._...... _..._..... Continued on next page

FEBRUARY 1960 111

www.americanradiohistory.com REINER'S ORCHESTRA ship with the small bore, her rivals have been virtually forced to use PURCH ASING Continued from preceding page heavy artillery to secure equivalent killings. Moreover, the instability of mature. The current season is only the the years between Stock and Reiner A HI -FI second of a three -year contract. and gave almost everyone in Chicago a Reiner is sure to be back for 1960 -61. somewhat exaggerated notion of the SYST EM? After that, nobody knows -possibly not function of the newspaper on the mu- PARTIAL LIST even Reiner. sical scene. Robert C. Marsh of the Send Us OF BRANDS in most respects, the Chicago job Sun -Times is, as readers of this maga- IN STOCK is as desirable as any this continent a first -class reporter as Altec Lansing zine know, Ele drovo ice offers. The pay is good, the orchestra urell as a critic; and the Chicago at- Your Jensen Hadley Stephens excellent, the management profession- mosphere has led him to lard his col- University and rich enough to al- more greenroom List Of Acoustic Research al, intelligent, umns with somewhat Janssen low great leeway in programing. From gossip than conventional canons Wharfedale Components Karl,en Cabinet Reiner's point of view. however, there would allow. Viking disadvantages. Though react crit- Concerto na may be certain Reiner claims not to the For A Bell G.E. his American career has been mostly ics, and will go to outrageous lengths Weathers Herman Kardon with orchestras, Reiner is first and to support his claim. Not long ago, Package Eco Pilot an opera :man: Chicago got in a casual Sherwood foremost Marsh's name came up Ac roe ound him, in fact, only after he had de- conversation, which Reiner thereupon Fisher Quotation Bogen Leak cided that he could not in good con- interrupted. "Who?" he said queru- WE WON'T BE Dy nak it with Rudolf Bing 's H. H. Scott science go along lously. UNDERSOLD I Ferrograph notions of how to run an opera house. "\-harsh. Robert Charles Marsh." All niercllnndi,te To ndberg inbrand new, fne- Pontron The Chicago season is a long one, and "I never heard of the man," Reiner gultr- Ampex De Wald is tory fresh & Revere Challenger as music director Reiner committed said with satisfaction, and finely anteed. Wollensaek by contract to nineteen of the twenty - steered the conversation back where FREE Xi -Pi Catalog Garrard A:ai obte on Kenner: Miraeord eight weeks (in this season; next it had been. Glaser -Steers a Reif-Or/Cut season he may be able to ease off All claims aside. Reiner obviously Dual Changer week or two). Reiner is seventy -two, does read what is written about him, A1REX Components Notelco Conroe and though his health is excellent he and deeply resents unfair criticism - Fairchild Pickering Gray worries about it. He came to promi- a description Which every artist uses RADIO Audio Tape nence as a young man, and most of to a wide spectrum of negative Full line of cover CORPORATION Wei,. Cabinets the conductors he competed against reaction. Reiner's attitude towards his 64-HF COrtlandt St., N. Y. 7, CO I -2131 are now dead. He has clays when he fellow man is one of more or less gen- regards nineteen weeks of three and ial contempt, and like most people who four concerts a week as a consider- hold such attitudes he feels himself able physical burden. in a relatively isolated and exposed Moreover, Chicago's musical scene position. Thus, for all his world -re- displays an unusual degree of political nowned mastery Of the rude remark nastiness. Although Robert C. Marsh and the pointed silence. he suffers says, elsewhere in this issue, that Chi- from a relatively thin skin -by no cago is no longer Sandburs s hog - means an asset in Chicago. butcher to the world, the place still Nevertheless, even a conceited at- likes a good bloodletting once in a tack in the press. which is unlikely, while. Criticism in the Chicago pa- could not drive Reiner from Chicago pers tends to be more cutting and if he wished to stay. Reiner has said more personal than is customary in so many outrageous things so often this county -a situation caused and that observers tend to forget that he regularly exacerbated by the extraor- knows when he is being outrageous, dinary skill of Claudia Cassidy. At the and enjoys it. Behind his contempt THERE'S AYE, beginning, Reiner had Miss Cassidy for others lies an unusual intelligence. THE RUB on his side, but this season. perhaps verbal as well as musical, and a thor- become a classic . what hand because of incidents just before and oughly if somewhat peculiarly devel- polishing of the diamond radius in the just after the collapse of the Russian - oped sense of humor. Though he can- Duotone Needle can do for hi -fi and project, Miss Cassidy seems to be he does take stereo. Smooth to ±.0001 tolerance tour not take criticise) well, a whereas ordinary needles produced by chiseling Reiner's name on one of her joke, and over the passage of time automation seldom do better than surplus gravestones. For example, her most criticisms become jokes. At his .0007. Often the latter have no polish criticism of Reiner's Pines of Rome: 1958 party for the men, Reiner asked at all, leading to excess -ve record wear. "What was missing . was the vi- the orchestra's mimic to do his imita- Aye, but there's the rub! Other classic features in the Duotone Diamond Needle: sionary mysticism without which the tions of conductors, and then. a touch 1. A guaranteed whole diamond (not a louder passages sound like a speech maliciously, asked for the imitation of welded chip that can break off). 2. 55° by Mussolini." Now this is a brilliant Reiner. This act was cleaned up a ( -5) for the stylus angle every time phrase, pinpointing with graceful little- inevitably -but the audience (others varying to 85° often skip in the groove). 3. Quality controlled by 500 economy one of the objections to a thought it contained several palpable power microscopic inspection. meretricious piece of music. The hits. Reiner loved it, and recalls it march of the imagined Roman legion happily as rougher than it '.vas. is a speech by Mussolini. One may Musicians in Chicago believe that OvOZOONA doubt, however, whether Miss Cassidy Reiner would now like, oddly enough, DIAMOND NEEDLE would have blamed it on Reiner in the sort of proposal Marsh made a Keyporl, New Jersey previous years. few years ago -a second regular con- In Corrado: Chas. W. Poinlon, Ltd., Toronto Lacking Miss Cassidy's marksman- ductor, subordinate to the Music Di-

11.2 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com rector, to take a greater share of the seasonal burden. Failing the discovery of someone able to carry the job "BUCK the only and yet willing to remain under Rei- ner-or strong public acceptance of STRETCHER" Walter Hendl, Reiner's young associate conductor, whose work for the HI -FI SURE American Recording Society a few way to continue getting years back marked him as a major talent in his generation -it is generally VALUES I believed that Reiner will simply renew existing arrangements. He has built orchestras in this country for Cincinnati, SHURE Pittsburgh, and now Chicago, and the performance from your last of them is not only his best but one of the great ensembles of the world. People who know Reiner well find it hard to believe he would give up this SHORE Expand the buying magnificent, flexible, responsive instru- high fidelity stereo ment to cast himself into the irritating power of your Hi -Fi cartridge is to be inefficiencies of guest -conducting oth- dollar at Sun Radio with substantial er men's orchestras. savings on new and fully guaranteed name brand Hi -Fi components! Send for our special price quo- E HF REPORTS tations and our Hi -Fi packaoc specials! your replacement stylus is a genuine Continued from page I04 Dept. Z -O tridges, and it has complete freedom ,ii from induced hum. However, it needs at least 6 grams of tracking force to aó SHORE reproduce loud recorded passages & ELECTRONICS CO. INC. precision made stereo clearly. . 650 Sixth Avenue, New York 11, N.Y. In detail: On the Westrex IA stereo Phone: ORegon 5 -8600 test record, the Sonotone STA4 has a response flat to within 2 db from 1 saus kc to 13 kc. Channel separation is in the vicinity of 20 db in the middle - frequency range, comes down to 10 db at 10 kc, and nearly disappears at 15 kc. This is fairly typical of moderately priced cartridges, both magnetic .. in small space and ceramic, and makes possible a very satisfactory stereo effect. Monophonic response with the Cook 12 record is smooth, but a 5 -db peak occurs at 6 to 7 kc. This indicates Gracious listening for a relatively high stylus mass, as com- bookshelf or floor. pared to many magnetic cartridges Laxurions wood- grained which on this record have resonance Ponelytc outwears wood at 15 to 17 kc. The Sonotone 8TA4 is ... is cigarette and a turn-over cartridge, with a 1 -mil proof. 8 -in. sapphire opposing the 0.7 -mil dia- liquor mond on the tip of a hollow alumi- free -cone woofer, num stylus arm. Since the mass of high- dispersion tweeter, both styli must be moved by the stereo superbly matched. record groove, the relatively low reso- 24xilr to; íin. deep. nance is easily explained. Honer/ Blonde or The cartridge was tested in an Em- pire 98 arm; arm damping made it Aldrrnru Walnut. At difficult to determine the low -fre- your h -fr store, or quency resonance, but it appeared to write Dept. H., be about 14 cps. The compliance of Argos Products Co., the stylus is obviously fairly high for Genoa, Illinois. the resonance to be so low. Compli- ance seems not linear ex- for the large Deluxe Catalina No. ISE -25 319.95 Net cursions found on some record grooves, however, since in these cases we found a tendency for rattling and distortion Products Company Continued on next page

FEBRUARY 1960 113

www.americanradiohistory.com HF REPORTS 71Z(' ; Continued from preceding page i. 'N.pr,tr, when tracking at forces than 6 r` lower . Vcl; 7r , ,,.I grams. tSj , 1. All our measurements were made r t í,: %' with the cartridge equalized to constant velocity, so that it could he played through the magnetic phono input of any preamplifier. The manufacturer's recommended equalization network was used. The output voltage at 5 cm !sec stylus velocity at 1 kc was 35 millivolts, which is far greater than the output of any magnetic stereo car- GIMMICKS WITH

0 Wilo10 -20 20 50 100 300 500 1000 1R SE 10E 20K

nf00ER(Y IR MIS wi o PRONOUNCE ,r Witao

y Response with channels paralleled. . progress typified by the new SM -1 Rotating Magnet Compatible Stereo /Monophonic cartridge. SPEAKERS The FAIRCHILD SM -1 will complement any home music FIeqVHeyRespenN E--,.10v system. Rugged enough to stand the abuse of any Just solid, sensible acoustic engineer- record changer, yet, will enhance the performance of (Westrex IATssRfcord) 0 _ the finest professional arms and turntables. -- left --- Right 77LL 10' ing. Nothing fancy but the performance. In this cartridge, the highly skilled FAIRCHILD engl Channel Separation -70 That's the Wigo story, short but sweet. neers have achieved practically all the objectives of good stereo cartridge 1g- let 20e design - high output, high For literature, write ... vertical and lateral compliance, uniform frequency ItlIRIDIII N DOB response - o Comparison of the specifications will convince you Left- and right-channel response. that, for stereo cartridges, all you need say is FAIRCHILD ... $34.95. united i udio tridge. Absolutely no magnetic hum PRODUCTS OF DISTINCTION FAIRCHILD RECORDING EQUIPMENT CORP. could be induced in the cartridge. 202 -4 East 19th St.. N. Y..3. N.Y. 10-40 45th Are. Long Islend City I, N.Y., Dept. HF 2 E To summarize the features of the Sonotone 8TA4: it is a turn -over type which will play any kind of record, CALIFORNIA its stylus is easily replaceable, it has Speci.a.Q 06-keh, 25¢ high output and complete freedom First in Son Francisco in True from magnetically induced hum, is Stereo Hi- Fidelity Hear these physically rugged and inexpensive n. - It 3225 Fillmore Street - _t,. u and it sounds fine. The high tracking San Francisco 23 authentic recordings force it requires, combined with the HAL WEst 1 -3134 of dramatic events relatively high stylus mass, can cause more record wear than cartridges with COX, Engineering and from less mass and lighter tracking force. INC. Design Installations H. H. Labs. 1 "The Amazing World of Listen KAFE 98.1 FM- Boston Symphony Wave Listening" MANUFACTURER'S COMMENT: Art additional Short and unique feature of the not narrated by Ales Dreier, Radio-TV "Mon on the Go" 81A4 cartridge 1 mentioned in the Hirsch-Houck report is its President's voice from outer space! built -in rumble suppressor, which, depending capture of a desperate criminal! Actual upon severity, can minimizemize or virtually elimi 1 Radio amateur at Little America! nate turntab e rumble. This feature makes the Recordingecorda $1.19 Ships at sea ... aircraft in action! 1_ 8TA4 particularly desirable for older mono. 1200 N.; 7" guaranteed splice -free. Also, phonic turntables or changers which ore being 1800 ft.: 7" for 51.89. Enclose 10c, for SX-lo converted to stereo. each reel lo cover postage a handling receiver With regard to tracking force, we hove tracked this cartridge on heavily modulated $159.95 program material at 3 grams with reliable SOUND performance. At such light force, however, k CORPORATION slight variances performance may occur 820 W. OLYMPIC BLVD., LOS ANGELES IS. CALIF. Standard broadcast plus short from one tone arm a to another. For this reason, wove coverage from 1550 kc, to our advertised tracking-force specification is 34 mc. Col. electrical bondspread. expressed as "3.5 grams for professional tone MAIL arms, 4.6 grams for changers," in consideration Fun for You -and Your Children, too! COUPON of these variances. Speak Spanish, Francis, 1 Session, German or, TODAMI hallicrafters. The smooth rise at 6 -7 kc is in no way indica- DEPT. 15 CHICAGO 11, ILL /' Italian, with o genuine tive of stylus mass. The stylus mass -record com- native accent, via fasci- Gentlemen Please ru.h i return mail my re. pliance resorance for the 8TA4 is well damped nating new SELF -HYPNO ' The A m :,.,a World vj Short Noce cording. to reduce record wear and distortion. It is, language topes. Nothing Li I enclose ¢stening...25g. like these before! therefore, difficult to detect by ordinary test Also highly specialized re- NAMF means and actually occurs at 12 kc. laxing tape recordings for Concerning the extra stylus tip, it adds less release of nervous tensions. ADDRFSS Write now -TODAY I than 0.5 milligrams effective mass which is ap- MATHISON SELF.HYPNO RECORDINGS proximately only 7 milligrams. CITY STATE 1208 -1214 W. 301h St., Los Angelo, 7, Cal.

111 HIGH FIDELITY MAGAZIhg

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www.americanradiohistory.com c51/12'12Q1f/NWICf ADVERTISING INDEX

THE FABULOUS NEW Key Key No. Page Na. Pare 1.... Acoustic Research, Inc. 21 61 ....Jensen Mfg. Co 1 2.... Advanced Acoustics S 3.... Aircx Radio Corp. 112 et& 4.... Allied Radio 13, 22 5....Altec Lansing Corp. 15 62.... KLI-I Research & Development 93 6.... American Electronics 68 63.... Kapp Records 70 7....Angel Records 65 64.... Key Electronics 115 8.... Apparatus Development 77 65 .... Kierulfl Sound Corp. 114 ELIPTOFLEX 9.... Argo Records 80 10.....&rgos Products 113 Brought To You By Lafayette Research 11....Arkay Kits 86 - 12.... Arrow Electronics 115 66 ....Lafayette Radio 4, 116 Engineered To Set A New Standard Of 67.... Leslie Creations 115 Speaker System Excellence 13.... Artia Recording Co. 76, 78, 82, 87 68....London Records 67 14.... Audio Devices, Inc. 90 69.... Louisville Philharmonic 5 15 ....Audio Exchange 109 16.... Audio Fidelity 52 17. , , .Audio World 115 18.... Andiogcrsh Corp. 80 70.... Marantz 14 19.... Audion 115 71....Mathison Self- llypno Recordings 114 72.... McIntosh Laboratory, Inc..... 7 59, 87 20.... Bell Sound Division 84, 85 73.... Mercury Records 75 21.... Bogen- Presto 91 74 ....Movie Co., Inc. 115 22.... Bozak, R. T., Co. 30 75.... Myers Emco 23.... British Industries Co. 36

Finished on 4 -rides 76... Nuclear Products 87 24.... Capitol Records 9 -12 64.50 25.... Carston Studios. Inc. 115 26.... Clevite -Walco 82 PHENOMENAL ELIPTOFLEX Collaro 23 28.... 77.... Pickering & Co. 2 PERFORMANCE DUE TO: 29.... Columbia Records 78 Radio Co. 81 Inside ....Pilot Back Cover Professional Directory .114, 115 Newly Designed 30.... Commissioned Electronics .. 115 27.... Cox, Hal, Inc. 114 Elliptical Port RCA Components IS Specially 31....DeWald Radio 11 L 79.... RCA Victor Division 57 Engineered 32 ....Dexter Chemical 83 80.... Radio Shack 109 33.... Dixie IIi -Fi 115 Diffracting Ring. 81.... Recorded Publications 115 34....Dressner Records in Review 93 Applied For) / (Pat, 35.... Dual 108 82....11eeves Soundcraft 88 36.... Duotonc 1102 '78....Rockbar Corp. 23 Now it 's possible to have all the ad 37. ... Dupont "Mylar' vantages of a high efficiency 12" speaker in 38....Dynaco, Inc. 106, 107 a bookshelf size enclosure. Specially designed 12" coaxial speaker 83.... Scott, Herman Homer, Inc. .105 39....EICO 94 84....Sceco Records 78 with 3/4" sheepskin cone edge suspension 40.... Electro -Sonic Laboratories 86 85.... Sherwood Electronics Labs. 73 and 11/4 lb. magnet provides a response 41... . Electro- Voice, Inc. 79 86....Shure Bros. 113 from below 30 to 15,000 cps. 42....Epic Records 61 87 :...Sonotone Corp. 28 43.... Everest Records 77 The "Eliptoflex" is the result of an intensive research 88.... Stereo Fidelity 66 program whose 3 -fold purpose was to: 44.... EXstatic Ltd. 115 89.... Sterco -Parti 115 t. Develop a speaker system that would meet the 90 .... Stromberg- Carlson 83 space requirements of stereo. 2. Utilire the full advantages of efficient 12" speaker 91....Sun Radio and Electronics ..113 performance. 45.... Fairchild Recording 92 .... Superscopc, Inc. 6 3. Provide optimum performance without the use of Equipment 114 large wattage expensive amplifiers which are neces- Fisher Radio sary with inefficient bookshelf speaker systems. 46.... Corp. 25, 27 The Results Were Remarkable ... The Eliptoflex util- 47....Florman and Babb 115 Ires a unique elliptical port which broadens fre- 93....Tandbcrg 108 quency response and provides better transient re- spans!. A specially engineered diffracting ring elim- 94... - Tesnsinal Rarlio 115 inates cancellation effects between front and rear 23....GarrarciSales 36 Trader's Marketplace 110 radiation. These engineering advances are coupled 48....General Electric Co. ....17, 19 with the famous Lafayette free edge Sk -58 12" coaxial speaker with 3" cone -type tweeter. "Eliploflex" 49.... Glaser- Steers Corp. achieves a degree of natural smoothness, low dieter - Lnside Front Cover tlon and rich robust bass hitherto found only in large 50.... Golden Crest Records 78 United enclosure speaker systems or inefficient bookshelf Audio Products.108, 114 speakers many times its price requiring high powered 51....Crado Laboratories, Inc. 74 95.... United Stereo Tape.. Back Cover amplifiers. With the "Eliptoflex" there Is no need for 52.... Grommcs 20 costly high wattage amplification due to its highly efficient design characteristics. Impedance 6 ohms. Fin. (shed on 4 sides in mahogany, blonde, walnut or oiled walnut Dimensions 14 "H s 23.7/16 "W x 13. 5/16 "D. 53....11allicrafters 114 96.... Vanguard Recording Society, Send FREE LAFAYETTE Catalog 600 54... Alarman-Kardon, Inc. 29 Inc. 69 CUT 308 GIANT SIZED PAGES 55.... Heath Co. 31-35 97. .Vox Production, Inc. 87 OUT LAFAYETTE RADIO, Dept. WB6 -2 56.... I-Ii- Fidelity Centre 115 AND P.O. BOX 222 JAMAICA 31, N. Y. 57.... Hi- Fidelity Workshop 115 PASTE 58....1-ligh Fidelity Recordings ....63 ON 'Name 59....111 -Sonic 115 98.... Washington Records 76 POST Address Webster CARD 99.... Electric 24 100.... Wigo 114 City ...... State 60. ..Instant Language 76 101.... Wollensak 26

115 HIGH FIDELITY MAGAZINE

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SOUND OFEBRUARY EDITION r,FNh

PHILADELPHIAORCHESTRA

ORMANDY in two 60th Anniversary albums

TCHAIKOVSKY: Symphony No. 5 in E Minor. ML 5435 MS 6109 (stereo) HANDEL: Royal Fireworks Music; Water Music Suite L44' CORELLI: Suite for Strings. ML 5417 MS 6095 (stereo) GOULD with Leonard Bernstein and the Columbia Symphony Orch. BEETHOVEN: Piano Concerto No. 3 in C Minor ML 5418 MS 6096 (stereo) "only pianist in the world who knows what this concerto is all about" -San Francisco Chronicle. di*

BERNSTEIN.a... HARMONIC N.Y. PH DEBUSSY: Images for Orchestra (complete) ML 5419 MS 6097 (stereo)

OFFENBACH: Gaite Parisienne BIZET: Carmen Suite. Andre Kostelanetz and his Orchestra. ML 5429 MS 6106 (stereo)

THE MASS: Canon Sydney MacEwan and the Choir of the Church of Santa Susanna. Album includes 32 -page book in color, with articles by Roman Catholic scholars on the history and meaning of the mass. KL 5311 [COLUMBIA MASTERWORKS e "Colombi.. "Mnrerworks CZ m NUM Fey, A vision of Columbia BroedcuBny System, Inc.

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