INCORPORATING MUSICAL AMERICA SEPTEMBER 1966 75(4 HAG H FI ED E LITV C fFF col` LIBRARY 16,, s1001 :Iry Imo

P Should you risk buying second -hand stereo equipment? r The new IooK in stereo cabinetr Eat& Record preview:

exclusive listing of bM0! r Alt) Xf13lS lÿ b))3ä3b cUzz new fall releases daa l l

1103 ,I 1 l öll 1 b9 ttus symbols; our dented in performance, the new 700 -T is :e. The best. But the truly modest in cost. Only $499.50.* s anyone who loves Fisher reliability and solid status included. is that extraordinary. Technical Specifications Input Sensitivities (at 1 kHz, for rated power at 4 ohms) tuner of radar -like A. Amplifier Section Phono (low) 3.5 mV Music Power (1HF) Phono (high) 10 mV »pally powerful stereo 4 ohms 120 watts Tape Head 2.5 mV 8 ohms 90 watts Auxiliary (low) 200 mV ) and a complete Harmonic Distortion (1 kHz) (high) 400 mV At rated output 0.8% the 700 -T is equal to 3 db below rated output 0.3% B. Tuner Section 1M Distortion (60:7000/4:1) Usable Sensitivity (1HF) 1.8 µV it. Now or in At rated output 0.8% Harmonic Distortion 3 db below rated output 0.3% (100% mod. and 400 Hz) 0.4% Frequency Response Stereo Separation (400 Hz) 40 db Amplifier 10- 70,000 Hz+0, -1 db Signal -to -Noise Ratio transistors, including Hum and Noise (100% mod.) 70 db Field Effect Volume Control (min.) -80 db Selectivity (alternate channel) 50 db Phono Input (6 mV ref.) -55 db Capture ratio (at 1 mV) 2.0 db resp. rej. (100 M Hz) db ' is the most advanced Aux. Input (400 mV ref.) -65 db Spurious 90 signed to date. 4nd totally unprece- The Fisher 700 -T

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T solid -state receiver ever made. CIRCLE 25 ON READER -SERVICE CARD o, We don't design stl a purpose is performanc PLACE new 700 -T will impres 4¢ STAMP music. Its performanc( HERE With an FM- sterec sensitivity, an excepti( amplifier (120 watts! stereo control center, FISHER RADIO CORPORATION any musical assignmei- 11 -35 45th Road the future. Long Island City, N. Y. 11101 Utilizing 22 silicon an exclusive group of

V Transistors, the 700 -1 É z solid -state receiver de; J Ovl..F.S .NO C.N.Oi.N.[SiOENTMO Fi9NE...' Totally solid state

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CIRCLE 25 ON READER -SERVICE CARD SEPTEMBER 196o The total performance cartridge. ar

New Pickering V -15/3 Micro-Magnetic"' cartridge featuring Dustamatic' stylus and Dynamic Coupling.

Now, Pickering offers you total performance from all your records with the newly designed V -15/3 cartridge. The exclusive Pickering V -15 Micro -Magnetic cartridge assures you of the finest in natural sound, while the famous patented V- Guard Floating Stylus provides the ultimate in record protection. And now, there's a new dimension in the V -15 line. The extremely functional Dustamatic brush assembly for cleaning records as you play them, and an entirely new moving system with Dynamic Coupling of stylus to record groove for positive tracking. There's a Pickering for every installation, from conventional record changers to the most advanced turntable /tone arm systems. That's total performance. Clean records for clean sound. For free literature on the Pickering V -15/3, plus information on how to choose the correct "application engineered" cartridge for your system, write to Pickering & Co., Plainview, L. I., New York. For those who can [ hear the difference. Pickering CIRCLE 65 ON READER -SERVICE CARD HIGH FIDELITY MAGAZINE HIGH FIDELITY

Music and Musicians 20 Notes from Our Correspondents: London, , New York 34 -A Musical Tour Through the Cantons Peter G. Davis 60 The Great Rubinstein Road Show Milton Goldin 63 Record Preview: exclusive listing of new fall releases

Sound Reproduction 39 News and Views: Video tape keeps coming 44 Equipment in the News 55 Stereo Cabinets and the Unwary Buyer: an editorial 56 The New Look in Stereo Cabinetry 68 Should You Risk Buying Second -Hand Stereo Equipment? Leonard Marcus 75 Equipment Reports Fisher R-200 -B Multi -band Tuner James B. Lansing Lancer 101 Speaker Systems Miracord 40H Automatic Turntable Acoustech XI -AS Amplifier (kit) C/M Laboratories CC-1 Preamp -Control 77 A New Measurement for Turntables

Reviews of Recordings 48 Jazz 52 Folk Music 83 Feature Record Reviews Wagner: (Amara, Gorr, Kónya, et al.: Chorus Pro Musica, Boston Symphony Orchestra, Leinsdorf, cond.) Chopin: Nocturnes (complete) (Ivan Moravec; Tamás Vásáry) Elgar: Concerto for Violin and Orchestra, in B minor, Op. 61 (; New Philharmonia Orchestra, Boult, cond.; London Symphony Orchestra, Elgar, cond.) 87 Other Classical Reviews 116 Repeat Performance 119 The Lighter Side 125 The Tape Deck

musical america.

NI A-2 Nlephisto's Musings MA -16 Winston -Salem: The Music -Making NIA -4 Artist Life: Who's Doing What Moravians Shirley Fleming MA -18 Doyle J. Soria Cincinnati: at the Zoo Arthur Darack MA -7 Orchestras U.S.A.: The Season's Forecast MA -20 Aldeburgh / Glyndebourne: Festivals in MA -11 Here and There England Edward Greenfield MA -22 Holland: Schat's Labyrinth; MA -12 The Musical Whirl Rotterdam's New Hall Everett Helm MA -14 At Caramoor: Curlew River, Escorial MA -23 Spoleto: Menotti's Superb New Pelléas Conrad L. Osborne William Weaver

SEPTEMBER 1966 VOLUME 16 NUMBER 9

Published vl Great Barrington, Mass. 01230, by The Billboard Pubhse :og Co. Copyr.yht r9 1966 by The Billboard Publishing Co. The design and contents of Nigh Fidelity Magazine are

fully protected by copyright and must not be reproduced i n a n n e r . Second -class postage paid at Great Barrington a d at additional mailing office, Authorized as second class mail by the Post Office Department, Ottawa, and for payment a o/ postage in cash. High Fidelity Musical America Edition published monthly except December when it is published semi monthly. Subscription Anywhere on Earth 39. National and other Editions published monthly. Subscription Anywhere on Earth $7. Intend in the"Reader's Guide to Periodical Liters. tun." Change of address notices and undelivered spin ;Form 3579) should be addressed to High Fidelity, Subscription Department, 2160 Penmen Street, Cincinnati, Ohio 43214. NOW -AT A NEW LOW PRICE! HIGH FIDELITY imp The 1961 Version of the

ROBERTS 110X Cover Photo: Bernard Lawrence CROSS ® FIELD Roland Gelatt Editor in Chief

STEREO Joan Griffiths Executive Editor

Norman Eisenberg TAPE Audio Editor

Sue Severn Managing Editor

Peter G. Davis Assistant Editor

Shirley Fleming

Managing Editor - Musical America Section

Leonard Marcus Special Projects Editor

Roy Lindstrom Art Director

Roy McMullen European Editor

Nathan Broder R. D. Darrell Alfred Frankenstein Only the Exclusive ROBERTS Conrad L. Osborne CROSS ®FIELD records an Contributing Editors extra octave in the high fre- Claire N. Eddings quency spectrum even at - Director of Advertising Sales the new Long Play Speed of Tomorrow - 17/8 IPS. Walter F. Grueninger Only the Exclusive Circulation Director ROBERTS CROSS®FIELD Warren B. Syer captures the high fre- Publisher quencies that conventional recorders never hear, and cannot reproduce.

A D V E R T I S I N G The ROBERTS 770X is a full - Main Office: Claire N. Eddings, The Publishing featured professional -type recorder House, Great Barrington, Mass. 01230. Tele- for the home, offering 4 speed options, 2 methods of adding phone: 413- 528 -1300 New York: 165 W. 46th St., New York, N. Y. sound, and automatic shut -off connection for your high fidelity 10036. Telephone: 212 -757 -2300. Louis J. amplifier and turntable ... PLUS unequalled performance ...at Didona, Seymour Resnick, Andrew Sponberger a new, low 1967 price ... Less than $399.95 Chicago: Taylor /Friedman, 333 N. Ave., Suite 314, Chicago, Ill. 60601. Tele- See ... and hear this exciting recorder demonstrated at your phone: 312- 332 -7683 Los Angeles: The Billboard Publishing Co., 9000 Roberts dealer ...or write us for further information. Sunset Blvd., Suite 710, Los Angeles, Calif. AIM Ai 90069. Telephone: 213 -273 -1555. Pete Heine, Dick Blase

London: 15 Square, London W.I. Park Andre de Vekey ROB E RTS 5922 Bowcroft St., Los Angeles, California 90016 Telephone: Hyde 3659. Tokyo: Japan Trade Service, Ltd., 2- 1 -40S, a division of Rheem Manufacturing with over 75 plants around the world 3 -Chome Otsuka, Bunkyo -ku, Tokyo, Japon. Telephone: 944 -0805. Kanii Suzuki CIRCLE 70 ON READER -SERVICE CARD 4 HIGH FIDELITY MAGAZINE WHO SAYS ALL RECORD CLUBS ARE ALIKE?

NOW COMPARE Record Club of America gives you All Labels...at 331/3°%d savings... and often THE "BIG 4" up to 75%... AND DOESN'T FORCE YOU TO BUY EVEN A SINGLE RECORD RECORD CLUBS cLUe B CLUE C 1CL1eb 6a.eruv ,e6 ia,66een^ e6 'ueeo9 p^ 'AUDI RECORD CLUB OF AMERICA 966 r.w,curseroarr, 1966, 16 1966

CAN YOU CHOOSE FROM ALL LABELS Choose any LP. any label Mono and Stereo I 300 ddferent manufacturers including CAPITOL. COLUMBIA,COLUMBIA. INCLUDING LATEST RELEASES? NO NO NO'YES RCA VICTOR. ANGEL. VOX. VERVE. DECCA. LONDON. etc. Even latest releases are available at once - no waiting.

MUST YOU BUY A "MINIMUM" No obligations! No yearly "quota "! Take as many. NUMBER OF RECORDS? HOW MANY? 6 1 8 1 2 1 NONE! as few, or no records at all if you so decide!

CAN YOU BUY ANY RECORD Your discounts are never less than 33' I% - and are often as high as 75 - on every YOU WANT AT A DISCOUNT? NO NO NO ALWAYS! record you buy! No exceptions'

DO YOU EVER RECEIVE There are no cards which you must return Only the records you want are sent - UNORDERED RECORDS? YES YES YES NEVER! and only when you ask us to send them'

HOW LONG MUST YOU WAIT 5to6 5to6 5 to 6 YSAOMUER FOR SELECTIONS TO ARRIVE? WEEKS WEEKS WEEKS NOLONG WAITS! DAY RECEIVVEDSSED If Record Club of America is that good - where's the catch? There is no catch! Here is truly one Record Club with no restrictions * Choose any LP ... on any label! TYPICAL "DOUBLE DISCOUNT" SALE 300 Schwann Cat- No exceptions ... Mono and Stereo FREE! -page Sugg. List Price BEST $1.89 -including latest releases! $3.79 and $3.98 SELLERS...ONLY & $1.98 alog to pick your albums from * No "quotas" to buy! Tijuana Brass Ferrante & Teicher The Supremes when you join Record Club of Al Hirt Peter, ( Take 0 records or 100! Paul & Mary Henry Mancini - Bill Cosby The America Sonny & Cher Righteous Bros. * SAVE never less than 33'i °ó Sugg. List Price - BEST SELLERS...ONLY $2.39 & $2.49 GIANT CATALOG lists all records of all oft up $4.79 and $4.98 list ... often to 75 %! manufacturers. Over 300 labels with Frank Sinatra I Getz -Gilberto I Ramsey Lewis * All orders processed same day Arthur Fiedler Segovia discounts from 331/2% to 75% -Over no long 30,000 albums CLASSICAL, instru- received - waits! Sugg. List Price Everest & Vox - ...ONLY $1.77 mental and vocal -POPULAR, vocal and * Every record brand new, $4.98 Classical Albums instrumental - JAll - FOLK - SOUND- first quality, factory fresh plus more than r 2 off on famous labels: Audio Fidelity, Command, Westminster, Roulette, Mercury, Angel, MGM, TRACKS, Broadway and Hollywood -SPOKEN WORD - and guaranteed fully returnable! - Verve, and others . . . ROCK-n' ROLL- COMEDY- RHYTHM & BLUES -COUN- TRY & WESTERN- DANCING -LISTENING ... AT LAST1 A RECORD CLUB WITH NO "OBLIGATIONS" -ONLY BENEFITS! way YOU want a ularly supplements Schwann's listings and keeps This is the it - record club with RECORD CLUB OF AMERICA no strings attached! Ordinary record clubs make you informed of extra money saving "double - 1285 East Princess Street, X910 F you choose from just a few labels - usually their discount" specials. York, Pennsylvania 17405 owl labels! They make you buy 5, 6, or more Your order is PROCESSED SAME DAY we get it! No Yes! Send FREE Schwann Catalog, DISC ", and LIFE- records a year (at full price!) to fulfill your "ob- long waits. No monthly cards to return, so you are TIME MEMBERSHIP is ligation". And, if you forget to return their month- never shipped unordered records. Every record CARD. Enclosed $5, which entitles me to buy any LP in the Schwann Catalog ly card - they send you a record you don't want, GUARANTEED brand new, first quality, factory or DISCS at discounts of at least 331/2% and as and a bill for $5.00 or $6.00! fresh! You must be completely satisfied -or every high as 75 %, plus a small postage and handling But Record Club of America Ends All That! record fully returnable! charge. I may take as many or as few, or no rec- Money Back Guarantee Nov you can choose any LP ... on any label. Take ords at all. No yearly "quota ". I may, for any as many, or as few, or no records at all if you so If you aren't convinced our discounts are as big as reason, return items within 10 days for full refund decide. And you get discounts of at least 331/2% we say (check us to the penny on this!) ... that of membership fee! is and often up to 75% on every album ! That our range of selections the biggest anywhere - - Yes! Add GIFT MEMBERSHIPS at $2.50 means you buy all $3.79 and $3.98 LP's at $2.39: (over 30,000 albums every month!) ... or even if each to my request. Send to names and addresses $4.79 and $4.98 LP's at $2.99; and $5.79 and you've simply changed your mind - return all items be on attached sheet. $5.98 LP's at just $3.69, plus a small charge for within 10 days and your membership fee will in pottage and handling. To join, mail coupon with refunded promptly and full! I enclose $ covering my $5 lifetime check or money order for $5. This entitles you to Over 600,000 music lovers -plus leading schools, membership and any gift memberships at $2.50 LIFETIME MEMBERSHIP in Record Club of America libraries and other budget -wise institutions -now each. -and you never pay another club fee! save money this sensible way through the only Print no Join now record club with strings attached! Name Look What You Get Immediately by Return Mail and save. Mail coupon to: Record Club of America, (1) LIFETIME MEMBERSHIP CARD, which guarantees 1285 East Princess Street, York, Pa. 17405. you LP albums at dealer cost ... guarantees you Address discounts of at least 331/3% - and as high as Your membership entitles you to buy or offer neigh- 75% - on every record you buy! gift memberships to friends, relatives, City State lip bors for only $2.50 each with full privileges. You Over 600,000 enthusiastic members including (2) FREE 300 -page Schwann Catalog to pick your can even the total: Your membership and split schools, libraries and other institutions. records from. The Schwann Catalog is an inde- one gift membership divided equally brings the pendent publication listing all LP's available. Over cost down to $3.75 each. The more gift mem- ALL ORDERS PROCESSED SAME DAY RECEIVED. AL- 300 different labels, over 30,000 albums. bers you get -the more you save! See coupon BUMS COME TO YOU FACTORY FRESH. YOUR SATISFAC- for your big savings. LION GUARANTEED OR ALL ALBUMS FULLYRETURNABLE.I (3) DISCS, the Club's FREE magazine which reg- CIRCLE 69 ON READrr' CFnsrICE CARD SEPTEMBER 1966 Whe. tracking at 0.5 gram with With Tracking -Ba ante the Dual 1019. and without C:ntrcl applied for Tracking-Balancs Control, the 0.3 gram tracking, Skate -O -Meter ,egisters Skate -O -Meter 60 m Iligrams of excessive registers 0, showi vg track ng force aç ainst the st,lus now restored inner groove wail, and, tc center of groove consequently, 6C and tracking with milligrams insuff tient equal torce force against outer on each wall. groove wall. Dual created the Skate-U-Meter to show exactly what happens to the stylus when tracking stereo records. It tells a lot about anti -skating.

It tells even more about Dual

Dual's Skate -O -Meter is a precision test exactly what the Tracking -Balance Con- is what high fidelity is all about, Dual instrument. We use it on every Dual 1019 trol of the 1019 accomplishes. doesn't mind being regarded as striving to detect and correct any deviation of for more perfection than necessary. How Tracking -Balance Control works the stylus from perfect balance in the stereo groove. A precisely calibrated counterforce to is the the The Dual 1019 was designed in every skating applied around pivot of force, aspect for 0.5 gram tracking.This dictated tonearm ... parallel to the skating in that the bearings in the tonearm pivot had but exactly the opposite direction. to be well nigh friction -free. (The friction Since skating force varies with stylus as well as is actually under 0.04 gram.) This added a radius tracking force, Track- new dimension to an old problem. ing- Balance is applied in a continuously range from 0 grams up. Whenever tonearm bearing friction is variable less than 12 °%o of tracking force, any TrackingBalance Con- stylus mounted in an angled tonearm trol is applied by turn- head tends to run toward the center of ing continuously vari- able direct -reading dial is the record. This caused by friction be- that is calibrated to tween stylus and rotating record, and de- match tracking force flects the stylus against the inner groove dial. Cue -Control also tells you wall and away from the outer wall. And Yet, all you have to do to bring all of a lot about Dual this is what skating is all about. these interrelated forces under control When you flick the Cue -Control lever, How serious is skating? is to dial a precalibrated number. This the tonearm floats down so slowly Every audio expert agrees that skating simple, foolproof and utterly precise (3/16" per second) that you might lose is undesirable because it introduces dis- solution to a complex problem is, per- patience. But the stylus and your record tortions. among other problems. Yet haps, Dual's most impressive achieve- appreciate that gentle touch. As shown some tend to minimize skating as a prob- ment of all. above, with tracking force set for 11/2 grams. the force exerted upon contact lem because the distortions aren't always Why the Skate -O- Meter? audible on normal program material. doesn't exceed 1'/2 grams by a split hair. Until Dual invented the Skate -O -Meter Thus, some feel that any attempt to as a production tool for quality control, eliminate skating is carrying precision So does the rotating single no existing test instrument could meet too far. But to Dual, it seems clear that play spindle the precision of the 1019 tonearm on its the sole responsibility of the turntable own terms. Such as making sure that its "All" it does is go manufacturer is to provide the best pos- bearing friction was indeed under 0.04 around with the record, sible tracking conditions for the stylus. gram, that it would skate when tracking as just as on the most ex- In this case, to eliminate the undesirable low as 0.5 gram, and that Tracking - pensive manual -only effects of skating by restoring the bal- Balance Control is absolutely accurate. turntables, but on no ance of the stylus in the groove. This is The Skate -O -Meter tests all this -ard other automatic. By more -on any stereo record, with the eliminating potential sides of the stylus tracing the walls of motion or potential friction between rec- (A) the groove. (A grooveless record, though ord and spindle, it improves wow, flutter tr -IIVP a simple demonstration device, obvi- and rumble a bit over the 1009. Not a ously cannot present these actual play- great deal. There just isn't too much No Trackingt -Balance room for improvement on the 1009. applied Q back conditions.) Direction of skating force I Was all this worth the trouble? But nothing tells you as much as Every independent test report on the a visit to your franchised United Audio 1019 has confirmed that Tracking - dealer. That's where you'll learn exactly Balance Control works exactly as how Dual's total precision achieves its Tracking -Balance claimed: it eliminates all distortions re- applied total performance superiority. Scrupulous m sulting from skating because it eliminates attention to every detail tells you why How Tracking- Balance Control is applied within the skating. And since eliminating distortion tonearm system of the Dual 1019. (A) No Tracking - every major high fidelity authority ac- Balance Control applied. (B) Tracking -Balance 1019 as record Control applied by special nonfatiguing spring claims the Dual the finest when actuated by direct -dial ring. As tonearm playing instrument of all time. And why moves toward center of record during play. changing so many of them have long since pur- angle of spring changes its pull so that Tracking - Balance Control remains constant through entire chased the 1019 for their own systems area of tonearm travel. .. personal and professional.

Dual 1019 Auto /Professional Turntable $129.50 1 lCl.l a.11 C110 Dual 535 MADISON AVr, NEW YORK. N Y 10077 CIRCLE 29 ON READER -SERVICE CARD For your sound approach to quality...

look!

7181.414\N:

listen! Communications Jlalaise

SIR: Bravo for your article "The FCC Lowers the Boom" ("News and Views," HIGH FIDELITY, July 19661. I want to corn - mend you on the constructive inference you draw -in my opinion, enforcement of the separate programming edict is long overdue. It's a subject that merits an even longer and more critical article. As a veteran of over twenty years in compare! commercial radio, I have long felt that the industry needs a sharp going over from critics who are qualified to judge its artistic merits. While radio and tele- ??4 vision stations in the con- tinually point to their overwhelming in- fluence on the public, the level of pro- gramming drops just a little farther every SI*0,74A year. Station and network executives generally excuse this by saying: 1) this is what the public wants, and 2) this is what the advertisers insist on. Claiming credit for success, they abdicate respon- sibility. There are many points of deficiency in the present state of things, but four in particular deserve notice: 1) . By and large. yinl.NWlIlJ1., ti stations are programmed without taste, fí_l..,4 S ! 1Q 11 1s,11 origi- ' . nality, or imagination, often by people a + a i a .a - - - with only a casual interest in their jobs and only a sketchy appreciation of music. 2) News "coverage" is a mere repetition of wire -service handouts by men who are more concerned with the masculinity of their vocal production than the sense of what they are saying. Neither radio nor television has yet managed to attain anything even approaching journalism. KENWOOD SOLID STATE STEREO RECEIVERS 3) Even engineering standards are slip- ping. In the mad competition for lis- Once you've seen and heard the wonderful SOUNDS OF KENWOOD you'll want to teners, more and more stations employ limiting devices and compressors, com- make comparisons with other units. Listen to the unusual quality of KENWOOD. pletely distorting the dynamic spectrum Compare total music power...sensitivity...wide frequency range produced by which was, supposedly, one of the prime advantages of FM transmission. silicon power transistor amplifiers... and many more important engineering fea- 4) Except for individual exceptions, the tures that add up to outstanding musical performance and trouble -free reliability. vast majority of college courses in radio and television are turning out graduates Only by making comparisons for quality, features and price will you find that who may know everything there is to KENWOOD provides a truly superior selection of hi -fi stereo receivers. Visit your know about running a control board, but are totally ignorant of the fine points nearest KENWOOD franchised dealer, and he'll be glad to demonstrate your sound of the English language, know nothing approach to quality. Or write us for free, colorful brochure. of American history, and care nothing about music. Perhaps the separate -programming ...the sound approach to quality edict will give the listener a greater Ei) KENWOOD choice. I am inclined to think the in-

3700 So. Broadway PI., Los Angeles, Calif. 90007, AD 2 -7217 212 Fifth Avenue, New York, N.Y. 10010, MU 3 -1115 Continued on page 10 CIRCLE 48 ON READER -SERVICE CARD 8 }IMF FIDELITY MAGAZINE Before you send money to any record club, join the best one for 3 months, free!

Now, without paying a cent or obligating yourself in any as received, rarely later than the next few days. In the event of way, you can join for three months the one record club that a delay, partial shipments are made and your order completed has every single advantage and none of the disadvantages of as soon as the record or tape is available. There is no addi- all the others -including those advertised in this and similar tional cost to you for this service. publications. (Your trial membership applies equally to phono- Specials! In addition to your regular Citadel Club discounts, graph records and 4 -track recorded tapes.) you will periodically receive lists of hit albums and tapes in Here is what the Citadel Record Club offers to all its all categories of music, offered at super discounts. These are members: special purchases your Club can make through its unusual Discounts! As a member, you are entitled to unusually large buying power, and the savings are passed along to all mem- discounts on the records you want- sometimes as high as bers. Again, you are under no obligation to purchase any of 55 %! You can save as much as $300 a year if you buy many these selections. records and get them all at Citadel discounts. Free Schwann catalog! With your membership, Citadel immedi- No obligations! You can buy as few or as many records as ately sends you the standard reference guide to more than you want, when you want them. You are not obligated to buy 25,000 long- playing records. This comprehensive catalog has any specific number of records -or tapes. The choice is always separate sections for classical, popular, ballet, opera, musical yours at top savings. Citadel has no "agree to purchase" shows, folk music, jazz, etc., and another section for all new requirement of any kind. releases. All labels! Your choice is unlimited. Virtually any record, al- 100% guarantee! Your records and tapes from Citadel are bum or tape by any artist on any label is available at a discount guaranteed factory -fresh and free of defects of any kind. If a to Citadel members. This includes opera, classical, jazz, pop, damaged or defective record or tape does get through our close folk, spoken word- anything. You receive Citadel's periodic inspection, we immediately replace it with a perfect copy. bulletins and catalogs that keep you abreast of the newest Try membership in the Citadel Record Club for three recordings. You never get a "preselected" list -Citadel does months. Find out why it is the club for the fastidious record not limit your choice. buyer. You have nothing to lose except your possible illusions Promptest service! Orders are usually shipped the same day about other record clubs. ------mom= - -mu' Citadel Record Club 545 Fifth Avenue, New York, N. Y. 10017 1 IPlease enroll me for three months, without charge. ' as a member of the Citadel Record Club. I under- stand that I am entitled to all membership privileges I I without any obligation to buy anything, ever. I IName I I I Address__ ' 1

City_ State Zip 1 H-G6 CITADEL RECORD CLUB CIRCLE 16 ON READER -SERVICE CARD SEPTEMBER 1966 9 Sony presents a new generation of stereo components Whatever Sony has ever done, developed, servo motor operating at about 1 /6th of the speed of designed or produced, has always resulted in some- conventional turntable motors. This reduces rumble - thing to heighten the enjoyment people derive through producing mechanical vibration to an absolute mini - sight and sound. For Sony to have done less in stereo mum at its very source. A belt -drive coupling between high fidelity would have been unexpected and unusual. the motor and the turntable absorbs all remaining So, Sony has done the expected with the unusual. mechanical vibration. The first truly great solid -state stereo amplifiers. The Servomatic operates a 331/3 and 45 rpm. A built- The TA -1120 solid -state stereo amplifier /preamplifier in illuminated strobe disc and speed control permit achieves the long- awaited breakthrough in solid -state adjusting the turntable to the precise rpm desired. power amplifier design. The result is a component Model TTS -3000, $ 149.50. whose performance capabilities surpass those of the First moving coil cartridge with high output. The most highly proclaimed units ever produced -vacuum Sony VC -8E is the first cartridge to realize the full tube and solid -state alike. quality capabilities of the moving coil, yet providing The power amplifier section has an IHF power rat- high enough output (4mv) to eliminate the need for ing of 120 watts at 8 ohms, both channels operating transformer coupling. It is also the first moving coil (200 watts at 4 ohms). Indicative of its quality is the design to permit simple stylus replacement. The VC -8E extremely low distortion achieved at all power levels, combines a low moving mass with unusually high com- from 0.05% at %2 watt to 0.1% at rated output. No pliance so that it can track in properly designed arms less significant are these characteristics: high internal at as low as IA gram. Performance is characterized by damping (140 at 16 ohms) and S/N ratio (better than smooth. peak -free, balanced response over the entire 110db.); frequency response: (-t- Odb / -1db from 10 audible spectrum and beyond (10 to 25,000Hz) . Effec- to 100,000Hz). For safety's sake, a silicon- controlled tive channel separation extends into the high frequen- rectifier (SCR) protects the transistors against damage cies. With elliptical diamond stylus, $65. due to accidental shorting of the output. First truly professional arm designed for the non- The control preamplifier section, fully worthy of professional. The PUA-237,12 -inch tonearm combines the amplifier's performance, features the most func- optimum geometry and mechanical responsiveness for tional arrangement of controls ever conceived. In flawless tracking accuracy with the highest compliance metal enclosure with brushed aluminum panel, cartridges. Despite sensitivity, the PUA -237 exhibits $399.50. An optional walnut enclosure is available. amazing stability. Contributing to this is effective anti - The Sony TA -3120 solid -state stereo power ampli- skating compensation at every position on the record, fier features the same amplifier as employed in the and a lateral stabilizer which locates the center -of -mass -in TA -1120. It is the ideal choice in a high quality solid - in line with pivot and stylus. A built cueing device state power amplifier to go with your solid -state pre - with a silicon -damped piston permits easy location of amp, for use with a professional 3- channel tape deck, arm and gentle placement of the stylus in any selected or for 3- channel systems, $249.50. record groove. It also provides a semi- automatic method for lowering the stylus into the lead -in grooves First rumble -free turntable. The Sony Servomatic of 7 -, 10- and 12 -inch records. PUA- 237 $85; PUA -286 is the first turntable ever to employ a servo control (a 16 -inch version) . $99.50. amplifier. Rumble is virtually unmeasurable. Wow and flutter content exceed the most optimistic These new stereo components are now at Sony high standards ever prescribed for professional equipment. fidelity dealers. Stop in and hear them today For Motor speed is monitored by a servo control amplifier descriptive literature write: which maintains rotation of the turntable at constant SONYSOW® of America, Dept. H. rpm. The Servomatic is powered by a low speed dc 580 Fifth Avenue, N.Y., N.Y. 10036 All pileee suggested list

CIRCLE 77 ON READER -SERVICE CARD SEPTEMBER 1966 13 Who would you put in the box? LETTERS Continued from page 10

cography in HIGH FIDELITY, August 1962. As for the Odeon St. John, we agree with Mr. Andriessen that the per- formance is an exceptional one and re- gret that space considerations compelled us to omit tizis and other imported re- cordings from Mr. Broder's survey. There is a good possibility, however, that this particular St. John may become available domestically on Seraphim, Angel's new low -priced series (see page 63).

Gorgeous Guitar

SIR: Shirley Fleming's "Guitar on the Go" [HIGH FIDELITY, July 1966] was both in- formative and entertaining. But one im- portant point remains unclarified. On the title page of the article there is a photograph of a lovely barefoot girl strumming a guitar. Is this the author of the article? If so, it's obvious that Miss Fleming looks as good as she writes. Andrew Masterson Baton Rouge, La. Beethoven? No, the barefoot girl with guitar is not the author. However, we can assure Mr. Masterson that Miss Fleming's looks are every bit as impressive as her literary style. What's more, she's Southern!

Ghastly Guitar

SIR: How can you possibly mention the instru- ment of Andrés Segovia and that of Elvis Presley in the same breath? The fact that they are both called guitars is Uncle Louie singing pure happenstance. The electrical guitar "Danny Boy "? -as Shirley Fleming should have said in no uncertain terms -is a monstrosity. It may be "functional, portable, and cheap," but if one of my kids wanted to play it, I'd disown him. Werner Hamsen Toronto, Ontario Scotch Canada rE,00rd=nlq tape The Erl King Quartet .,+... t.. .. 71._'.».»t .1

SIR: In his review of Angel's new recording of Brahms's folk -song settings sung by Schwarzkopf and Fischer -Dieskau [June 1966], Conrad L. Osborne expresses res- ervations about "the apportionment of Build a world of your own on Scotch Magnetic Tape dialogue between two singers within a song . . . Otherwise," he writes, "why Whatever your listening preference ... "Scotch" Brand "Dynarange" not four singers for Erlkönig?" Mr. Os- Tape helps you create a new world of sound. Delivers true, clear, borne may be interested to know that Schubert himself participated in just such faithful reproduction across the entire sound range. Makes all music a performance while on vacation in come clearer . .. cuts background noise . .. gives you fidelity you didn't Steyr in 1819 (described in a letter by know your recorder had. the composer and reprinted in O. E. Best of all, "Dynarange" is so sensitive it gives you the same full Deutsch's A Schubert Reader). The Erlkönig was given as a little "cantata ": fidelity at a slow 334 speed that you ordinarily expect only at 71/2 ips. Schubert took the part of the father, his Lets you record twice the music per foot! The result? You use less tape friend Stadler was at the piano, Stadler's . save 25% or more in costs! Lifetime silicone lubrication protects daughter, Josefine, was the child, and against head wear. Ask your Johann Michael Vogl sang the part of dealer for a demonstration. Division magnetic Products 3., Continued on page 18

14 HIGH FIDELITY MAGAZINE "I listened to all the compacts, but kept coming back to Harman- Kardon"

Robert E. McClintock, of Mobile, Alabama, told us that. back. And the Harman -Kardon air -suspension speaker Buyers throughout the country are congratulating us systems are an achievement in themselves, deliver- with "The sound cannot be beat" and similar compli- ing dramatic stereo wherever you may place them in ments on their new Harman -Kardon music systems. the room. The reason is true -component sound. And Harman - Choose from four models, priced from $389* Kardon has matched all the quality components for you. AM /FM models, FM models, models with smaller book- Look at this SC -440 stereo music system, offering the shelf speakers. Any one you choose will delight you with complete enjoyment of both FM stereo and AM radio, amazingly lifelike component sound. See them -hear plus a Garrard AT -60 automatic turntable. Heart of them -at your Harman -Kardon dealer's now. Harman - every system is a powerful all- transistor stereo receiver Kardon, Inc., 401 Walnut St., Philadelphia, Pa. 19105. that's responsible for the extra realism of Harman - Slightly higher in the West. Dust cover optional. Kardon sound. Shop the market yourself. Compare styling, too. Measure them all against Harman -Kardon's sculptured harman kardon walnut beauty. The convenient tilted control panel in- cludes D'Arsonval tuning meter, stereo indicator light, A subsidiary of The Jerrold Corporation and headphone jack. Tape input and output are on LEADER IN SOLID -STATE STEREO COMPONENTS CIRCLE 40 ON READER -SERVICE CARD SEPTEMBER 1966 15 ADC -404 ADC -505 For people more impressed with sound than size and NEW! Just introduced, this new system is a full -fledged for all who want truly shelf -size units, this new system member of the ADC quality family. Superior to most is to fit mod- is as satisfying as. it is startling. "Puts out an astonish- costly systems of ten years ago, it priced ing amount of clean, wide range, well -balanced em high fidelity budgets. Incorporates many of the -blended sound," found High Fidelity. Bass response that defies ADC technical features that produce broadly Frequency response is belief. Less than 12" by 8 ", ADC-404s won top ratings smoothness and natural clarity. ± a typical room. Only 19" by over systems up to 8 times as big! Heavily built sealed 45 to 20,000 Hz 4 db in anywhere. Attrac- units in handsome walnut. Virtually in a class by them- 101/2" and 8" deep, it goes almost side comparison with selves among high fidelity speakers. $56. tive oiled walnut finish. Side by other under $50 systems quickly dramatizes its out- standing value. $49.95. r,nr, e + at. nrnro ecovIrc rwort Is there a secret reason why ADC speakers keep winning those top ratings?

We rather wish we could explain our success in It's not hard today to design a speaker system that and a speakers by referring to some exclusive gadgetry we will, by lab readings, have an excellent range keep locked in our labs, guarded by alarms, electric good, flat curve. eyes, and suspicious police dogs. At Audio Dynamics that's where we begin . . . Fact is, each of our four speaker systems is engi- Then we listen. neered differently in terms of its own dimensions We keep the good, clear, pleasant highs, clean, and requirements. rich lows and the smooth curve. Then, by ear, we What they do have in common is pleasurable work for a broad blending of tweeter and woofer- sound. And we strongly suspect this is what has won that parallels the blending of musical instruments. us our remarkable succession of top ratings, includ- You hear the music, not the speakers. Highs, lows ing two recent ones where the ratings count most. and middle tones are unmistakably there, but you Pleasurable, of course, means pleasurable to hu- aren't conscious of them separately. Even if you put man ears. Lab equipment can still only measure cer- your ear a yard in front of an ADC speaker, the tain aspects of a speaker's performance. Beyond that, tones blend. You still hear music. the ear must take over. Only the ear can detect those Pleasurable, because it's utterly natural, unstrained. subtle, vital qualities which determine the natural Hour by hour, at any volume. In your room. musical performance of a speaker. For in the final test, what we hear is what sets a speaker apart from Simply request "Reports on ADC Speakers" if you would its look- alike, measure -alike competitors. like more on independent evaluations from various sources.

ADC AUDIO DYNAMICS CORPORATION, Pickett District Road, New Milford, Conn. Ìl

ADC -18 ADC -303A Brentwood is the type most Among larger speakers for larger rooms, this unique This full "bookshelf" size system any room of normal has won rapid acceptance at the very top. Only popular today for use in almost system or horizontally, on 17" wide, it takes little more wall space than a "book- dimensions. May be used vertically of one of the most im- shelf" type put on the floor. Audio reports, "one of the shelf, floor, or wall. Winner tests of the year, it also wins fullest ends' we have experienced . . . top pressive comparative 'bottom the peaked un- High Fidelity agrees, "one of the finest available the experts' praise. "Presence without rank." with that term," eminently satisfying." First system to use an ex- natural response usually associated ... live and open panded foam, rectangular woofer with twice the air - reported HiFi /Stereo Review. "Very handsome walnut cabinet just under moving surface of a cone. Modest power requirements. sound." Heavy, Two adjustment switches. $95. $195 (previously $250). two feet by 13" wide. CIRCLE 7 ON READER -SERVICE CARD SEPTEMBER 1966 LETTERS

Continued from page 14

the ghostly Erl King. It was all in the spirit of fun, of course, and Mr. Os- borne is perfectly correct in doubting the musical validity of such an approach. But how I wish there had been a micro- phone and tape recorder on hand to capture that performance! S. Finkelstein Brooklyn, N.Y.

Muddled Stereo

SIR: I bought the Nonesuch on the basis of Conrad L. Osborne's review [July 1966] and found that I agreed with Winegard Stereotron his estimate of the performance. This is FM Antennas a good no- nonsense interpretation of the 3 models from opera, and well worth the price. How- to $32.50 ever, Mr. Osborne should have warned $19.95 readers about the queer stereo effects in this production. There are some in- explicable spots where a character will suddenly jump from one channel to another -dialogue from Channel A one moment, singing from Channel B the next. After a while. I gave up and played the recording on the monophonic setting. Less distracting that way. Chester Parkinson San Jose, Calif.

A Call Answered

SIR: Some months ago I read several letters in your magazine urging the reissue of some recordings by Serge Koussevitzky and the Boston Symphony Orchestra. Readers were advised to make known their wishes to RCA Victor. Is there any indication that their pleas have been heeded? George K. Morley Evanston, Ill.

The pleas have been heard. This month's preview of "The New Releases" (see Have you noticed how FM buffs (stereo and monaural) fall into three page 63) gives full details of a forth- categories? There are the ones who pull -in all kinds of stations - coming three -disc Koussevitzky album. but with every kind of interference and noise and multipath distortion imaginable. Others enjoy big, bold, beautiful sound reproduction. Trouble Rolls -Royce or Model T is, they pull -in only some of the stations available in their area. The rest? Sir: I enjoyed reading R. D. Darrell's nos- They have a Winegard "made-for-FM" Stereotron antenna. You might say talgic reminiscences in "Ten Years of they get the best of both: the most stations and the best sound reproduction the Tape Deck" [May 1966] and I agree - that recorded tape was truly magnificent sound with the least possible interference and distortion. once the "Rolls - Royce" of recorded sound -but not now. No secret how the Stereotron does it. Its high directivity eliminates Many of the tapes I have purchased in interfering signals from the sides and rear of the antenna. And its extremely the last year were faulty and had to high gain lets you pull -in more stations than ever before. And, if you like, be returned. The replacements were better you can add a Stereotron Antenna Amplifier and pull -in 85% of all FM but left much to be desired; one com- stations within a 200 mile radius. pany, after three months of correspond- ence, replaced a tape with one which Isn't it time you joined the rest? Isn't it time you you received the best they admitted had some distortion but FM sound reproduction, stereo or monaural? Talk to your Winegard dealer still, they felt, was "commercially accept- today. Or write for free literature. able." Tape collectors shouldn't be asked to pay a premium price for low quality WINEGARD material. The slogan "music sounds better ANTENNA SYSTEMS on tape" can only be true when collectors WINEGARD CO., 3018 -A KIRKWOOD BURLINGTON, IOWA 52602 insist on it. John G. Moore Clinton, Tenn. CIRCLE 94 ON READER -SERVICE CARD l8 HIGH FIDELITY MAGAZINE The AR- 4x -$57 in oiled wal- nut, $:íl in unfinished pine

THESE ARE FROM REVIEWS OF THE ORIGINAL AR -4 SPEAKER:

HI-FI iíiFi/Stereo Review

THE acoustic -suspension loudspeaker system, pioneered The eight -inch acoustic -suspen- so successfully by Acoustic Research, has been scaled sion woofer of the AR -4 produces downward in price and size in the new AR -4 bookshelf extended low- distortion bass. The power response and dispersion of the The tone -burst transient response of the AR -4 was AR -4's tweeter are as good as those showing no ring- of units that cost many times as among the best I have eser encountered, much. All in all, it is difficult to see ing or spurious output at any frequency. In harmonic - how AR has achieved this perform- distortion tests, the AR -4's performance, particularly con- ance at the price (especially sine sidering its under -$(U price, was also exceptional. When

CHICAGO high fidelity SUN-TIMES

COMMENT: Since its introduction by AR some years ago as the first compact speaker system of sonically The AR -4 is a best buy in any comparative authoritative caliber, the acoustic suspension reproducer shopping survey. It is going to attract a lot of interest in the low-price- bracket, but, would perhaps be more to the point to more than this, it is going to raise a big fuss preference; it that we have heard nothing better, so far at least, in the next bracket up, competing with its say in this price class.

the biggest climactic passages. There was no suggestion of cone breakup or distortion and the frequency emphasis (on records I know well) remained precisely that of the source material. This absence of coloration is a fa- Radio -Electronics miliar quality in expensive speakers for pro- fessional use, but it is fairly rare to en- now- counter in units costing around $50. li sug- The distinctive lack of obtrusive gests that the AR -4 is a rather rare bird coloration that made the speakers fa- among its budget- priced fellows and that it mous is still very much evident (though is slated for wide consumer acceptance. I realize this is a little like speaking of "the presence of a vacuum "). It is most noticeable on string bass. which has a clean "bite" and growl to it that is often

AND THIS IS WHAT REVIEWERS SAY ABOUT THE NEW AR -4x:

High Fidelity writes, "We liked the AR -4 originally ... IVe like the AR -4x even more." HiFi /Stereo Review sums up its review of the AR -4x with:-We know of no competitively priced speaker that can compare with it."

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

CIRCLE 1 ON READER- SERVICE CARD SEPTEMBER 1966 19 NOTES FROM OUR CORRESPONDENTS

Isaac Sterii in a New Role- First Recordings with the Soloist as Conductor

Double duty was the keynote of one point he quoted what Eugene Ormandy had 's recent stay in London. been reported as saying: If Isaac doesn't stop, I'll LONDON In the first place the visit marked have to start practicing the violin. ") When I first his debut as a conductor, directing arrived, the new maestro was coaching the violas the London Symphony- baroque- in a passage from the Bach A minor Concerto, de- style from the soloist's stand -in tailing technical advice such as only one string two Festival Hall concerts. Secondly, he proceeded player could give to another. On the actual takes to record, for CBS, most of what had been heard it was almost always Stern himself who called for in the concerts: the Mozart Sinfonia concertante a break, knowing exactly what he wanted both from (with Walter Trampler as violist), the Bach A minor himself and the men. (Even after twelve rehearsals Concerto, and the Haydn C major Concerto. and two concerts, the LSO players remained eager to The recording sessions were held at Fairfield Hall, please.) There were occasional moments of frivolity Croydon, which had never before been used for too, as when in running through the Bach slow move- this purpose by any record company. This is the ment Stern put in a few schmaltzy portarnenti and hall, some fifteen miles from the center of London, then commented: "How's that for the German ap- which Stokowski recently pronounced as the best in proach? But I can play even prettier, you know!" the area. In his remarks Stokowski may have given Back in the control room Stern was just as effi- the impression that Croydon is a country village cient, direct, and thoroughly professional. In fact, (it is actually just another London suburb), but his only moment of absent -mindedness was on one what he says about the acoustics of the place has occasion when after leaving a playback for an- some justification. Visually, it resembles the Royal other take he almost immediately reappeared at Festival Hall; but though it is much smaller, the the door and made for his violin case. "I keep for- sound is freer. Thomas Frost, the CBS Executive getting I have to take a fiddle with me." Producer, and Hellmut Kolbe, the company's Swiss Over luncheon I tackled him on the question of engineer, both appeared happy with the site. authentic texts and particularly on the matter of ornamentation, having noticed that both in the Bach Stern with Bow and Baton. Stern obviously seemed and the Haydn concertos he rejected the ideas of to be enjoying himself in his conducting role. (At some scholars about liberal Continued on page 22

20 HIGH FIDELITY MAGAZINE The outstanding performance, During assembly of the entire unit, switching is automatic, and the features and price of the TR100X were the modules are interconnected by "Stereo- Minder" light signals when achieved in large measure from push -on contacts ... again, no point - you've tuned in a stereo broadcast. Bogen's application of the most ad- to -point soldering...eliminating yet For precise tuning, there's an over- vanced techniques in modular cir- another source of human error. size meter. cuitry. For example, each of the six As for the important output tran- Now, if you'd like to be even more module boards has its copper circuit sistors, those used in the TR100X are impressed with the value of the in- component parts automatically so rugged, you couldn't damage them TR100X, just thumb through this pub- is serted... and each board then even if you deliberately shorted the lication and make your own com- wave -soldered in a single step. All at high signal levels of parisons. Then ask any Bogen dealer -con- leads...even this eliminates the most time long duration. to put the TR100X through its per- suming and costly hand operations formance paces for you. in producing a receiver. What about features? The 4 -posi- tion speaker selector lets you listen Pece slightly higher in the West. Walnut wood enclosure optional. Then each unit is individually in- to local and/ or remote stereo speaker spected and tested at the stages pairs, or phones. The separate on -off where optimum performance and re- switch lets you preset controls and COMMUNICATIONS DIV. LEAR SIEGLER. INC. liability can most readily be assured. then forget them. Of course, stereo . Paramus. New Jersey

ft

(5 ...... CI -sill Multiplex FM /AM IF Section iál Power Supply Preamplifier Drivers Control Sectior

Modular circuitry like this makes possible...

the remarkable value of Bogen's new TR100X 60 watt all- silicon solid state am /fm- stereo receiver. $249.95 CIRCLE 13 ON READER- SERVICE CARD SEPTEMBER 1966 NOTES FROM TO OWN A BARZILAY is to own the inest. There are OUR CORRESPONDENTS award- winning contemporary designs. cabinets in cost - Continued from page 20 saying kit form, and furniture with authentic old -world styli lg. decoration in the solo part, the exe- cution of trills, double -dots, and so on. For brochures write: The Barzilay Co., Dept. HF -66, His answer was clear and convinced. He contended that, with next to no vibrato P.O. Box 48 Gardena, California. and with a very slack bow, intonation in Bach's and Haydn's time must have been difficult, to say the least. In order to cover the inexactness of intonation and to make the sound tolerable, orna- mentation was therefore encouraged. The situation today, he felt, was quite different: with instrumental techniques highly efficient, there is no longer a need for so much masking of the melodic line -and indeed a less ornamented style may well be closer to the composer's basic intentions. In any case we agreed that it is the liveness of the performance that counts, the effect of the whole rather than textual details. What Stern especially liked about the LSO players was Barzilay 300E from tre Contemporary Group. their flexibility, and they in turn respected someone who could always illustrate what he wanted so clearly, whether in words or on his instrument. It is expected that the Haydn Sinfonia concertante, also re- corded at the Croydon sessions, will ap- pear on the same disc with the Mozart. Another set will include Vivaldi's C minor and E flat concertos. The Bach A minor will probably be coupled with the Bach E major and the violin and oboe reconstruction of the C minor Double Harpsichord Concerto, both al- ready recorded with Bernstein conducting.

Milstein and Frühbeck. Nathan Milstein Barzilay K89's from the Design Series Kits. too has been recording again in Lon- don, doing the Glazunov and Dvoïák Concertos with the New Philharmonia and Rafael Frühbeck de Burgos. The Angel sessions at EMI's Abbey Road stu- dios were the sequel to the Prokofiev 1 31 ones held last year, again with Richard / fU Jl ill J IFS IA\V Jones in charge. Milstein kept acting as Jonah at the playbacks. Despite the assurances of Jones and others, he would CREATORS OF AMERICA'S MOST often shake his head, explaining, "I never a hundred per cent like what I do, but nothing should shock me." In the end. HONORED STEREO FURNITURE of course, nothing did shock him; and though at one of the Glazunov sessions, he shrugged his shoulders and com- plained of being too tired to cope with the cadenza -"Physically I just can't do it "-he at once proved himself wrong by the most spectacular display imagin- able, playing that was far warmer and less inhibited than his account of the same music a few days earlier at the Royal Festival Hall. Frühbeck was consistently tactful but firm, ready to please in everything yet knowing exactly how best to get good results from the orchestra. Further- more, he was able to accept with utter calm the occasional admonishments of Mr. Milstein: "Don't say it's good! Pay attention: you young people don't listen!" Which isn't to imply that Mr. Frühbeck The new Barzilay C8800 "Renaissance" from the Sarabande Co.;ection. Continued on page 24 CIRCLE 10 ON READER- SERVICE CARD HIGH FIDELITY MAGAZINE You have never seen

J. BASF Recording Tape is unlike any (or heard) reel of BASF tape comes in a swivel -type Library other high -quality sound tape you can buy Box. The tape is sealed in a plastic container today, regardless of cost. to insure factory-to -you cleanliness. Every Manufactured by BASF, the company a tape reel also has these other exclusive features: which originated magnetic tape more than 3 feet of red leader in front 3 feet of 30 years ago, BASF tape is a completely green leader at the end a red label on one new experience for the tape user. From side of reel a green label on the other exclusive Luvitherm-R' base to mirror -finish like this metallized switching foil in front magnetic surface, this exciting product metallized switching foil at the end. excels, not only in the superb quality of its For a really well- organized and attractive tape audio reproduction, but also in its before library you can buy 3 reels of BASF tape in a physical characteristics and the handsome, decorator -styled Library Pack of unique convenience features it offers. high impact molded plastic. BASF supplies the Exceptional performance at all speeds Library Pack FREE when you buy tape this way. With BASF, tape noise is at an absolute BASF An Ageless Tape BASF - - r-, minimum, providing full dynamic range and tape is ageless because of the out- astonishing clarity of sound reproduction. standing physical properties of ex- Print -through and drop -outs are virtually clusive Luvitherm" base. Pre -stressed eliminated, and high- frequency response is for added strength and completely excellent. Extraordinarily supple, BASF tape, unaffected by humid ty and changes clings more closely to the recorder heads in temperature, BASF tape will last insuring consistently superior sound repro- forever. Buy BASF tape today. You'll LI duction particularly in multi -track recording. never switch again. For complete in- a- Unique convenience features Every formation write: - COMPUTRON INC. CIRCLE 11 ON READER -SERVICE CARD t?2CALVARVST,WALT,wAM.MASS 02%4 TELEPHONE 1:1, R99-0HN0 NOTES FROM OUR CORRESPONDENTS

Continued from page 22

isn't quite capable of giving as good We dare as he gets. . . Klemperer's Major Mozart. At last the long- awaited Klemperer has been recorded. Prevented by illness you to compare from making the earlier Angel set (he was replaced by Giulini), the now eighty- one -year -old conductor seems in fine health, though wisely he did in- sist that he could only manage a single Sonotone's Mark V session each day. The sessions were held in the morn- ing, a procedure generally unpopular with singers, who prefer to let their voices warm up during the day, but solid state cartridge they went remarkably smoothly. As (the Angel recording director regularly attached to Klemperer) said, Klemperer's authority is such that sing- ers just don't think of displaying tem- with any other perament. In a single morning both the Trio and the Quintet were completed, difficult numbers. All the same, the three -week period necessary for the op- era's completion was an expensive busi- stereo cartridge ness, since all the soloists had to be kept together for the whole time. Andry nostalgically recalled his early days at Decca /London when, in the summer of 1955, he and Victor Olof managed to record no fewer than three Mozart op- eras (Figaro and Cos) as well as Don Giovanni) in the space of four weeks in . The cast has taken two years to gather together: Nicolai Ghiaurov as the Don, Walter Berry as Leporello. Nicolai Ged- da as Ottavio, Franz Crass as the Com- mendatore. Mirella Freni as Zerlina, Claire Watson as Anna (a most difficult role to cast in the face of rival record- ing contracts and Klemperer's insistence on a big, dramatic voice), and -rath- er surprisingly- (Mrs. Berry) as Donna Elvira. It took the whole two years to persuade Ludwig to undertake the role, but it should prove an exciting choice. "Mi tradì" is trans- posed down a semitone to D but, as s Andry pointed out. this was the original key, and Mozart wrote out all the parts in the recitatives before and after to Here's why you can't afford not to allow for the key change. One of the few crises came when We're 99% sure you'll prefer the Mark V to all other stereo cartridges. Christa Ludwig was prevented from at- But, just to be 100% sure, we'll allow you $2.00 toward its purchase price. tending a rehearsal for the Quintet. In every area, the Velocitone Mark V measures up to the best of today's Klemperer insisted that it had to go on and that even at an hour's notice fine stereo cartridges. another soprano must be found. A young And then goes them one better. singer, Mary Thomas. was roused, and Like the Mark V's complete absence of magnetically induced hum. Fea- arrived breathless, not knowing what tures Sonotone's virtually indestructible Sono -Flex° needle in choice of she was in for and without even a score three fully ground, highly polished diamonds -0.7 mil, 0.5 mil and elliptical. to hand. Klemperer was most apprecia- bounce and mauling without loss of performance quality. tive, and even started directing her per- Survives bends, formance, rehearsing her as though she Ask your nearby hi -fi dealer to demon- were going to be a part of the final strate it for you. Fits all high- fidelity SO NOTO N E production. From $32.50, audio products As a by- product of the Giovanni ses- changers and turntables. sions, EMI recorded Freni and Gedda in regular audiophile price. Simply send sale operatic duets, and also managed to com- receipt to us and you will receive your SONOTONE CORPORATION, ELMSFORD. N.Y. 10523 plete the Klemperer Das Lied von der with ELECTRONIC APPLICATIONS DIVISION $2.00 by return mail our compliments EXPORT: SINGER PRODS. CO., INC., N. Y. C., for a wise choice. CABLE: EXREGNIS; N. Y. Continued on page 26 CIRCLE 76 ON READER -SERVICE CARD 2-f HIGH FIDELITY MAGAZINE .Crisp and Clean... solid, well balanced bass. ...Superior Transient Its shape would fit into the "...Completely Free Response ... extreme decor in many instances far from Harshness clarity, will not break better than the conventional or Stridency ... up under any normal "Optimum Stereo rectangular enclosures" said a very smooth or even super normal Performance .. C. G. McProud, Editor easy -to- listen -to pushing ", stated Larry excellent dispersing speaker" reported of Audio M . azinc. Zide of American It has a 'big sound' n Hirsch. at any volume level ", Record Guide. Gladden Houck. of Electronic World.

The Empire Grenadiers represent the most talked about speaker systems in the world today. And why not. In sight and sound they have captured the imaginations of the audiophile, interior deco- rator and music enthusiast alike. Send for your free critics review pamphlet today and convince yourself. ` MPIlE EMFIRE SCIENTIFIC CORP., 845 STE WART AVE., GARDEN CITY, NY CIRCLE 34 ON READER- SERVICE CARD SEPTEMBER 1966 25 "Let's not NOTES FROM beat about the OUR CORRESPONDENTS proverbial bush ...this is Continued from page 24 a first class product ... Erde, held up for two years, with Ludwig and .

impressive indeed." All -Star Faust. Ghiaurov, who thorough- ly enjoyed himself Audio Magazine, March, 1966 in the role of the Don (habitually gesturing as though he were on the stage), had Audio's glowing review confirms this: As of now, practically every, been in London for the previous weeks, thing you've heard about solid -state receivers is out of date - singing Mephistopheles in Decca /Lon- don's new recording of Gounod's Faust including how much you should pay. See the new ADC Six Hundred with Joan Sutherland and , (and the companion ADC Sixty Amplifier) at your dealer. Richard Bonynge conducting. I attended one of the sessions at Kingsway Hall AUDIO DYNAMICS when all three principals were singing. CORPORATION Sutherland had the night before appeared Pickett District Road, New Milford, Conn. for the first time ever in a comic role -at a Covent Garden gala performance as Marie in Donizetti's Daughter of the Regimen! -and her high spirits were still with her as she pulled a good - natured bass face while Ghiaurov was singing. or waved to a privileged friend allowed in at the back of the hall. In short, the most un- prima- donnalike he- havior. The voice itself is in fine con- dition, I might add. Ghiaurov was in great good -humor at these sessions too, periodically slapping Corelli on the back in congratulation of the 's perform- ance. The London Symphony was an enthusiastic participant in all the pro- ADC ex all solid -state, 60 watt stereo J ceedings. EDWARD GRFI NFIFL» receiver: $248.00 list. CIRCLE 7 ON READER -SERVICE CARD

Prince Igor PARIS Premiered in Stereo We don't care if you accidentally Four years ago EMI's opera scouts, drive your car over it. looking and listening around for people who could join Boris Christoff in singing in Russian. If the 5 year warranty is still in effect, discovered the chorus of the Sofia Opera. The results (see Roland Gelatt's we'll fix it, no questions asked. "Project Boris," HIGH FI»I LITY. April 1963) were some fascinating recording sessions (much talent and Bulgarian charm on display) held in the Salle Wagram in Paris, and finally a memora- ble album of Mussorgsky's opera. So this year, when EMI's Paris -based Pathé - Marconi division thought of at last pro- viding listeners with Borodin's complete in stereo, there was no need for scouts. Not only the chorus but also the orchestra of the Sofia Opera (some two hundred people in all) were brought hack into the Salle Wagram. In the new album, expected to appear in the United States next year on the Angel label, Christoff is both Prince Galitsky and Khan Konchak. The role of Prince is sung Nice? What's more, Clevite Stereo In Igor by Kostadine Driftwood Grey, it's Schekerliiski (who took Headphones give you pure the part of stereo. beautiful listening for under Tchernikovsky in the Boris Godunor One ear hears bass, the other $25. Write for name of nearest recording), Vladimir by Todor Todorov, gets treble. Foamy, removable dealer. Clevite Corporation, Yaroslavna by Julia Wiener, and Koncha- cushions adjust to fit any Piezoelectric Division, Bedford, kovna by Reni Penkova -all of the reg- head, glasses or not. Ohio 44014. ular Bulgarian company. The conductor, Clevite Stereo Headphones a choice much influenced by the strong- Continued on page 28 CIRCLE 17 ON READER -SERVICE CARD 26 HIGH FIDEI.ITY MAGAZINE Introducing the Fisher XP -15, the first four-way loudspeaker of acceptable size.

Seven drivers. The new XP -15 incorporates no less than seven speakers. Two 12" free -piston woofers with 2" voice coils on electrolyt- Four -way system. ic copper cores. Four mid -range units; The new XP -15 is a true four -way sys- two 6" for lower mid -range. two 5" for tem allowing each component to repro- upper mid -range. One tweeter. Each duce only Its specific portion of the driver an exclusive Fisher design. Rock -solid 5 cu. ft. cabinet. frequency spectrum. The woofers from The XP -15 weighs 90 pounds! Its sturdy 20 to 300 Hz; lower mid-range from 300 construction ehm'nates enclosure reso- to 1000 Hz; upper mid -range from 1000 nances that could result from low - to 2500 Hz; high frequencies from 2500 frequency modula ion.The cabinet meas- to beyond audibility. ures 27" high. 27' wide. 14" deep. and is finished in hand -rubbed oiled walnut.

Five pounds of copper wire. There are two air -core coils and two condensers in each network, providing a taper of 12 db per octave at the cross- over frequencies. The six low -pass filter Three separate balance switches. coils utilize nearly 5 pounds of copper wire! Three switches each with positions for Normal, Increase and Decrease provide unusual flexibility in the all- important lower /upper mid -range and high fre- quencies. The XP-I5 can adapt to any acoustical environment and retain its overall flat response.

All- electrical crossover design. Each crossover point of the XP -15 (300, 1000, 2500 Hz) is treated like a two -way system. High frequencies above the nor- mal operating range of the woofers and mid -range speakers are filtered out with precisely wound coils. Low frequencies below a driver's operational limit are filtered through high-capacitance con- Exclusive Fisher densers. There is a total of twelve elec- trical elements, reducing IM distortion soft -dome tweeter. to an absolute minimum. A 11 inch hemispherical cotton dome provides superior smoothness of re- sponse and uniform dispersion in this outstanding high- frequency driver, es- pecially important in true stereo repro- duction.

Sub -enclosure design. All four mid -range drivers and the sof t- dome tweeter are completely sealed off within the main enclosure to prevent in- teraction with the back -pressure of the 21 pounds of magnet structure. woofers. Each woofer is powered by a 6 lb. mag- net structure. A total magnet weight of 6 lbs. drives the mid -range speakers, and there is a phenomenal 3 lbs. for treble reproduction. These unusually large mag- nets provide increased power handling capacity, efficiency and tighter control over voice-coil excursion.

At $299.50, the new XP -15 is the most elaborate speaker system Fisher has ever produced. For more information, and a free copy of the 80-page Fisher reference guide to high fidelity, use post card on magazine's front cover flap.

TO F TI ONL, INC.. LONG ISLAND CITY, N.Y. 11101. FISHER NA 010 C o,PORtl oN, INC.. Ilan .TN ROAD, LONG ISIANO CITY. N. Y. II lo,. OVE.SFS NO CNOON RESIDENTS PLESEWRIIE ISNER.OdO INIERN CIRCLE 25 ON READER -SERVICE CARD SEPTEMBER 1966 27 NOTES FROM Prince Igor and Boris Godunov regularly, ¡{ you cam OUR CORRESPONDENTS his favorite roles are those of Scarpia, HEAR IT Germont, Iago, and above all - ? y Ou tsn Continued from page 26 "because it is the most complete dra- 7 SPEAKm matically." But he is also hoping to be f willed Christoff, is , of the Wotan in the new production of Die Poland and the Moscow Bolshoi. The Walkiire at Sofia. And he has tried his version record listeners will hear, with hand at conducting. My impression was , the third act omitted as usual, is essen- that in Bulgaria an opera singer has a tially what is performed during the sea- good chance to become something more son in Sofia (and also in Moscow in than a specialist. recent years, Schekerliiski told me). En- tirely in Russian, of course. Collaborations. This impression was strengthened when work was resumed. Contretemps. When I dropped in on the Christoff discussed each passage with sessions, I found producer René Challan, Semkow, and frequently stationed him- a deceptively mild veteran of such pro- self on the edge of the orchestra during ceedings, up in the control cabin engaged a rehearsal. With his large, emphatic in a deceptively mild conversation on gestures and his general bearing of au- two telephones, in Italian with conductor thority, he could easily have been mis- Semkow and in French with Christoff. taken for a conductor -until, of course, The latter, it seemed, had just sung a he began to sing. Even then his relation- note that Challan could not find in the ship to Semkow and the orchestra was score. "I've always done it this way," remarkably like that of a soloist in a said Christoff, who was downstairs on concerto-the sort of soloist who leads. the stage and whose big voice made the I do not mean to underrate the contri- phone rather unnecessary. "Yes," Challan bution of Semkow; he had his own kind countered, "but Borodin.... " "Not at of authority and contagious incandes- all important," said Christoff. Challan cence. This Prince Igor, however, will be DtO\IEND°R1 called for another take of the passage, not only his and Challan's but also motioned me to the chair next to him, Christoff's. REPEATING and put his pencil on the note in ques- My afternoon ended with a glimpse tion. The little drama had its excite- of Christoff as bon vivait, of a sort, and MAGNETIC TAPE ment. Would Christoff defy the forces of genial member -of- the -group. On the MAGAZINE EMI? Would he surrender to Borodin? counter of an improvised kitchenette next He sang beautifully, and on the closed - to the control room he had lined up Converts most standard tape circuit television we could see that he four giant hot dogs, and was methodically was deep in his role of Prince Galitsky. demolishing them with the help of a recorders to continuous op- The suspense grew as he neared the note. Coke. Two women members of the erating message repeaters. He hit it squarely as it was written. chorus who were returning to Sofia came Challan smiled and ordered a break. in to say good -by. There were tearful Loaded for 3, 5, 8, 12, and Downstairs, with the help of two or- embraces and a farewell in Bulgarian 15- minute capacities at 334 chestra men as translators, I talked with which reminded me again of . Then we talked about the odd lack of a pro- ips. Repeats message, les- Schekerliiski -a solid, black-haired, bear- like man whose voice and vocal tech- tagonist in Prince Igor. "Konchak," son, or other recorded mate- nique, like those of many Bulgarian Christoff said between bites of hot dog, rial as long as desired. Ideal singers, are somewhere between Moscow "is a strong character. But Prince Ga- and Milan. In fact, he said, although for sleep learning, language he studied at the Bolshoi and sings both Continued on page 30 study, or wherever a repeated message is of value. Packed in clear plastic dust- proof, stand -up cases.

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0 14 1=1 C) r.i / S, I At C. COLISIO ELECTRONICS DIVISION P.O. BOx 864 TOLEDO, OHIO 43601 Maestro Senkotu and basso Christoff: the soloist clearly takes a hand. CIRCLE 21 ON READER -SERVICE CARD HIGH FIDELITY MAGAZINE The Sound of Marantz is the Sound of Music at its Very Best.

SLT -12 Turntable, with Straight Line Tracking -a revolutionary development from Marantz. Finally, the art of tracking a record precisely duplicates the art of cutting a record. The Marantz SLT -12 Straight Line Tracking System exactly conforms to the angle, posture and the tracking used in the cutting of an original master stereo record. This perfect compatibility eliminates inherent defi- ciencies of conventional swing arm record player systems and gives incredibly perfect reproduction. It is the only system available which faithfully reproduces sound as it was originally recorded. l0B FM Stereo Tuner -rated by Hi Fi /Stereo Review magazine, "1 have never seen a tuner to compare with it ... so outstanding that it is literally in a class by itself :' 7T Solid State Stereo Console -a solid state component unequalled in performance, versatility and flexibility.

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Continued front page 28

litsky is really the strongest and the HOW LOW CAN YOU 0(1? most elaborated. And he is especially When tested against all competitive models, the JBL SA600 Solid so in the theatre. You should have seen me in Chicago when I had a falcon on State Amplifier registered by far the lowest levels of distortion... my wrist." RoY MCMULLEN lower, in fact, than could be plotted on the test charts.

NFv; YORK Handel's Messiah From Robert Shaw

C 'Gentlemen, let's begin with No. 44- which may be slightly familiar." With these words JBL SA600 Robert Shaw, whose Messiah recording session for RCA Victor was just getting under way, gave the orchestra a vigorous downbeat and the "Hallelujah 40 watts continuous RMS power per channel with less than /q%t harmonic Chorus" rang forth. distortion at any frequency through full audible range 20 cps to 20,000 cp,, One could tell from the very first in- deed familiar both channels operating. IM distortion less than /2%t at full notes that this was to be a Messiah performance power or any level less than full power. Noise level 90 somewhat out of db the ordinary. below rated output from high level inputs, Gone was the massive four - 70 db from low hundred -voice chorus, level inputs. the large sym- phony orchestra, the touched -up per- And we'll aim even lower. To stay on top. forming editions by Mozart, Sir Thomas Beecham, or even less expert authorities James B. Lansing Sound, Inc. on baroque style. No, this was to be a performance 3249 Casitas Ave., Los Angeles, Calif. 90039 re- creating Handelian meas- ures to the letter -or at least as close to chapter and verse as present -day music- CIRCLE 53 ON READER -SERVICE CARD ology can lead us. In the case of the "Hallelujah Chorus," the initial effect «as startling, but one adjusted rapidly to the lean, bright clarity that is possible with reduced orchestral and choral Why spend it all getting there? forces.

Musicology's Contribution. Mr. Shaw had chosen for the new recording the Watkins F'" !II.YELAIi1DIC Shaw version (W. Shaw -no relation to R. Shaw -is the author of a full -scale study of Messiah, its performance his- tory, and the various editions that have appeared through the years) with further LOWEST AIR FARES TO EUROPE emendations by Alfred Mann of Rutgers University. The orchestra consists of six first violins, six second violins, four Save enough to violas, four cellos, two double basses, four oboes, three bassoons, L a contrabas- STAY ONGER SEEMORE ENJOYMORE soon, two trumpets, timpani, organ, and harpsichord. The two continuo instru- Now's the time to plan a late Summer or Fall vacation and take advantage ments are used both separately and to- of Icelandic's low Thrift Season fares. You pay far less than Jet Economy fares. gether, but in general the organ is re- served for choral portions and the Remember, we offer the lowest air fares of any scheduled harp- airline at anytime sichord for the soloists. The chorus num- of the year . . . one way or all -year round trips. You fly in roomy comfort bers thirty -one, and four soloists -Judith Raskin, aboard swift, new Rolls -Royce 400 Jet Props and long-range DC -6Bs. Com- Florence Kopleff, Richard Lewis. and Thomas Paul plimentary hot meals, -complete the per- drinks and snacks served on every flight. forming forces. A cleaned up Messiah reveals a num- FROM NEW YORK TO: ICELAND ENGLAND SCOTLAND DENMARK ber of surprises and throws new light on SWEDEN NORWAY FINLAND HOLLAND LUXEMBOURG an old friend. Upon hearing the opening New, low cost "Shoestring" Tours of Europe-Send for folder. measures of this "Hallelujah Chorus," for example, I learned that the tutti or- The PIONEER of low Faresto Europe CALL YOUR TRAVEL AGENT chestra does not enter until the third beat of measure five, just after the chorus' 610 Fifth Avenue (Rockefeller Center7) second "Hallelujah "; the first four and ICELAIIDICAIRLINES New York . N. Y. 10020 PL -8585 a half bars are played by a concertino Wit' NEW YORK CHICAGO SAN FRANCISCO orchestra comprising approximately half tim ]rn the string section and one or two winds. --+ -000 Write for Folder HF -9 Continued on page 32 CIRCLE 45 ON READER -SERVICE CARD 3f) HIGH FIDELITY MAGAZINE It's all here in one handsome, compact cabinet, the construction. You can record from microphones, or Ampex "Music Center." A quality Ampex stereo tape re- directly from the AM /FM stereo receiver. (The pause corder, plus a built -in solid- stateAM/ FM Stereo Receiver. control lets you skip recording unwanted off -the -air Add your own favorite speaker system (chosen from the material.) new Ampex line) and you have a complete home enter- Opened or closed, it's a complete high fidelity stereo tainment center. recording and playback unit; it's a handsome piece of (There's even an input for a stereo phono, if you still furniture with strikingly styled tambour doors. It's an have records you care to listen to!) The tape recorder open and shut case: the Ampex "Music Center" is a very features automatic reversing, exclusive Ampex dual handsome way to go into stereo tape! See your dealer capstan drive, deep -gap heads, and die -cast aluminum or write for complete information.

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Continued from page 30

I asked Mr. Shaw about this later. "You'll notice such a procedure occur- ring many times throughout the score," he said. "Handel always conducted from gN. the harpsichord and often he wasn't free to give the orchestra a downbeat to set the / ' / ' correct tempo -he counted on a few of his most reliable musicians to set the pace. Only when the tempo was estab- lished and the performance was running MODEL smoothly could he risk the full ensemble. 1000A Essentially this practice resembles tradi- tional concerto grosso style. contrasting solo instruments with the full orchestra."

Musicians' Contributions. Every page of the score that I heard during two after- noon sessions emerged with a crisp buoy- ancy that one would have scarcely be- lieved after years of attending and partici- pating in mammoth -scale productions.

meet SANSUI MOD creator of these FR-700 exciting new stereo receivers S SANSUI ELECTRIC COMPANY LIMITED 14 -1. 2Chome Izumi, Suginami -ku, Tokyo. Japan - SAN FRANCISCO OFFICE: 4203 Geary Blvd.. San Francisco, Calif., U.S.A. TEL: 387-3300 CIRCLE 74 ON READER -SERVICE CARD

THE IDEAL LOCATION FOR HIGH LEVEL GROUP CONFERENCES AND SALES MEETINGS The Incomparable Shaw: sometimes he exhorts. Choral passages such as the extended six- Highlands Inn teenth -note runs on the word "turned" in "All We Like Sheep" can be spun out Carmel -By- The -Sea with smart, sharp articulation ( "Dance! '4 Dance!" exhorted Shaw of his chorus at this point, executing a little jig of his r own on the podium). Shaw's Messiah tempos may well turn out to be the fast- est on disc -probably because the lively spirit the conductor was after is much more easily conveyed with small forces. At times it even became necessary to restrain an overexuberant instrumental- ist. During the alto -tenor duet "O Death, Where Is Thy Sting ?" the cello continuo tended to outrun the soloists until Shaw instructed him to relax a bit and breathe with the singers -"the same tempo only

.. slower," advised Shaw, and this para- doxical counsel worked perfectly. i., The enthusiastic cellist clearly did have TRULY THE SHOWPLACE OF CALIFORNIA . . . the right basic idea, though. "We wanted OVERLOOKING THE BLUE PACIFIC JUST SOUTH OF CARMEL to get away from the Victorianism and Ocean View Rooms with Lanais or Cocktails in the Sunset Room overlooking the thickness of nineteenth -century per- comfortable Cottages w /fireplaces the Pacific formances." Shaw remarked at the end Swimming in the heated pool overlooking Excellenet facilities for group meetings "Messiah has too often and conventions of the sessions. the Ocean a turgid and Delicious food prepared by Internationally Complete Reception and 3anguet given the impression of known Chefs Facilities pompous ritual -I hope we have pre- For Reservations Write To: sented an interpretation which returns HIGHLANDS INN, CARMEL -BY- THE -SEA, CALIF. to the spirit of the music: a joyful cele- a religious event." ROBERT J. RAMSEY, Owner Carmel: MA 4 -3801 bration of P.G.D. CIRCLE 44 ON READER -SERVICE CARD CIRCLE 77 ON READER -SERVICE CARD RE

Now instant movies in sound start at $695. The new Sony Videocorder deck ( model CV-- ß.000D) is both compact anc versatile. It's also cuite reasonably priced, $695, It's jt st like current Sony \ideocorier models, but wi:h- out the bt ill -in TV monitor. Using a separate monitor or TV set, you can tape selected TV Erogram: off -the -air. Acd the optional Sony TV camera and -ou can -ape "live" act on in sight and scund. Play back you: tape, »d yot'Il see i:tstant movies in sound. This new deck is small eroigh to fi: on a bookshelf, a; a part of your hi -fi component system. L ght encugh (only 44 lbs.). to take wherever you want it tc perform. Ada?taole enough to use with any TV mcrtlor, smal or large screw ( -he new Sony 8" -inch and 22*-inch receiver/lnonitcrs are perfect mates). It can be adapted to work with most Lome TV sets. Handsome too, in walnut -finish cabinet. Look ng for a Videocorder xith its in bu It -in monitor? Then mee: the rest of the Sony Videocorrr family. TCV -2(110 complete in its own carrying case, $995. The TCV -2020, hand- some oil -finish walnut cabinet and with built -in timer to auto- matically tape TV programs while yotite away. $1150. For taping "live" action, there is the Video Camera Ensemble VCK -2000 (camera, elevator tripod, microphone) at $350. For an unforgettable demonstration visit your Sony Video - corder dealer today. For free 1E-page booklet write: Corp. of America 47 -37 Van Dam St., S Long : s:.tnd City, N.Y. 1101 Dept. H 'diagonal meaurtment. The Videocorder is sot O be used le rcord cop+r glued nat,rial. Sony and Videocoeder are registered Iradcmar-s a the Sony Crap. All pm es auggeslec list. Schoeck's Fisherman marks a high point. Switzerland -A Musical Tour Through the Cantons

NEARLY EVERY COUNTRY in Europe has, herewith noted. Sharing a disc with the Deliveries have only at one time or another, produced a body chants from St. Gall is a collection of of music whose effects have been felt Cantilenae He /veticae- anonymous melo- just started but throughout the rest of the Continent - dies composed between the thirteenth even areas somewhat outside the musical and nineteenth centuries by a various the word is mainstream such as Spain, the Lowland assortment of troubadours, herd tenders, countries, and England have had their mountaineers, and traveling scholars. getting around sporadic outbursts of potent national These haunting calls (robustly voiced here creativity. Switzerland has not. Divided by veteran tenor Max Meili) are per- by language into Die Schweiz, La Suisse, haps the closest the Swiss ever came to and Svizzera, each trisection of the coun- a national music: the melodies, all con- try has been inevitably and profoundly structed from short -breathed phrases and the new influenced by the cultural climate of its studded with numerous octave jumps, nearest neighbor: Germany / to could only have been composed in a the North and East. France to the West, mountainous country and seem to be and Italy to the South. Musically, the handily designed for echoing off an alp. results have been a literature rich in Another disc in the set is. fittingly, variety but without any arrestingly in- given over entirely to one of Switzer- MIRACORD digenous character. But what Swiss com- land's most important early composers, posers have not achieved in native orig- Ludwig Senfl (c. 1486- 1543), a pro- inality, they have made up with civilized lific writer who brought the German invention, solid craftsmanship. and oc- Lied into its first flowering. Among the casional flights of sheer genius. In short, thirteen polyphonic Lieds presented is this small nation has never lacked com- the famous Lust hab' ich gehabt zuer 50N posers of superior talents. Musica, an extraordinary autobiograph- Few of them, however, have attracted ical song (including an entire verse in fulfills every promise of much notice beyond their native cantons praise of Senfl's illustrious teacher Hein- (except for a handful of twentieth - rich Isaac) which, if you take the first being the finest automatic century expatriates such as Honegger, letters of each stanza, forms an acrostic turntable ever produced Bloch, and Liebermann). It is to rectify on the composer's name (he spelled this situation that the Swiss Musicians' Senfl with two n's in case you're count- Union, the Swiss Broadcasting and Tele- ing ). The lyrical inspiration as well as 1 vision Corporation, the Swiss recording the contrapuntal and harmonic freshness Benjamin Electronic Sound Corp. firm Turicaphon, and innumerable Swiss of this music makes the disc a standout 40 Smith St., Farmingdale, N.Y. 11736 performers and ensembles have now in the series. Send complete details about your combined their resources to compile a Passing quickly over a parcel of ga/ant new Miracord 50H. Also notify me thirty -disc anthology of Swiss music. trifles by Albicastro, Gaspard Fritz, when dealers near me receive The collection, comprising more than Meyer von Schauensee, Isabelle de first deliveries. 140 works by nearly a hundred corn- Charière, and Jean -Jacques Rousseau, posers, ranges from ninth- and tenth - we come upon a real curiosity: a mili- century tropes and sequences written tary symphony (No. 3) by one Xaver Name in the Benedictine monastery of St. Gall Schnyder von Wartensee (1786 -1868). down to the latest ruminations of the Haydn is the chief influence here, but Address avant -garde. The records are now being the music is spiced up with little ec- made available in the United States centric touches that even fun -loving through the Swiss Music Library in Papa Haydn would not have allowed . himself. Sections of this fascinating City Space limitations prevent a detailed work become so harmonically bleared examination of every piece worthy of that they seem ready to verge into ato- LState Zip investigation in this panoramic survey, .J but a few treasures waiting discovery are Continued on page 36 CIRCLE 12 ON READER -SERVICE CARD 34 HIGH FIDELITY MAGAZINE the mattes 200 watt integrated amplifier

11 MATTES

1 2 3 The Mattes SSA /200 is the most We rate the SSA /200 at 100 watts per Of seventeen adjustments and switches remarkable integrated amplifier the channel, continuous, at which we on the control panel of the SSA /200, electronics industry has yet produced. measure less than 1/10 of 1 percent four are new with this unit. The volume Solid -state throughout, its control distortion. We give it to you in writing, control is a precision step -by -step section is based upon new functional individually measured on each amplifier, adjustment as in broadcast and concepts as well as original circuit together with all of the other important recording consoles, and is hand - design. The power amplifier section specifications. Isn't that what you really assembled of 28 precision components. uses our patented Sharma Circuit, now pay for when you buy an amplifier? That is why there is no detectable recognized as the standard to which balance or tracking error. An ingenious the performance of other circuits vernier lets you choose between is to be compared. micro -fine settings or a conventional volume control.

4 5 6 Any signal source, including The SSA /200 will fit the same space Franchised Mattes dealers are microphone, magnetic cartridge, tape as most preamplifiers take in a custom receiving their initial allocations head or tuner may be connected at the installation, with nothing big and hot of SSA /200 amplifiers now. The care, front panel of the SSA /200, then and clumsy left over to install. If skill and time required for the instantly compared to the regular source you forget to turn the SSA /200 off, you manufacture of each SSA /200 forbid its connected at the rear. Any one of over probably will never know the difference. mass production. We suggest that an 6000 tone control settings may be Not only is its heat output next to early reservation be placed with your set or reset easily on 9- position zero; its hum and noise output is less franchised Mattes dealer. $675; slightly selectors. Their range, at 20 and than that of the separate solid -state higher in Florida and the West. 20,000 hz, is a phenomenal 48 db. preamplifiers other people make. Write for free illustrated brochure.

L SASS LOUDNESS.

no OM lib "di di)",

MATTES ELECTRONICS INC./4937 WEST FULLERTON AVE. /CHICAGO, ILLINOIS 60639 /MANUFACTURING ENGINEERS /SOLID STATE CIRCUITRY. CIRCLE 60 ON READER- SERVICE CARD SEPTEMBER 1966 35 WHAT TO LOOK FOR IN BO it The sweeping success of solid -state circuitry in the high fidelity indust has created problems both for the newcomer and the audio expert.a Fc mer standards for selecting superior equipment have, for the most pat-

neers conduct a nationwide series of sem- lights the importance of silver- platir inars, familiarizing the industry with the since FET's are so long -lived that or new solid -state techniques that FET's silver -plated parts can offer correspor have made possible. ing longevity.

Because of the universal applicability of TUBE this dramatic improvement, it is probable AMPLIFIER that FET circuitry* will not forever remain OUTPUT rueL SPEAKER a Scott exclusive ... indeed, many Scott innovations are now accepted industry- wide practices. In this way, the introduc- tion of Field Effect Transistor circuitry continues Scott's policy of contribution, PR EA MP & DRIVER through innovation, to the consumer and STAGES to the industry as a whole. HYBRID TRANSISTOR Similarly, Scott FET AM tuner circuitry AMPLIFIER incorporates Automatic Variable Band- DRIVER OUTPUT TRANSISTOR width, a unique feature which automati- TRANSISTOR cally adjusts tuner bandwidth for the qual- ity of the incoming signal. In addition, the new Scott Signal Sentinel (Automatic Gain 110-t( Control) increases tuner sensitivity when PREAMP DRIVER SPEAK incoming signal strength decreases, and STAGES TRANSFORMER increases resistance to cross modulation when signals get stronger. STATE -OF- THE -ART DIRECT COUPLED AMPLIFIER This resistance to overload is the reason DRIVER that no local- distant switch is found on TRANSISTOR SPEAKER any Scott tuner or receiver. The remark- Field Effect transistors ... to hear more able Scott tuner designs can handle stations more clearly. Many transistor tun- strong local stations as well as weak dis- ers and receivers on the market today are tant ones. Only inferior tuners and re- PREAMP OUTPUT subject to cross modulation ... powerful ceivers require the use of a local -dis- TAGES TRANSISTOR stations appear at several points on the tant switch to compensate for inherent dial, obliterating other signals listeners deficiencies. State -of- the -art direct coupled circuitry. want to receive. Lack of cross modulation the days of vacuum tube amplifiers, larj resistance is an inherent failing of ordi- and heavy output transformers were nary transistors. One solution to this prob- indication of a better amplifier. In today lem is to use vacuum tubes or nuvistors transistor amplifiers, however, and in the front end of an otherwise all -tran- transformers, which include both outp sistor tuner. This hybrid design eventually and driver transformers, should not t- defeats its own purpose, since the tubes present. One of the great potential adva generate drift -producing heat, and also tages of transistor over tube circuits wear out much more quickly than tran- freedom from the distortion inherent sistors. Scott has solved the dilemma with audio transformers. new Field Effect Transistors (FET's), a rad- ically new solid -state device, completely In a vacuum tube amplifier, transforme are a necessity in order hi¡ different in operation and results from the to couple the ordinary transistor. impedance of the vacuum tube to the lc impedance of the loudspeaker. Such co Scott was the first and only manufacturer piing is not needed in transistor comp to take advantage of the tremendous po- nent design, because transistors al tential of these devices, hitherto used only inherently low impedance devices. It in highly esoteric military and aerospace Silver- plated front end for maximum sensi- unlikely that you will find any good mo applications. Basically, the use of FET's tivity. Silver is the best conductor known ern transistor amplifier employing outpl permits design of nearly perfect FM and or driver transformers. . and, only by silver -plating the critical AM tuner front ends free from cross ... front end portion of the FM or AM tuner Some manufacturers, e modulation, free from drift, with better as you might can you achieve maximum tuner sensi- pect, obscure the fact that they use oL sensitivity, better selectivity, and lower in- tivity with virtually no cross modulation. put or driver transformers by hiding ther noise. herent In addition, silver is far more resistant to You may have to ask the salesman to tai So important is this development to the corrosion than copper, the second best off a cover to make sure that there are r entire electronics industry that In- conductor. The use of Field Effect Tran- transformers in the unit other than tt struments arranged to have Scott engi- sistors in Scott front ends further high- essential power transformer. Patents pendi) These two pages are part of Scott's information - packed 1967 full color guide and catalog. CIRCLE 100 ON READER- SERVICE CARD HIGH FIDELITY MAGAZINE NG STEREO COMPONENTS allen by the wayside. MM Many music lovers have written us, requesting iew standards for recognizing the best in today's solid -state equipment. Here are some guides to help you make a wise choice in your purchase. separate weak stations from strong sta- num acts as a shield against induced tions located close together on the dial. hum, and is an ideal dissipator of heat, Only silicon planar transistors can pro- thus guaranteeing long life through cool vide the high selectivity and the neces- operation. In addition, aluminum is non - sary wide bandwidth for maximum stereo corroding, making Scott components ideal separation with long -term stability. for use in humid or tropical areas, or in applications. Another clue to superior tuner design is marine the use of separate IF amplifiers and lim- iters. When IF amplification and limiting are accomplished by circuitry designed for these separate respective functions, distortion is greatly reduced and stereo separation is enhanced. Avoid those tun- er designs which accomplish limiting by overloading their IF stages.

Adequate control features add to your en- joyment. Superior sound is the only rea- Silicon output transistors for effortless in- son for high fidelity's existence. And the stantaneous power. Transistors are made control features built into a stereo compo- Df either silicon or germanium. There is nent are your only way of obtaining that io question about the greater effective - character of sound which suits your lis- iess of silicon in an amplifier's output tening tastes and individual room acous- stage . . . silicon output transistors are tics. Scott gives you all the controls you clore rugged, more reliable, and have need to adjust the sound to your partic- superior high frequency performance ca- ular requirements . . . complete input pabilities. The differences are so marked facilities for all program sources; special .hat no serious music listener should con- filters to remove unwanted sounds such sider an amplifier that does not use sili- Series -gate, time -switching multiplex cir- as record scratch or tape hiss; separate :on in this critical application. cuitry for maximum separation. The best bass, treble, and volume controls; con- trols that make it possible for you to sim- closely allied to the use of silicon output stereo tuners incorporate the time- switch- ing multiplex circuit originated and pat- ulate stereophonic sound on your older . is sinks ransistors the use of heavy heat monophonic recordings; balance control nounting power output transistors, in ented by H. H. Scott. This circuit insures the for in volume at 35 or more watts per the lowest distortion and best stereo sep- to correct differences be- amplifiers rated tween channels; special muting controls :hannel. Only with lower- powered amplifi- aration. It also minimizes interference to eliminate noises between stations . . . Hrs is adequate transistor cooling afforded from the background music signals an FM all these and so many more are incorpo- )y the chassis itself. When heavy heat stereo station is permitted to broadcast rated in Scott components to make your omitted in a powerful in addition to its stereo programs. sinks are amplifier listening more enjoyable. n order to reduce costs, long life and service -free operation are endangered. The manufacturer's reputation is your strongest guarantee. A last, but vital con- sideration is the manufacturer's record and reputation for innovation, quality, and service. In investigating this, particularly evaluate the engineering reputation of the firm, its record of responsibility to the consumer, and contributions to the development of the industry ... all part of true mastery in the stereo high fidelity component field.

Scott ... where innovation is a tradition

Aluminum chassis for cool operation. Non- Silicon transistor IF for highest selectivity. magnetic electrolytic aluminum is used .The IF section determines the selectivity as a chassis material on all Scott compo- H. H. Scott Inc.. 111 Powdermull Road. Maynard. Mass. pf the tuner and thereby permits you to nents, rather than low -cost steel. Alumi- Export: Scott International, Maynard, Mass. Dept. 22609 For your advance copy, as soon as it comes off the press, circle reader service #100. CIRCLE 100 ON READER- SERVICE CARD

561'lLA1BI R NEWS & VIEWS Suppose Continued from page 39 highly of it that its engineering group is li,t=Curds proposing it as a new formal test of all RECORDS IN REVIEW cartridges. This would require a new kind ______iv. of test record, perhaps more rigorously cut and controlled than any hitherto UeVICW 1966 EDITION made. PREMIER AT CLAIRTONE PREMIERE Leads You to The gentlemen beaming at the Clairtone television set are David Gilmour, Rep. Half a Dozen Seymour Halpern (R.- N.Y.), Premier Robert Stanfield of Nova Scotia, and Superb Records Peter Munk. Gilmour and Munk have the most to smile at. In 1958, while sharing bachelor's quarters in Toronto, designer Gilmour and engineer Munk de- Since it costs HIGH FIDELITY readers only $7.49 cided to pool their resources -$2,500 from the former, $500 from the latter, it be a marvelous investment? wouldn't talent from both -and build high fidelity consoles under the name of Clairtone You'll find all classical and semi -classical reviews (stereo and Corporation. Last year the company mono) that appeared in HIGH FIDELITY in 1965 reprinted in this one grossed $11 million. Premier Stanfield's convenient hardcover book. contented look comes from Clairtone's new (and first!) factory, which the com- It saves you many hours' time in your dealer's listening booth pany built at Stellerton, N.S.. in the de- or earphone corner. And it helps you build a library of music YOU pressed Pictou County. Congressman Halpern represented the United States at it is the most complete and authoritative book of its kind enjoy, for the official opening in June, when the -the standard reference work that gains in value over the years. photograph was taken. Each reviewer stands high in his field- Nathan Broder, for About that factory. Previously, Clair - tone had to for its specified example, reviews Bach and Mozart, Alfred Frankenstein the mod- contract components, though the corporation did erns . . . Paul Affelder covers the romantics, Robert C. Marsh acquire Canada's largest furniture factory specializes in Haydn and Beethoven ... Conrad L. Osborne writes several years ago for manufacturing its on opera recordings. Forthrightly, they discuss the composition, own cabinets. With the completion of the performance and fidelity. And they compare new recordings with new building, Clairtone not only finally has its own electronics plant, but is able earlier releases. to enter the (color) television field, be- You'll find the reviews organized alphabetically by composer coming the first Canadian manufacturer of color TV sets. in case of composers frequently for quick, easy reference -and the Of special interest to readers of this recorded, further subdivided by such categories as Chamber Music, magazine is Clairtone's component color Vocal Music, etc. You'll find, too, a special section on Recitals and TV units, scheduled to make a first ap- Miscellany. And an Index of Performers. pearance at high fidelity salons next month. These sets, costing $649 (remote Saturday Review comments: "Comprehensive coverage of each control, fifty dollars extra), have been year's recordings gives a surprisingly well- rounded picture of what's designed for installation in an already available on records, and most reviews describe the work as well existing high fidelity set -up. The audio circuits of the sets can be bypassed in as the performance, providing each annual with a permanent use." favor of the audiophile's own sound in- Chicago Tribune states: "The record collector who is bewil- stallation. A headphone jack, however, dered by the sheer number of discs which are issued each year will enable the videophile to see and hear Carole Landis in "Dance Hall" while the will find this book valuable." rest of the family is listening to . Records in Review 1966 Edition -a book of 482 pages -bears a cover price of $8.95. But as a High Fidelity reader you may have a copy for only $7.49. Payment with order but satisfaction guaranteed or money back. We're just about out of the 1965 Edition. But why not order at the same time the 1964 Edition available at a reduction?

Wyeth Press, A Division of HIGH FIDELITY, 9 -66 Publishing House, Great Barrington, Mass. 01230

Please send me RECORDS IN REVIEW as checked. I enclose payment in full,

1966 Edition. Regularly $8.95. To High Fidelity readers $7.49 1964 Edition. Regularly $6.95. To High Fidelity readers $4.49 NAME ADDRESS CITY STATE ZIP 1

42 HIGH FIDELITY MAGAZINE R WHO SAYS THE KLIPSCHOR IS SO GREAT?

Only the people who have heard one and hesives, are used to make the horn as rigid tra as reproduced by Klipschorns. that takes in some pretty important people. as possible. Also each bass horn is To the best of our knowledge, no other The Klipschorn' has been chosen as the checked with a water manometer to insure commercially available high fidelity loud- most advanced state of the loudspeaker absolute air tightness of the rear air speaker has passed such an arduous test. art at the World's Fair, at the chamber. in Moscow and in KLIPSCH HIGH EFFICIENCY ALLOWS American Exhibit THE MID -RANGE HORN (SQUAWKER) demonstrations to the most critical scien- YOU TO USE LOWER POWERED horn operates from about tific and musical ears in the world. Always The mid -range AMPLIFICATION the response is the same. "This is the G above middle C (400 cps) to well beyond The sound output of the Klipschorn is finest reproduced sound we have ever the highest fundamental on the piano. This approximately 10 decibels higher than the heard." horn, over 2 feet long with its driver best direct radiator enclosure type sys- attached, has gone through some 15 years tems and is 20 decibels higher than typical WHY IS THE KLIPSCHORN SO OUT- pf research and development. The massive systems. STANDING? A 10 watt (2 for stereo) amplifier is ade- The Klipschorn has the lowest distor- quate for home use and has proved ample tion and widest full power frequency re- for audiences of 900 people. sponse of any speaker system in the world .1/10 of 1% FM distortion from 30- 20,000 cycles per second at over 115 deci- bels of sound output. It is actually able to radiate fundamental tones down to 25 cycles. Each speaker goes through exhaustive testing to insure its ability to deliver un- distorted, full power sound. All testing is cast horn is of straight -axis design and is personally supervised by Mr. Klipsch in a completely free of the irritating distortion laboratory /listening room especially de- which occurs in reflexed horns. The horn signed for the purpose. is mounted on a specially designed flange The construction of a Klipschorn is a which effectively increases the horn's handcrafted job. It takes over 30 hours of a mouth area and adds measurably to its skilled- cabinet -maker's time to construct smoothness of response ... less than 6 the extremely complicated bass horn and db. variation from 400 to 5,000 cps. its allied cabinetry. 1111111- The Klipschorn is offered in a wide THE HIGH FREQUENCY HORN range of fine hardwood, hand -rubbed fin- (TWEETER) In reproducing the full Hartford Sym- ishes comparable to that found on the The highly refined horn tweeter takes phony Orchestra, only 2 watts peak power highest quality grand pianos. Satin lac- over at 5,000 cps and extends to 18,000 feeding each of two Klipschorns in stereo- quer and oiled finishes are also available. cps with variations of less than 6 db. This phonic array were used. This may seem The Klipschorn' is a loudspeaker created horn tweeter is mounted on the same difficult to believe if you are accustomed without any compromise. It contains three flange to which the mid -range horn is to the typical loudspeaker system, but you carefully matched horns. These horns fastened. will be quickly convinced once you hear a were developed and combined with only THE KLIPSCH BALANCING NETWORK Klipschorn-' Wide Stage Stereo System. one thought in mind the finished pro- ... This network has been designed to pro- duct must offer the closest possible iden- OUR PHILOSOPHY: TRY IT BEFORE 3 horns tity with original sound. vide the best match between the YOU BUY IT! in the system and also to act as a dividing network. We sincerely hope you will listen to THE BASS HORN (WOOFER) many systems before you purchase. Don't The Bass Horn which occupies the solid ONLY THE KLIPSCHORN' be fooled by advertising claims. We are looking bottom portion of the loudspeaker, REPRODUCES THE FULL RANGE confident that once you have heard the is of the Klipsch folded /corner horn de- AND DYNAMICS OF A SYMPHONY Klipschorn you will be satisfied with sign. It has an air column large enough to ORCHESTRA nothing less. reproduce, without distortion, and at full A special concert was staged in which power, the lowest note of the pipe organ Klipschorns' reproduced, at original loud- (32.7 cps). No other bass speaker of com- ness, the Hartford Symphony Orchestra. KLIPSCH parable, or smaller size has ever achieved This was a live vs. recorded concert and & ASSOCIATES this. Miniaturized bass speakers are on the Box 280 HF -9 the majority of the large listening audience KEA market but no one has yet invented a could not tell the difference between the PSCH Hope, Arkansas miniature 32 -foot wave length. live orchestra and the sound of the orches- 71801 The construction of this horn is beyond compare. Nearly 288 screws, plus other fastening devices, plus high grade ad- Please send me complete information on the Klipschorn' loudspeaker system. Also include the name of my nearest Klipsch Authorized Audio Expert. KLIPSCH & ASSOCIATES BOx 280 HF -9 HOPE, ARKANSAS 71801

NAME__

ADDRESS CITY- _ STATE OCCUPATION AGE

' In Klipsch speakers all forms of distortion are minimized -especially AM and FM distortion which are many times as objectionable as simple harmonic distortion. Technical papers available on this subject.

CIRCLE 50 ON READER -SERVICE CARD SEPTEMBER 1966 -13 EnuijimentlN THE NEWS

Antenna conversion from 300 -ohm to 75- featuring the Voice of the Theatre speak- ohm coaxial cable is the purpose of a er elements (I5 -inch woofer and huge kit, Model 75I2B, announced by Finney, horn -loaded tweeter) in a sculptured the Bedford, Ohio antenna manufacturer. walnut cabinet that stands 44 inches high. Priced at about $9, the kit includes Rated response is 30 to 22.000 Hz. indoor and outdoor matching transform- CIRCLE 148 ON READER -SERVICE ers. The conversion, which Finney says CARD takes minutes using ordinary hand tools, can eliminate line pickup interference that often mars reception of FM stereo broadcasts.

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Our new collection is now available ... equipment cabinets speaker enclosures consoles cabinets "Crown Princess" is the name of the top The most galore. Danish and Provincial powerful receiver yet offered model in a new series of automatic turn- by Lafayette is its Model LR -1200, a tables manufactured by Balfour Elec- solid -state styles in new design offering on one chassis tronics Ltd. of Britain and distributed decorator finishes. FM mono, FM stereo, AM, and a stereo in the U.S.A. by RFS Industries, Inc. of control amplifier rated at 60 watts per Port Washington, N.Y. A four -speed in- see your dealer or free channel. write for brochure FM sensitivity is specified as termix model, the Princess (RCD -6) costs I5 microvolts and distortion is rated $52.50 and includes a built-in stylus less than 1 per cent at full - output. Inter brush, low -mass tone arm, an 11 -inch station muting, tuning and stereo indica- platter, arm height and stylus force ad- tors, variable automatic frequency con- justments. a built -in 45 rpm centerpiece, trol, speaker selector switch, and other and two (stereo) audio cables. features are included. Price is about $260. CIRCLE 150 ON READER -SERVICE CARD

CIRCLE 147 ON READER -SERVICE CARD

Irish tape, in reel sizes of 3, 5, 53/s, and 7 inches, now 546 S. Meridian Indianapolis, Ind. is being supplied, at no increase in cost, with a 30 -foot colored leader and trailer plus a metal reversing strip. In announcing this new offering, company president Morris Zigman pointed out that "All modern tape re- corders will soon offer automatic re-

Continued on page 46

SHOW TIME, NEW YORK The New York High Fidelity Music Show will be held this month at the Trade Show Building, 500 Eighth Avenue. Dates for the public are: Wednesday, Thursday, Friday, Custom -built speaker systems are now September 28, 29, and 30, being offered by Altec Lansing. The West 3:30 to 10:30 p.m.; Saturday, Coast firm has announced a new policy October 1, 12 noon to 10:30 of prefitting any combination of drivers p.m.; Sunday, October 2, 1 (individual speakers) or any of its du- p.m. to 7:30 p.m. Admission plex (coaxial) speakers into any of its is $1.50 for adults, 50 cents enclosures -at the buyer's option. Shown for children under 12. here is A -L's premier system, the Á7- 500W-1, dubbed The Magnificent and CIRCLE 9 ON READER -SERVICE CARD 44 HIGH FIDELITY MAGAZINE What could we possibly offer an audiophile?

80 -watt IHF solid -state stereo amplifier, FM /AM solid -state stereo tuner, air- suspension speaker system, Pickering magnetic cartridge and Dual 1010 automatic turntable. The CS-15 Custom Component Modular: A completely inte- Switch, D'Arsonval Signal Strength Meter, FM Stereo Indi- grated stereo system with professionally balanced components cator Light. All wrapped up in an elegant contemporary that reproduce sound the way you want it. Cleanly. Purely. Walnut cabinet (H 93/8", W 321/4", D 15'/s') that fits right on With a frequency response of 15- 55,000 CPS ± 3 db. A a bookshelf. And a choice of three of our specially developed 160 -watt peak. FM Sensitivity (IHF) -2.5 microvolts. FM air- suspension speaker systems. Optional, extra. (AS 10W Quieting Sensitivity -1.5 microvolts. And with a High -Fre- shown.) That's what we have to offer audiophiles. Sound quency Noise Filter, Compensated Loudness Control. Sound good? You should hear it. At your Sylvania dealer's. Level Control Switch, Separate Boost /Cut Bass and Treble Sylvania traditional, period and contemporary consoles Controls, Stereo Balance Control, Channel Reverse Control, offer similarly impressive performance both in the sound and Pilot Light, FM Interchannel Muting Control, FM /AFC in the specifications. From about $300 to about $2150.

SYLVANIASUBSIDIARY OF GENERALTELEPHONE & ELECTRONICS GTE CIRCLE 84 ON READER -SERVICE CARD SEPTEMBER 1966 -G EMI ment IN THE NEWS

Continued from page 44

versing mechanisms. Many . . . already do. We are anticipating the trend to this

type of machine... .

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Automatic reverse for both recording and plan hack is the highlight of Con- cord's new Model 776 tape recorder, a two -speed stereo /mono machine supplied with a pair of wing speakers that may

RUXTON PEDESTAL COMBO be detached from the main unit and WALNUT ENCLOSURE FOR THE COMPONENTS YOU SELECT placed anywhere. The 776 also may be jacked into an external audio system at NO. RUXTON 2420 ROSEMEAD BLVD SO. EL MONTE CALIF the owner's option. Manual reverse. as well as automatic, can be engaged at any point on the tape by moving a con- CIRCLE 73 ON READER -SERVICE CARD trol lever. The 776 also has sound -with- sound recording, and employs four heads. It may be used in either the vertical or horizontal position. Price is under $350.

SUPEREX puts the CIRCLE 151 ON READER- SERVICE CARD woofers and tweeters where they belong.., at your ears

You don't believe it? Listen! Each ear has its own light- weight speaker system, com- plete with woofers, tweeters and crossover networks. Only Superex headphones give you this personal per- formance, with the same clarity and full fidelity of your regular, room -filling speaker system for hi -fi, stereo, FM or tape systems. Panasonic enters the compact modular headphones Superex close field with its Model SG -870. which runs out all extraneous noise ... you enjoy full volume listen- on AC or batteries. The record -player ing- without disturbing is stereo, although the built -in AM /FM others. Isn't that why you tuner is mono (a model with stereo FM wanted a headset in the first place? is planned for next year). The SG -870 You don't believe it at all? cannot accept signals from other pro- Listen -at your Hi -Fi dealer. gram sources, although its own output can be fed to a tape recorder. The sys- SUPEREX tem includes a four -speed automatic stereo /phones turntable with a flip -over stylus in a wrurU wu +o+u s, i coro +oR4l.0+.us +r ceramic cartridge, the tuner. a stereo iiwstrated 'The Pro control amplifier, and a pair of de- aggro.appro. $50 tachable speakers. The entire ensemble Other Supere. \ Headsets weighs 22 pounds and is priced at about startat $16 95 $180. Panasonic is a brand name of the Japanese giant electronics firm Mat- sushita.

CIRCLE 152 ON READER -SERVICE CARD CIRCLE E3 ON READER-SERVICE CARD 4() HIGH FIDELITY MAGAZINE Good records start with Stanton.

A professional needs to know a test pressing. This is a critical each will perform exactly as the for sure. When he listens to a test stage in record making. The original laboratory prototype. We pressing, he needs a cartridge that stereo playback system they are laboriously adjust them until they will reproduce exactly what has listening through is fronted do. It also means that you will been cut into the grooves. No by a Stanton 581 EL Calibration get the same accuracy that the more, no less. Otherwise he would Standard. (The turntable also professionals get. Guaranteed. never be able to control the final happens to be a Stanton. Other Stanton Calibration Standards product. The record you buy in fine turntables will work, too.) are hard to make. And the price the store. They're getting the whole mes- reflects it. $49.50. But That's why the professionals sage. You'll get it, too, in an up- that really isn't much keep using Stanton. It tells them coming release. to pay for uncompro- the whole truth, and nothing but. Each Stanton Micro FLUX - mising accuracy. In the photograph above, studio VA LV E® Calibration Standard Stanton Magnetics, Inc. engineers are shown listening to is custom made. That means that sra.ivTon Plainview, L. I., N.Y. CIRCLE 81 ON READER -SERVICE CARD SEPTEMBER 1966 47 EVER DO SOMETHING ON IMPULSE?

THESE JAll GREATS HPVE! THEIR NEW LP'S PRE TIE PROOF! WHY NOT MAKE AN IMPULSIVE BUY?

\1L )I I \T-10A, IItHN «H m,

A-9110

TILE FURTHER ADVENTURE OF EL CHICO CMICÓ HAMILTON

Louis Armstrong: "Louis." Mercury band -and a fine swinging band it was. 21081, $3.98 (LP); 61081, $4.98 (SD). At a fast tempo, Bellson can produce Louis Armstrong's ability to survive the more buoyant support than almost any dreary directions of his own manage- other drummer in existence. He gets ment, his concert promoters, and his several opportunities to show the lean, A-9114 a & r men is incredible. For the better muscular qualities of his drumming in part of the past thirty -five years he has this set, abetted by a trio of well -known been induced to play trite material in the soloists -Harry Edison on trumpet, Sam

company of musicians who-with the Most on . alto saxophone, and Carl Fon- A-91I2 notable exception of the first few years tana on trombone -as well as two who, of his All -Stars in the late Forties and although new to me, play with the au- early Fifties-either could not conceal thority of old hands: Ed Scazzaro on their boredom or were so inept that it tenor saxophone and Arnold Teich on VIdll ions lo didn't matter if they were bored. Yet piano. When the tempo is not up and F',A1he7 I h tnniticuRs Armstrong himself has risen above all romping, Bellson can seem a little heavy - this so consistently and with such bril- handed- "seem" because I think the liance that he has not only sustained and balance favors the drums and calls more enhanced his stature but has created than proper attention to his drumming quite a few gems in the process. at moderate tempos, most noticeably in This disc is reasonably representative a bossa nova, No More Blues. Technical- of the horrors which Armstrong has had ly, it would be difficult to find better to face. in his later years at least. And it drumming than Bellson displays in this A : demonstrates his unflagging ability to set and yet it is not at all the customary enliven the dreariest material and the drummer's orgy. Even when he takes vusetLateet most hackneyed ideas. The "thinking" what passes for a solo on Cottontail he behind the set is that, since Armstrong brings in the rest of the band and is sup- had a hit with Hello, Dolly!, he should ported by ensemble passages. Swing band do as well with Jerry Herman's attempt fans can live on this set for quite a while. to copy Dolly-Maine. Herman came I ROL__'EM close but missed, and so does Armstrong. Larry Conger's Two Rivers Jazz band: Another song from Hello, SHIPLEY Dolly!-So "Carolina Jazz." Solo 6385, $5.00 (LP). A-9117 SCOTT Long, Dearie -comes off much better, South Carolina has never yet achieved PLAYS indicating the difference between the two any distinction in the jazz world, but THE BIG ) scores. Still, as material, these rate as Larry Conger, who now lives in Cam- BANDS high points in the set, for most of the A-9119 den, S. C., may change that situation. rest is awful beyond belief -Tin Roof Conger is a trumpeter who played for Blues and Tyree's Blues excepted. Yet several years with Turk Murphy. His whenever Armstrong's trumpet is called Two Rivers Jazz Band is one of those 1IfA i upon, it rises with superb authority from groups of semi -pros who are bringing t 1 >f , y the shambles and proceeds with dignity new life to traditional jazz all across and the indisputable sound of genius. the country. This one involves a drug ki': t salesman, a Railway Express agent, a ' Louis Bellson: postal employee, and a , "Thunderbird." restaurateur. Impulse rf 9107, $3.79 (LP); S 9107, $4.79 (SD). Conger now makes his living in real Bellson's recent activities have included estate. But, like such other groups as a spell of drumming with Harry James's the Happy Jazz Band in San Antonio, band and a period of conducting the or- the Hall Brothers in Minneapolis, and A-9122 / chestra for a concert series by his wife, Bill Bissonette's Easy Riders in Con- i! Pearl Bailey. This is mentioned merely necticut, Conger's Two Rivers Band is impulse! to point out that the big band recorded a remarkably fine group which plays New York Beverly Hills here is not the usual pick -up group that with sparkle and originality. A good A Subsidiary of ABC Records one might expect considering Bellson's many of the selections in this set are A SAbuatory of Arnsncan &oadcenhng Comm 's,. Inc. schedule over the past few years. It was built around vocals by Conger. The taped back in 1963 at Las Vegas when 1330 AVE. OF THE AMERICAS, N.Y.C. the drummer had a regularly organized Continued on page 50 CIRCLE 46 ON REACER- SERVICE CARD 48 HIGH FIDELITY MAGAZINE From the solid state stereo laboratories of Motorola... professional -type componentry pre -assembled.

Why build it when you can buy it? Especially when you can buy speakers. And there's a cross -over network. componentry selected and designed by a crack team of electronic That's only part of it. Add to this a solid state dual amplifier sys- engineers? The Motorola matched modular system is scientifically tem (no tubes) that pours out 100 watts instantaneous peak power matched and balanced with highly technical equipment and -50 watts EIA music power. FM/AM -FM stereo radio. Push -button backed by the experience of Motorola, one of the world's largest controls. Automatic 4 -speed record changer. Feather -trac alumi- makers of solid state devices. Then is put together by skilled per- num tone arm for precise tracking, long record life. And a solid sonnel to cut your assembly time down to no time at all. state "see -thru" cartridge with Diamond /Sapphire styli -that even lets you sight the groove when playing manually. The componentry alone tells the story. Speaker enclosures can be Stereo head- placed up to 36 ft. apart, for the kind of stereo separation you Extras, too. Here are tape input and output jacks. last want. Each endosure has a 6" acoustic driver, with controlled phone jack. A precision instrument designed to give you the compliance, for reproducing bass notes with true fidelity. Also, a word in hi -fi stereo enjoyment, hi a small space. special compressed air vent for radiating the extremely low bass See Motorola matched modular stereo ... at your Motorola deal- notes. The enclosures also blend horn tweeters and 4" mid -range er's now.

Motorola -built solid state circuits have been MOTOROLA Moving ahead through excellence in electronics on every American manned I space flight. r' CIRCLE 96 ON READER -SERVICE CARD SEPTEMBER 1966 49 JAZZ a familiar repertory (Canal .Street Blues, Brother Montgomery, Pectic Wheatstraw, Someday Sweetheart. Melancholy. Cake Walter Roland. Sylvester Palmer -are Continued from page 48 Walkin' Babies. California here 1 Come, also singers, the disc is not simply among others) with an easy, unforced, the piano collection one might anticipate. songs have a quaint, period vaudeville and spirited manner and in surprisingly However, it is often the piano passages flavor, but Conger is not a sufficiently well- organized performances. Conger that highlight the performances and some strong vocal personality to carry them plays a properly positive lead trumpet of the most interesting selections are off. He does far better as a lead and in ensembles and is a serviceable soloist; straight piano-by Jabbo Williams, a solo trumpeter and he gets particularly Bornemann is a young trombonist with man with a tremendously lusty drive good support from Tommy Wicks on a broad, slashing attack; Parenti's clar- but not much sense of development; by clarinet and Charlie Bornemann on trom- inet sometimes sounds thin in the en- the Jook Band. a group made bone. The tunes reflect Conger's asso- sembles but it fills out as he moves into up of guitar, washboard, and piano that ciation with Turk Murphy -Auntie Skin- his middle and low register solos; Hodes is driven through a headlong rocker by ner's Chicken Dinner, When 1 See All digs into his delightfully jigging solos the pianist who is (Charters thinks) the Lorin' They Waste on Babies, Sailin' on some pieces. rumbles ominously on Cooney Vaughn: and by Wesley Wallace, Down Chesapeake Bay, Hard-Hearted others, and fills in backgrounds adeptly. whose classic No. 29 is a mixture of Hannah, Ory's Creole Trumpet, Wise These unpretentious performances sinuous, rolling piano and talking. Guys, New Orleans Shuffle, and others. achieve exactly what they set out to- Though the singing voices ranged from It's period jazz and vaudeville combined light, casual, and completely enjoyable shrill and nasal to worn but warm. they in a pleasing and occasionally exhilarat- jazz. usually served their purpose far better ing package. than less limited voices might. Charters Joe Pass: "A Sign of the Times." World has made interesting choices, bringing Stan Getz -Joao Gilberto: "Getz /Gilberto Pacific 1844, $3.79 (LP); 21844, $4.79 together familiar blues names and fa- 4'2." Verve 8623, $4.98 (LP); 6 -8623, (SD). miliar performances along with several $5.98 (SD). The jazz qualities of this disc are very that are so unfamiliar (both as to per- The development of Stan Getz, particu- similar to what one finds in swing bands former and performances) that even as larly since his return from Europe early of the Thirties. Like so much of the ma- resolute a ferret as Charters has been in the Sixties, has been fascinating to terial used by those bands, guitarist Pass able to turn up little information about follow. An exemplar of the cool style is also dealing with currently popular them. It is an illuminating cross section fifteen years ago, he eventually found songs, playing them in a manner that is of the blues of two decades. a stronger, more positive voice and, close to the contemporary conception of when he felt comfortable with this new how they should be played, but with the Slow Drag Pavageau: "Slow Drag's outgoing attack, he began to refine it. added coloration of jazz touches. He is Bunch." Jazz Crusade 2005, $4.95 The result is a combination of the soft working with what is listed as an "or- (LP). purity of his earlier playing with the chestra" (although it does not seem to Jazzology Poll Winners of 1964 (Jazz consist more than six pieces), emotionalism of his later work which of five or Crusade 2004) was one of the best col- is unique in jazz performance. Jazz a vocal ensemble whose humming and lections of traditional New Orleans jazz qualities are apt to be diluted by at- vocalese are used as instrumental ele- to appear in years. The recording of ments, plus a second soloist, Chet Baker, tempts at prettiness, but Getz has man- Slow Drag's Bunch was, in effect, a on tunes, which aged to use the two approaches as mu- flugelhorn. The include warm -up for the Poll Winners session Sign the Times, Was a Very tual supplements. The first side of this A of It (it was recorded the day before the Poll Good Year, What disc is an illuminating study of Getz's Now My Love, and Winners) and it involves four of the mu- Are You There, arranged and conducted virtuosity in this area -a very relaxed sicians heard on the Winners disc -Slow ballad on which he all but croons by Bob Florence, are treated gently but Drag Pavageau (bass), Jim Robinson through his saxophone, a blues which rhythmically, the contemporary sound (trombone), George Guesnon (banjo). carried in Pass's guitar lead and provides opportunities for the guttier Frankie and Don Ewell (piano). With them are Capp's skillful drumming. solos side of his playing, particularly in the Baker's two visitors from -Bill Bis- are soaring, melodic interludes which power he injects in breaks, and a lilting al- sonette, trombonist and leader of the most never become jazz. Pass, waltz that is an excellent vehicle for his overtly Easy Riders Jazz Band (and who was however, besides adding to the gentle highly developed feeling for dynamics. in New Orleans to make the Poll Win- warmth which is The second side of the disc (both sides the dominant tone of ners recording), and the Easy Riders' the set. sometimes into a are products of a concert at Carnegie rises up strong cornettist, Fred Vigorito; also on hand is the and lively bit of jazz which contributes Hall) devoted to bossa nova songs is Albert Burbank, a delightful New to the over -all balance of Joao Gilberto, who sings, accompanied of the collection. Orleans clarinetist who is rarely recorded. swings suavely by bass, drums, and his own guitar, with It and in an unobtru- From the spirit of these performances, sively low -keyed a throaty, low -keyed delivery that gives manner. one can understand why the Poll Win- his performances a quiet charm. The ners session went so well. The ensembles narrow range of the material, however, "Piano Blues." RBF 12, $5.79 (LP). are lusty, the solos full of fire. A gen- who allows a sense of monotony to build Sam Charters, has done notable eral good time feeling spreads all through as work in digging into jazz and blues roots, up the side progresses. the disc. Burbank, a strongly lyrical has assembled this collection of record- clarinetist, soars and dances like a sky ings from the Twenties and Thirties Art Hodes All -Star Stompers. Jazzology full of glittering stars. Vigorito is a very which 20, $4.98 (LP); S 20, $5.98 (SD). offers a little more than its title impressive young cornettist, crisp and The Sixth Annual Carolina Summer Jazz might indicate. Since most of the blues positive in leading ensembles, strong in pianists heard here Davis, Festival at Columbia, S. C., was the -Walter his solos, occasionally making excellent Louise Johnson, Roosevelt Sykes, Little occasion which brought this group to- use of the broad. umbrous effect of gether from Chicago (Hodes), New playing into a derby. Robinson lays out York (Tony Parenti, clarinet; Cliff Lee- the broadest of foundations for soloists man, drums), and the West Coast (Larry and adds tremendous body to the en- Conger, trumpet: Charlie Bornemann, sembles. Ewell is not given much space trombone; and Johnny Haynes, bass). but his lively piano shines through brief- Some catalytic force was obviously at ly on 1 Can't Escape front You. The work-possibly the invigorating qualities disc is not perfect, of course -there are of Hodes's leadership or the fact that lots of rough edges, a couple of numbers these men (who do not normally work fail to get off the ground, and, after together) were responding to each other several selections, one gets the impres- with fresh interest -or perhaps it was sion that Burbank is trying to turn every- simply the atmosphere of the Festival thing into Bill Bailey -but it generates itself- because this ad hoc group plays a lot of joy. JOHN S. WILSON

50 HIGH FIDELITY MAGAZINE The new KLH' Model Twelve is the result of some pointed questions about what kind of improvements might go into a speaker system designed for perfectionists.

The KLH Model Twelve is the finest speaker's overall sound quality -subtle moving -coil loudspeaker we have ever but important adjustments. Adjust- made. Not by a spectacular margin ments that would allow the listener to (there just isn't that much room for modify the speaker's musical balance improvement in today's best speakers), to account for differences in program but by some important degrees. material, associated equipment, room Before we began to design the Model acoustics, and personal musical judg- Twelve, we asked ourselves some ments. Instead of the usual mid -range pointed questions. We knew we would or "brilliance" controls, we could pro- not be willing to settle for just a set of vide the listener, for the first time, with more impressive measurements. What an effective way to tailor the speaker real imprdvements could we conceive of to his own needs. for a speaker designed unabashedly for This is why the Model Twelve comes perfectionists? Which of the improve- with a unique series of four multi - ments that we could make on paper position control switches. These adjust would, in fact, be audible and meaning- the level of broad segments of the fre- ful? Above all, how could we design a quency range: 300 -800 cps; 800 -2500 speaker that would be useful under the cps; 2500 -7000 cps; and 7000 -20,000 widest range of conditions? cps. They are housed in a remote switchbox (connected to the speaker by Suggested Retail Price: 5275.00 A few answers four -conductor cable) can a thin that design) to cover a range at least an oc- be placed next to your favorite seat for We decided that there were a few tave short of their upper and /or lower maximum effectiveness and ease of use. absolute factors we could improve upon limits. The mid -range drivers are The amount of adjustment from each or change significantly in a system for housed in special sub -enclosures that switch is limited so that you can make the perfectionist. We a are acoustic- suspension in principle. could supply bit The more response at extremely low fre- only meaningful adjustments. The cabinet is made of one -inch ply- made to sound quencies. We could offer the potential Model Twelve cannot be wood, with quarter- sliced walnut veneer bad under any conditions. It can only for more very- high - frequency response selected for beauty and uniformity of -for use only with exceptionally good be made better for your own require- grain. The overall design of the 29" x ments. program material. We could make the 221/4" X 15" enclosure has been under- overall impedance of the system eight Perfectionist's stated to make the cabinet as unobtru- ohms for optimum performance with speaker system sive as possible in any room. today's transistor amplifiers. We believe we have done everything By using an acoustic- suspension en- We think our approach to the Model makes sense only for a perfec- we can to make the Model Twelve the closure slightly larger than usual, we Twelve we tionist's speaker system. And the Model best moving -coil speaker system could also provide a bit more speaker have ever made. If you are an unabashed efficiency. The amount we could gain Twelve is just that. It will reproduce the highest and the lowest frequencies perfectionist, you should go hear the would be just enough to allow the now. of any conceivable musical interest. Its Twelve. It's at your KLH Dealer listener a choice of many excellent For more information, write: KLH, 30 amplifiers of less than super-power. very- high -frequency capabilities are ac- tually in advance of most of today's Cross Street, Cambridge, Mass. 02139, A final step program material; as the noise content Dept. 700. drops on future recordings, the 7000- A trademark of KLH Research and Develop- ment Corp. With the aim of usefulness upper- 20,000 cps control can be turned up for most in mind, what else could we do? more realistic music reproduction. ever OOOOO We could offer the listener the op- The Model Twelve's four speakers l'IllhllIlIliIlat,ci portunity to make adjustments in the are used conservatively (in a three -way 90 CROSS STREET. CAMBRIDGE. MASS. CIRCLE 49 ON READER- SERVICE CARD SEPTEMBER 1966 51 Thy WWWWWWWWWWJIVIVIVr yolk albino. LKT MIMIC Hi Fil Steg au ilierfieterfOr4-11M.MeM,M.M.Mii

"Armenian Songs." The Cosmopolitan minous costumes. Greco, of course, does; RevirnF Chorale, Florence Mardirosian, cond. and nowhere is it so painfully evident as Monitor MF 457, $4.79 (LP); MFS on this ill- conceived recording. The 457, $4.79 (SD). dancer is there -you can hear his inspired cab. The Armenians are a very old people feet from time to time -but mostly there and, quite probably, their ancestors were is just that big, treacly orchestra smother- the "Black- haired People." or Hittites, of ing Galician folk song in syrup and mak- ancient Near Eastern chronicles. But for ing village dances sound like something "Lai tit it 2.500 years the descendants of those Kodály transcribed with ten broken fin- great conquerors of the first pre- Christ- gers. As for the annotation, I nominate ian millennium have struggled to main- it warmly for this year's silliness -cum- monnr tain their identity in a shrinking home- obscurity award. In a word, ¡NO! land fragmented among Turkey. Iran, and the U.S.S.R. World War I brought "The Budapest Children's Choir at Car- dark days when the Turks did for the negie Hall." RCA Victor LM 2861, Armenians as the Nazis did for the $4.79 (LP); LSC 2861, $5.79 (SD). in World War I1. Still. they hang on. And A full ration of coughs and audience still. though dispersed, they maintain rustles marks this album. taped live dur- their traditional music. Any musicologist ing a concert in . But the can isolate Byzantine, Arab, Turkish, vivid excitement of the recital more than and Russian strands in the Armenian bal- compensates for these minor sonic flaws. lads on this record. But at heart these I do not number myself among the ad- bittersweet. largely pastoral songs -even mirers of children's chorales; in general those composed by contemporary Ar- I find an over -all thinness and lack of menians -reach back towards the age of coloration in their vocalise and an emetic the Old Testament patriarchs. They are cuteness in their arrangements. But the very old in inspiration and very lovely, Hungarian ensemble falls prey to none "Superb" is their word and Miss Mardirosian's chorale sings of these disabilities. Marvelously trained, for this recent release. them with dedication. tightly controlled yet thoroughly fluid in Lightnin' sings, plays their melodic line, they sing folk songs in "The Folk Album." The Robert De Cor- eight languages. There are no duds here, and -above all-enter- mier Singers. Command RS 33 -897, not even the mildly accented Danny Boy. tains in the blues bag of $4.79 (LP); RS 897. $5.79 (SD). But they earn their laurels for meltingly I cannot recall more brilliant beautiful, hauntingly simple interpreta- the month. Fv /FVS -9022 a antiphonal use of the stereo medium than that af- tions of the Hungarian folk songs col- Here's what's happening! forded by this disc. Sopranos and altos lected by Bela Bartók and Zoltán Kodály. THE BLUES PROJECT LIVE come to you out of the left speaker; A very special, very appealing record. AT THE CAFE AU GO GO. and swell from the right. The electric group Ameri- The division is maintained rigidly, yet "The Blue Sky Boys." Capitol T 2483, ca's going overboard for! the sum total -or the broad spread, if $3.79 (LP); ST 2483, $4.79 (SD). you will this A recording of FT/ FTS -3000 -of sensitively realized al- capital importance to true hum relies on no gimmickry for its im- folk song buffs. The Blue Sky Boys, Bill JIM AND JEAN: CHANGES. pact. Robert De Cormier brings insight, and Earl Bolick, served their professional ...Top folk duo in America's experience, and affection to these folk apprenticeship in radio studios through newest music. FT/ FTS -3001 tunes. His singers follow him into a kind the 30s and 40s. They were country of Gloryland of melody and harmony. singers, but with a difference. Their rep- JOHN LEE HOOKER:... AND Wayfaring Stranger, Five Hundred Miles, ertoire stemmed largely from Child Bal- SEVEN NIGHTS. Delta Blues and Goodnight. Irene have never been lads; when they sang The Unquiet Grave by one of the greats. better served. The De Cormier Singers or Oh Marry in Time, they were harking FT/ FTS -3003 even lend a new- minted dignity to Bob back to medieval England, not to cotn- And introducing... Dylan's Blowin' in the Wind. mercial Nashville. The duo couldn't sur- TIM HARDIN 1 FT /FTS -3004 vive the upsurge of spangled vests and "Spanish Dance Spectacular." José electric guitars, so the Blue Sky Boys DON CRAWFORD Greco and his Dance Company; quietly folded in 1951, to FT/ FTS -3002 Orqesta de only appear Conciertos de Madrid, Roger Machado, once more two years ago before more First albums by two trend - cond. Columbia ML 6296, $4.79 (LP); sympathetic -and, perhaps, more intel- making stylists. MS 6896. $5.79 (SD). ligently informed -audiences. In any José Greco, born in Brooklyn some case, here they are with their peculiar forty -seven years ago, ranks without a combination of classic ballads and coun- doubt as the world's richest and most try style. They offer a certain naïveté, a FOLKWAYS famous flamenco dancer. But is José a certain charm, and an invaluable insight Verve /Folkways is distributed success? Not in Spain, where it's a sin to into the status of balladry a generation by MGM Records, a division of Metro -Goldwyn -Mayer Inc. louse up the lithe purity of a gypsy dance ago. Warmly recommended. 1 with symphonic -size orchestras and lu- O. B. BRUMMELL CIRCLE 92 ON READER -SERVICE CARD 52 HIGH FIDELITY MAGAZINE We aim a

KLH makes speaker systems that sell from $50 to $1140. Each of these systems delivers the cleanest, best balanced performance you can buy for the price. But the one by which we judge every new product we make is the Model Six. How does such a modestly priced speaker become the standard bearer for an entire line? It isn't just that the Six is a magnificent speaker. More than any other speaker we have ever made, the Model Six embodies the qualities that the name KLH stands for - an engineering approach that separates the trivial from the important; cuts through the accepted to find the excep- tional -a patient, painstaking effort to give you cleaner, finer performance at lower cost. We aim at the Six because it's the best way we know to define high performance. Listen to the Six. We think you'll agree with our definition. Suggested Price $ 134.00. Slightly higher in the West.

IIIIIIiIIIIIIII ¡<:'IIII1If 11110f I' KLH RESEARCH AND DEVELOPMENT CORPORATION, 30 CROSS STREET, CAMBRIDGE. MASS. 0910 70ADLMRK or KLN RESCRCN N 0 DEVELOPMENT CORP. CIRCLE 49 ON READER-SERVICE CARD SEPTEMBER 1966 53

Remarkable -how a stereo rec:rd captures the sound of the. mos= magnificent performance. Remarkable, too -how e Garrard Automatic Turntable reproduces that record without a hint of distortion. Technically -this is due tocer=ain meaningful features ntroduced oy Garrarc. Integral cueing: adjustable anti -skating controls; dynamically balanced, counterwe.ght adjusted, low mass tone arms are among 1 the Garrard advancements that permit flawless tracking of the most sensitive cartridges, safety for records and styli, and years of satisfaction. Musically -the results have been so convincing that more owners of component stereo systems enjoy their records on Garrard automati_s than all other turntables ccmbined.

In automatic turntables the innovator is

s finest recors ?laying equipment for over 50 years. HIGH FIDELITY

Stereo Cabinets and the Unwary Buyer

ON PAGE 56 of this issue there appears an illus- same receiver used with suitable high quality speak- trated feature heralding what we consider one of ers, correctly installed in a proper housing) -and the pleasantest recent developments in the world of the inevitable question comes up: is what he owns high fidelity -the new look in stereo housing. Yet representative of the famous Brand X, Y, or Z even in this Eden there is a small serpent, of whose sound? It sounds no better, maybe worse, than any presence the unwary should be warned. frankly "non hi -fi," mass -produced package set. Quick to see and seize a commercial opportunity, What the situation comes down to, then, is the a number of furniture retailers, notably in large sale of prepackaged console sets equipped with ques- urban areas, have lately "gone into the audio busi- tionable merchandise and put together without re- ness" -after a fashion. These merchants are offering gard to the principles of serious audio engineering cabinets (of their own manufacture, or made for and design. Well, business is business, but to us them by independent suppliers) prefitted with audio this one smacks of the unsavory. Aside from the equipment. The quality of the cabinets themselves obvious fact that the hapless buyer has not gotten can be easily judged by anyone who has ever bought what he has been led to expect, such merchandising a piece of furniture: most of those we've seen struck also casts a shadow of doubt on the whole idea of us as somewhat less sturdy in construction and con- high fidelity and on the audio industry in general. siderably less well designed than the cabinetry of- The industry, through its organization the Insti- fered under nationally known brand names by firms tute of High Fidelity, is attempting to stem the tide of established reputation. of the shoddy and second -rate in an effort to protect In any case (pun intended), what is most im- both the consumer and itself. Mostly, this effort portant for the high fidelity shopper is the kind of involves setting up standards for audio dealers: to audio equipment incorporated in the prefitted cabi- qualify as a "recognized" or "legitimate" high fidelity net. A strange pattern has become discernible: the retailer, a store must carry no fewer than five brands receiver often will be of a reliable make -which, of equipment made by member firms of the IHF; as the "heart" of the system, lends, by association, it must maintain adequate demonstration facilities its prestige to the entire setup. Generally speaking, to permit comparisons between different component however, the other equipment included is of a dis- hook -ups; it must honor factory warranties on new tinctly inferior performance level. The speakers in equipment; and it must maintain service facilities particular, suggest what one can pick up for a few and personnel. It strikes : s that dealing with such dollars at the bargain racks along Radio Row; and an outlet is the best chance for the technically un- they invariably are baffled (more or less) in the sophisticated buyer to obtain full value for money same wooden wraparound as everything else, with spent. A list of recognized dealers will be sent free little isolation to prevent acoustic feedback. The on request to the IHF at 516 Fifth Avenue, New sound from such a system may well be afflicted with York, New York 10036. muffled highs and boomy bass, not to mention a "Cabinets for Components" has a euphonious ring, variety of other sonic ills. but it behooves all of us to make certain that the There is an especially painful irony in the fact components are of high quality, that they are that such low -grade performance is coming from properly matched, and that they are correctly in- a cabinet that houses a receiver of genuine merit. stalled in a cabinet specifically designed for high The owner of such a set (or the guest in his home) fidelity housing. There may be some effort involved, eventually may hear the real thing (for instance, the but isn't first -class stereo sound worth it?

E CIRCLE 103 ON READER -SERVICE CARD 55 CABINETS

the new look in stereo housing

HAVING TAKEN the phonograph apart by ment storage systems ( "case goods" as it's isolating its separate components, audio en- known in the furniture field), most of them thusiasts now are beginning to put it back a far cry from the boxes offered years ago together again-by providing housing for and once described by an exasperated writer these components in attractive cabinets. Cer- as variations on a coffin. tainly an "installation," these days, means Today we have cabinets that are pleasant- more than just hooking up equipment; it er to look at, more versatile as storage units, means the fashioning of a music system that more conducive to a correct installation than is visually satisfying as well as sonically cor- ever before. The styles range from starkly rect. Indeed, this activity, it seems, has be- contemporary to richly traditional; the de- come a pursuit of perfection as fascinating, signs include boxes on pedestals, boxes on and with as many variations, as the very walls, boxes on poles, boxes on boxes -as choice and assembly of components. well as boxes on their own four (or more) One extreme approach to this end, rep- legs. The prices vary from under $100 for resented in our March issue, is that of the KD ( "knock- down ") models for self- assem- "total installation," in which the placing of bly to very substantial sums for handsomely audio gear is conceived and worked out in finished prestige pieces. Encouragingly, terms of the architecture of one's dwelling many of these cabinets are being designed -in some cases a house being built, literal- by men who themselves are confirmed audio ly, around a pair of stereo speakers. Not all enthusiasts and who know from direct ex- of us have the desire (or the ducats) for perience just what constitutes exemplary such an installation, yet the idea of attrac- high fidelity housing. tive housing for a sound system has virtu- The new concept is not one of making do ally swept the entire audio field in recent but of making anew, of designing audio months. Equipment manufacturers are styl- housing for that specific purpose and not ing their components to appeal to the eye as an adjunct to a bar or a linen closet. as well as to the ear and have been display- Some of the latest examples of this principle ing them, at shows and at dealers, in care- are documented on the following pages: a fully planned settings. Coincidentally, there planner's guide to the realm where timbre has been a wave of new designs in equip- and timber meet. N.E. The Toujay Tower, shown on our cover, is seen here in a possible variation, with two cabinet modules and anple space for a compact speaker system in its own enclos- ure. Both the four -door and two -door versions come in knock -down form and are easily assembled. Each door hides a storage area 191/2 by 18 by 13 inches. Wal- nut or teak finishes are available; the metal frame comes in sanded brass or etched black. The four -door mode! costs $199; the two -door one, $69. Optional with the latter is a lazy Susan for positioning the speaker at any angle, $10. Both models also may be placed on roller casters, $10 a set. Every module is vented for air circulation. Below, another knock -down storage sys- tem recently announced by Furn -a -Kit. The basic, seven- foot -wide low cabinet costs $131, comes with fittings for various audio components and for record storage. Hutch, top left, costs an additional $82.50 and may he added at owner's option to augment gen- eral storage area. Furn -a -Kit also offers furniture styles other than the contemporary shown here.

SEPTEMBER 1966 57 Wi1 111n1.i1,i1,1,1,1,11 ilitttll .11llui11.iiiiii1'lrlullg

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c___, , ,, The Great -e_ r__ c_..- ) c RoadShow ,.),, TO SELL PIANOS IN THE 1870S, A REAL VIRTUOSO WAS NEEDED.

By Milton Goldin

EVEN THE LEAST FASHIONABLE American was con - vinced by the 1860s that a house was not a home without a piano. With lavish hand -carving on its c-) rosewood case, with mother-of -pearl keyboard, with solid gold nameplate, the instrument was almost c--) divinely suited to Victorian interiors. According to c--; an 1867 issue of the Atlantic Monthly, a piano was "only less indispensable than a kitchen range." c-, ( There were those who scoffed at its popularity. ) "Every American woman feels bound to play the piano, just as she feels bound to wear clothes," wrote Xavier Eyma, a French reporter traveling up the Ulllillll1ftUllllUlïUl.11lUhlillllUlUftl n

60 HIGH FIDELITY MAGAZINE Mississippi in 1860. Eyma found the instrument was established on four hundred acres of Long Island, "inflexibly tortured from morning till night." Do- where Long Island City is located today. Eventually mestic newsmen were equally dismayed by excessive including lumberyard, mill, foundry, public bath, piano playing. Thus, the Evening Chroni- homes for workers, free circulating library and cle: "From the language of the musical critiques schools, Steinway was a well- organized, well -governed of the Eastern press one would suppose that there community devoted in the most basic sense to pianos was nothing else worth living for in this life but and piano makers. music. and Piano Forte playing especially...." Yet by 1872 William Steinway, Henry Englehard's Two piano manufacturing firms dominated the energetic third son, had a couple of bothersome field during the 1860s. In Boston, the five hun- problems. One was a strike of Steinway workers for dred employees of Chickering & Sons turned out an eight -hour day (they got a ten per cent raise in two thousand pianos per year in a huge industrial wages instead). The other was the apparent inability building said to be surpassed only by the national of prospective buyers to tell the difference in quality capitol in cubic content. In New York, Henry Engle - between one piano and the next. Thousands of hard Steinway, a piano maker who had arrived from dollars were being lost to Steinway & Sons by the Germany in 1850, had long since moved from his competition of instruments labeled "Steinmay," first workshop in a loft on Varick Street to larger "Stannay," and "Shumway." quarters where, by the end of the Civil War, Stein- William reasoned that if a Famous European way & Sons was also building two thousand instru- Virtuoso endorsed the Steinway Piano by using one ments per year. at performances, the combination of excellences The Chickerings and the Steinways took justifiable would be such as to make the name STEINWAY a pride in the excellence of The Products, which in permanent fixture within every customer's brain. truth compared favorably with European wares. Still, Accordingly, he began to negotiate for an American it was sales that kept factories humming. An early tour, under Steinway auspices, of the Very Famous discovery was that a customer did not have to be European Virtuoso Anton Rubinstein. A leonine able to play the piano to buy a piano; it was enough Slav who resembled Beethoven, Rubinstein was at that he could pay for it. By 1870, about one of every the time under contract for Western Hemisphere 1,540 Americans was doing just that every year, but performances to the impresario Jacob Grau, but it naturally the citizenry was constantly exhorted to was actually Jacob's nephew Maurice who made the buy more. final arrangements. The contract signed by the A major breakthrough in piano -selling techniques younger Grau and William Steinway committed occurred when Henry Steinway and his sons began Rubinstein to a 200 -concert tour of the United States to publish testimonials. Steinway ads in the early (to begin the following September) for which he 1860s featured the names of local conductors and was guaranteed $40,000 by Steinway & Sons. This pianists, who "personally examined and practically document further stipulated that the artist was not tested the improvement in Grand Pianos, invented to be asked to travel in the "Southern States" by H. STEINWAY" and dutifully found them "most (where, in fact, he finally did appear) or to perform novel, ingenious, and important." Despite such "in establishments devoted to purposes other than accolades, the Steinways were soon keenly aware artistic ones (at garden concerts, tobacco establish-

that testimonials from local artists were of limited ments I i.e., cafés I, etc.)." Rubinstein also insisted on value. It was testimonials from famed European a clause providing for a settlement in gold francs virtuosos that counted in the market place. The Paris at the end of the tour. (He was to find that 200,000 Exhibition of 1867 provided the Steinways -and gold francs weighed about 140 pounds, and accepted the Chickerings -with an excellent opportunity to currency instead.) seize such virtuosos. Each firm is said to have spent On September 10 Rubinstein sanded in New York. $80,000 in its attempt to carry off top honors in the He was the first major Russian artist to visit the piano competition. Both were winners. Steinway & United States, and he conceived his trip to have a Sons took the first gold medal and received endorse- spiritual purpose -he would introduce the music of ments from Hector Berlioz and Gustav Doré; Chick- Chopin, Schumann, and Beethoven to American ering & Sons also took a gold medal, and the firm provincials. The aloof and haughty titan of the got a testimonial from Franz Liszt. piano failed to reckon, however, with Maurice Grau, a 23- year-old hustler taking over the management of the enterprise for his ailing uncle. BY 1870, Steinway & Sons was spurting ahead in a This ill-matched pair was to quarrel constantly grim race for sales with Chickering & Sons. An and to make one of the most successful tours in enormous Steinway factory on Fourth Avenue (at American musical history. that time Park Avenue) rivaled the Chickering plant The tour began with a performance at Steinway in size. Steinway Hall, a four -story, $200,000 struc- Hall, where to hearty applause Rubinstein marched ture which included showrooms and a concert hall, on stage and made a low bow "half to the audience was opened in 1866 on Fourteenth Street in one of and half to the nameplate of the piano." The feature New York's then finest residential sections. And in of the program was his own D minor Concerto (for 1870 and 1871, a veritable duchy called Steinway which he was accompanied by the New York Phil-

SEPTEMBER 1966 61 rivalled Orchestra." There was a compromise; the artist got a recital and the manager got "Great Combination" concerts. TN Groat Rubipsteip "Great Combination" concerts, given at both the New York and Brooklyn Academies of Music in early January of 1873, were among the most ambi- Road dhow tious musical enterprises yet attempted locally. With Thomas conducting, Rubinstein played the Schumann harmonic), and at its conclusion cheering music A minor Concerto, the Beethoven Emperor, and his lovers screamed, shouted, clapped, and sent up trib- own F major and G major concertos, besides shorter utes of flowers. The pianist gazed imperturbably works. Wieniawski also appeared on each program, over their heads. Rubinstein, it developed, was one playing popular favorites such as his own Violin of those artists who would only grudgingly acknowl- Concerto No. 2 and Légende. edge vulgar displays of enthusiasm. After four more concerts in New York, Rubinstein and a troupe consisting of himself, two singers, a UN January 13, 1873, Rubinstein was allowed to small instrumental ensemble, and the noted Polish give a recital at Steinway Hall. To Grau's vast sur- violinist Henryk Wieniawski, who had accompanied prise, receipts totaled $3,100, the highest of any him to America, embarked for Boston. Here Rubin- Rubinstein performance to date. A repeat perform- stein practiced continually, gave lessons, and began ance in Boston was also so successful that the pianist to brood about his seven -concert -a -week schedule. made plans for a series of seven historical recitals, at It was dawning on him that this was quite a work which he would play nothing but esoteric works. load, considering that dates were scattered all over Rising to the occasion, Grau prepared a special the country. After Boston came Buffalo, Toronto, brochure in which he effused that the seven pro- Montreal, Detroit, and Cleveland. "Each day I feel grams demanded "vast knowledge, herculean power, unhappier. I think often of breaking my contract. and unmatched skill." Only Anton Rubinstein The tour has no end and becomes daily more diffi- could, he said, "venture on their consecutive presen- cult, more unbearable," he wrote William Steinway tation." Few disagreed; it seemed to one reviewer from Cincinnati. Yet he continued to practice -from incredible that a "human brain should be able to "the moment he arrived in his hotel room," wrote remember so many intricate compositions, so as to Grau; "how his constitution stood the immense strain perform them in rapid succession without the aid is remarkable." of notes." Unnerved by the nightly seas of expectant faces It should be noted that critical reception was not and clapping hands, Rubinstein became quarrelsome. unmixed. The same reviewer quoted above wrote of Wieniawski, in particular, fell victim to his rages. In "mechanical crudities of the most aggravating kinds." St. Petersburg, the violinist had often failed to keep Yet in the commission of these sins, Rubinstein put engagements, pleading illness as an excuse. In Amer- on a better show than most pianists did playing the ica, wrote Rubinstein, "He always contrived to find right notes. For years, a monologue entitled "How strength enough to appear on the platform with his Ruby Played" made the vaudeville rounds: "All of a fairylike violin. The secret of his punctuality lay in sudden, old Ruby ... ripped out and he rared, he the fact that by the terms of the contract he must pranced and he charged like the grand entry at a forfeit 1,000 francs for every nonappearance." circus. ... He stopped a moment or two to ketch Wieniawski, who was to lose a large part of his breath. Then he got mad. He run his fingers through earnings in the failure of a New York bank, was his hair, he shoved up his sleeve, he opened his coat- incensed by such affronts (they were leaked to the tails a little further, he drug up his stool, he leaned press) and by the fact that he was cast in a sup- over, and, sir, he jest went for that old pianner." porting role. Never, he told newspapermen, would Rubinstein's "pianner," a Steinway, bravely with- he have come to America if he had known he was stood the pounding. He proved, if further proof was merely to be hitched to Anton Grigorievitch's wagon. necessary, that it was an instrument of unquestion- There were also frequent battles between Grau and able strength, built to take even his fortissimo pas- Rubinstein. "Sturdy- minded," said the manager of sages. It was "unexcelled by any [instrument] in the the artist. "For a time I was under [ Grau's] entire world," he announced to William Steinway at a control ... may Heaven preserve us artists from such farewell dinner in New York. slavery," said the artist of the manager. Back in Much later, Rubinstein wrote of the tour itself: New York in December from a Western tour that . . it was all so tedious that I began to despise my- went all the way to Central City, Colorado, Rubin- self and my art." He had performed 215 times and stein announced to Grau that he must play a solo gone home with $20,000 more than he had been recital -a thing practically unheard of in America. guaranteed. He declined to come back even for half Grau had meanwhile been working up plans for a million, but he had established for many years an performances by "The Great Combination ... and ineradicable popular image of the touring musician - positively the last joint appearance of Rubinstein, an arrogant long- haired artist moodily wending his Wieniawski, and Theodore Thomas with his Un- way from town to town with a Steinway piano.

62 HIGH FIDELITY MAGAZINE THE NEW RELEASES ___what's ahead fo classical re

IN THE PAGES that follow, HIGH FIDELITY presents cause sales had lost their initial impetus, or they its twelfth annual company -by- company preview of disappeared from domestic circulation when a Euro- forthcoming fall records. This year two notable new pean company changed its affiliation from one trends are evident in the production and marketing American label to another. (A good many casualties of classical recordings. One is the galloping success resulted from HMV's switch from RCA Victor to of the so- called "budget" lines. After a history of Angel /Capitol, the Monteux Manor: and the some false starts, a few successes, and a setback or Beecham Bohème being two pertinent examples.) To two over the past five years, the $1.98 -$2.50 disc satisfy a new generation of curious record buyers, a has developed into a potent force. Among the legion company can reëxpose this material at minimal cost. of records to reach the stores by Christmas, a Sometimes the low -priced reissue becomes a best higher percentage than ever will carry low price seller for a second time; indeed, RCA's Victrola tags. Many flourishing budget lines are already well pressing of (with Milanov, Bjoerling, and known- Dover, Everyman (Vanguard), Heliodor Warren) is on the verge of outselling its original, (DGG /M -G -M), Monitor, Music Guild (West- high- priced edition. minster), Nonesuch, Richmond (London), Turnabout The fare to be offered this fall on the three debu- (Vox), and Victrola (RCA Victor). Joining them this tant labels comes from both sources. Some of the fall are three new labels- Crossroads (Epic), Sera- recordings are new-products of major- and minor - phim (Angel), and World Series (Philips/ Mercury). league firms abroad. Some are reissues of material And in the offing for next January is a fourth -a previously available here on other labels. When the new budget line from Columbia called Odyssey. reissues are of performances originally recorded in Why this sudden proliferation? The answer lies monophonic form only, a thorny question arises: to partly in the existence of dozens of small European stereoize or not to stereoize. At present the score companies, most of them newcomers with no facili- among the newcomers reads one in favor (World ties for distribution in this country. Conditions were Series), one opposed (Seraphim), and one ab- ripe for an American company to step in and gather stention (Crossroads). up this European bounty-and approximately two Actually, Crossroads will not be faced with this years ago the newly established Nonesuch label did problem at once, for its initial releases are drawn precisely that. With no costly recording fees bur- exclusively from recent performances recorded in dening its budget, Nonesuch could afford to price true stereo by the Czechoslovak firm of Supra- its discs at $2.50 for mono and stereo alike and to piton. Among Crossroads' first twenty discs are concentrate production efforts on first -class press- such items as a complete Ma Vlast by Smetana and ings, handsome packaging, and well- written annota- Mahler's Symphony No. 1 (Czech Philharmonic, tions. Although not the first venture of the kind to Karel Anëerl, cond.), Haydn's Symphonies Nos. 73 become a paying enterprise (Vanguard had a thriv- and 96 (Prague Chamber Orchestra), Schubert's ing budget series as far back as 1953), the label Trout Quintet (Smetana Quartet), two cello sonatas presented a fresh and lively face that caught the by Brahms (André Navarra, cello, and Alfred public's imagination almost at once. Nonesuch's Holecek, piano), the two Janáëek String Quartets success was a heady tonic (inspiring a number of (Janácek Quartet), Brahms's Liebeslieder Waltzes companies to advance along similar paths), and this (Prague Madrigal Singers), Orff's Catulli Carmina winter the young organization feels confident enough (Czech Philharmonic Chorus and the Prague Sym- to begin some recording projects of its own instead phony Orchestra, Václav SmetáCek, cond.), and of depending exclusively on European firms. Honegger's Symphonies Nos. 2 and 3 (Czech Phil- Another important factor behind the proliferation harmonic, Serge Baudo, cond.). Of special interest of low -cost records is the growing reservoir of vin- to opera buffs will be the of Smetana, tage performances from the recent past. These re- Dvocák, and Janácek, to arrive in due course. cordings had been dropped from the catalogue for World Series has the considerable resources of one of two reasons. Either they were withdrawn be- Philips Phonographic Industries at its disposal. First

SEPTEMBER 1966 63 releases include both reissues and new material. In How will the high -priced lines react to this strong the former category are Geminiani's Concerti grossi, upsurge of budget discs? Some record people hold Op. 7 (I Musici), Handel's Water Music (Concertge- that the $5.79 tariff may eventually he reserved bouw Orchestra, Eduard van Beinum, cond.). Bee- solely for expensive "glamour" recordings by major thoven's Piano Sonatas Nos. 17 and 18 (Clara orchestras, ambitious opera productions, and projects Haskil), and the four Ives Violin Sonatas (Rafael documenting works infrequently, if ever, recorded Druian, violin, and John Simms, piano). New items in the past. And this brings us to the second nota- include a collection of Telemann's orchestral suites ble trend: the new best sellers. (Rouen Chamber Orchestra, Albert Beaucamp, It has become clear during the past several cond.), a Liszt piano recital (György Cziffra), months that a considerable demand exists for out - Tchaikovsky's Second Piano Concerto (Nikita Maga- of- the -way fare. Columbia's recent big classical loff with the London Symphony, . cond.). sellers have been Mahler's Tenth Symphony, the Dvofák's Sixth Symphony (London Symphony, Ives Fourth, and the Nielsen Third, while sales of Witold Rowicki, cond.), Ravel's complete piano the Webern set and of the first three volumes music (Werner Haas), the Mass and of devoted to Schoenberg's music (including the opera Pierre de la Rue (Ensemble Polyphonie de Paris. Moses and Aron) have virtually doubled; DGG re- Charles Rivier, cond.), the complete Piano Trios of ports excellent results from its recordings of Schoen - Schubert (Beaux Arts Trio), and a collection of berg's Gurrelieder and Berg's ; an RCA disc Bach Chorale Preludes played by Marcel Dupré. of rarely heard Bellini and Donizetti arias sung by Seraphim will rescue a host of fallen Angel discs Montserrat Caballé has sold in great quantity, and as well as make available EMI performances never Marilyn Horne's "Souvenir of a Golden Era " -a before offered to American record buyers except as recital album built around a number of unfamiliar expensive imports. To be found among the first arias -is one of London's most popular recent re- seraphic releases are the Beecham Bohème (with De leases; Angel announces that the Delius Cello Con- los Angeles and Bjoerling), L'Elisir d'amore con- certo with Jacqueline Du Pré and the Menuhin Pur- ducted by Serafin, (sung in cell album received a far wider acceptance than had German with Hilde Gueden, Anneliese Rothen- been anticipated. Moreover, the inexhaustible re- berger, Edith Mathis, and ), a collec- sources of the baroque in general and Telemann in tion of Verdi arias (Fischer -Dieskau), Schubert's particular continue to find favor with record buyers Unfinished and Mendelssohn's Italian (Guido Can - -and there is no sign that the boom is on the wane. telli), excerpts from Götterdämmerung (Flagstad and To the adventuresome collector this means an Furtwängler), Strauss's Alpine Symphony (conducted abundant supply of new and unusual recordings. The by the composer), and Beethoven's Piano Concerto lists to follow will attest that this fall's harvest is No. 1 and Sonata No. 27 (Solomon). an extraordinarily rich one.

ANGEL Bartók: Violin Concerto No. 2: Six Duos Arne: Harpsichord Concerto No. 5; Or- for Two Violins. Yehudi Menuhin and gan Concerto No. 4. Boyce: Sym- Mozart: Die Entführung curs dem Serail. Nell Gutkovsky, violins; New Phil - phonies: No. 4: No. 5; 8. Anneliese Rothenberger (s), Lucia No. Lionel harmonia Orchestra, Antal Dorati, Salter. harpsichord and organ: Popp (s), Nicolai Gedda (t), Gerhard Lu- cond. cerne Festival Strings, Rudolf Baum- Unger (t), Gottlob Frick (bs); Vienna Tchaikovsky: Eugen Onegin and Pique gartner. cond. State Opera Chorus and Orchestra, Dame (excerpts). Melitta Muszely (s), Graupner: Concerto for Two Flutes. Josef Krips, cond. Fritz Wunderlich (t). Hermann Prey Pisendel: Violin Concerto. Dido and Aeneas. Victoria de Stoelzel: Purcell: (b), Gottlob Frick (bs): Bavarian State Concerto grosso. Fritz los Angeles (s): New Philharmonia Kirschner and Opera Orchestra, Meinhard von Zall- Bernhard Walter. flutes; Eduard Mel - Orchestra, Sir , cond. inger, cond. kus. violin: Chamber Orchestra, Falla: La Vida breve. Victoria de los An- Kurt Schumann: Symphony No. I. New Phil - Redel, cond. geles (s); National Orchestra of Spain, harmonia Orchestra. Otto Klemperer, Rafael Frühbeck de Burgos, cond. cond. Poulenc: Chansons villageoises; Le Bal Bach, C.P.E.: Concerto for Harpsichord, CAMBRIDGE masqué; Le Bestiaire. Jean -Christoph in D minor. Bach. J.S.: Triple Con- Benoit (b); Paris Conservatoire Or- certo for Flute, Violin, and Harpsi- Monteverdi: L Incoronazione di Pop pea. chestra, Georges Prêtre, cond. chord. Yehudi Menuhin, violin; Wil- To commemorate Monteverdi's 400th Haydn: Symphonies No. 104 and No. liam Bennett, flute: George Malcolm, birthday in 1967, Cambridge lays 88. New Philharmonia Orchestra, Otto harpsichord: Bath Festival Orchestra, claim to the first truly complete re- Klemperer, cond. Yehudi Menuhin, cond. cording of his last opera, restoring Schubert: Symphony No. 5. Mozart: many pages cut in previous editions. Symphony No. 40. Moscow Chamber The performance, which. we are told, Orchestra, Rudolf Barshai, cond. ARCHIVE hews as closely to Monteverdian style Vaughan Williams: Hodie; Christmas and instrumentation as humanly pos- Cantata. Janet Baker (ms), Richard Bach. C.P.E.: . Adele Stolte sible. was recorded last spring by the Lewis (t). John Shirley-Quirk (b); (s), Hertha Töpper (ms), Ernst Häfli- Collegium Musicum of the University Bach Choir and Choristers of West- ger (t). Barry McDaniel (b); Adolf of California at Berkeley under the minster Abbey; London Symphony Detel, cond. direction of Alan Curtis with Carole Orchestra. David Willcocks. cond. Schütz: St. Luke Passion. Bogard (s), Louise Parker (ms), Poulenc: Bahar the Elephant. Harsányi: (t), (bs): Cross Charles Bressler (t), and Herbert Beat- The Little Tailor. Peter Ustinov: Paris Choir, , cond. tie (bs) in principal roles. Conservatoire Orchestra, Georges Prê- Handel: Water Music. Schola Cantorum Couperin: Harpsichord Suites: in A tre, cond. Basiliensis. August Wenzinger. cond. minor; in G minor; in F. Alan Curtis, Schubert: Lieder. Dietrich Fischer -Dies- Dowland: Ayres. Studio for Early Music, harpsichord. kau (b): Gerald Moore, piano. Thomas E. Binkeley, cond. Bacon: Songs to Poems of Emily Dick-

64 HIGH FIDELITY MAGAZINE inson. Helen Boatwright (s); Ernst Richard Kness (t), Thomas Paul (bs); Handel: Apollo e Dafne. Agnes Giebel Bacon, piano. Mendelssohn Choir of Pittsburgh; (s), Dietrich Fischer -Dieskau (b); Ber- Sonatas for Violin and Continuo by Pittsburgh Symphony Orchestra, Wil- lin Philharmonic Orchestra, Günther Seventeenth- Century Italian and Ger- liam Steinberg, cond. This completes Weissenborn, cond. man Composers (Fontana, Marini, Steinberg's traversal of the Beethoven Strauss, R.: Don Quixote. Pierre Schmelzer, and Walther). Sonya Mono - Symphonies, and Command is present- Fournier, cello; Philharmonic soff, violin; Robert Conant, harpsi- ing all nine as an integral set this fall. Orchestra, , cond. chord; Janos Scholz, viola da gamba; Stravinsky: Pétrouchka. Pittsburgh Sym- Schubert: Mass No. 5. Maria Stader (s), John Miller, bassoon. phony Orchestra, , Marga Höffgen (ms), Ernst Häfliger Organ and Harpsichord Music of the cond. (t), Hermann Uhde (b); Regensburg English Virginalists. Gustav Leon- Cathedral Chorus; Bavarian State hardt, harpsichord. Radio Symphony, Georg Ratzinger, COMPOSERS cond. RECORDINGS Mozart: Sinfonia concertante for Violin COLUMBIA Thomson: Sonata da Chiesa; Violin and Viola; Sinfonia concertante for Sonata; Praises and Prayers. Betty Woodwind Quintet. Soloists, Berlin Verdi: . 's first Philharmonic Orchestra, Karl Böhm, complete opera recording with Diet- Allen (ms); Joseph Fuchs, violin; Virgil Thomson, piano. cond. rich Fischer -Dieskau in the title role. Mussorgsky- Ravel: Pictures at an Exhibi- Also appearing are Ilva Ligabue (s), Stevens: Cello Sonata. Gross: Epode. Lessard: Cello Sonata. Gabor Rejto tion. Orchestra, Graziella Sciutti (s), Hilde Rössl -Maj- Herbert von and Bernard Greenhouse, cellos; Mena - Karajan, cond. dan (ms), Juan Oncina (t), Murray Schubert: Piano Trio, Op. 100. Trio di Dickie (t), Rolando Panerai (b), and hem Pressler, piano. Cowell: Trio for Piano, Violin, and Trieste. Erich Kunz (bs), with the Vienna Phil- Schubert: Piano Quintet ( "Trout "). Ru- harmonic Orchestra. Cello. Semmler: Trio. Philharmonia Trio. dolf Koeckert, violin; Christoph Es- Ives: Five Psalms: Harvest Home Chorale; chenbach, piano; et al. General William Booth Enters Into Music for Unaccompanied Flute. Works by Riegger, Hovhaness, Kupferman, Schubert: Four -Hand Piano Music. Paul Heaven; December; Walt Whitman; Badura -Skoda and Joerg Demus, Serenity; Circus Parade. A collection Perle, Mamlok, Martino, and Wiggles- worth. Samuel Baron, flute. pianos. of choral music, much of it never be- Mozart: Divertimento, K. 563. Trio fore heard either in concert or on Italiano d'Archi. records, performed by the Gregg Smith DECCA Spanish Songs and Arias. Boys Singers and the Texas Choir. Barber: Cello Concerto. Britten: Sere- (s). (P.S. Reappearing this fall is the re- nade for Tenor, Horn, and Strings. cently deleted Ives Second Symphony. Raya Garbousova, cello; Charles Bres- Leonard Bernstein and the New York sler (t); Ralph Froehlich, horn; Musica EPIC Philharmonic have added Ives's Fourth Aeterna Orchestra, Frederic Waldman, Seven Symphonies. The of July as a bonus filler.) cond. Sibelius: The de St.- Sébastien. set in stereo, played by Debussy: Le Martyre Haydn: Harpsichord Concerto in D. first integral A recording with the New the Philharmonic under Akeo complete Bach: Brandenburg Concerto No. 5. Japan York Philharmonic under Leonard Sylvia Marlowe, harpsichord; Chamber Watanabe. Lili Kraus, Bernstein. Felicia Monteleagre narrates. Orchestra, Daniel Saidenberg, cond. Mozart: Piano Concertos. Schoenberg: Volume Five in this piano; Vienna Festival Orchestra, con- Brahms: Symphony No. 4. Cincinnati tinuing series contains the transcription Symphony Orchestra, Max Rudolf, Stephen Simon, cond. Volumes 2 and of Brahms's G minor Piano Quartet, cond. 3 in the complete Mozart Piano Con- the in Suite G for Strings, Six Or- Italian Florentine Program. Music by certo project. Piano No. 2; Liszt: chestral Songs, Op. 8 (with soprano Heinrich Isaac, Constanzo Testa, An- Chopin: Concerto the work Piano Concerto No. 1. Charles Rosen, Irene Jordan), and choral dreas de Florentia, Gherardellus de Friede auf Erden. piano; New Philharmonia Orchestra, Florentia, and Donatus de Florentia. Age of Anxiety. Bernstein: The Philippe New York Pro Musica. John Pritchard, cond. Entremont, piano; New York Philhar- Lalo: Cello Concerto. Saint -Saëns: Cello monic, Leonard Bernstein, cond. DEUTSCHE Concerto No. 1. André Navarra, cello; Nielsen: Symphony No. 6. Philadelphia Lamoureux Orchestra, Charles Munch, Orchestra, Eugene Ormandy, cond. GRAMMOPHON cond. Mozart: The Complete Viola Quintets. Bach: Music for Harpsichord and Clavi- Mozart: Die Entführung aus dem Newly recorded with the Budapest Serail; chord. Igor Kipnis, harpsichord and Quartet and Walter Trampler, viola. . Erika Köth (s), clavichord. Lotte Schädle Stravinsky: Perséphone. Vera Zorina; (s), Fritz Wunderlich Schubert: Lieder. Judith Raskin (s); (t), Friedrich Columbia Symphony Orchestra, Igor Lenz (t), Kurt Böhme George Schick, piano. Stravinsky, cond. (bs); Bavarian State Chorus and Or- Barber: A collection of familiar short chestra, Eugen Jochum, cond. orchestral works. New York Philhar- Mascagni: Cavalleria rusticana. Leonca- HELIODOR monic, , cond. vallo: I . Joan Carlyle (s), Fiorenza Piano No. 19 and Prokofiev: Piano Concertos Nos. I and 2. Cossotto (ms), Carlo Ber- Mozart: Concertos Gary Graffman, piano; Cleveland Or- gonzi (t), Ugo Benelli (t), Giuseppe No. 27. Clara Haskil, piano; Berlin Taddei (b), chestra, George Szell, cond. Rolando Panerai (b), Gian Philharmonic and Bavarian State Or- (b); Schumann: Piano Quintet in E flat. Giacomo Guelfi Chorus and Or- chestras, Ferenc Fricsay, cond. Mozart: Piano Quintet. Leonard Bern- chestra of (Milan), Herbert Brahms: 2 Sonatas for Viola and Piano, stein, piano; Juilliard Quartet. von Karajan, cond. Op. 120. Walter Trampler, viola, Missa Solemnis. Mendelssohn: Symphony No. 4. Bee- Beethoven: Gundula Beveridge Webster, piano. thoven: Symphony No. 8. Marlboro Janowitz (s), Christa Ludwig (ms), Rossini: Stabat Mater. Maria Stader (s), Festival Orchestra, Pablo Casals, cond. Fritz Wunderlich (t), Walter Berry Marianna Radev (ms), Ernst Häfliger (bs); Vienna Singverein; Berlin Phil- (t), Kim (bs); Chorus of St. Bruckner: Symphony No. 3. Cleveland Borg Orchestra, George Szell, cond. harmonic Orchestra, Herbert von Hedwig's Cathedral; Berlin Radio Karajan, cond. Chorus and Orchestra, Ferenc Fricsay, Haydn: . Gundula Janowitz cond. (s), Fritz Wunderlich (t), Hermann Mozart: Symphonies No. 31 and No. 36. COMMAND Prey (b), Walter Berry (bs); Vienna Bavarian Radio Symphony, Ferdinand Beethoven: Symphonies No. 8 and No. 9. Singverein; Berlin Philharmonic Or- Leitner, cond. Ella Lee (s), Joanna Simon (ms), chestra, Herbert von Karajan, cond. Bach: Brandenburg Concertos. Schola

SEPTEMBER 1966 65 Cantorum Basiliensis, August Wen - LOUISVILLE des Pères du Saint -Esprit du Chevilly, zinger, cond. R.P.L. Deiss, cond.; Chorale Saint - Malipiero: Notturno di canti e balli. Baze- Jordi, O. Martorell, cond. lon: Short Symphony. Louisville Or- Bach: Chorale Partita in C minor with LONDON chestra, Robert Whitney, cond. Variations: "O Gott, du frommer Lees: Concerto for Orchestra. Herder: Gott." Boyvin, Jacques: Seven Selec- Rossini: Semiramide. After a season Movements for Orchestra. Nono: Due tions from the First and Second Books. away from the microphones, Joan Espressioni (Part I). Louisville Orches- Noelle Pierront, organ. Sutherland has been busily recording tra, Robert Whitney, cond. Ibert: . Jolivet: Flute Con- some of her bel canto specialties this Harris: Epilogue to "Profiles in Courage." certo. Rivier: Flute Concerto. Jean past spring and summer. Joining her in Schuller: Dramatic Overture. Mayu- Pierre Rampal, flute; Lamoureux Or- Rossini's rarely heard work are Mari- zumi: Samsara. Louisville Orchestra, chestra, Louis de Froment and André lyn Horne (ms), John Serge (t), and Robert Whitney, cond. Jolivet, conds. Joseph Rouleau (bs). Richard Bonynge conducts the London Symphony Or- chestra. NONESUCH Wagner: Die Walkiire. The grand finale LYRICHORD to London's Solti /Culshaw Ring cycle Ktenek: Pentagram. Piston: Pieces for Stravinsky: Les Noces; Pribaoutki; Ber- reuses with Birgit Nilsson (s), Régine Crespin Flute, Clarinet, and Bassoon. Good- du chat; Four Russian Songs; (s), Christa Ludwig (ms), James King man: Woodwind Quintet. Ventorum Podblioudnya. Soloists, Chorus and (t), and Hans Hotter (bs); Vienna Woodwind Quintet. Orchestra of the Théâtre National de Philharmonic Orchestra, , Hindemith: Mass (1963); Motets. Whike- l'Opéra, , cond. cond. hart Chorale. Handel: Water Music. Hague Philhar- Beethoven: Symphony No. 9. Joan Suth- monic Orchestra, Pierre Boulez, cond. erland (s), Marilyn Home (ms), James Fauré: Requiem. Soloists; Les Chanteurs King (t), (bs); et l'Orchestre de Saint -Eustache, R.P. Orchestra, Hans MERCURY Emile Martin, cond. Schmidt-Isserstedt, cond. Tchaikovsky: Complete Orchestral Suites. Bach: Two - and Three -Part Inventions. Schumann: Symphony No. 3. London London Symphony Orchestra, Antal George Malcolm, harpsichord. Demantius: St. Symphony Orchestra, Rafael Frühbeck Dorati, cond. John Passion. N.C.R.V. Vocal Ensemble (Hilversum), de Burgos, cond. Hanson: Symphony No. 3. MacDowell: Marinus Voorberg, cond. Sibelius: Symphonies No. 5 and No. 7. Suite No. 1, Op. 42. Eastman- Roches- Vienna Philharmonic Orchestra, Lorin ter Orchestra, , Bruckner: Symphony No. 7. Orchestra of cond. the Süddeutscher Maazel, cond. Nielsen: Fynsk Forar; Twelve Songs. Rundfunk (Stuttgart), Beethoven: Symphony No. 7. Vienna Carl Schuricht, cond. Soloists, Chorus, and Orchestra of the Elgar: String Quartet Philharmonic Orchestra, Claudio Ab- Danish Radio, Mogens Wöldike, cond. in E minor. Si- bado, cond. belius: String Quartet ( "Voces In- Milhaud: Le Beouf sur le toit. Satie: timae"). Overtures to Forgotten Operas. Hérold's Parade. Auric: Claremont Quartet. Overture. Françaix: Haydn: The Seasons. Teresa Zampa, Rossini's Torvaldo e Dorliska, Concertino. London Symphony Or- Stich -Ran- Verdi's Giovanna d'Arco, Donizetti's chestra, Antal dall (s), Helmut Kretschmar (t), Erich Dorati, cond. Wenk (bs); NDR Roberto Devereux, and Wallace's Soler: Concerto for Two Harpsichords; Symphony Orchestra Maritana are among the recalled. Lon- (Hamburg), Walter Goehr, cond. Fandango; Sonatas. Rafael Puyana and Sonatas don Symphony Orchestra, Richard Genoveva harpsichords. Haydn: Piano Nos. 20, 23, and Galvez, 52. Martin Galling, piano. Bonynge, cond. Violin Concertos. By Beethoven, Tchai- Falla: Harpsichord Concerto; Piano Mu- Recital of Songs and Arias. Pieces identi- kovsky, Sibelius. and Prokofiev (No. sic. Jean- Charles Richard, harpsichord fied with Jenny Lind, sung by Elisa- Henryk Szeryng, violin. London 2), and piano; Valois Instrumental En- beth Söderström (s). Symphony Dorati. Orchestra, Antal semble, Charles Rivier, cond. Hans Schmidt-Isserstedt. and Gennadi Haydn: Symphonies Nos. 35, 43, and 80. Rozhdestvensky, conds. Little Orchestra of London, Leslie LONDON IMPORTS Jones, cond. OISEAU -LYRE MONITOR Music of Shakespeare's Time. A program Fauré: Piano Quartet in C minor; Trio of Renaissance works for voices and in D minor. Pro Arte Piano Quartet. Handel: Concerti grossi, Op. 3. Colle- instruments with the Dolmetsch Con- Hummel: Septet in D minor; Quintet gium Musicum of Paris, Roland Douat- sort and the Schola Cantorum Basilien- in E flat. Melos Ensemble. te, cond. sis. Bach: French Suites. Isabelle Nef, harpsi- Mozart: Piano Concerto No. 9; Sonata chord. No. 11. Lili Kraus, piano; Vienna TELEFUNKEN State Opera Orchestra, Victor Desarz- PHILIPS Josquin des Prez: Motets from 1475- ens, cond. Bach: Mass in B minor. Teresa Stich - 1500. Capella Antiqua (), Kon- Chopin: Piano Concerto No. 2. Mendels- Randall (s), Anna Reynolds (ms), Ernst rad Ruhland, cond. sohn: Piano Concerto No. I. Menahem Häfliger (t), John Shirley-Quirk (b), Bach: Art of the Fugue. Fritz Heitmann, Pressler, piano; Radio Symphony Chorus and Orchestra organ. Orchestra, Hans Swarowsky, cond. of Berlin, , cond. English Consort Music of 1600-1640. Bach: 3 Sonatas for Cello and Harpsi- Bach: Brandenburg Concertos. Radio Leonhardt Consort. chord. Edmund Kurtz, cello; Frank Symphony Orchestra of Berlin, Lorin ARGO Pelleg, harpsichord. Maazel, cond. Mendelssohn: String Symphonies Nos. Bach: Suites for Orchestra. Radio Sym- 9, 10, and 12. Academy of St- Martin's- phony Orchestra of Berlin, Lorin Maa- in- the -Fields, Neville Marriner, cond. MUSIC GUILD zel, cond. Williamson: The Happy Prince. Soloists, Telemann: St. Matthew Passion. Sena Academy of St- Martin's -in- the -Fields, Messiaen: Three Short Liturgies of the Jurinac (s), Theo Altmeyer (t), Horst Marcus Dodds, cond. Divine Presence. Yvonne Loriod, pi- Günter (b), Franz Crass (bs); Lucerne Messiaen: La Nativité du Seigneur. ano; Jeanne Loriod, ondes martenot; Festival Orchestra and Chorus, Kurt Simon Preston, organ. Choeurs de la Maitrise: Orchestre de Redel, cond. Twentieth- Century Harp Music. Marisa Chambre de la R.T.F., Marcel Gour- Tchaikovsky: Manfred Symphony. Lon- Robles, harp. aud, cond. don Symphony Orchestra, Igor Marke- A Recital of English Songs. Owen Bran - Victoria: Four Motels; Missa Quarti vitch, cond. nigan (bs) and Elizabethan Singers. Toni. Schola du Grand Scholasticat Stravinsky: Jett de cartes; Symphony in

66 HIGH FIDELITY MAGAZINE Duets Countertenors. Alfred and C. London Symphony Orchestra, Colin Opening Nights at the Met: Victor sa- for countertenors. Davis, cond. lutes the passing of the old Met with Mark Deller, Vivaldi: Concerti grossi, Op. 9 ( "La a three-record set featuring artists from Italian Baroque Cantatas. Netania Dav- Cetra"). I Musici. the past and present in selections from rath (s). Jan Peerce, Vol. 2. Handel: Messiah. Heather Harper (s), their opening -night roles. A square Operatic Recital by Helen Watts (ms), John Wakefield (t), from the Met's gold curtain will be Jan Peerce (t). , John Shirley -Quirk (b); London Sym- included with each album. The Virtuoso Clarinet. phony Chorus and Orchestra, Colin clarinet. Davis, cond. TURNABOUT Boccherini: Cello Concerto in G. Haydn: VANGUARD Cello Concerto in C. Maurice ten- Boulez: Le Marteau sans maitre. Cham- dron, cello; London Symphony Orches- ber Orchestra, Pierre Boulez, cond. EVERYMAN tra, Raymond Leppard, cond. Nielsen: Saga Dream; ; Solemnis. (s), Debussy: Violin Sonata. Ravel: Violin ; Little Suite for Beethoven: Missa Uta Graf Sonata. Prokofiev: Five Melodies. Strings. Royal Danish Orchestra, Igor Grace Hoffman (ms), Helmut Kret- David Oistrakh, violin; Frida Baur, Markevitch, cond. schmar (t), Erich Wenk (bs); Nord - piano. Gade: Symphony No. 1; Echoes of Os- deutscher Radio Chorus and Orchestra, Beethoven: Piano Trio No. 3; Cello So- sian Overture. Royal Danish Orchestra, Walter Goehr, cond. Mass. nata No. 1. Pablo Casals, cello; Mie - Johan Hye- Knutzen, cond. Bach: B minor Pierrette Alarie (s), czyslaw Horszowski, piano; Sandor Haydn: Symphonies Nos. 15, 16, and 17. Katherina Delfausse (s), Grace Hoff- Vegh, violin. Vienna Festival Chamber Orchestra, man (ms), Léopold Simoneau (t), Operatic Recital. Arias by Monteverdi, Wilfried Boettcher, cond. Heinz Rehfuss (bs); Chorus and Or- Gluck, Massenet, and Mozart. Gérard Haydn, M.: Bassoon Concerto. Stamitz, chestra of the Philharmonic Society Souzay (b). K.: Bassoon Concerto. George Zuker- of , Walter Goehr, cond. man, bassoon; Wurtemberg Chamber Bach: Cantatas. Another reissue from the Orchestra of Heilbronn, Jörg Faeber, Cantate label. Cantatas to appear this RCA VICTOR cond. winter include Nos. 4, 182. 65, 46, 100, 175, 207A, 214, 117, and 93. Donizetti: Lucrezia Borgia. Montserrat Bach: Concertos for One, Two, Three, Stravinsky: Pétrouchka. Orchestra des Caballé, in her first complete re- and Four Harpsichords. Soloists, Stutt- Centosoli, Rudolf Albert, cond. corded opera, stars as the poisonous gart Bach -Collegium, , Haydn: The Creation. J. van Dijke (s), Lucrezia, with Alfredo Kraus (t) as her cond. Peter Schreier (t), Theo Adam (bs); confused son Gennaro, Shirley Verrett Chorus and Orchestra of Cologne (ms) Orsini. and Ezio Flagello (bs) ULTRAPHONE Gürzenich, Günter Wand, cond. as Alfonso. Jonel Perlea conducts. Soloists, Chorus, and Prokofiev: Piano Concertos No. 1 and Arkas: Katerina. No. 2. John Browning, piano; Boston Orchestra of the Ukrainian Radio Op- VOX Symphony Orchestra, , era, Konstantin Simeonov, cond. Story of a Real Man. cond. Prokofiev: The Prokofiev: Complete Music for Solo Pi- Soloists, Chorus, and Orchestra of the Handel: Messiah. Judith Raskin (s), Flo- ano, Vols. 1 and 2. György Sandor, pi- Bolshoi Theatre, M. F. Ermler, cond. rence Kopleff (ms), Richard Lewis (t), ano. Khovanshchina. Soloists, Thomas Paul (bs); Robert Shaw Mussorgsky: Mozart: Complete Variations and Short Chorus and Orchestra of the S.M. Chorale and Orchestra, Robert Shaw, Piano Works, Vol. 1. Walter Klien, Opera and Ballet Theatre, Boris cond. Kirov piano. Khaikin, cond. Handel: Concerti grossi, Op. 6. Chamber Bach: Complete Keyboard Music, Vols. 3 Other Russian operas to be released Orchestra, Alexander Schneider, cond. - and 4. Martin Galling, harpsichord. all in stereo -include Naza Stodolya Varèse: Arcana. Martin: Concerto for Bach: Complete Music for Organ, Vols. (Dankevitch), Betrothal in a Monas- Seven Wind Instruments, Timpani, Per- 4 and 5. Walter Kraft. organ. tery (Prokofiev), The Gambler (Proko- cussion, and Strings. Chicago Sym- Mendelssohn: Complete Chamber Music, fiev), Mlada (Rimsky -Korsakov), and phony Orchestra, Jean Martinon, cond. Vol. 1. European Quartet. Katerina Ismailova (Shostakovich). Tchaikovsky: String Sextet ( "Souvenir de Haydn: Complete String Quartets, Vol, Florence "). Guarneri Quartet with 5. Dekany Quartet. Boris Kroyt, viola and Mischa VANGUARD Schneider, cello. Brahms: Piano Concerto No. 1. Artur Handel: Chandos Anthems, Vols. 1, 2, WESTMINSTER Rubinstein, piano; Boston Symphony and 3. Helen Boatwright (s), Charles Orchestra, Erich Leinsdorf, cond. Bressler (t); Collegium Musicum of Purcell: Songs and Arias. Maureen For- Operatic Recital. Arias by Barber, Cilea, Rutgers University, Alfred Mann, cond. rester (c); Orchestra, Brian Priestman, Meyerbeer, Purcell, and Mozart. Leon - Vanguard has taken over the distribu- cond. tyne Price (s). tion of the Cantate catalogue and Han - Zachau: Two Cantatas: "Lobe den Herrn, The Boston Symphony Chamber Players: del's Anthems are the first fruits of the meine Seele"; "Ich will mich mit dir A three -disc debut album. The music merger. verloben." Soloists; Heinrich Schütz comprises works by Mozart, Beethoven, Chopin: Waltzes and Scherzos. Jeanne - Chorale of Heilbronn; Pforzheim Brahms, Copland, Carter, Piston, and Marie Darré, piano. Chamber Orchestra, , Fine; as a dividend, RCA includes a Gluck: Orfeo ed Euridice. Teresa Stich - cond. discussion on chamber music by the Randall (s), Hanny Steffek (s), Mau- Schubert: Wanderer Fantasy; Moments BSO's conductor Erich Leinsdorf, con- reen Forrester (c); Charles Mackerras, musicaux, D. 780. Paul Badura -Skoda, certmaster Joseph Silverstein, and cond. piano. author -actor-humorist Peter Ustinov. Vaughan Williams: Dona Nobis Pacem; Jolivet: Concerto for Trumpet, Piano, Serge Koussevitzky: In response to many Flos Campi. Soloists, Chorus, Utah and String Orchestra; Concerto No. 2 requests, RCA is reissuing a number Symphony Orchestra, Maurice Abra- for Trumpet, Brass, Piano, and Per- of the conductor's performances: the vanel, cond. cussion; Concerto for Cello and Or- Brahms Fourth Symphony and Aca- Vaughan Williams: Symphony No. 6; chestra. Soloists, Lamoureux Orchestra, demic Festival Overture, Tchaikovsky's Dives and . Utah Symphony André Jolivet, cond. Fifth Symphony, Rachmaninoff's Vo- Orchestra, Maurice Abravanel, cond. Roussel: Suite in F, Op. 33. Dutilleux: ca lise, Rimsky -Korsakov's Battle of Schubert: Piano Sonatas in C minor, D. Symphony No. 2 ( "Le Double "). Lam- Kershnetz, Shostakovich's Ninth Sym- 958 and in C, D. 840. Alfred Brendel, oureux Orchestra, Charles Munch, phony, Hanson's Serenade for Flute, piano. cond. Harp, and Strings (never before re- Mozart: Serenade No. 10, K. 361. Wind Liszt: Années de pèlerinage. Edith Far - leased), and Foote's Suite in E. Soloists, , cond. nadi, piano.

SEPTEMBER 1966 67 SECOND-HAND STEREO

A BUYERS AND SELLERS GUIDE TO USED EQUIPMENT

131 LEONARD MARCUS

SINCE THOSE schoolboy days when he used to listen Question: Should Arthur McD. consider buying to the Philharmonic on the radio in his parents' Bronx any of Roy S.'s equipment? And if so. can he even kitchen, Roy S. has been an avid music listener. About find out about Roy? seven years ago, he acquired his own pad in Green- Fortunately, the answer to both parts of the ques- wich Village and decided to buy an audio rig better tion is yes. If Arthur does business with a reputable suited to his discriminating ears. He was fortunate audio retailer who deals in and guarantees used com- in his choice of components. Later, he was also for- ponents, there is a possibility that he will effect a tunate in buying Xerox on margin in 1962 and in considerable saving on high quality equipment. selling IBM short early this year. Now in the chips, Coming across such a store, he can find out about Roy has recently moved to a Georgian -type manor all sorts of Roys. Whenever a market of expensive, in Scarsdale where he has installed an all -out perfec- and more or less durable, goods becomes large tionist system. Meanwhile, over in Jersey City, enough and lasts long enough, a second -hand market Arthur McD. is weaning himself from his parents' inevitably springs up. Even when the durability is kitchen and, with the money he saved helping to sell more less than more -as with automobiles -the cost prefabricated vacation homes this summer, wants to of a single new unit may make the used market a take a high fidelity setup back to Dartmouth. significant segment of the whole.

68 HIGH FIDELITY MAGAZINE IN THE FIELD of audio componentry, where a good piece of equipment often lasts considerably longer than its original owner's disinclination to buy some- USED, BUT STILL USABLE thing still better (or at least newer), a host of for- merchandising gear saken units has been abandoned to the . a sampling of second -hand audio mercies of high fidelity dealers throughout the coun- try. These once loved playmates can be found on The products listed here form a random sam- shelves from Bethesda, Maryland to Encino, Califor- pling of used audio equipment, showing the nia. Many dealers devote entire sections of their original average retail price and today's price stores to displaying them, often in conjunction with range for the same unit in good condition. other bargains like manufacturers' cut -outs and floor Note that an arm is often included with a used samples. Audio Exchange, the country's oldest and turntable; the price range for the used item largest organization specializing in used high fidelity reflects this fact, regardless of whether a model originally came with an arm. equipment, operates half a dozen stores in the New particular York area, as well as a franchised outlet in Connect- icut. Other New York audio salons, such as Har- AMPLIFIERS NEW USED vey's, Leonard's, and Grand Central, also show a Acoustech III (wired) $274 $155 - 165 great variety of second -hand components. In Chica- Bogen DB130 (mono) 124 50 - 60 Tribune want ads are chock full of go, the Sunday Dyna Mark III (wired) 100 50 - 60 used -component offers by such major stores as Allied Fisher X202 -B 250 100 - 150 Radio and Musicraft. One of Allied's six stores, McIntosh MC240 288 190 - 210 known as its Warehouse Outlet Store, is devoted almost exclusively to "Trade -ins . . . Demos . . . PREAMPLIFIERS Overstocks." The used components traded at the other Allied shops eventually find their way to this Dyna PAS-2 (wired) 100 50 - 55 one. On the West Coast, "accepting trade -ins and Fisher 400 -C 200 60 - 70

handling them properly is a fundamental part of the Marantz 7 264 200 - 230

stereo business at most stores today," according to McIntosh C 20 269 145 - 155 Hal King of Los Angeles' Hi Fi Corner, who adds Scott 130 180 65 - 80 the thought that "it indicates the ever -increasing sta-

bility of the audio industry." TUNERS It certainly adds a flexibility to the effective pric- ing of new equipment. Many components now are Dyna FM -3 (FM stereo, wired) 170 90 - 95 sold under a minimum retail price agreement, but McIntosh MR65B (FM stereo) 330 190 - 230 a trade -in often enables a dealer to give a customer Scott 330D (FM /AM stereo) 229 80 - 85 what amounts to a discount. Even though a manu- Sherwood 3000 (FM mono) 110 50 - 65 facturer sometimes stipulates that in selling one of his products a dealer cannot offer more for a trade - TURNTABLES in than its "reasonable resale value," this is already AR Turntable 78 45 - 50 a discount, since the dealer may be willing to forgo Garrard A 80 40 - 45 a profit on the old merchandise to make the sale on Rek -0 -Kut B -12GH 100 70 - 8C the new. Rek -O Kut N 33H 70 40 - 45 For the customer seeking good but inexpensive audio equipment, a store that has accumulated Thorens TD 124 125 80 - 100 trade -ins may be worth at least a browse. He should, SPEAKERS however, be careful to deal with an established re- tailer. The store should have a repair department in AR 185 75 - 100 which, presumably, the used merchandise was Bozak B -300 115 85 - 100 checked before being placed on sale. Tubes should JBL Hartsfield 924 450 - 550 have been replaced where weak, tape heads cleaned Jensen TR 10 120 70 - 90 and aligned (or replaced) where necessary, tuners Jensen G -610 253 115 - 155 aligned almost invariably. Audio Exchange, for ex- KLH 7 200 115 - 125 ample, maintains in its main store in Jamaica, New

York a repair force of seven men, each of whom, TAPE RECORDERS according to Exchange president Bill Colbert, is a Ampex 970 750 275 - 300 specialist in one area of audio. ( "We always expect to have to make at least minor adjustments on a FICO RP -100 (assembled) 450 150 - 200 traded piece," says Colbert.) Ferrograph 424A 595 250 - 350 Equally important, the store should guarantee its Sony CS -300 400 115 - 135 used merchandise for at least sixty to ninety days. Tandberg 64 498 320 - 360 "If a dealer gives a guarantee when he sells used equipment," says Hal King, "he definitely doesn't

SEPTEMBER 1966 want service problems because his profit goes out the body else's living room and there is no market for it. window as service problems come in." An as is" Most of the used components in dealers' stocks component, no matter how attractively low in cost, have been the marketable by- products of "vertical" is overpriced if it too soon becomes a "was." trader: like Roy S. Or like Florence R., who bought a pair of speakers that needed greater power than her 30 -watt amplifier could supply and traded it in on a THE PRICE ASKED for a used component bears less 70 -watt model. Some audiophiles, however, trade relationship to its original cost than it does to that sideways, making as much a hobby of swapping amorphous and fickle aura, "the market." Used equip- equipment as of listening to music. One man may ment prices actually may change weekly, depending trade his Scott tuner for a Fisher, sometimes even a on how many similar items a particular store has in used Fisher, while his counterpart will trade his Fish- stock, and how many units a competing dealer may er for a Scott, sometimes even a used Scott. Some be carrying at the same time. The trade -in value of- of these customers have been known to make a prac- fered the original owner for his old components will tice of coming back to a used -equipment dealer every have ranged from 40% to 75% of the estimated few weeks to trade one component or another. A resale price, depending primarily on the amount of few traders have actually traded vertically down, in his new purchase and only secondarily on the old the opinion of their dealers. "We have customers piece's condition. A dealer is more prone to offer who have given us their de luxe amplifiers," reports you that extra $20 for your used equipment if he Marty Stern of Leonard Radio, still showing a star- can make a $ 125 profit on your new purchase rather tled expression, "in order to get a more modest -per- than only a $50 profit. For a good unit in good con- forming piece of merchandise -simply because it's dition, some dealers will offer 75% of the original newer." (A potential trader should know that no price (that is, selling price or "minimum resale" price, matter how he trades -up, down, or sideways -he not list price) if the piece is only one year old, and will, except under the most extraordinary circum- will chop down their offer by 15% for each addi- stances, end up paying a difference in cash. A deal- tional year. er, after all, is in business for profit.) Stern, inci- In general, the market for new high fidelity equip- dentally, would recommend a used "highest quality" ment is consistent in that the more a new component amplifier over a more modest -performing new model costs, the better it is likely to be. "Better" here at the same price. He is less decided where a used means long -lasting as well as high -performing. Fur- tuner is concerned. "It may have been traded because ther, as Jim Trego of Crenshaw Hi Fi in Los Angeles of drift problems," he says. has pointed out, the higher -priced items offered for Colbert counters with some advice to the custom- trade -in are found to have been much better taken er: drift is most likely to occur when the set is first care of. There's a pride of ownership involved-like turned on, "so just turn it on and listen." As for a that of a Cadillac owner versus the owner of a cheap- simple alignment test: "If a tuner has an AFC switch, er make; you don't find many Cadillac jalopies." turn it off and detune the set slightly to one side of For these reasons, in buying used equipment you a station. Then turn on the AFC and wait for the may expect to have to pay a greater percentage of tuner to come back to the station. Repeat this in the original price for a topnotch item than for a the other direction on the tuning dial. If the set component orginally created for the "budget" mar- doesn't come back from each side, it's not aligned." ket. And you may also expect to get a greater por- The better turntables and tape recorders also can tion of your money back when trading in the better remain in good condition after many years. "We model. Bill Colbert has said: "If you come in with a don't even examine a trader's Rek- O -Kut, except to four- year -old McIntosh, for which you paid $200, I see how clean it is," says Colbert. "We know that will give you $100." At the same time, the purchaser with just a little work we can get it back into shape. of that used McIntosh should expect to pay at least As for recorders, some old models were made to 70% of its original price -which, of course, is still professional specifications, for use in studios where a saving of $60. they would be played twelve hours a day. In the Yet even this simple rule often has significant ex- home, they would be used only twelve hours a ceptions because of the indirect route by which week -or maybe twelve hours a month. We find that equipment reaches the used market. Again, Colbert: we often don't even have to replace an old head." "I might reasonably expect to sell a piece of equip- Whether the mushrooming second -hand audio mar- ment for $90 -and it would be worth every penny - ket is a good one for the consumer to enter depends yet I wouldn't give you ten cents for it." Why? "Be- in part on the individual consumer. If one is a ha- cause I may already have twenty of the same items bitual worrier, he should stay clear unless his rela- in stock." Another case is that of the audiophile who tionship with the dealer is such that he can count on has been trying for years to sell a 16 -inch profession- reasonable repair bills if something should go wrong al turntable fitted with a 16 -inch arm, an original with his purchase on the ninety -first day. Of course, purchase of over $300, because it became too large new equipment can also go awry after its warranty for his apartment after he got married. Dealers won't period. At any rate, the second -hand audio market even look at it, much less take it off his hands, since does offer one entry into the realm of high fidelity, they know that it is also too large for nearly every- even if it means coming in through a back door.

70 HIGH FIDELITY MAGAZINE Classic Comments

Comments on Classics: New Recordings from RCAVictor Red Seal EO SLEZAK, the great Viennese Two years in the planning, the first com- An exciting encore front Caballé -her sec- tenor, was singing the title plete, uncut f ohengrf¡ ever recorded. The ond Red Seal album of Spanish songs. part in Lohengrin. In Act III Boston Symphony increased to 136 musi- This spectacular soprano sings the love cians under Leinsdorf. 180 -voice chorus. songs and eighteenth- century theater songs he discovered that the swan -boat, Spectacular stereo effects. K6nya, today's of her native Spain -as evoked by Enrique in which he was to make his exit, most renowned Lohengrin, heads notable Granados, one of Spain's most celebrated cast that includes Amara, Gorr, Dooley, composers -with the fire and spirit only a had been towed off stage without Hines and Marsh. 5 L.P.s and libretto.* Spaniard can achieve. him. With complete composure, he Wagner turned to a member of the chorus Ir and asked, loudly, "Tell me, what vllTa time does the next swan leave ?" of engiín Complete Montserrat Caballé Boston Symphony Orchestra /Leinsdorf sings Konya Amara Gorr Dooley Hines Marsh SONGS Boston Chorus Pro Musica Patterson of ENRIQUE i16k GRANADOS 7u YaTa with symphony orchestra 125E4 Rafael Ferrer, Conductor cheddèCLf iokr The New York Herald Tribune asked: "Can Dazzling virtuosity and fabulous technique a guitar replace the Beatles?" If it does, a are the halbnarks of Lewenthal, whose first Sv,rm' big share of the credit will go to Julian Red Seal albums -Piano Music of Alkan- Breast -who plays to packed halls in cities drew nation-wide notice, and acclaim front and on campuses throughout the world. Life and Dine, In this, his second record- Here you'll hear the tonal subtlety and ing, he brings the same brilliance to two technical brilliance that have made Breast seldom- heard, and never- before -recorded an idol of lovers of the Baroque. works. 8 -page program notes.* dAt RAYMOND LEWENTHAL Yvon The Operatic Liszt: Hexameron -Variations on the March Vag from Bellini's I Puritani by Liszt,Thalberg, BREA112 Pixis, Herz, Czerny and Chopin with aUnftISxP Introduction, Interludes and Finale by Liszt { 4+ -? d--t -F 4Çk`++ ARRIVALS r r , u, Reminiscences de ItN 1M I.73 : x C+ 1 2 IO 2 2b 2 _ v , lJ. AT THE 331 6.70 6:6o1 6 l%l'1 537 5.33 6 13 , ! V} 2501 /F20 6 .' ,,11 RIVER I. 6 44 T -. - y 7701 SUIPES 7.71 7 6ü e j 7.21 . 7 K l os e mé!1 1-16 nos 1 ïTI2f) 2 1 35 . 8 Ili731 LS1 f.76i , r, 9 151 10 00 1] 1056 I'. ' a2N t716e

DEPARTURES AT THE The performance that won Previn a stand- For students and lovers of modern music, this 2- record set is a RIVER ing ovation from the London Symphony atonal or otherwise, Orchestra. This recording of one of the gold mine of intriguing techniques and cap- most popular symphonies of all time is tivating rhythms by some of our leading invested with the same color and vitality American composers. Among the pieces that have trade Previn's other Red Seal re- that Robert Helps plays are Babbitt's extra- cordings of Russian compositions an essen- ordinary "Partitions" and Bacon's "The tial part of every complete collection.* Pig Town Fling. "*

ANDRE PREVIN NEW MUSIC FOR THE PIANO CONDUCTS 24 Contemporary Composers RACHMANINOFF mclud,ng SYMPHONY NO. 2 Babbitt Berger Berkowitz LONDON SYMPHONY ORCHESTRA Dahl Glanville-Hicks Gould Hovhaness Kennan Powell Weber ROBERT HELPS pianist *Recorded is lwta rgoo,e sound. RCAVICTOR O The most trusted name in sound 0 CIRCLE 68 ON READER -SERVICE CARD SEPTEMBER 1966 71 To thrill your eye, we froze the fiery steps of the unmistakably professional. And the new Flamenco Flamenco in oak and simulated wrought iron. To is unmistakably one of the most exciting combina- thrill your ear, we added the very components of our tions of sound with substance and furniture with flair famous A7 "Voice of the Theatre "® studio speaker ever created! system. (Considering that the A7 system is twice the Turn up the amplifier, and the Flamenco thunders size of the Flamenco, this in itself was no mean feat!) bull -ring volume of sound without distortion. Let the To carry out the decor in a room furnishing of massive power subside, and the Flamenco recreates major importance, we crafted the matching the softness of Spanish lace. Sound with absolute Flamenco equipment cabinet, shown below between purity, with smoothness, efficiency, and body without the speakers. coloration. The look is unmistakably Spanish. The sound is With A7 components, the Flamenco boasts a The leader in sound steps out with a leader in style teCs flamenco ensemble

CIRCLE 4 ON READER -SERVICE CARD 72 HIGH FIDELITY MAGAZINE frequency range of 35- 22,000 Hz, power rating of all- silicon transistor receiver. This sophisticated com- 50 watts peak, impedance of 8 / 16 ohms, and cross- bination FM tuner-amplifier is in such demand with over at 800 Hz. The beautiful Flamenco cabinet is serious stereo buffs that the first two editions were also available in your choice of various other Altec- completely sold out and the third back -ordered. (We installed speaker components (special order, no extra are catching up, though!) . charge). System prices range from $226 to $358, Come visit your Altec dealer now. Then sit back depending on components. and take the olés when you show off your new Why not complete Flamenco system! your system with the PRICES: 848A Flamenco speaker system, $345; 882A 100 -watt Altec oak equipment cabinet, $359; 711A receiver, $378. 711A, world's first Send for technical information.

A Division of , M Ling Altec, Inc. Anaheim, California A® n1

CIRCLE 4 ON READER -SERVICE CARD SEPTEMBER 1966 73 there is no margin for error when striving for the ultimate in stereo sound re- creation

incomparable ... by HI -FI PHONO CARTRIDGES Tiny though it is, the cartridge can make or break a stereo into usable electrical impulses ... without adding or sub- system. For this breath- takingly precise miniaturized electric tracting a whit from what the recording engineer created. generator (that's really what it is) carries the full burden of Knowing this keeps Shure quality standards inflexible. translating the miles -long undulating stereo record groove Shure Brothers, Inc., 222 Hartrey Ave., Evanston, Ill. 60204 select the unit equal to your m.lsic system from the premier family of stereo sound reproducers

*ash,

M55E MBOE M44 -7 M3D SHURE SME 15° tracking, elliptical Bounce -proof, scratrIs- Economical trend- Esttemcly musical. Tracks "The best pick -up arm in the stylus, Y4 to 11/4 grain proof performance for setter. 15° tracking. at pressure to 6 gins.. fits world." Provides features and tracking. Professional per- Garrard Lab 80 and Low IM and har- any changer. Only $15.75. quality unattainable in any other formance -and a very spe- Model A70. $38.00. monic distortion. tone arm. $100.50. (For 12" cial 11/4-3 gm. tracking. records.) $19.95. SHURE PERFORMANCE depenc's on a SHURE replacement STYLUS Look for 'Precision Manufactured by Shure"

, .rad Undnr n Mora of the Following U. 5. Patents and Other Patents Pending. 2.93,516, 3,055,983, 3,017,521, 3,077,522. D 183,356, D 155,1, U 193,0,k, D 193,007, D 133,854, D 193,934. CIRCLE 75 ON READER -SERVICE CARD 74 HIGH FIDELITY MAGAZINE HIGH FIDELITY E UIPMENT I losol 4%1\1 REPORTS The consumer's guide to new and important high fidelity equipment

FISHER R -200 -B MULTI -BAND TUNER

THE EQUIPMENT: Fisher R- 200 -B, a multi -band basic tuner (FM mono and stereo plus AM long -wave, AM medium -wave, AM short -wave, and expanded AM 49- meter band). Dimensions: front panel, 151/8 by 413/16 inches; depth (behind panel to rear, with ferrite antenna in operating position), 13 inches. Price: $349.50. Optional walnut case: $24.95. Manu- manual contains instructions for wiring a high -gain facturer: Fisher Radio Corp., 11 -35 45th Rd., Long outdoor antenna. Left and right channel outputs, to Island City, N.Y. 11101. both amplifier and tape recorder, are provided. Each channel has its own output level control. A 9 -kHz and COMMENT: About the nearest thing we've yet seen a 10 -kHz whistle filter switch is on the rear, as well to being a truly international high quality tuner, the as a fuse holder, the power cord, and a swing -down Fisher R -200 -B offers FM (stereo and mono) reception AM ferrite antenna which is suitable for most medium - plus four separate AM bands. One AM band covers wave and long -wave AM reception. The set is very standard broadcasts (510 to 1630 kHz or Kc); another well made, with Fisher's customary attention to de- handles long -wave AM (150 to 350 kHz); another re- tails and to the smooth functioning of all controls. ceives short -wave AM (7.0 to 16.5 MHz, also known Circuitry is solid -state except for three Nuvistors in as the 18 to 43 meter band); while the fourth AM the FM front end. band is an expanded scale for the 49 -meter band Test results at CBS Labs, detailed in the accom- (actually 48 to 51 meters, or 5.9 to 6.3 MHz). With panying data, add up to a fine tuner that could be this formidable array of receiving facilities, one can of interest to FM buffs on its own. Add to this tune in to just about anything that is on the air, the fillip of clean local AM and the set's ability from Kalamazoo to Kuwait. European broadcasts are to span oceans to pick up more exotic signals, and a particularly available treat with the R- 200 -B. What's you have an instrument that could delight radio more, the set comes with a multi -tap transformer listeners for hours on end. Indeed, if the new owner that adapts it for correct operation on 50 to 60 Hz of this set tunes in European broadcasts the minute power lines from 100 to 135 volts, and 200 to 250 the set is installed (as we did), he will discover that volts -which means it can be used "as is" in both the airwaves are loaded with interesting broadcast the U.S.A. and abroad. And at no extra cost, Fisher fare that comes in surprisingly "loud and clear." The supplies dual output jacks that permit the use of clarity of signals in other languages and from just standard phono plugs (U.S. RETMA -type) and Euro- about all over the globe is plainly an attraction pean D.I.N. Hirschmann -type connectors so that the that can keep the inveterate DX'er glued to the set. tuner can be connected readily to a wide variety of As for regular FM broadcasts in mono or stereo auxiliary equipment (amplifiers and tape recorders). from more familiar sources, the R -200 -B-with its The set is handsomely styled in the Fisher tradi- high sensitivity and excellent limiting action -really tion. Most of the two -tone dress panel is taken up by the large tuning dial on which the five reception bands are clearly and accurately laid out. There is a signal -I- 5 strength meter that operates on FM and the four AM 0 -- bands, and Fisher's stereo beacon which lights up -5 when an FM stereo station is tuned in. The main - 10 along the lower FM STEREO FREQUENCY RESPONSE AND CHANNEL SEPARATION tuning knob is at the right. Controls -15 half of the panel include the power off /on switch, Left Channel -10 ` an AM bandwidth knob, the band selector, an FM Right Channel - 25 mode selector, and an FM muting control. The rear of the set has connections for normal and - 30 ------local FM antennas, and for two AM antennas. There - 35 - 40 also is a grounding post for improving DX AM re- 10K 20K 20 50 100 300 500 1K 3K SK ception. A 30 -foot wire is supplied with the set (for an indoor short-wave AM antenna), and the owner's FREQUENCY IN Hz

Equipment reports are based on laboratory measurements and controlled listening tests. Unless otherwise noted, test data and measurements are obtained by CBS Laboratories, Stamford, Connecticut, a division of Columbia Broadcasting System, Inc., one of the nation's leading research organizations. The choice of equipment to be REPORT POLICY tested rests with the editors of HIGH FIDELITY. Manufacturers are not permitted to read reports in advance of publication, and no report, or portion thereof, may be reproduced for any purpose or in any form without written permission of the publisher. All reports should be zonstrued as applying to the specific samples tested; neither HIGH FIDELITY nor CBS Laboratories assumes responsibility for product performance or quality.

SEPTEMBER 1966 75 reaches out, grabs, and holds onto signals. Even with an indoor antenna in a difficult reception locale we logged a surprising number of FM stations that were JAMES B. LANSING more than just listenable. Audio response was smooth, clean, and well balanced; noise level was inaudible; distortion insignificant in both mono and stereo LANCER 101 modes. One thing that particularly pleased us was the action of the interstation muting switch: it did not reduce appreciably the set's sensitivity to marginal SPEAKER SYSTEM signals even while it reduced that rushing noise be- tween stations.

CIRCLE 140 ON READER -SERVICE CARD THE EQUIPMENT: JBL Lancer 101, a full -range speak- er system in integral enclosure. Dimensions: 23 by 0 171/2 by 123/8 inches. Price: $354. Manufacturer: James B. Lansing Sound, Inc., 3249 Casitas Ave., Los -10 ° Angeles, Calif. 90039. -20 a IHE SENSITIVITY CURVE COMMENT: High( -performing), low(- slung), and hand- á - 30 some, the Lancer 101 is a bit larger than most "com- ó pacts" or 2- cubic -footers and, with its pedestal and -40 attractive marble top has obviously been designed for floor placement -conceivably even to do double - -50 duty as a lamp -stand or decorative piece as well as a ó speaker system. At that, we see no reason why it couldn't be installed on a strong shelf. In our tests 1 10 102 103 104 lOs it sounded fine in both positions. RF INPUT, MICROVOLTS The 101 is a two -way system, made up of a 14- inch, long -throw woofer and a huge horn -loaded high + 5 frequency unit fitted with an acoustical lens. Both = 0 drivers are installed with a 1,500 Hz electrical divid- AM FREQUENCY RESPONSE -5 ing network in a tuned -duct enclosure, itself very °d - 10 sturdily built and attractively finished in walnut (either AM Bandwidth Setting Wide oiled or tawny walnut is available) with an imported Sharp marble top, a decorative lattice -work grille, and the Normal unobtrusive recessed pedestal. The network has a 20 50 100 300 500 1K 3K 5K 10K 20K level control for the highs which, together with the input terminals, is located on the rear of the cabinet. FREQUENCY IN Hz Input impedance is rated for 8 to 16 ohms and effi- ciency is moderate. A good stereo amplifier rated at 25 watts per channel or more is recommended for Fisher R -200 -B Multi -Band Tuner driving a pair of Lancers. The system is, like all JBL products, extremely rugged as well as handsome- Lab Tesi l)til 1 and it can take higher amplifier power in stride. The Lancer 101, we found, reproduces a clean, Performance well -balanced output from just below 40 Hz to beyond characteristic Measurement audibility. Some doubling can be heard at about 50 Hz if driven very hard, although at more than normal IHF sensitivity 2.1 µV at 98 MHz, 2 pV at listening levels, strong fundamental bass is evident 90 MHz, 2 µV at 106 MHz to just below 40 Hz. Upward from the bass, the re- Frequency response, mono +0, -5 dB, 20 Hz to 15 kHz sponse shows the minor peaks and valleys found in most systems, and with no sign of brightening or THD, mono 0.32% at 400 Hz, 0.48% at distortion at the critical frequency- crossover region. 40 Hz, 0.28% at 1 kHz Directionality effects were hardly discernible until IM distortion 0.13% above 5 kHz and even then were less pronounced than on many other systems. Tones as high as 12 Capture ratio 2.8 dB and 13 kHz were clearly audible well off axis, while S/N ratio 60.5 dB 14 kHz was clear enough on axis. White noise re- sponse was smooth and subdued off axis. Frequency response On program material, the Lancer "sounded" about stereo, I ch +0, -5 dB, 20 Hz to 14 kHz as neutral as any and somewhat better than many in r ch +0.5, -5 dB, 20 Hz to 14.5 its ability to project clear, crisp transients. The sound kHz in general was fairly open and conveyed no sense of

THD, stereo, I ch 0.26% at 400 Hz, 0.36% at harshness or honkiness. And we detected virtually

40 Hz, 0.32% at 1 kHz no sonic drop -out at softer listening levels. Despite r ch 0.28% at 400 Hz, 0.48% at its size, the Lancer never gave any sensation of the 40 Hz, 0.3% at 1 kHz sound coming at you from a "small box " -au con - Channel separation, traire, the sound front projected was surprisingly either channel better than 35 dB at 400 Hz, large, well diffused, and eminently listenable from a better than 25 dB up to critical musical standpoint. Although its size would 15 kHz suggest installation in a small room, we found that a pair of Lancers gave a mighty good account of 19 -kHz pilot suppression -49 dB themselves in a very large room too. 38 -kHz subcarrier suppression -39 dB CIRCLE 141 ON READER -SERVICE CARD

HIGH FIDELITY MAGAZINE A NEW MEASUREMENT FOR TURNTABLES

with many For some time, this journal -in common E111I1 0.520 organizations and professionals in the audio field ,11II e000 eo9n 42511 -has felt that the existing NAB method for measur- - rumble is inadequate for rating high - J 6000 ing turntable 21n 10DR 0.19N e0 45:N ¡lao At best, the NAB method can indi- '''IMIMI fidelity equipment. 0.aJ his - cate to a broadcaster how much of transmitter 111II-.- J power will be consumed by unwanted noises, but it 11111 Eli11II111111 lacks the "sophistication" for evaluating disc - playback 111111 % 111111- 111111 (particularly stereo) equipment in a home music e11ii1 111111 turntables with 11111I system. The plain fact is that two Í1111 equal NAB ratings may produce entirely different M111II-M1111 MRU rl TER 1111111 audible rumble effects. Because of this, it has been ENNUI a hope that by now a new standard .1111I -.11111I-,11111 widely shared 1 would have been promulgated. However, such a 111111 1111111 M11111 100 200 500 1M M sM 1011 201( standard does not appear to be forthcoming. 20 FREQUENCY IN Nt Accordingly, HIGH FIDELITY has adopted a new test procedure and rumble rating developed after con- The network and its frequency characteristic siderable research and study at CBS Laboratories by used in the neu' CBS -RRLL rumble test. a team of engineers headed by Vice -President Ben- jamin B. Bauer. By the new method (known as the and thus may be more closely equated with the S/N relative rumble loudness level, or RRLL), the total figures customarily given for amplifiers and tuners as components in a high -quality playback system. noise level of a turntable -manual or automatic - is determined with the aid of a "weighting network" Of course, inasmuch as the RRLL rating takes NAB not, which introduces a 6 dB per octave attenuation be- into account factors that the rating does low 500 Hz (see accompanying chart). The new test there is no direct way of equating or comparing RRLL NAB In a sense, how- signal used as a reference level is obtained from a with rumble figures. general ever, a has an RRLL rating say, record groove cut with 1 kHz modulation at 5 centi- turntable that of, meters -per- second rms. The rumble itself is measured -45 dB, would have a fairly low noise level, which on an unmodulated, freshly cut lacquer disc, with would be inaudible in playback systems set for normal the network switched into the circuit at the 600 -ohm listening levels. An RRLL rating of about -40 dB termination of an RIM- equalized preamp. would be marginal for high fidelity use; whether it HIGH FIDELITY is satisfied that the new RRLL would be "satisfactory" depends on how loudly the rating provides, more than did the NAB method, a system is played and how much bass response it is meaningful figure of merit for turntable performance. capable of delivering. Figures of -50 dB or better Indeed, the RRLL figure comes closer to expressing indicate increasing excellence of design and represent the actual audible signal -to -noise ratio of a turntable very desirable performance goals.

MIRACORD 40H

AUTOMATIC TURNTABLE

THE EQUIPMENT: Miracord 40H, a four -speed auto- matic turntable. Supplied with automatic spindle, single -play spindle, and single -play 45 rpm spindle adapter. Dimensions: chassis plate, 14'/2 by 12'/2 inches; requires 55/8 inches clearance above plate, 33/4 inches below. Price: $110; with factory- installed Elac STS -240 cartridge, $115. Manufactured by Elac of West Germany; distributed in the U.S.A. by Ben- Accessories for the 40H include an automatic 45- jamin Electronic Sound Corp., 40 Smith St., Farm- rpm doughnut spindle (SA -383, $5.00); additional ingdale, N.Y. 11736. cartridge holders (CR -40, $3.00 each); a precut mounting board for custom installation (MB -1, $3.00); COMMENT: They keep getting better all the time - a walnut base (OWB -1, $11.95); a plastic dust cover automatic turntables, that is. This recent 40H, which (DC -2, $5.95); and a combination base in walnut with occupies the "middle of the ladder" position among a hinged Plexiglas cover (CB -1, $22.50). Miracord models (the very new 50H will be cov- The 40H is powered by a hysteresis -synchronous ered in a future report), is a quiet- and smooth -running motor which is not affected by changes in supply line turntable -arm ensemble of high -grade construction voltage, and the machine did run, in CBS Lab tests, and excellent performance. The 40H may be bought at constant speeds when the line was varied from for use with any make of cartridge; alternately it is 105 up to 127 volts AC. Speeds were accurate within sold, for an extra $5.00, with an Elac STS -240 al- one per cent or less at all four rpm settings. Average ready installed in the head (the 240 alone normally wow and flutter at 33 rpm were 0.12% and 0.05% retails for $19.95). This strikes us not only as a bar- respectively, of no significance in listening terms. gain over the counter but inasmuch as the pickup is Average audible rumble (measured by the new CBS - fitted at just the right angle and overhang for use RRLL method; see accompanying explanation) was in the Miracord arm, it makes good sense technically -50 dB and inaudible. The tone arm is very well bal- to order it with the turntable. The 240 itself is a very anced, has negligible bearing friction in both lateral respectable stereo /mono pickup (see High Fidelity, and vertical planes, and is fitted with a very accurate August 1966). direct -dial stylus force adjustment. The actual stylus

SEPTEMBER 1966 77 force required for tripping the automatic change se- the circuitry, in keeping with Acoustech's philosophy quence was found to be less than 0.5 gram. that best transient response is obtained when the As was true of previous Miracords, the Model 40H system is run without any frequency compensation. boasts a unique versatility and yet has a fairly simple Of course, the option of using the tone controls is control system. There is a knob for selecting any of provided -all you need do is press the COMP switch the four speeds (16, 33, 45, or 78 rpm), and there and the treble and bass controls are once again are three buttons -for 7 -, 10 -, or 12 -inch diameter back in the system. records -any of which starts the motor. A fourth This arrangement also serves another purpose. button stops everything. When the long spindle is With the COMP switch in, the tone controls may be used in the center hole, records (of the same size) rotated to positions marked F (on each) which then may be stacked for automatic playing and changing. makes of them low and high frequency noise filters The change cycle itself takes about 11 seconds be- for rumble and record scratch. Again, with the COMP tween records. The spindle, with its built -in retracting switch in, and the bass tone controls turned to the levers, obviates the need for additional parts to hold position marked L, the normal volume control on the records in place, such as an over -arm. The short the set becomes a loudness contour control to com- spindle, also supplied, converts the 40H to a single - pensate for the falling off of bass tones at low listen- play turntable. In this mode, the machine will play ing levels. the one record automatically, again with the arm The circuit and chassis design of the Acoustech coming down at the outer groove of any size record XI -AS is as exemplary and sturdy as in previous, if you press the right button. Alternately, you can cue costlier Acoustech units. Much of the wiring is on manually -simply lifting the arm up and over starts modular circuit boards that lend a neat, uncluttered the motor. Once the arm begins tracking, it is free look to the chassis. Parts are of uniformly high to be lifted off the record and re -cued at any portion. grade; the finished amplifier is housed in a metal cage (As an aid for those interested in this particular with a handsome, brushed -gold front panel. The operation, Benjamin is offering an accessory hydraulic XI -AS is completely solid- state, with no driver trans- cuing device, the $12.50 Model TL -1 which fits into formers. It has three fuses -one for the AC line input predrilled holes on the turntable base -plate.) Finally, and one each for the "B plus" supplies to each you can insert the short spindle upside down and the amplifying channel. 40H will continue to play the one record over and In addition to the unusual tone control, filter, and over until you turn it off -this could be one way to loudness compensation control setup, the amplifier really learn a new piece of music. has the usual complement of controls and features. A mode switch permits selecting mono, stereo, re- CIRCLE 142 ON READER -SERVICE CARD verse stereo, left input only, or right input only. The input program selector has positions for two mag- netic phono inputs (high and low level), a tuner, ACOUSTECH XI -AS AMPLIFIER (kit) and an auxiliary high -level source. There is a channel balance knob and the volume -or- loudness control. THE EQUIPMENT: Acoustech XI -AS, an integrated The treble and bass tone controls are dual -concentric amplifier consisting of two separate kits: the Model so that they may be used on each channel independ- XI stereo power amplifier and the Model P/M stereo ently. The amplifier has a tape monitor switch, a preamp -control module. Dimensions: front panel, speaker muting switch, and a power off /on switch. 153/4 by 5 inches; chassis depth, including knobs The muting switch can cut out the speakers con- and connectors, 121/2 inches. Price: power amplifier nected to the amplifier for completely private head- kit, $129.50; preamp module kit, $89.50. Manufac- phone listening (a jack is on the front panel). Al- turer: Acoustech, Inc., 139 Main St., Cambridge, ternately, speakers and headphone may be used simul- Mass. 02142. taneously. The rear of the set contains the input jacks corresponding to the sources listed on the COMMENT: Acoustech's newest amplifier has a unique selector knob, plus a switch to select high or low appeal to kit builders: it can be bought and assembled output magnetic phono cartridges. There also is a piecemeal with the owner pacing himself in terms of stereo pair for feeding signals to a tape recorder. both work time and budget outlay. The power am- Speaker terminals are on a barrier strip and a switch plifier section can be used with just about any other selects the correct impedance: below 4, or above preamp (or a tuner with level controls, or a tape deck 4 ohms. An unswitched AC outlet, and the three fuse with playback preamps and line outputs). The preamp holders are mounted here too. As was true of Acous- section itself (which can be used only with the Model tech's Model IV preamp- control, the present model XI basic) makes of the set a complete amplifier, with has no NAB (direct playback from a tape head) input, everything on one chassis. The work of wiring and in keeping with Acoustech's feeling that tape equali- zation and preamplification should be accomplished by the tape deck's own matching electronics. Performance, as well as features, reflect what the Acoustech designers believe should be an ampli- fier's strong points. Thus, the test data derived at CBS Labs indicates that the XI -AS emphasizes clean transient response and low IM distortion. The IM content, for an 8 -ohm load up to a power output of 33 watts (rms), remained under 0.7 %. For a 4 -ohm load, IM was a jot higher; for a 16 -ohm, slightly lower. 11, But all three IM curves are very linear, with none of the bump -and -dip effect noticed in early solid -state

assembly is fairly simple. One of our slower kit - amplifiers. For a popularly priced combination set, builders took ten hours to wire the basic amp, another the Acoustech produced very fine square -waves: the twenty for the preamp. low -frequency response has moderate tilt and good The XI -AS has some novel features for a popularly linear tops; the high- frequency response has very priced kit amplifier, reminiscent of Acoustech's costlier fast rise -time and absolutely no ringing. Power band- factory-built jobs. For instance, there is a special com- width, for a very low 0.25% harmonic distortion, ex- pensation switch that removes the tone controls from tended from 20 Hz to 30 kHz; the 1 -watt frequency

78 HIGH FIDELITY MAGAZINE Acoustech XI -AS Amplifier Kit Lab Test Data Performance characteristic Measurement Square -ware response to 50 Hz, left, and to IO kHz. Power output (at 400 Hz into 8 -ohm load response was virtually a straight line across the audio THD I ch at clipping 32 watts at 0.19°,ó range, and was down by 3 dB at 100 kHz. The RIAA I ch for 0.25°,ó THD 33 watts characteristic for disc equalization was accurate with- ch at clipping 32.4 watts at 0.24% THD in plus or minus 2 dB, and the tone control action, ch for 0.25% THD 33.1 watts again in keeping with Acoustech's design philosophy, both chs simultaneously was relatively moderate. I ch at clipping 27.1 watts at 0.21'ó THD ch at clipping 27.1 watts at 0.22'ó THD The Model XI -AS, in a word, appears to do what it sets out to do: provide a reliable and versatile con- Power bandwidth for trol amplifier that boasts a good measure of good to kHz constant 0.25% THD 20 Hz 30 Acoustech design which, combined with its honest, Harmonic distortion transparent, uncolored sound, should appeal to many 30 watts output under 0.31%, 100 Hz to 20 a kit builder. kHz 15 watts output under 0.34 %, 20 Hz to 20 CIRCLE 143 ON READER -SERVICE CARD kHz

IM distortion 4 -ohm load under 1 °ó to 10 watts C/M LABORATORIES output 8 -ohm load under 0.7% to 33 watts output CC -1 PREAMP -CONTROL 16 -ohm load under 0.4% to 24 watts output THE EQUIPMENT: C/M Laboratories Model CC -1, a stereo preamplifier -control unit. Dimensions: 153/4 by Frequency response, 12 by 5'/2 inches. Price: $315. Manufacturer: C/M 1 -watt level -!-1.5 dB, 10 Hz to 70 kHz Laboratories, 575 Hope St., Springdale, Conn. 06879. RIAA equalization +1.75, -2 dB, 20 Hz to 20 kHz COMMENT: As a mate for its Model 35D power ampli- fier (see HIGH FIDELITY, August 1965) or indeed for Damping factor 32 any high quality power amp, C/M Laboratories has Input characteristics Sensitivity S/N ratio brought out the CC -1, a deluxe, high performing solid - low mag 1.4 mV 59 dB state preamp- control unit. Performance is on a par high mag 3 mV 54 dB with the best and the CC -1 has some interesting fea- tuner and aux 218 mV 69 dB tures found, as a rule, only on studio equipment. This high order of performance and versatility is corn - bined with fairly simple operation; the owner may feel like a pro when using the CC -1 but he doesn't have to be one to get the most from it. g-3o Power Bandwidth at / 0.25% THD Zero DB = 30 Watts 30 Watts 1.5 1.0 15 Watts Harmonic Distortion \ 0.5 0

PERFORMANCE CHARACTERISTICS

0 -3 Frequency Response A study of the front panel tells much of the story. O DB = 1 Watt To begin with there are seven push- buttons for se- o 10 20 50 100 200 500 1K 1K 5K 10K 20K 50K 100K lecting program sources: phono 1, phono 2, tape

FREQUENCY IN Hz head, tape (amp or line output), tuner, auxiliary, and power off /on. Pressing any one of the first six buttons automatically selects the signal and turns on the associated equipment (tuner, turntable, or tape deck 89 as the case may be) at the same time, assuming of course its own line cord is connected to any of the IM DISTORTION i Load 8 Ohm three switched outlets on the rear of the CC -1. Press- 4 ing the last button in this row shuts everything off. simultaneously, 3 By pressing two or more buttons you can deliberately mix input signals for special

2 effects when tape recording or for sending two com- pletely independent programs (each in mono) out 4 Ohm Load of the CC -1 for listening to in different rooms at the same 16 Ohm Load time. Another row of five push -buttons -for left, right, 1 2 3 4 5 6 7 10 20 30 stereo, reverse, and blend -controls the mode of

POWER OUTPUT IN WATTS operation. These too may be used in combinations

SEPTEMBER 1966 79 C/M Laboratories Model CC -1 Preamp -Control

1.11 /.1 Tr ,l l)r,/rr Performance response to Hz, left, and to 10 kHz. Square -ware 50 characteristic Measurement

for special effects: for instance, if the stereo and Maximum output level either ch: in excess of blend buttons are used, a separate blend control 6.4 volts rms then can be used to help fill the "hole in the middle" IM distortion for rated on some stereo programs. The CC -1 also has a separ- output (2 volts) 0.1%; under 0.2 °c from 0.3 ate output jack at the rear for feeding an independent volt to 3.8 volts output mono amplifier for center -fill (or mono in another room) which is controlled by the blend knob. These, Harmonic distortion under 0.05 °ó, 30 Hz to 5 kHz and other variations of control functions, are ex- under 0.1%, 20 Hz to 10.5 kHz; 0.5% at 15.5 kHz plained in detail in the owner's manual. Besides the push- buttons and the blend control, Frequency response +0, -0.5 dB, 10 Hz to 70 the CC -1 has a tape monitor switch, a scratch filter, kHz; -1.25 dB at 100 kHz completely independent treble and bass tone con- RIAA characteristic +1, -0.5 dB, 20 Hz to each 20 trols for channel, a left-to -right balance control, kHz a level control, and a loudness contour control. The tone controls are stepped types, and are completely NAB characteristic +2.5, -0 dB, 20 Hz to 20 out of the circuit at their indicated flat positions, a kHz design feature that makes for minimal phase shift Input characteristics, and the lowest possible distortion. re 2 volts output Sensitivity S/N ratio Six pairs of stereo input jacks at the rear corre- phono 1 1.24 mV 72 dB spond to the selector buttons on the front. The phono phono 2 3.6 mV 65 dB 1 and 2 jacks are for low and high output magnetic tape head 2.5 mV 65 dB cartridges respectively. In addition to these jacks, any high -level 112 mV 88 dB there is a four -pin lock -in type receptacle that serves as an additional high -level input (and low voltage power source) for accessories such as a microphone preamp or mixer, or remote turntable or tape deck. m+5 The CC-1 has dual sets of output jacks for left, right, FREQUENCY RESPONSE and center (A plus B) signals so that two independent stereo, plus two more mono, amplifiers and speaker Zero DB = 2 volts RMS, either ch. systems can all be driven at once if desired. There °C - 5 also are jacks for feeding a tape recorder; four AC 10 100 1K 10K 100K outlets (one unswitched, three switched); a fuse - FREQUENCY IN Hz holder; the line cord; and a system grounding post. As we noted on the C/M 35D basic amplifier, con- struction, wiring, and the parts used all are of a high +5 order, the sort usually found on professional and ó 0 military-grade equipment. _ -5 RIAA Performance tests at CBS Labs easily confirm the EQUALIZATION CHARACTERISTICS superior performance of the CC -1. At rated output of d +5 2 volts, distortion was just barely measurable over °L most of the audio band. Frequency response was NAB (Tape Head/ literally a straight line out to 40 kHz; it was down -5 20 50 100 300 500 1K 3K SK 10K 20K by only L25 dB at 100 kHz. Other characteristics were consistently excellent including both the RIAA FREQUENCY IN Hz (disc) and NAB (tape head) equalization. Square -wave response was fine, with only moderate tilt and flat tops at the low end, and very fast rise -time at the Boost Full Treble Boost +15 Full Bass high end -indicating full steady bass and excellent transient c+10 0.4 Bass Boost behavior. z +5 The CC -1 is without doubt a topnotch audio "front D end" that offers an enviable combination of virtues: ó 0.4 Boss Cut superb performance, enormous versatility, and the - 4 Treble 10 Full Bass Cut assurance of long trouble -free service. It is very well - Cut worth considering as the nerve -center of an elaborate, - 15 TONE AND FILTER CHARACTERISTICS Full Treble Cut state -of- the -art type of installation. 20 50 100 300 500 1K 3K 5K 10K 10K

CIRCLE 144 ON READER -SERVICE CARD FREQUENCY IN Hz

McIntosh 5100 Amplifier REPORTS IN PROGRESS ADC 600 Receiver Marantz SLT -12 Turntable

80 HI(,ll I n)l l lll NLuiA/1\1[ Why Settle For Contrived Sound When Bozak Offers So Many Beautiful Ways To Listen Realistically?

If you've ever had to compromise between In Appearance loudspeakers, sound and appearance in selecting Bozak offers you the broadest selectionr of know how disappointing such a compromise you furniture styles available from any manufacturer can be to a serious music listener. of quality loudspeakers. Choose from among Compromises are not necessary with Bozak. such traditional moods as French Provincial, In Music Italian Provincial or Moorish or such contempo- as Urban or Century. You are Every Bozak speaker, regardless of size, pur- rary impressions a of interest pose or price is designed, built and tested to bound to find one that adds note reproduce sound as realistically as possible for to your decor. your investment. Bozak's goal is to let you hear As Great As music exactly as though you were in the con- BOZAK -The Speakers That Look cert hall. They Sound.

giTle DARIEN, CONNECTICUT

SEPTEMBER 1966 81 15 New Albums for Connoisseurs, Collectors & just plain Music Lovers

On Archive On budget Heliodor

BARTOK: CONCERTO FOR OR- : TWO MASSES. Leonard Bernstein's only opera, CHESTRA. Herbert von Karajan Missa "Tu es Petrus"; Missa with and David shows off his Berlin Philhar- "Assumpta est Maria." Previ- Atkinson of the original TV pro- monic to brilliant advantage in ously unrecorded works done to duction. Long out of print. the Bartók masterpiece. an authentic turn by the Re- H/ HS -25020 39 003/139 003 gensburg Cathedral Choir. 3241/73241 BRECHT /WEILL: DER JAS - FRITZ WUNDERLICH. Europe's AGER. A rarely -heard opera by exciting operatic tenor now HANDEL: WATER MUSIC (Com- the "Threepenny" team, re- turns to lieder. Schumann plete). The Schola Cantorum corded under the supervision ( Dichterliebe), Schubert and Basiliensis in an unusual per- of Lotte Lenya. H /HS -25025 Beethoven. 39 125/139 125 formance based on the original manuscript 3265/73265 HAYDN: THE CREATION. Two DONIZETTI: IL CAMPANELLO. records for the price of one. The only available recording of DOWLAND: 12 SONGS. Sacred Set includes text. Berlin Radio this charming one -act opera. and secular airs by the Eliza- Chorus and Orchestra. Teatro . 39 123/139 123 bethan master. Studio for Early H/ HS-25028 -2 ALSO NEW AND NOTEWORTHY Music. 3245/73245 RACHMANINOFF: SYMPHONY HENZE: FIVE SYMPHONIES. No. 2. Definitive performance The composer conducts the LOUIS COUPERIN. 17th Cen- tury Choral, Organ & Instru- by the Leningrad Symphony. Berlin Philharmonic. H/ HS-25029 39 203-4/139 203 -4 mental works, performed on antique instruments.3261 /73261 BRAHMS: LIEBESLIEDER SCHUBERT IMPROMPTUS. Wil- WALTZES FOR STRINGS. SUK: helm Kempff. 39 149/ 139 149 SERENADE FOR STRINGS. CHOPIN NOCTURNES ARCHIVE Arthur Winograd, cond. (Vol. 1). H/ HS -25026 Tamas Vàsâry. 19 486/136 486 PRODUCTION -011tt kioKankvn sesetlschalt

OGG /ARCHIVE are distributed by MGM Records. Heliodor is a division of Metro -Goldwyn -Mare Inc. Free on request! The new illustrated OGG /Archive catalogs. Write MGM Records. Classical Division, 1540 Broadway, New York, N.Y. 10036. CIRCLE 24 ON READER -SERVICE CARD 82 HIGH FIDELITY MAGAZINE reviewed by NATHAN BRODER HARRIS GOLDSMITH O. B. BRUMMELL PHILIP HART R. D. DARRELL BERNARD JACOBSON

PETER G. DAVIS CONRAD L. OSBORNE SHIRLEY FLEMING ERIC SALZMAN ALFRED FRANKENSTEIN JOHN S. WILSON

by Conrad L. Osborne

Symphony Hall: Leinsdorf leads three hundred strong.

Lohengrin in Its Entirety, with the Full Forces of Boston

IN VIEW OF the fact that HIGH prayer. Musically, it is primarily a re- bination of orchestra and sound makes FIDELITY'S November issue will include working of some of the principal motifs, a tremendous impression at many points, a discography -in -depth of the available such as that associated with the Swan; the high -water mark being, perhaps, the complete recordings of the Wagner but it certainly has more interest and transition music before the final scene - operas, I shall confine myself to an validity than some other pages of the one can almost hear the bellowing over -all view of the new edition, saving score, and its final section ( "Durch sergeants and see the wagons sticking in comparisons for that occasion. Flüsse and durch Meereswogen," p. 400) the mud as the Brabantian army gathers Two things are certain: 1) This is the is quite beautiful -I am glad it has been at dawn for its campaign against the most expensive opera recording in his- recorded. Hungarians. tory, the use of the BSO and the State- The set has two important things going Obviously, the playing of an orchestra side recording location having sent its for it, apart from any felicities one may must reflect on its permanent leader; so cost to something like double the normal find in the casting. These are, first, the good things have already been said of expenditure for even an ambitious, recorded sound, which is characteris- Erich Leinsdorf -he has, after all, given glamorous recording, and 2) It is the tically Dynagroove in its bright, some- us a superbly played Lohengrin. Yet if first absolutely complete Lohengrin on times almost glary sound but which is I were asked whether or not I liked his records and, as nearly as can be deter- unquestionably the clearest and most reading, my answer would have to be, mined, the first complete performance powerful of any of the recorded versions; on balance, no. It is fine on detail, fine of it anywhere for very many years. and, second, the BSO itself, whose play- when the clarity of a single line against This means that not only have all the ing is in most respects head and shoulders another single line is what we want -the frequent opera house cuts been restored above what we get even from good opera interplay in the light instrumentation of (there is recorded precedent for that), orchestras. One has only to hear the the Bridal Chamber duet, for instance, but the second part of Lohengrin's Grail magnificent bronzed sound of the horns is beautifully balanced and pointed Narrative as well, which is not heard and (especially) the trombones at their (again, the lovely playing doesn't hurt). even at Bayreuth, and which is published entry on p. 4 in the prelude; the massed But at many points (and many of the as an appendix to the orchestral score. sound at the tutti a few bars later; the most crucial) Leinsdorf seems concerned This comprises some choral wonderment lucidity and shimmer on the violin tone with observing some letter of some law, over the first half of the narrative (the at their sehr ruhig descent immediately rather than with creating a scene or with "In fernem Land," ending with "bin following; or the wonderful execution of overwhelming us with the opera's Lohengrin genannt," which is normally all the triplet sixteenths and thirty - beauty and power. It's like having a followed by the ensemble's "Hör ich so seconds for trumpet and trombone as the traffic cop on the Indianapolis Speedway. seine Art," etc., p. 359 of the Partitur), King addresses his assembled vassals in Take three symptomatic examples and then some further explanation from the opening scene (pp. 12 -13) to realize from the first act: 1) The climax of Lohengrin, concerning just how and why there is no substitute for a great orches- Lohengrin's arrival, or specifically the he came to be sent in answer to Elsa's tra, recorded with presence. The corn- beginning of the third scene, at his

SEPTEMBER 1966 83 blinding appearance ( "Gegrüsst du Gott - pranos. What is wanted is a large, a consistently good effect ends rather gesandter Held!," etc., pp. 53 ff.). A round voice that sings lyrically -that abruptly at E, and Telramund does not frequent device at this point is a slight has a true line and the ability to float -there is much trafficking with F, quickening of the tempo, and increased phrases, but which also holds body and F sharp, and even G, and in this region urgency to build towards the big climax color from bottom to top and which Dooley's voice loses its resonance and two pages later. Leinsdorf will allow can soar over the ensembles with author- focus, and sometimes (as with his inter- neither the quickening nor the urgency, ity. Miss Amara's is weak at the bottom, ruption of the Act II procession) its and technically he is quite correct - and much too insistently bright and intonation. We consequently have a "Zeitmass wie vorher," Wagner has light, for this part; there is no ability to Telramund who makes all his points carefully marked at this juncture. 2) The play with color, to darken the timbre, well, except for the climactic ones, and music marking the formal arrangements to lend any variety to the sound. She just as he seems about to walk off with for the duel (No. 40, on p. 73); here sings all the notes and shows a per- a really compelling effect, he lets us again, there is often some sort of fresh- fectly solid grasp of the general charac- down. ening of the impetus, and again, Leins- teristics of the style -some of the piano Jerome Hines's voice does not have dorf punctiliously follows the "Etwas passages are very pretty. But there is all the ring and freshness it possessed weniger schnell" that is marked. 3) The just not enough intensity or variety or a few years ago, especially on top, but actual finale of the act, from No. 47 substance to her singing; it is Micaela, it is still the right kind of voice for the (the end of the duel) on. Once more - who has somehow taken a wrong turn difficult role of Henry the Fowler. It the conductor is correct, for there is no and wound up at Antwerp instead of has the black coloration, bigness of size indication of any tempo change or feel- Seville. and timbre, and the wide compass re- ing change from the "sehr lebhaft" on Mme. Gorr is in another boat-a right quired. The top Es and Fs sometimes p. 92 to the end of the act, on p. 109, voice and temperament for the part, turn dry and unsteady, but they are at and the assembled forces grind inexorably but nowhere near its good representative least there with substance, and the voice and with machinelike regularity through form. Most of the second act is managed has enough genuine singing quality for the whole section. reasonably well-though one is conscious an effective "Mein Herr and Gott." That In all three cases, there can be no that the sound is not as round and free his German is somewhat unidiomatic is arguing the literal correctness of the as it ought to be, it is solid and has a true, but German basses normally give interpretation. But all this shows, really, cold bite that fits Ortrud well enough. us not only idiomatic enunciation but is that Leinsdorf can read. It sounds as The steadiness of her singing is welcome idiomatic singing as well, which gener- if he is saying that everything in the at "In fernem Einsamkeit des Waldes," ally means a sustained, unmusical roar, music is clearly marked on the page; which is also done with fine insinuation, besides which Hines's slightly American- therefore, that which is unmarked is and even the curse is surmounted with ized German is an insignificant trans- impure -it is a sort of un- interpretation. a certain steely impact. But her interrup- gression indeed. Calvin Marsh, the What results is a flattening out, an even- tion of the wedding procession at the Herald, sounds fine so long as he is not ing down. If you can obtain urgency end of the act is precarious and effortful, puffing his voice up to try to sound like without a quickening of tempo, well and and her big moment in Act III ( "Fahr' a big, dark , as he does with good -that is possibly the ideal situation; heirs," etc.) is just one gust of pushy part of his Act II reading of the decree. but the urgency you must have, if you sound atop another -each of the re- A steady, ingratiating baritone. have any sense of the specifically dra- peated A's sounds like it must be the Boston's Pro Musica chorus sings matic nature of the work. In such last. A great shame, both for her and exceptionally well, and no doubt Leins- moments this reading simply refuses to for us, that she was unable to equal dorf is partly responsible for the extraor- acknowledge that a theatrical condition the level of her splendid Amneris or dinary observance of nuance at some exists, a condition involving characters Fricka. points-the contrast in dynamics between under stress of conflicting sorts, and in- The male side does not let us down "Streiter der Tugend" and "Zierde der volving a specifically theatrical effect. so badly. Lohengrin is Sándor Kónya's Jugend" in the Bridal Chorus, for ex- It firmly declines to carry us along with best role, and he brings to it a vocal ample (which is, by the way, sung with any sweep, to lull us with a flow, to juice and a rounding of phrase that remarkable purity and balance through - impress us with any climax save those seem to elude his competitors. All the out-it would have been a smash single of mere loudness. Never before in my strong, outgoing moments are fine -the in the 78 days). The over -all sound of experience has Telramund's anguished voice has some presence in the middle the group undeniably has what we might berating of Ortrud been kept to a rea- and a good ring on top, and except for call the New England Oratorio color, soned, measured statement of a dis- a tendency to let it open into a white, recognizable chiefly for a peculiar hollow satisfied husband's point of view, or the blatty tone around the break, it sounds purity in the female voices. I happen to strings in the prelude to the third act firm, often beautiful and even heroic at like the sound (I grew up thinking all been held to a fiendishly literal, un- full voice. Kónya's attempts at the soft choruses sounded this way; you can accented constancy. This is Lohengrin caress, laudable as they are in intention, check it out in any of the college chapels as pure music, and pure music as it are rather less successful -he tends to or horrid barnlike auditoria spaced appears on the page. It is impressively thin the tone out too much and to lose every few hundred yards throughout executed, but it is not dramatic, which the on -going line, with the result that New England), but I know it sets some is to say it is not operatic. his "Nun sei bedankt," certain portions people's teeth on edge, and it is heard When it comes to the casting, Victor of the Bridal Chamber duet, and the here in its typical empty -hall ambience. seems to have operated under a sort of opening of the Erzählung come out In any case, the choral singing is ex- jinx, at least on the female side. Leon - overcareful and tentative. Still, there is ceptionally fine of its sort. Stereo is well tyne Price was originally scheduled to musicality and an understanding of the handled, except that I find the right /left learn and sing Elsa for both the record- intentions behind the phrasing even at exchanges of Telramund and Heinrich ing and the Tanglewood concert per- such moments -his singing is never in the first scene a trifle distracting. formance which preceded it, but her pedestrian, and at its best moments rises illness of the previous winter, combined to a level of genuine beauty and excite- WAGNER: Lohengrin with her other commitments, made this ment. impossible. She was replaced by Lucine William Dooley, the young American Lucine Amara (s), Elsa; Rita Gorr (ms), Amara. On top of that, Rita Gorr, a baritone, is another newcomer to his Ortrud; Sándor Kónya (t), Lohengrin; fine artist and potentially a great Ortrud, role, having learned it for this occasion. William Dooley (b), Friedrich von Tel - happened into a period of extreme vocal He captures all the outlines of it -he is ramund; Calvin Marsh (b), The King's difficulty, from which she had not yet a singer of considerable dramatic grasp Herald; Jerome Hines (bs), King Henry; recovered this past season, and has not and intelligence, and can produce a big, Boston Chorus Pro Musica; Boston Sym- been able to make the expected effect dark sound in the middle part of his phony Orchestra, Erich Leinsdorf, cond. on the recording. voice that approximates the timbre RCA Vlcroá LM 6710. Five LP. Miss Amara is simply all wrong. I called for by the role. And he always $23.95. concede that Elsa is a lyrical part, but sings, never simply barks or bellows. RCA VicroR LSC 6710. Five SD. there are lyric sopranos and lyric so- Unfortunately, the area where he makes $28.95.

84 HIGH FIDELITY MAGAZINE Op. 32, No. 1 in demonic fashion, pre- ceding the sudden pauses in the melodic line with an energetic stretto. (In the same piece, incidentally, Moravec uses the text that ends the final resolution in the key of B major while Vásáry opts for the alternative B minor ending - which is the more authentic version.) Although Vásáry often interprets a given passage with a thrusting momentum and burst of passion even exceeding Mora - vec's (he is, for example, more headlong in another "storm" passage-the middle part of Op. 55, No. 1 with its bucking left -hand figurations), for the most part it would be correct to characterize his basic approach as essentially lyric and militant. Many of his tempos are just a shade faster than Moravec's: and even Ivan Moravec Tamis Vásáry when they are about the same, Vásáry gives the illusion of more headlong mo- tion because of his preference for bril- liant sonority and sharp accentuation. There is also a difference in the For Chopin, the Voices of Poets sound of the instruments recorded here. Moravec has chosen a big, solid -toned instrument, with a rolling bass and noble mellowness. Vásáry, on the other hand. by Harris Goldsmith favors an extremely brilliant, light-toned concert grand with tremendous definition and cutting edge. While it is to both artists' credit that they are able to coax with all sorts of artistic surprises in store WHILE Chopin is too great a genius from their respective sounding boards a for their audiences; both combine a ever to have fallen into disfavor with effects, the basic certain intuitive warmth with patrician magical range of tonal musicians, it must be said that the artis- in the used colors the control and analytical detachment, and difference pianos tic climate of our turbulent Forties and final results. searing Fifties -the great age of exacti- both have a marvelous sense of point, rhythmic motion, and undulant line. I am at a complete loss to make a tude, musically speaking -had inhibiting clear -cut choice between these sets, for effect on the interpretation of much of While each is a highly communicative keyboard temperament, neither artist both are magnificent. Vásáry's contains his music. The older generation of one of the two dis- could be called an extrovert. In other extra, posthumously pianists who seem to have had an inborn covered Nocturnes, while Moravec's in- words, both Vásáry and Moravec spin affinity for Chopin (not that some of cludes just the conventional nineteen. a hypnotic spell by the sheer force of them didn't perpetrate grievous sins Moravec has piano reproduction that their originality. What I find so remark- under the guise of tradition) had dwin- scores in warmth and proximity, while able about these two players is that, while dled in number, to be supplanted by a splendidly recorded set is a each came to musical maturity in the Vásáry's new breed mainly concerned with so- more distantly miked, and thus ironclad era of academism and is thus shade called "serious" (i.e., unemotional) in- less impactive in the climaxes. The main fully indoctrinated in the dogma of the terpretation. In far too many cases, this is both players are artists of sacrosanct basic tempo, each is able, by point that latter -day approach merely meant that great and their powerful re- force of his own convictions, to escape eloquence all music was played with slavish literal- will many repeated that concept's autonomy without violating creations here support ism, brittle tone, and an almost total on the part of discerning music its essential spirit. In essence, both men hearings absence of such life-giving qualities as lovers. rhythmic pulse and nuance. Then, sud- preserve a sense of continuing pulse with- denly, the pendulum started swinging out ever being dryly metronomic. To my back. Color, abandon, subjectivity began mind, this is a true sign of artistry. CHOPIN: Nocturnes (complete) coming into favor once again. Pianists By these remarks I of course do not today do not play Chopin with turn -of- mean to suggest that Moravec and Op. 9: No. 1, in B flat minor: No. 2, in the- century license, naturally, but it is Vásáry play these Nocturnes in the same E flat; No. 3, in B; Op. 15: No. 1, in F; gratifying to hear the voices of poets way. Quite the contrary. Moravec is al- No. 2, in F sharp; No. 3, in G minor: among the scores of pedants. most always an epic player, one who Op. 27: No. 1, in C sharp minor; No. 2, All of which is a preamble to wel- strives for huge sonorities and displays in D flat; Op. 32: No. 1, in B; No. 2, in coming two superlative new recorded a weighty, highly inflected approach. A flat; Op. 37: No. I, in G minor; No. 2, versions of the cycle of Chopin Noc- Frequently, he can be heard to distend in G; Op. 48: No. 1. in C minor; No. 2, turnes. It is reassuring to hear, from rela- a line with rhetorical devices such as the in F sharp minor; Op. 55: No. 1, in F tively young artists, performances so caesura or grand pause. In a stormy minor; No. 2, in E flat; Op. 62: No. 1, free, so richly personal, and so consistent- work such as the C minor Nocturne from in B; No. 2, in E; Op. 72: No. 1, in E ly scintillating. Often a reviewer will find Op. 48, this player's foreboding disten- minor; Op. posth., in C sharp minor (on himself listening to a new set of this tions and tremendous dynamic range are the DGG set only). music with skepticism -and then running truly staggering. In another dramatic to his record cabinet for a cherished old composition, the Nocturne Op. 27, No. 1, Ivan Moravec, piano. disc by De Pachmann, Paderewski, in C sharp minor, he emphasizes the CONNOISSEUR SOCIETY CM 1065 and Solomon, or Lipatti. Not this time! At bass line progression in its central section CM 1165. Two LP. $4.79 each. last we have integral editions of the Noc- by an unusual pattern of accentuation on CONNOISSEUR SOCIETY CS 1065 and turnes capable of holding their own in the key harmonic tones. Though he uses CS 1165. Two SD. $5.79 each. any company whatsoever, past or present. the sustaining pedal liberally at the be- Ivan Moravec and Tamás Vásáry have ginning of this work, he opts for a spare, Tamás Vásáry, piano. much in common: both are absolutely sec clarity later on, thus permitting the DEUTSCHE GRAMMOPHON LPEM complete pianists. possessed of seemingly accompanying triplet figurations in the 19486/87. Two LP. $5.79 each. limitless technical resource and coloristic left hand to emerge with unusual promi- DEUTSCHE GRAMMOPHON SLPEM powers; both are great individualists, nence. Similarly, he interprets the B major, 136486/87. Two SD. $5.79 each.

SEPTEMBER 1966 85 Elgar's Violin Concerto-As Played By Menuhin Today and by Menuhin Yesterday

by Bernard Jacobson

To Ravel, the music of Elgar was "pure wit. In essence, it is the fascination of an exquisite background produced by a Mendelssohn." If it were not for Ravel's the individual's ascendancy over the method specially invented by Elgar- remark, the comparison would never mass. This consideration lies behind all the second half of each string section have occurred to me, and yet it has to the subtleties in the layout of the clas- plays pizzicato tremolando with an ef- be admitted that, especially in his smaller sical first exposition. and behind all the fect of ineffable mystery. (The printed works, Elgar sometimes falls into a vein significant new directions taken by the score contains the instruction "The pizz. of sentimentality reminiscent of the solo instrument when it does finally tremolando should be 'thrummed' with nineteenth century's idol. But in 1910 enter. Following the example of Men - the soft part of three or four fingers Elgar composed a Violin Concerto which delssohn, composers like Berg, Bartók, across the strings," but in a facsimile of stands at the opposite pole to everything and Shostakovich have written magnifi- Elgar's manuscript the operative verb is Mendelssohn aimed at in his Violin Con- cent violin concertos on the one- exposi- clearly "drummed. ") certo, and which is to my taste a far tion pattern, and Shostakovich in par- Ethereal as it is. some listeners may nobler, richer, and more treasurable ticular, with his extension of the feel that this cadenza, like the rumi- work. structural role of the cadenza. has made native passages in the Finale of Dvofák's In the E minor Violin Concerto of a substantial contribution to the modern Cello Concerto. goes on a little too long. 1844, as in his earlier piano concertos. development of the form: yet without But this is a minor flaw in one of the Mendelssohn took the bold step of the resource of the preliminary orchestral greatest works ever to have combined abolishing the first orchestral exposition statement, the concerto -essentially a classical principles of form with a richly familiar from Mozart's and Beethoven's dramatic form related in origin to the late -romantic mode of expression. The concertos. After a measure and a half aria -is bound to lose one important appearance of a first -rate modern re- of hushed expectancy, he brought in his element of its character. cording. by Yehudi Menuhin and the soloist right at the start. It is no stick - Since Mendelssohn's innovation -or New Philharmonia under Sir Adrian in- the -mud traditionalism to say that this rather deletion -only two great com- Boult. has been awaited by Elgarians for step, progressive as it was. has had re- posers have been ambitious enough to some time, and expectations are amply grettable consequences. You can still write a violin concerto on the old pat- fulfilled. write a good concerto that way: but you tern: Brahms and Elgar. The means em- I have spent several absorbing hours cannot write a concerto in the classical ployed by Brahms to highlight the solo- comparing the new performance with the sense that way. ist's crucial first entry involve a breath- one Menuhin recorded in 1932 (at the The formal point of the classical con- takingly difficult and dramatically arrest- age of sixteen) with the London Sym- certo is to establish the soloist's right to ing passage of bravura. Elgar's method phony Orchestra tinder the composer's leadership over an orchestral group is infinitely quieter and no less masterly: own direction (recently reissued in this which, in terms of pure noise -making the orchestral violins quietly and tenta- country on an imported Odeon disc), and ability, could obviously overwhelm him tively repeat the phrase. somewhat I have discovered no simple answer with ease, and the fascination of the ambiguous in key, with which the entire to the bald question "Which is better ?" form lies in the way the soloist estab- Concerto had begun: the soloist then In the new version what might be called lishes his dominance. not only by dem- makes his bow. iiohilntente and molto the enjambment of themes is perhaps onstrating his technical skill but by exer- largantente. with a simple variant which smoother and the over -all line of the cising his gifts of emotion, poetry. and has the character of a decisive answer to work more seamlessly realized. A num- the orchestra's question. It stills all doubts, and establishes an unequivocal B minor. Henceforward the soloist is free to luxuriate as he will among the wealth of lyrical material already pro- pounded by the tutti. for nothing could undermine so firmly based a supremacy. He soon gives another proof of leader- ship. when he comes to the second sub- ject and threads the phrases which had before been passed from section to sec- tion of the orchestra into one long and lovely melody. Each of the succeeding movements has its own stroke of genius to rival if not surpass that first solo entry. In the central Andante the violin responds to the orchestra's simple opening theme by supplying it with a beautiful counter - melody, not as one might expect in the high register but in the middle of the harmony: and the Finale culminates in an accompanied cadenza of ravishing sonorities. Here the violin rhapsodizes lingeringly on the themes of the first Yehudi Menuhin movement, while the orchestra provides Sir Edward Elgar

86 HIGH FIDELITY MAGAZINE ber of passages show greater formal in- sight, such as the superb fortissimo at- to be very good indeed to surpass the tack at figure 27 -the 16- year -old Men - present one. Incidentally, if it is primarily uhin played this a trifle casually, the A minor Concerto that interests you. whereas the 50- year-old Menuhin has Nathan Milstein's superb version is now fully understood the importance of the reissued on an inexpensive Pickwick LP phrase as the commencement of recapit- along with his equally fine Mozart ulation. In terms of rhythmic steadiness Turkish. H.G. and accuracy of intonation, the new per- formance shows none of the insecurity BACH: Mass in B minor, S. 232 that has sometimes disfigured Menuhin's playing -indeed, the bravura is generally Teresa Stich -Randall, soprano; Anna even better now, and in passages like that Reynolds, contralto; Ernst Häfliger, end of the first after figure 44 at the tenor; John Shirley -Quirk, bass; RIAS movement the cross -accents and the Kammerchor; Radio Symphony Orches- yet sporadic tenutos are cleanly unfussily tra (Berlin), Lorin Maazel, cond. where they were missed in brought out, PHILIPS PHM 3592. Three LP. $14.37. the old version. ARNE: The judgment of Paris: Overture -See Purcell: Abdelazar: PHILIPS PHS 3992. Three SD. But in 1932 Menuhin was already a $17.37. great musician. It is only in a few de- Suite. tails like those mentioned above that In this, Lorin Maazel's first recording the old performance falls short of the of a large -scale work by Bach, he has new, and by any reasonable standard it BACH: Concertos for Violin and Or- chestra: No. 1, in A minor, S. the services of a first -rate chorus and was already a reading of rare mastery. orchestra and some of the better soloists of violin 1041; No. 2, in E, S. 1042 Moreover, it has the advantage in the profession. It is therefore disap- tone so pure and beautiful as to bring pointing to have to report that the per- tears to the eyes, especially in the grave Henryk Szeryng, violin; Orchestre des Concerts Pasdeloup, Gabriel Bouillon, formance as a whole is not a success. innocence of the slow movement. The Maazel has some old-fashioned ideas, a Menuhin of today has not lost this pro- cond. [from Odeon XOC 112, 1960]. MONITOR MC 2087. LP. $1.98. few of which seem to be borrowed from foundly affecting tone quality whenever older conductors. For example, like when MONITOR MCS 2087. SD. $1.98. he plays on the G string, but he Casals he has a tendency to make a moves upwards the spell is dissipated. Roman Totenberg, violin; Poznan Na- crescendo whenever a phrase rises, like My consultant violinist tells me this Scherchen he takes the Sanctus so slowly may be because, whereas the normal tional Philharmonic Symphony Orches- tra, Stanislaw Wislocki, cond. that it sounds like a choral exercise, and practice is to use a faster vibrato on the like quite a few conductors born in the upper strings to produce a matching HELIODOR H 25008. LP. $1.98. HELIODOR HS 25008. SD. $1.98. nineteenth century he ends practically quality of tone, Menuhin no longer every movement with a retard. There does so. In effect, these editions of the Bach are moments, as in the second "Kyrie For this reason, I would not be with- both Violin will be new to eleison," when the music suddenly swells out the 1932 recording, which still Concertos most American to forte, an effect uncalled for by any- sounds remarkably well, and which has collectors. The Szeryng could be here as an some thing in the score. The chorus, which is the documentary interest of the com- obtained import years for a very capable of beautiful, transparent singing, poser's very competent direction. But for ago, but only brief period and at a premium price; the as in that same Kyrie and in the "Gratias the other reasons I would not be without Totenberg has never before in agimus tibi," is pushed into punching recording either. It is superbly circulated the new this country. out the beginnings of phrases in the Cre- engineered, with magnificent orchestral is very hard indeed ruin do; at the opening of that movement and sonorities and the best and most realistic It to the Bach Violin Concertos in performance, in the "Et resurrexit" it is shouty and I have ever heard in solo -tutti balance vitality and muddy. Some sections come off very it is for their emotional robust- a violin concerto recording. And ness always manage somehow to well -the "Gratias agimus tibi" is ef- conducted by the greatest Elgar con- But Bach is as susceptible as fective, and the marvelous "Qui tollis" our day Adrian Boult, emerge. ductor of -Sir Mozart to the re- creative powers of a is as moving as always -but there are not whose neglect by English record com- truly perceptive interpretative artist. enough of them. is a is high but de- panies scandal. It Totenberg plays very well here -with The soloists are not always in top form. served praise to say that his interpreta- fine tone and warmth of feeling. Never- Miss Stich -Randall sings with her usual in tion yields nothing to the composer's theless, his commendable (and well -re- steadiness, but in the "Christe" her voice musical insight, and it is executed with produced) efforts are quite has a faint hoot. Miss Reynolds sounds The New outclassed even greater technical skill. by the superbly probing Szeryng per- more like a mezzo than a contralto. The Philharmonia contributes magnificent formances. The latter artist phrases with voice has some warmth, it is well focused and passionately committed playing; but greater detail and variety, shades his and flexible, but somehow the Agnus the last word belongs to Menuhin who, dynamics more provocatively, and adopts Dei, one of the greatest arias in the whole though he may have lost one facet of tempos that have more profile and literature of sacred music, fails to grip. his adolescent genius, has succeeded motoric vitality. Furthermore, the mono- In the " Domine Deus" duet Häfliger in deepening and maturing an already phonic sound he has been accorded (I sounds rather characterless, but in the masterly interpretation of a masterly have not heard the edition electronically Benedictus the voice seems richer. work. reprocessed for stereo) has a biting dry- Shirley -Quirk, who appears to be coming ness which I find more suitable for the up fast in international opinion, employs literature at hand than Heliodor's suaver, his attractive voice to generally good ELGAR: Concerto for Violin and Or- more generalized electronic stereo sonics effect, especially in the "Et in Spiritism chestra, in B minor, Op. 61 (in this case I have not heard the mono sanctum." Here and in the "Quoniam" format). The harpsichord continuo is he spins a long phrase in a single breath Yehudi Menuhin, violin; New Philhar- clearly audible in both of the new discs, with no apparent effort, but in the latter monia Orchestra, Sir Adrian Boult, cond. though it colors the texture with more aria some low passages sound a bit un- ANGEL 36330. LP. $4.79. zest in the Szeryng. comfortable for him, and he does not yet ANGEL S 36330. SD. $5.79. Szeryng has recently re- recorded these seem to have the technique to toss off works for the Philips /Mercury label in this instrumental writing with bravura. Yehudi Menuhin, violin; London Sym- Winterthur (along with the two-violin In several places the harpsichord is phony Orchestra, Sir Edward Elgar, cond. concerto, in which he is joined by Peter scarcely audible when it is needed. In [from HMV 78s, 1932]. Rybar). Presumably, that disc will also general, however, the sound is resonant ODEON ALP 1456. LP. $5.79. be issued here in due course. It will have and lifelike. N.B.

SEPTEMBER 1966 87 BACH: Sonatas for Flute most recesses of the psyche. On the other the beginning, which does so much to hand. the libretto is a rather fascinating create the mythical atmosphere of the Sonatas for Flute and Obbligato Harpsi- one. full of portent and full of dreamlike opening) and I would still commend it; chord: in B minor; in A; Sonata for Flute images of sex and death. Operatic audi- but there is, of course, no comparison and Continuo, in E minor -on 36337 or ences have been known to sit com- in sound. S 36337. Sonatas for Flute and Con- placently through far more pretentious Berry is a strong Bluebeard and. ex- tinuo: in C; in E; Sonatas for Flute and and nonsensical obscurity. In any case, cept when he cannot resist the singer's Obbligato Harpsichord: in E flat; in G this little Freudian tale is clothed in a temptation to shout out certain exclama- minor-on 36350 or S 36350. music of remarkable depth and dark tion points, he is vocally and dramatical- beauty. ly excellent. Miss Ludwig is a touching Elaine Shaffer, flute; George Malcolm If Bluebeard's Castle has not yet quite Judith. I assume, though I cannot guar- harpsichord; Ambrose Gauntlett, viola made its way in the theatre (certainly antee, that under the watchful eye and da gamba. not in this country). it has had surpris- ear of Mr. Kertesz the Hungarian is ANGEL 36337 and 36350. Two LP. ingly good representation on records. successfully managed. I find Kertesz' $4.79 each. This is the sixth recording of the woik; conducting a bit disappointing. Although ANGEL S 36337 and S 36350. Two all are major efforts and all but one are the playing is accurate, attractive in SD. $5.79 each. still available. All have virtues, but for quality, and given vigorous shape from many reasons this new disc will take the podium, I miss a little of the magic These two discs, which together form a precedence. It has excellent singers, a and the Freudian anguish. But, even complete set of Bach's three sonatas for first -class orchestra, and a competent played straight, the music itself can flute and continuo and the three sonatas conductor. Furthermore, it is sung in supply those qualities, and the recording which Grove quite properly calls for Hungarian. The Deutsche Grammophon is excellent enough in every other re- clavier and flute," can stand up to the version with Fricsay and Fischer -Dieskau spect to justify recommendation. E.S. best of the competition. Elaine Shaffer is is sung in German and has cuts. I am a devoted and sensitive performer. Her very fond of the Ormandy /Columbia legato phrasing is smooth as butter, her version (and Hines and Elias are effec- BEETHOVEN: Bagatelles: O. 33 quicker tempos are rhythmically alive, is in English and this tive), but it sung (7); Op. 126 (6); in A minor ( "Für with the right emphasis in the right place, procedure, although correct for the Elise "); Fantasia in G minor, Op. and she links Bach's long musical sen- theatre, is a disadvantage in the record- 77 tences into lucid paragraphs. She takes ing of a work so closely wed to its text. slower the fast movements at a markedly While Dorati on Mercury has the same Artur Schnabel, piano [from various pace than Rampal, for one, but to my orchestra as that on the new set and HMV originals, 1937/38]. this ear they are quite convincing way- gives a more penetrating reading than ANGEL COLH 66. LP. $5.79. less spectacular perhaps, but also less Kertesz, his Hungarian singers are not can do fine hasty and pushed. And she up to the piece. The old Bartók Records The juxtaposition of the best Beethoven as she demonstrates in things with tone, edition directed by Susskind is still a with the best Schnabel is an almost cer- in the last movement of the echo effects fine reading (it is the only one that uses tain equation for an incomparable artis- the E minor sonata. the haunting invocation of the Bard at tic experience. and that is what we are sonatas, in which the The clavier /flute given here. Despite their brevity, the allow harpsichord is a full partner, Bagatelles do represent some of the the involvements Malcolm to enter into finest Beethoven. This is especially the and canon with a stylistic sym- next month in of fugue case with the sublime later set compris- matching Miss Shaffer's. pathy for Bach ing Op. 126 (also Op. 119, regrettably welcome variety He also provides some unrecorded by Schnabel but newly avail- registration. The sound itself is HIGH FIDELITY through able in a splendid Serkin edition for but the continuo gamba cries excellent, Columbia). though it is also true of the a little more prominence in some out for The New Equipment delightful Op. 33 collection. The most major, for example) passages (in the E disturbing piece on the record, by far, where it carries on the melodic line. In A report on the latest stereo gear. is the Op. 77 Fantasy, a richly emotion- the preeminence general, however, al, completely disorganized patchwork of the given the flute is characteristic (which musicologists have, with justice, concert stage -which rather justifies and Starring ... judged to be a written down example of S.F. Angel's balances. Montserrat Caballé how the greatest improviser of the day The script would feature operated). That mild- mannered little Albumblatt in A minor ( "Für Therese" a sensational Spanish prima donna. BARTOK: Bluebeard's Castle would seem to be its correct title, ac- Weaver by William cording to recently unearthed evidence) Christa Ludwig (s), Judith; Walter Berry is a trifle overshadowed in the current (b), Bluebeard; London Symphony Or- context, though there is always a place - chestra, Istvan Kertesz, cond. Composers on Campus anywhere -for Schnabel's jewel of an LONDON A 4158. LP. $4.79. interpretation. Does life in the university LONDON OSA 1158. SD. $5.79. Whereas Kempff's fine recent account masterpieces? make for musical of the Op. 126 was played briskly and by Anthony Keller What a pity Bartók never again wrote with detachment, Schnabel immerses for the operatic theatre after this single himself completely in the writing, deliver- -acter. Bluebeard's Castle (composed ing massive, powerfully structured, one The Right Connections in 1911, first produced in 1918) is such thoroughly gripping performances. His an extraordinarily original -although Suggestions for simplifying tempos are far more leisurely and con- perfectly accessible -piece of Hungarian component connectors. trasted than Kempff's, with innumerable mystery and magic that I am puzzled by Albert Sterling mutations of color and accentuation. All to explain why it has taken so long to of these renditions take the listener into make its way. With its modern and the innermost recesses of Beethoven's world, both an almost typical touches, it is essentially a rich Diary of a Young Man tonal revealing calm and an angry violence. and sensuous late romantic work with Of Fashion unearthly a kind of fleurs du mat beauty of its No delicate cameos of music making A fantasy concerning own which is quite overwhelming. Per- here, but rather re- creations of flesh, haps the problem lies in the obscurity the avant garde circa 1986. blood. and tears. Such was Schnabel's of the text; the "action" of this opera by Peter Iona Korn sense of vital commitment. takes place somewhere deep in the in- Angel's transfers are amazingly good,

88 HIGH FIDELITY MAGAZINE ever (the only one that approximated with the group. That bright, sunny per- that state was the great 1940 Toscanini formance is still listed in the current reading with Milanov. Castagna. Bjoer- catalogue (as Pickwick 4009). though ling. and Kipnis -which may perhaps I haven't heard it in years. On the pres- someday appear on commercial discs). ent disc, Mr. Steinberg conducts in a The problem in the present case is healthy, conventional manner, combin- Klemperer's sluggish way with the vi- ing the essentials of a classical approach brant, rhythmically extroverted sections (Toscanini, Kleiber, Szell) with the easy- of the Gloria and Credo. The tempos going Getniitlicltkeit of the conventional, there (sometimes too deliberate, occa- Central European way (Walter. Krips, sionally too rapid) are less important Keilberth, Sejna). Some of the rhythmic per se than the lack of articulation, which control strikes me as a bit slack, the . makes these passages sound listless and amiable bucolic atmosphere perhaps too stolid, singularly without galvanic thrust bland. Command has taken it all down or incisiveness. On the whole, though, with sweet- toned, resonant recording, Klemperer's account is so eloquent and and anyone purchasing this disc will so wonderfully well recorded that I have a very good Beethoven Sixth. My prefer it to the musicianly but sometimes stereo choice, however. is still the Szell unpolished Wand version for Nonesuch despite its omission of the first- movement (still a fine low- priced alternative, none- repeat observed here. The Islonteux /Vi- theless) or to the eviscerated, artificially enna Philharmonic edition, which bears balanced RCA set of the 1953 Toscanini great similarity to the new Steinberg, is performance. Just how it will stand in also worth investigating in view of its relation to the forthcoming Karajan DGG low price. H.G. set remains to be seen. H.G. Klemperer: a deeply devout eloquence. BLOCH: Three Nocturnes-See Ives: BEETHOVEN: Serenade for Flute, Trio for Violin, Piano, and Cello. capturing the impact and solidity (plus Violin, and Viola, O. 25 some surface scratch) of the original [Weber: Trio for Flute, Cello, and 78s. H.G. Piano, in G minor, Op. 6 3 BRAHMS: Hungarian Dances (com- plete) Members of the Melos Ensemble. BEETHOVEN: Mass in D, op. 123 OISEAU -LYRI: OL 284. LP. $4.79. Walter and Beatrice Klien, piano. ("Missa Solen»ris") OISEAU-LYRE SOL 284. SD. $5.79. TURNABOUT TV 4068. LP. $2.50. TURNABOUT TV 34068S. SD. $2.50. Elisabeth Söderström, soprano: Marga The ebullient. charming performance Höffgen, contralto: Waldemar Kmentt, here of the Beethoven Flute Serenade With these splendidly impassioned per- tenor: Mariti Talvela, bass: New Phil - is a close match both in vitality and formances Walter Klien and his wife harmonia Chorus and Orchestra, Otto sheer expertise to the superb older Decca Beatrice quite successfully supersede an Klemperer. cond. versions by Rampal and Baker. But older. best -selling Vox monophonic disc ANGEL B 3679. Two LP. $9.58. what really gives the present disc its in which Mr. Klien was partnered by ANGEL SB 3679. Two SD. $11.58. irresistible appeal is the coupling with Alfred Brendel. In style, the present Weber's somber, early romantic Trio - performances are very similar to those it seems that each new recorded edition a beautiful work indeed. Richard on the earlier recording: ensemble is of the great Missa Solemnis manages to Adeney, flute, Terence Weil, cello, and letter -perfect and the rhythmic rather capture a little more of the immense Lamar Crowson, piano, play this elusive, than the gypsy features of the music are detail in that colossal score. Klemperer's fragrant composition to the hilt. In the brought to the fore, but the precision of new one. his second for the phonograph, Beethoven. Mr. Adeney's colleagues are execution is never permitted to stifle is technically the most successful yet. the violinist Emanuel Hurwitz and the the grace and freedom of the interpre- For one thing. the conductor's magnifi- violist Cecil Aronowitz. tations. While London's fine recent set cent knowledge of everything that is A clear -cut positioning of flute to the of the Hungarian Dances by Julius going on in the music -and knowledge left and of strings to the center and Katchen and Jean-Pierre Marty offered of how to make it audible -clarifies the right adds appeal to the stereophonic what were perhaps wilder and more writing superbly. and he is fortunate both edition of the Beethoven. A more improvisatory statements than the pres- in having forces capable of translating blended resonance is heard in the Weber, ent readings, along with the added his knowing direction with finished pre- though the two -channel effect is still abandon went a good deal of reckless cision and in being afforded completely gently directional. I approve of the untidiness. That quality is inconsequen- appropriate recorded balance. Every ele- apparently more distant pickup for the tial in this literature, however, and some ment is given its proper due here, and Weber, since it adds a warmth to the listeners might prefer the London disc. the music is all the richer for this. piano tone. which otherwise could he Turnabout's sound is solid and lifelike, Klemperer's interpretation tends to- hard and brittle. H.G. though the sharp stereo positioning wards the austere. yet he manages the makes nie wonder if two pianos rather Kyrie. Sanctus, and Agnus Dei with such than one were used. H.G. devotional eloquence that the perform- BEETHOVEN: Songs -See Schu- ance nearly melts one's heart. The satiny mann: Dichterliebe, Op. 48. smoothness of the chorus at all times and BRITTEN: Young Person's Guide to the wonderfully strong vocal quartet - the Orchestra, O. 34 strong individually and in compatibility - BEETHOVEN: Symphony No. 6, in -tProkofiev: Peter and the Wolf, Op. keep the difficult vocal lines magnifi- F, Op. 68 ( "Pastoral ") 67 cently afloat. (The peeling rich bass tones of Martti Talvela merit particu- Pittsburgh Symphony Orchestra, William Sean Connery. narrator: Royal Philhar- lar mention.) Furthermore, Klemperer's Steinberg, cond. monic Orchestra, Antal Dorati. cond. choice of tempo in the sections I have COMMAND CC 3311033. LP. $4.79. LONDON PM 55005. LP. $4.79. mentioned is unimpeachable: he allows COMMAND CC 11033. SD. $5.79. LONDON SPC 21007. SD. $5.79. the music to pour forth with measured gravity, yet with constant motion and It was with this very symphony that Both the stars of this production live sturdy rhythm. William Steinberg, then the newly ap- up to their star billing: Dorati is unchar- No available performance of this pointed Music Director of the Pittsburgh acteristically untense and expansive here, score is completely without fault, how- Symphony, made his recording debut turning in glowing performances of both

SEPTEMBER 1966 89 This Is Be Kind to

v Tobias Thromgood thought he of Beethoven's Nine Symphonies by Beethoven: The Nine Symphonies- Philadelphia had the world's largest record Ormandy and the Philadelphians ?" Orchestra. Eugene Ormandy, Conductor. collection And, he would tell his she continued. (A 7- record set at a specia.ly recuced price.) friends, ' the greatest, too." 'No," said Tobias. Niefsei: Symphony No. 6 ( Sinfonia Semplice' ); To make matters worse, she went Overture and Prelude -o Act II 3f "Masquerade" - Tobias had every album listed in Eugene Ormandy, Conductor. the Schwann Cata:og. And some on: "And E. Power Biggs has that were tco rare to be listed. And recorded Chcpin's Prelude in C Debussy: Clair de lune; Prelude to the Afternoon of a some that were limited editions. nfiuor... and there's a Bernstein Faun /Chopin: Nocturne, Op. 32, No. 2; Nocturne, Op. 9, No. 2, Prelude, Op 28, No. 7 /Bizet: from And others that were on shellac. edition of Mahler's Seventh ' Suite " /Humperdinck: Prayer from "Hansel and Tobias was known to brag abot.t Symphony ... and . . Gretel" /Schumann: Trä.tmerei /Saint- Saéns: The Swan his record collection. (The way Tobias interrupted. He hated from 'The Carnival of the Animals"/Mendelssohn: Nocturna from "A Midsummer Night's Dream " /Massenet. people tend :0 brag about their his Aunt Minnie Thromgood Élégie /Offenbach: Barcarclle from "Gaité Parisienne"- children or their car or their when she tended to boast. Philadelphia Orchestra. Eugene Ormand, Conductor. latest trip.) "What makes you Dvofák: Concerto in A Minor for Violin and Orchestra, Until today. so sure ?" he barked. Op. 53; Romance, Op. I1 -Isaac Stern. Violin; Tobias' Aunt Minnie "Because my Philadelphia Orchestra, Eugene Ormandy, Conductor. Thromgood burst his latest suitor is the musical balloon. -law Mahler: Symphony No. 7 -. brother -in of the Leonard Bernstein, Conductor. o A 2- record set.) She telepl cned. girl whose husband's "Did you is Holiday for Harpsichord-E. Power Biggs, Organ. know that cousin an uncle Schubert Marche Milita re; Moment Musical /Mozart: Nielsen's Sixth of the assistant stock Rondo Alla Turca /Hayon: Minuet /Beethoven: Turkisl. Symphony is now clerk at the Columbia March; Minuet /Falla: Ritual Fire Dance /Chopin: ay ailable in stereo ?" Records dealer." "Military" Polonaise; Two Preludes /Weber: Country she queried. She hung up. Dance /Boccherini: Minuet /Bra:lms: Hungarian Dance No. 5 /Grieg: In the Hall of the Mountain King/ "No," said Tobias. Tobias was Saint-Sains: The Swaa /Tchaikovsky: Trepak from "And that there's a enraged. He started "Nutcracker Suite." beautiful deluxe set to rush down to the Ives: Symphony Nc. 2; The Fourth of July-New York Columbia Records dealer. But his Philharmonic, Leonard Bernstein. Conductor. front door was blocked by thou- What Now My Love-Richard Tucker. What Kind of sands of records that he had Fool Am Ir; Sunrise, Sunset; What Now My Love; forgotten to put away. Somewhere; And This Is My Beloved; More. The Rover; Poor Tobias. When You're Young; Who Can I Turn To; Melinda; He still hasn't recovered from Never Will I Marry; Why Did I Choose You. the shock. Edward R. Murrou -A Reporter Remembers- So if you know Tobias, would Volume 9ne: The War Years. (A 2- record set.) you please cheer him up? Sing Unto God- Mo-mon Tabcrnacls Choir, Just clip out this listing of the Richard P. Condie, Director -Sing Unto Gcd; Lamb of newest Columbia releases and God; I-kw Fair Is Thy Face; Blessed Jests, Fount of Mercy; The Paper Reeds by the Brook; Come, Come Ye Saints; pop it in the mail. Crossing the Bar; Lovely Appear; Jesu, Word of God Then he can telephone the Incarnate; For All the Saints; Cherubim Song; Of the Columbia Records dealer whose Father's Love Begotter. assistant stock clerk is the nephew Andre Kostelanetz Plays the Light M:rsic of of the cousin of the husband of the Shostakovich -Galop from "Moscow, Cheremushki "; girl who is the sister -in -law of Polka from "Ballet Su -te No. 2"; Barrel Organ Wakz from AuntMinnie's The Gadfly" ; Galop from "Ballet Suite No. I ": suitor. Nocturne from The Gadfly "; Moderato non troppa, ,,And order by phone. Overture Waltz, Waltz ?mm Act III from "Moscow. Cheremushki "; Folk Festival from The Gadfly "; Music Box Waltz from 'Ballet Suite No. 1 "; Galop frost "The Gadfly "; Polka from "The Golden Age "; Dance from "Ballet Suite Nc. I "; Introduction from "The Gadfly ";.Galop from Ballet Su:te No. 2." Smetana: The Moldau; Overture and Three Dances from "" /Dvofák: Carnival Overture; Two Slavonic Dances -New York Philharmonic. Leonard Bernstein. Cu, ductor. Be-nstein: "The Age cf Anxiety," Symphony No. 2 for Piano and Orchestra- Philippe Entremont, Piano; Neu. York Philharmonic, Leonard Bernstein, Conductor. z Chopin: Fantaisie- Inpromptu, Op. 66; Nocturne in E -Flar Major, Op. 9, Ne. 2 /Liszt: Lieb:straum /Debussy 7 Golliwog's Cake -Walk from "Children's Corner Suite "; Clair de lune /Tchaikovsky: Song Without Words, Op. 2, No. 3 /Daquin: Le Coucou /Prokofiev: March from "Love for Three Oranges' /Rac'rmaninoff: Prelude in C -Sharp Minor, Op. 3, No. 2 /Mendelssohn: Scherzo in E Minor., Op. 16, No 2/Albéniz: Sevilla from "Suite Espaf ola" /Gershwin _ Prelude No. 2- Philippe Jl` Entremant. Piano. Grieg: Peer Gynr Suite No. 1/Bizet L'Arlésienne Suite No.: -. George Szell, Conductor.

Brackner: Symphony. No. .3 in D M nor-Cleveland Orchestra, George Szelt. Conductor. Axon Copland: Music for a Great City; Statements - ilf London Symphony Orchestra, Aaron Copland, Conductcr. The Sound of Genius.

_ On COLUMBIA RECORDS \11*: gab

For a complimentary picture of Tobias Thromgood, write to Tobias Throm.t od, Columbia Records, 51 I e 52 true works, but an especially exhilarating one BUSONI: Fantasia contrappuntistica, BYRD: Fantasie for Strings, No. 1- of the Britten score; and the crisp for Two Pianos See Purcell: Abdelazar: Suite. Scottish enunciation and distinctive yet 1-Reger: Sonata for Cello and Piano, unmannered personality of Sean Connery No. 4, in A minor, Op. 116 (the films' James Bond) warrant ranking CASTELNUOVO-TEDESCO: Concer- his narrations among the very best of Mischa Schneider, cello (in the Reger); to for Guitar and Orchestra, in D, the straight ones on record. (In Peter, Richard Goode, piano (in the Busoni); Op. 99 Bea Lillie of course remains sui generis, Peter Serkin, piano. 1Vivaldi: Concertos for Guitar and hors de concours, and wholly non compos COLUMBIA ML 6291. LP. $4.79. Strings: in C; in A mentis.) 1 can't approve of the close -up COLUMBIA MS 6891. SD. $5.79. -fKohaut: Concerto for Guitar and overlifesize prominence given the speak- Orchestra, in F ing voice, which consequently is difficult This release in the "Music from Marl- to reproduce without considerable sibi- boro" series commemorates the one - Alirio Diaz, guitar; Solisti di Zagreb, lance, but in all other respects the stereo hundredth anniversary of Busoni's birth Antonio Janigro, cond. sonic technology of this Phase -4 release and the fiftieth of Reger's death. The VANGUARD VRS 1152. LP. $4.79. is tops of its kind. For here the engi- performance of the mighty Fantasia con - VANGUARD VSD 71152. SD. $5.79. neers provide not only their expected trappuntistica appears to be the first on lucidity of textures and sharply etched records of Busoni's two-piano version, Alirio Diaz obviously has baroque, classi- timbre differentiations but a richer syn- the last of his four editions of the work. cal, and contemporary idioms neatly in thesis of sonorities and a warmer acous- Starting from Bachian premises, Busoni his pocket: this recital encompassing all tical ambience than ever before. Brit - builds a structure that combines enor- three is articulate, smooth, and stylistical- ten's fabulously variegated orchestral mous contrapuntal intricacy with an un- ly above reproach. That it somehow fails showpiece, in particular, certainly never failingly lucid and purposeful rhythmic to excite is scarcely the fault of the par- before has been so fully realized on impulse. It is his most important piano ticipants -put it down to symptoms of records. R.D.D. work but, as the composer himself wrote, anemia in the repertoire. The Castel - it is "not conceived for piano, nor organ, nuovo- Tedesco, for all its quasi -oriental nor orchestra." Busoni continues: "The blandishments, signifies very little (and BRUCKNER: Symphony No. 1, in C means by which this music is communi- to draw a fine point, John Williams' re- minor cated to the listener are of secondary cent version with the Philadelphia has importance" -a truly Bachian attitude. more rhythmic vitality). The two Vivaldi Berlin Philharmonic Orchestra, Eugen Certainly the two-piano version seems works are the familiar mandolin con- Jochum, cond. preferable to the solo editions, both be- certos, familiarly transcribed; the piece DEUTSCHE GRAMMOPHON LPM 19131. cause it clarifies the counterpoint and by Karl Kohaut, a lute transcription new LP. $5.79. because it diminishes the fortuitous ele- to records, is well mannered according to DEUTSCHE GRAMMOPHON SLPM ment of virtuosity. the rules of eighteenth -century classical 139131. SD. $5.79. Stereo recording is, of course, an ideal propriety, and sets forth the solo instru- medium for two -piano music, and (apart ment attractively garbed. And that's European collectors already have access from a degree of coloration in one or about the sum of it. Janigro and the to recordings of Bruckner's First Sym- two of the loudest chords) this particular Solisti are never found wanting in their phony by Charles Adler and Volkmar example admirably conveys the merits support of the soloist -in fact, their Andreae, but with this release the U.S. of an outstanding performance by two razor -sharp pizzicati in the Vivaldi A domestic lists for the first time embrace of our best young pianists. (Richard major first movement come close to steal- the complete canon of the nine sym- Goode, by the way, plays the first piano ing the show. S.F. phonies (which of course excludes the part and Peter Serkin the second; the F minor Schul -Symphonie and No. 0 record jacket and label have them the in D minor). Like Andreae but unlike wrong way round.) CHABRIER: Piano Music (complete) Adler, Jochum uses the original 1865 -66 Beside the clean, hard lines of Linz version, which is far preferable to Busoni's music, Max Reger's Fourth Rena Kyriakou, piano; Walter Klien, the revised version Bruckner made Cello Sonata makes a sorry impression. piano (in the four -hand works). twenty -five years later in Vienna. Reger's glutinous and enervating chro- Vox VBX 400. Three LP. $9.96. The middle movements are the best: maticism and his lack of stylistic dis- Vox SVBX 5400. Three SD. the Adagio has a characteristic halting tinction prevent his undeniable sensitivity $9.96. tread, and the vigorous but poetic from being more than momentarily Scherzo encloses a slower Trio in which effective, and this Sonata, like most of Chabrier's position in music might well short solo horn phrases are heard over his works, goes on far too long. Nor be likened to that of Toulouse Lautrec a thoroughly Brucknerian background is the performance really successful: in art. Not only were the two contempo- of staccato violin figures. It is in the Serkin again plays both subtly and raries, but both worked in very similar tougher problems of first -movement and strongly, but Schneider's tone seems too fashion, producing brightly colored, Finale form that Bruckner's mastery is insubstantial for this obese music, and swiftly impetuous creations -deftly ani- here not yet complete -the Finale in I don't think it is a matter of the way mated, always kaleidoscopic and ostensi- particular flaps its wings with furious he has been recorded. In the very first bly gay but concealing a wistful pathos energy without ever quite leaving the phrase, moreover, I am worried by his underneath. To be sure, the salon compo- ground -but the music is always full of intonation (the B flat in the third sitions included in this excellent an- dramatic character. measure is surely too close to the key- thology have plenty of flaws: there are Jochum's exploration of comparatively note A), and in the last two measures all sorts of pianola -type roulades, some unfamiliar ground is welcome, the more before the letter B in the first movement pretty feeble cadences, much superficial so since his performance seems pretty he misreads the rhythm, converting the filler material. Yet what an instinctive well ideal. His vital handling of the sixteenths to eighths. The best part both feel for nuance and rhythmic life the repeated -chord accompaniment to the of the work and of the performance man had! And how skillfully he utilized Scherzo theme, with its beautifully is the Scherzo, which really shows some seemingly commonplace dance patterns. judged accentuation, is only one instance sense of movement. Contained in his pages are the seeds of among many of his profound affinity The surfaces on my copy are none the whole impressionistic school, much with the composer's idiom. The recording too silent. But in spite of this, and of the elaboration found in the turn -of- is excellent: the spot of execessive reso- though the Reger is a bore, I warmly the- century transcriptions of Godowsky nance around bass B flat which I noted recommend the record to anyone inter- and Rosenthal, and even some of the in my June review of Jochum's Bruckner ested in Busoni's fascinating mind and intricate meter changes of Bartók and Ninth is still there, but it is much less in the wonderfully fruitful influence Stravinsky. In addition, Chabrier had obtrusive this time, and the general Bach had on it. The effect of cultural taste-his music never descended to vul- quality of sound accorded this perform- cross -fertilization is here so individual as garity, even when wallowing in banality. ance is warm and natural. B.J. to become a value in itself. B.J. Almost every one of these morceaux is

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CIRCLE 37 ON READER -SERVICE CARD SEPTEMBER 1966 the product of a composer who of this artist's very greatest contributions minuet of the G minor - clearly and knew the piano inside and out, and who to posterity. preserves its interest throughout, pleasing, was also possessed of an infectious The superb recording is a further even here the idea, though sophistication. demonstration that RCA has finally, is a small one. It would be difficult to imagine more after all these years, learned to render 'These welcome releases offer us some sympathetic performances than the ones full justice to the regal splendor of charming and little -known chamber mu- Rena Kyriakou gives us here. A Rubinsteins piano. H.G. sic, full of melodic grace and felicities thorough virtuoso, Mlle. Kyriakou dis- of instrumentation. All the wit and ele- plays all of the efficiency and lucidity gance of the eighteenth- century concert one associates with her Parisian musical CHOPIN: Sonata for Piano, No. 3, in room is here, and the companies deserve heritage but none of the hard -toned B minor, Op. 58 our gratitude for rescuing such gems brittleness too often accompanying that tHaydn: Sonata for Piano, No. 8, in from unmerited oblivion." Well, you kind of training. Her playing is a model A flat know how it is- someone's bound to of limpid smoothness and singing grace. tMozart: Sonata for Piano, No. 12, say that. You pays your money and takes But if you do Walter Kliert s contribution to the four- in F, K. 332 you your choice. handed works matches Kyriakou's for like the stuff, there can be little doubt dexterity and verve. Robert Casadesus, piano. which is the better of the two records reviewed here: from Only Sides 5 and 6 of this three -disc COLUMBIA ML 6242. LP. $4.79. apart costing only set represent true stereophony, the re- COLUMBIA MS 6842. SD. $5.79. half as much, the Nonesuch is far maining items being electronically aug- superior both artistically and technically. mented for the two -channel effect. Since These are stylish, concise performances The New York Woodwind Quintet gives no mono copy was submitted for review, by an experienced and formidable artist. performances that are both sensitive and well drilled, and the recording is I was unable to make a comparison be- They have point, clarity (indeed rather tween the two editions; it seems to me too much so in the third movement of clean. The Lyrichord performances, on that except for some traces of clatter the Chopin, where a bit of pedal might the other hand, are rough and uncon- and excessive reverberation the synthe- have benefited the pianist's spare struc- vincing, and they are dully recorded, sized product is highly agreeable. Vox turalism), and great intelligence. M. Casa - with barely audible contributions from deserves real praise for making an desus is true to his Paris Conservatoire the viola and cello. Lyrichord's liner engaging segment of the piano literature musical rearing in every respect, paring notes waver on the borders of illiteracy, readily available to collectors in this away all traces of romantic indulgence. and its labels seek variety by quaintly country. H.G. Every clipped ostinato figuration is converting Danzi's first name, Franz, brought to the fore in the Chopin, the into John. B.J. Haydn is engagingly played in a fluent CHOPIN: Nocturnes (complete) extroverted style, and the Mozart emerges with courtly manners. Though DAVIDOVSKY: Three Synchronisms Ivan Moravec, piano. extremely well played, the last -named is for Instruments and Electronic on the precious side when heard along- Sounds Tamás Vásáry, piano. side Schnabel's more vigorous reading tSollberger: Chamber Variations for (on Pathé COLH). Columbia's sound Twelve Players and Conductor For a feature review of these recordings, is extremely faithful to Casadesus's see page 85. razor -sharp attack. H.G. Harvey and Sophie Sollberger, flutes, Stanley Drucker, clarinet, Paul Zukofsky, violin, Robert L. Martin, cello, Charles CHOPIN: Piano Music COPLAND: Vitebsk -See Ives: Trio Wuorinen, piano, Efrain Guigui, cond. for Violin, Piano, and Cello. (in the Davidovsky); Columbia Univer- Barcarolle in F sharp, Op. 60; Berceuse sity Group for Contemporary Music, in D flat, Op. 57; Bolero in C, Op. 19; Gunther Schuller, cond. (in the Soll- Trois nouvelles études, Op. posth.; Fan- DANZI: Chamber Music berger). taisie in F minor, Op. 49; Tarantella in COMPOSERS RECORDINGS CRI 204. A flat, Op. 43. Quintets for Winds: in B flat, Op. 56, LP. $5.95. No. 1; in E minor, Op. 67, No. 2; in G COMPOSERS RECORDINGS CRI SD204. Artur Rubinstein, piano. minor, Op. 56, No. 2. SD. $5.95. RCA VICTOR LM 2889. LP. $4.79. RCA VICTOR LSC 2889. SD. $5.79. New York Woodwind Quintet. This record, one of the notable National NONESUCH H 1108. LP. $2.50. Academy award series, is a remarkable A triumph on all grounds: Rubinstein NONESUCH H 71108. SD. $2.50. testimony to one of the places where the delivers the Fantaisie in a spacious, action is: Columbia University. Both bronzen manner, with measured but Quartets for Bassoon and Strings: in composers have been associated with always solid rhythm and compact C, Op. 40, No. 1; in D minor, Op. Columbia and their music has played a phrasing. His Barcarolle here gets far 40, No. 2. prominent role in the excellent Columbia closer to the heart of this elusive work concerts -one of the focal points of new - than does any of his three prior record- Arthur Grossman, bassoon; Martin musical activity in this country for the ings: perhaps some of the pianist's Friedmann, violin; Guillermo Figueroa, quality of the works presented, the in- very personal rubato is still a trace too viola; Ennio Orazi, cello. credibly high level of performance of complex and nervous-sounding for this LYRICHORD LL 154. LP. $4.98. most difficult new music, and the size piece, though its simplicity and structural LYRICHORD LLST 7154. SD. $5.95. and interest of the public that follows assets are much more apparent than these events. before. The Berceuse moves with free- If ever you want proof that the twenti- Harvey Sollberger, who was born in dom and caressing line, while the three eth century is not the first to have Iowa in 1938, has been known until re- études are miracles of grace, nuance, produced vast quantities of mediocre cently -until these Chamber Variations and pliancy. The remaining items appear music, these records will provide it. I would say -mainly as a dazzling virtu - for the first time in Rubinstein record- What a stick Danzi is! Even when, as osic performer of new flute music; with ings and are truly astonishing in terms of in the D minor Bassoon Quartet, he be- this piece he has established himself as a vivacity and sheer pianistic technique. gins with a good idea, he relapses with- major composing talent. This is a big, One wonders how Rubinstein does it: in in thirty seconds into the usual up -and- striking piece of work, stunning in con- every case, the standard of execution down bravura inanities that may have ception and realization but difficult in here is at least the equal to, and usually pleased eighteenth- century Mannheim every sense. I notice that several critics the superior of, what he was able to but are of no more than historical in- now have described the work as serial manage twenty years ago. Surely this terest today. Only one movement in this and "post -Webern" and, in view of the present collection will go down as one succession of polished allegrettos -the fact that this misapprehension seems

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M9055 - CONTEMPORARY CHAMBER MUSIC B. BARTOK: Contrasts For Piano, Violin and Clarinet. 8. BARTOK: Rumalian Folk Dances P. HINDEMITH: Sonata In E For Piano and Violin (1935) B. Bartok: International Soloists Chamber Ensemble I ELLIOT KOSOFF, Violin / GEORGE SILFIES, Clarinet / SUE THOMAS, Piano. P. Hindemith: ELLIOT ROSOFF. Violin i ROY EATON. Piano M9016 S 11V& FLOTE tlOtUiAS-Yd I - J. S. BACH: Motets ...-,-. rr w..-'4 Sing A New Song For The Lord / Praise The Lord, All Ye Heathens , Jesus My Joy / & others. The Chorus of St. Hedwigs Cathedral, Berlin / Directed by Karl Forster. Recorded in Germany by Electrola. M9017 - J. S. BACH: FLUTE SONATAS - VOL. 1 Sonata In B Minor / Sonata in A Major / Sonata In G Minor / Sonata in E -flat Major. KARLHEINZ ZOLLER, Flute / HUGO RUF, Cembalo / WOLFGANG BOETTCHER. Violcncello. The Collectors Series Recorded in Germany by Elect-ola. M9022 - GERMAN LITURGICAL MUSIC - J. S. BACH, M. VON HESSEN JOHANN STADEN i HEINRICH ISAAC i TIMAN SUSATO Theo Altmeyer, Tenor / Johannes Brennedke, Organ / Rudolf Zartner, Directing The RIAS Chamber Choir / Gunther Arndt, Conducting The Consortium Musicum. The Collectors Series Recorded in Germany Suggested Retail List Price: $2.49 by Electrola. for both Stereo and Monaural M9025 -- PAGANINI: SONATA CONCERTATA FOR VIOLIN & GUITAR SONATA OPUS ß'_Gh\ I NI POSTHUMOUS FOP VIOLIN & GUITAR / GRAND SONATA FOR GUITAR WITH VIOLIN ACCOMPANIMENT MARGA BAUML, Guitar WALTER KLASINC. Violin. The Collectors Series Recorded in Germany by Electrola.

M9021 - CLASSICS OF THE EARLY Extravagant Music for the 19TH CENTURY Parsimonious THE INTERNATIONAL SOLOIST ORCHESTRA ROSETTI:Symphoiyin C Major HERTEL: Symphony In D Major, ENRICO BARTELLO. Conductor / MACE SACHSEN -WEIMAR: Concerto No. 4 RECORDS In D Minor Concerto In B Major / Concerto In C Major, HANS 254 W. 54 ST., NEW YORK, N.Y. 10019 KOPPENBURG. Conductor.

CIRCLE 57 ON READER -SERVICE CARD SEPTEMBER 1966 95 about to spread, I think it is important of Music-the Establishment and the breadth; the Dessau, on the other hand, to point out straight off that the most media, the intelligentsia and the larger is almost entirely made up of familiar notable thing about this music is its public -became aware of these extremely melodic fragments patched together in range of activity, which far exceeds important developments in American mosaic fashion. Nothing really comes that of conventional twelve -tone struc- composing and playing. E.S. from anything else; things merely hap- ture. It starts out, it is true, in a closely pen, mostly in a kind of Carl-Orff- times- controlled but dense and highly soloistic Kurt -Weill multiplication effect. (There's serial manner expressed in terms of two DESSAU: The Trial of Lucullus also more than a bit of Stravinsky and separated groups of winds, strings, and snips of Verdi, Mahler, and such; the percussion with the mediating presence piece is, in a way, a kind of montage.) of a piano in between. Gradually this ex- Renate Krahmer (s), The Queen; Sylvia As in Orff's work, the harmonic struc- tremely elaborate, but tightly organized Pawlik (s), Woman's voice; Ruth Schob- ture is simple and static with short fig- material, undergoes a series of transfor- Lipka (ms), The Courtesan; Annelies ures and popular melodic formulas re- mations and fragmentations. Eventually Burmester (c), A Fishwife; Gertraud peated over and over. As in Weill, there the very fixed character of the music Prenzlow (c), Tertullia; Helmut Mel - are low -down proletariat touches and begins to alter; the sounds become frag- chert (t), Lucullus; Peter Schreier (t), Dessau maintains the Brecht -Weill sa- mented and scattered throughout the A Cook; Hans -Joachim Rotzsch (t), The tiric detachment -ironic bitterness alter- ensemble; conventional, precise notation man carrying the cherry tree; Rolf nating with total drops into sentiment, begins to give way to a kind of spatial Apreck (t), The Teacher; Lothar Anders all intentionally simple and conventional. notation with certain attacks specifically (t), The Baker; Boris Carmeli (b), The Instead of a real melody we get the sig- controlled by the conductor. Eventually King; Rainer Lüdeke (b) and Alfred nal for a familiar melodic type, the the music almost dissolves in a welter of Wroblewski (b), Two Legionaries; Fred gesture of a melody whose real content free attacks, wildly fluctuating tempos Teschler (b), The Farmer; Vladimir turns out to be the text. It is of course and dynamics, huge clusters and glis- Bauer (b), The Judge; Chorus and Chil- Brecht's text that must and does domi- sandi, swatches and globs of disassoci- dren's Choir of Radio ; Orchestra nate, whether spoken (and a good deal ated, rippling, crashing sound. Through- of Leipzig, , cond. of it is spoken), chanted, or sung. out all of this, a few fixed elements TELEFUNKEN LT 43096/97 -B. Two LP. The orchestration is similarly conven- slowly emerge- immobile, static, stern, $11.58. tionalized. Each scene, each aria or num- fixed: some piano smashes, a four -note TELEFUNKEN SLT 43096/97 -B. Two ber has its specific instrumental color. diatonic phrase "Vissi d'arte" as the SD. $11.58. This instrumentation, although highly composer rather ruefully points out). In dependent on Orff, is easily the most fas- the end, only these fragments remain - Sometime between his departure from cinating part of the piece. The Orff per- a few steady fixed stars left glimmering Nazi Germany and his arrival in the cussion battery is its most prominent through the debris of an exploding uni- United States near the end of the 30s, element; lots of brass, harpsichord and/ verse. A remarkable conception with Berthold Brecht wrote his radio play or prepared -paper- piano, and, most espe- "post -Webernism" left far, far behind. The Trial of Lucullus, a bitterly up-to- cially, an accordion- concertina (instru- Mario Davidovsky was born in Buenos date account of the netherworldly judg- ment of the people) also play major Aires in 1934; he has been in this coun- ment of the great Roman gourmet gen- roles. Some of the most effective music try since 1958. In this work (the tape eral. The point of the piece -that we comes out of the chanting, obsessive parts of which were composed in the must judge the great conquerors of his- choral writing, weirdly cut into by the Columbia- Princeton tory harshly for the untold misery they hideous, whining vibrato of some kind of Center) he has produced a kind of have brought to men -is dictated by the electronic organ. The most overwhelming swinging, articulated tape music of an special historical circumstances of the effects. however, come out of the text almost lyric character. Synchronizing time, but Brecht's genius has still man- recitation.- This is a typical, violent, gro- tape and instruments is an exceptionally aged to convey something universal and tesque East German production, and the difficult task, both conceptually and for striking. brilliant supplementary cast of actors the performers, and it has been carried In 1947 Brecht gave the play to Roger spit out the Brecht sound in that night- off here with real skill and -can one say Sessions to set; this version, first heard marish tone of which only the German it ?- charm. The first and third pieces in 1951 at the University of California at language is capable. are duets for tape with flute and cello Berkeley, has been performed at a num- The weakness of the music shows itself respectively; the middle one is a quintet ber of American schools, most recently in the few attempts to construct extended for flute, clarinet, violin, cello, and tape. in a brilliant production at Juilliard. lines and in the general musical incon- Interestingly enough, the instrumental Shortly after the Sessions work was com- sistency and literal -mindedness; the ulti- sound is the dominating factor; the elec- pleted, Brecht, now back in Germany mate effect is that of a series of telling tronic material provides a kind of tutti, and building his own theatre in East moments, some of them clever enough commenting on, engaging in dialogue Berlin, revised and expanded the text but not adding up to more than the sum with, and setting off the live sounds. The for , the successor to Kurt of disparate parts. Even the text was material of the live and tape dimensions Weill and Harms Eisler as the "official" weakened by Brecht in the process of is actually quite different, crisscrossing Brecht composer. The work reached the lengthening an already long and static in timbre and tone only in a few crucial stage in 1951 at the (East) Berlin single act; the new ending -one of those spots; the main interconnection lies in Staatsoper as one of the last successes painfully meaningful moments where The timbre and in the articulation of time of the Gebrauchsmusik theatre tradition People rise up and accuse -is pure spaces. If all this sounds learned and that began in the 20s with the Three - hokum. In his younger days Brecht was complicated, it in fact comes off as the Penny Opera. much too clever for that sort of thing. easiest, most engaging thing in the world. As a work of art, the Dessau Lucullus The performance is as good as hard This is actually music full of invention does not even begin to touch the Ses- work and one of the best theatre tradi- and a delight in the making and experi- sions version-about the only thing they tions in Europe can make it. The terri- ence of a new musical universe; it is a have in common is a final high major fying single- mindedness of East German striking and pleasing complement to the triad in the brass. Several unfriendly theatre generates a violence, a macabre world- shattering Angst of the Sollberger critics, put off by the mildly chromatic precision and primitive brutality which on the overside. idiom of the Sessions, have called it -as is intended -smash aside any pos- The performances? Well it should be unlyric; the Dessau, thoroughly tonal sible petty objections and attempt to enough to say that such superlative per- and triadic, is presumably lyric music, block any possible escape from involve- formances of difficult new music can be intentionally designed to appeal to a large ment. One scarcely feels capable of found nowhere else in the world but in public. Actually, the reality seems to me evaluating the merits of the performers, this country. Devoted and gifted young to be just the reverse. The Sessions -in for example-they are in fact of variable players like these are making an extraor- my opinion a powerful American master - quality but here they function as perfect dinary contribution to our cultural life; piece-is built on long, continuously representatives of what they are sup- and it is about time that our big World overlapping lyric phrases of considerable posed to represent: the shadows of the

96 CIRCLE 3 ON READER- SERVICE CARD . forgotten and despised dead risen up to as it could be, but she uses it with skill accuse us all in the name of the new and intelligence. The wide range and order. In the end, Brecht himself f - or at long phrases of the baritone part hold no least his original conception of twenty - terrors for Fischer-Dieskau, who turns five years ago-is trampled under and in one of his usual sensitive and musical destroyed by the very brutality and de- performances. Very good sound. N.B. humanization which Lucullus was written to protest. E.S. HAYDN: Concertos for Cello and Orchestra: No. 1, in C; No. 2, in D DVORAK: Symphony No. 8, in G. Op. 88 Ottomar Borwitzky, cello; Vienna Sym- phony, Peter Ronnefeld, cond. Vienna Philharmonic Orchestra, Herbert TELEFUNKEN LT 43092. LP. $5.79. von Karajan, cond. FAURE: Quartet for Piano and TELEFUNKEN SLT 43092. SD. LONDON CM 9443. LP. $4.79. Strings, No. 1, in C minor, Op. 15; $5.79. LONDON CS 6443. SD. $5.79. Barcarolles: in G, Op. 41; in E flat, Op. 70; Impromptu in F minor, This is the first pairing on discs of these In his G major Symphony, Dvoiák seems Op. 31 concertos, and it is the third recording of to abandon his previous symphonic search No. 1, unearthed a few years ago in for a quasi -Brahmsian "seriousness" and Marguerite Long, piano; Pasquier Trio. Czechoslovakia and first performed at to let himself go in a thoroughly pastoral. PATHE FCX 30293. LP. $5.98. the Prague Spring Festival in 1962. almost bucolic style. As a score of the (There is, at present count, one other composer's full maturity, the work pre- The traditional way to play Fauré is to authentic cello concerto by Haydn, also sents more than its share of deviations stress the fluttery, nebulous harmonies in C.) Nos. 1 and 2 make a happy cou- from the basic sonata -form, which is the and to bathe the composer's flowing pling: the C major is an early piece (c. pervasive framework of the first move- structures in a sickly impressionistic haze. 1765); the D major (1783) is not so ment only. Rather than to enumerate Marguerite Long (who died recently, in individual as the late symphonies but it the formal innovations of this Symphony, her ninetieth year) and the distinguished essays a more elaborate relationship be- I think it will suffice here to say that members of the Pasquier trio are thor- tween solo and orchestra and makes its melodic material is exceptionally oughly cognizant of such traditional more virtuosic demands on the cellist. profuse, seldom congenial to develop- practices -and their performance is some- The prime point of interest here is ment. and frequently recurring from one thing of a revelation in that they will Ottomar Borwitzky, principal cello of movement to another in new guises. have none of that lavender- and -old -lace the Berlin Philharmonic. He sails into Among a wide variety of recordings style. Tempos are a mite slower than the parts with an easy vigor and a the G major has received, the closest usual, inflections decidedly robust, ryth- superbly focused tone never contracting competition for the present disc comes mic patterns soundly emphasized. If the into wiriness. .His phrasing is natural from George Szell and the Cleveland music ends up by sounding less mer- and resilient, and his shifts remarkably Orchestra (a thoroughly idiomatic read- curial than is sometimes the case, it is smooth-in short, these performances are ing by the Czech Philharmonic being also markedly stronger. Mme. Long evi- a joy from start to finish. The micro- disqualified on sonic grounds). Karajan's dently kept her pianistic prowess re- phones have been placed at a flattering approach is more exuberant and light- markably intact during her last years, to distance, producing a full, rich orchestral hearted than that of the precise Szell, judge from this example recorded when tone. S.F. who is at his best in ordering the tum- she was eighty -five; one or two details bling profusion of material in the first are ruffled a bit, but for the most part movement. Karajan's intense absorption her execution is masterly. The disc (well HAYDN: Sonata for Piano, No. 8, in and his masterful control of the Vienna reproduced, by the way) is highly rec- A flat -See Chopin: Sonata for Pi- Philharmonic are most effective in the ommended, both for the music it con- ano, No. 3, in B minor, Op. 58. soaring melodies of the middle move- tains and as a memento from one of ments, which here emerge as delight- France's most cherished musicians. fully poetic vignettes. A similar differ- H.G. HAYDN: Symphonies: No. 21, in A; ence in the sonics of the Vienna and No. 48, in C ( "Maria Theresa "); Cleveland recordings matches the dif- No. 82, in C ( "L'Ours ") ferent musical styles of the conductors HANDEL: Apollo e Dafne in question. The Cleveland sound is Chamber Orchestra of the Saar, Karl 21 clear, precisely pinpointed, and a bit Agnes Giebel, soprano; Dietrich Fischer - Ristenpart, cond. (in Nos. and 48); hard. The Vienna orchestra was recorded Dieskau, baritone; Berlin Philharmonic Gürzenich Symphony Orchestra of Co- with a more distant acoustic perspective, Orchestra, Günther Weissenborn, cond. logne, Günther Wand, cond. (in No. 82). and some of the string sound is as lus- DEUTSCHE GRAMMOPHON LPM 19153. NONESUCH H 1101. LP. $2.50. cious and luminous as any to be heard LP. $5.79. NONESUCH H 71101. SD. $2.50. on records. Although the more expansive DEUTSCHE GRAMMOPHON SLPM acoustics produce some obscuring of the 139153. SD. $5.79. Further evidence is offered by the pres- woodwinds in heavy tuttis, some of which ent triptych of symphonies that Risten- become rather muddy in sound, most of This cantata, written when Handel was part and Wand are both extremely dis- the time the orchestra is clearly and in Italy, shows him. near the beginning cerning leaders. Each is patently an authentically projected. P.H. of his career, already thinking in terms expert Haydn interpreter, though in of opera. Some of the arias have a pas- slightly dissimilar traditions. Ristenpart toral charm and grace, others a lyric is extremely well versed in matters mu- ELGAR: Concerto for Violin and poetry. In the climax there is high -grade sicological: his ornamentation is com- Orchestra, in B minor, Op. 61 baroque chase music as Apollo dashes pletely just; he allows the concertante after Daphne; then just as he seizes her elements of Haydn's scoring their head Yehudi Menuhin, violin; New Phil - she turns into laurel, the music turning without detracting in any way from the harmonia Orchestra, Sir Adrian Boult, from passionate pursuit into puzzled orchestral qualities; and he always per- cond. recitative. A true sceua this, followed by mits the harpsichord continuo to be heard Apollo's expressive plaint at his loss. easily (though more so-and rightly- Yehudi Menuhin, violin; London Sym- There is imaginative use of a small in the intimate No. 21 than in the phony Orchestra, Sir Edward Elgar, cond. orchestra. Altogether, a fascinating grander Maria Theresa). Wand's ap- glimpse into the world of the early proach is more in the German Romantic For a feature review of these recordings, eighteenth- century secular cantata. Miss tradition espoused by such musicians as see page 86. Giebel's voice is not as firmly supported Furtwängler, Rosbaud, Jochum, Kleiber,

SEPTEMBER 1966 99 Böhm, Krauss, and Klemperer. But like land makes a highly imaginative refer- judged emotional response that makes those estimable conductors and, for that ence to the sound of the shofar, the even Scherchen's most intense moments matter, like Ristenpart too, Wand has a Jewish ceremonial ram's horn, which is seem cool by comparison. In the two judicious ear for classical phrasing, a played by vibrating the inside edges of Nachtmusik movements, Bernstein cre- robust rhythmic sense, and an exacting the lips against the mouth hole rather ates a wonderfully appropriate sense standard for intonation and articulation. than the outside edges, with a peculiarly of leisure and Gemütlichkeit; but the A year or so ago, Counterpoint /Esoteric piercing and dramatic cry. Gemütlichkeit is not merely Austrian - released a coupling of Haydn's Sym- The Three Nocturnes of Bloch, which it is also quintessentially Mahlerian in phonies Nos. 82 and 103 played by the follow the Copland, represent that corn- its inner ambiguity, for Bernstein never Cologne Philharmonic under Wand's di- poser in his most lyrical, Fauré -ish, and fails to give full value to the character- rection. Presumably, Nonesuch has li- tuneful mood. They are rather like the istic quick, hectic jabs of nervous en- censed the same tape (from Club Fran- Pastorale and Rustic Dances of Bloch's ergy. The first movement has enormous çaise du Disque); I was unable to ascer- famous Concerto grosso. expressive power and formal conviction; tain whether or not this No. 82 is the All in all, this is a record of great the Schattenhaft ( "shadowy ") Scherzo is identical performance, but I suppose it is. distinction and quality, and it is here- bloodcurdling in the clipped brutality of Either coupling is appealing, and both with recommended in highly enthusiastic its accents; and even the comparative records are modestly priced. Nonesuch terms. A.F. weakness of the tub -thumping Finale is provides excellent sonics in both the camouflaged by Bernstein's exuberant monophonic and the stereo editions, with presentation. In terms of sheer orches- the latter a bit more suavely aerated KOHAUT: Concerto for Guitar and tral, as distinct from purely musical, and the former more rustic and "gutsy." Orchestra, in F -See Castelnuovo- imagination, the Seventh Symphony is H.G. Tedesco: Concerto for Guitar and perhaps Mahler's boldest score, and Bern - Orchestra, in D, Op. 99. stein's reading is the first total realization IVES: Trio for Violin, Piano, and of it in my experience. Cello The recording is one of the first to 1-Copland: Vitebsk MAHLER: Symphony No. 7 have been made, not in Cen- tBloch: Three Nocturnes ter, but in Philharmonic Hall. Superbly New York Philharmonic, Leonard Bern- vivid and colorful, it is in almost every Nieuw Amsterdam Trio. stein, cond. respect worthy of the music and the DECCA DL 10126. LP. $4.79. COLUMBIA M2L 339. Two LP. $9.58 performance. The high violin tone is DECCA DL 710126. SD. $5.79. COLUMBIA M2S 739. Two SD. less than ideally rich, and for record- $11.58. ing purposes I wonder whether better Everybody talks about Ives's harmonic results might not be obtained by seating and rhythmic innovations, but he also This is without doubt the Mahler Sev- the orchestra on the floor of the hall had as shrewd and unfailing a sense of enth. Two thirds of the opposition can rather than on the platform. There is instrumental color as Debussy himself. be dealt with in relatively short order. one small flaw of balance in the fourth Ordinarily the trio is a betwixt- and -be- Indeed. the Vox recording, which caught movement, where the mandolin (per- tween kind of medium and one some- the gifted conductor Hans Rosbaud on fectly discreet at the concert perform- times feels that what is written for it an inexplicably bad day, has never been ances) seems to have been miked up might better have been scored for some a serious contender-both in perform- excessively. Two other points are puz- other combination; the Ives, however, is ance and recording it is a grievous mess. zling. In the quiet tonic chord of F major a trio and no question about it. Scherchen's Westminster version is far which closes the second Nachtmusik, a To be sure, the sensitivity and vivid- better: this is a performance of real G seems to have crept in from some- ness of the writing is perfectly matched insight, particularly good in the way it where (though the Columbia recording here by the playing of the Nieuw Amster - captures the intensity of accentuation in people tell me that they can't hear it on dammers -John Pintavalle, violin; Edith the first Nachtmusik (the second of the any of their pressings, so it may be a Mocsanyi, piano; and Heinrich Joachim, five movements), and the recording still strange acoustical phenomenon peculiar cello. They constitute one of the finest sounds fairly good. to my copy); and immediately after this, trios to come along on records since the Nevertheless, Abravanel's Vanguard in the timpani fanfare which opens the great days of Cortot /Thibaud /Casals, release, which I reviewed in April, super- Finale, the G drum is badly out of tune. and one hopes that Decca will give them seded Scherchen's by a clear margin. But when you consider the sort of thing a lot to do. This was the first recording of any I have been reduced to complaining The Ives work, which dates from 1904, Mahler work to use the new Critical about in reviewing this release, you will contains a long scherzo framed by two Edition -a particularly important point appreciate the magnitude of the achieve- big, profound, and grandly moving slow for this symphony, since the first edi- ment. I doubt if we shall hear a better movements, the last ending, characteris- tion was full of inaccuracies. Even the performance of Mahler's Seventh Sym- tically, with a Protestant hymn. The tempo indication for the main part of the phony for years to come. B.J. scherzo is one of those wild, wacky, first movement, originally Allegro con kitchen -sink affairs which are an Ives fuoco, was altered by Mahler to Allegro specialty, but it differs from most of its risoluto, ma non troppo, and the Critical MOZART: Serenade No. 9, in D, K. kind in quoting the composer himself Edition is the first to incorporate the 320 ( "Posthorn "); Symphony No. rather than every other composer under change. Here and there Abravanel yields 28, in C, K. 200 the sun. At least, excerpts from Ives's to Scherchen in the degree of tension Second Symphony can be found here, and he generates, but in general his per- Cincinnati Symphony Ochestra, Max Ru- he also makes use of a considerable por- formance is a finer one. The orchestral dolf, cond. tion of his song General William Booth playing is better, the control in com- DECCA DL 10129. LP. $4.79. Enters Into Heaven. On the whole, one plex passages firmer, and the observance DECCA DL 710129. SD. $5.79. of the richest, most dramatic, entertain- of the score's detailed nuances more con- ing, inventive, and generally wonderful scientious and searching. The sound too MOZART: Serenades: No. 9, in D, K. things Ives ever wrote, superbly played is of a very good modern standard. 320 ( "Posthorn "); No. 6, in D, K. and magnificently recorded. Unluckily for Abravanel and Van- 239 ( "Serenata notturna ") Copland's Vitebsk, on the overside of guard, but luckily for the rest of us, the disc, is a short study on a Jewish Bernstein's recording -which also uses Kammerorchester der Wiener Festspiele, theme. It dates from this composer's the Critical Edition -is no less trium- Wilfried Böttcher, cond. early period, with its emphasis on a hard, phant than his concert performances last TURNABOUT 4056. LP. $2.50. strong, ethnically oriented idiom. It has December led us to expect. The principal TURNABOUT TV 34056S. SD. $2.50. often been performed and recorded, but virtues of Abravanel's reading-formal this is the only performance or recording grasp and textural clarity -are present It was clear a long time ago, from the of it I have ever heard which brings out here in still higher degree, and with Cetra Don Giovanni. that Max Rudolf the quarter -tone effects whereby Cop- them goes an instinctive yet unerringly was a handy man with a Mozart score.

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CIRCLE 47 ON READER- SERVICE CARD SEPTEMBER 1966 101 That impression is confirmed with these MOZART: Symphonies: No. 40, in G ior, to whom he dedicated this opus) is delightful performances. His tempos are minor, K. 550; No. 41, in C, K. 551 a collection of short, two- movement completely convincing -the fifth move- ("Jupiter ") pieces so outrageously embellished as to ment the Serenade, for example, flows of be well -nigh unbelievable to twentieth - along at a real Andantino; his strings New Philharmonia Orchestra, Carlo century ears -but nonetheless fascinating, with sing beautifully, a tone that is live Maria Giulini, cond. in a hair- raising sort of way. One is but does not have too much vibrato; he LONDON CM 9479. LP. $4.79. never quite prepared for the manner in achieves (with the aid of the Decca en- LONDON CS 6479. SD. $5.79. which one of these disarming little tunes, gineers) a proper balance throughout, as simple in its appeal as a summer so that none of Mozart's orchestral points From every point of view these perform- flower, suddenly catapults into the outer is he lost; and maintains precision and ances seem to me to be among the best spaces of the fingerboard and turns sev- even in the clarity twittering finale of the now available on records. In the G minor eral accomplished flips before landing on Symphony, which sparkles like a swiftly Symphony the first movement and the its feet again. At the same time, nobody rushing In brook. the remarkable first Minuet have a sweep and a depth of feel- can woo more persuasively in double movement of the Serenade, with its big, ing that are not common in recordings stops than Paganini-as the amoroso almost Beethovenian gestures, Rudolf of the work. The Andante moves along movement of No. 3 indicates. brings out the dramatic contrasts, and as it sings, and the finale, not very fast. The fireworks are less spectacular in he conveys the full expressiveness of the has a certain elegance, again a quality Opus 64; Paganini in his forties was poetic Andantino, but with a light hand. not often to be found in this movement. burning with a less intense flame. His Given excellent sound in both versions, The Jupiter too is convincing in the romantic spirit had not deserted him, this seems to me to be the best Posthorn varying character of each movement. The however, nor had his penchant for resort- Serenade now in the domestic catalogues first has a majestic quality, which is not, ing to the most marvelously trivial sub- and as a good recording of the little however, achieved at the expense of for- ject matter. But the music is not alto- Symphony as I have heard. ward- moving energy. The slow movement gether one -dimensional. Several adagio Böttcher's handling of K. 320 has its is alive with feeling and poetry, though cantabiles turn out to be quite lovely, own merits: his chamber group plays no liberties are taken with the score. It and even the tunes have a way, in the with precision and fairly good tone; the is a matter of tasteful phrasing, of sensi- rondo movements, of providing the start- sound is excellent, the balances just. tiveness in the relative intensity of the ing point for some violin virtuosity in But the tempos are mostly on the dynamic levels. Thus, to mention only the typical Paganini vein. gemütlich side, and the general effect one passage, in the coda of this move- Pasquier is pungent and incisive, somewhat en- flabby compared to Rudolf's ment the forte of the chords seems to tirely up to the technical demands and verve. The charming K. 239, for two have just the right relationship to the yielding nicely to the serene quality of string groups, is nicely done on the piano of the melody: the chords do not many of the slow movements. whole, Ghiglia, though the main theme of the break up the line, they punctuate it. while not so uncannily precise in his runs delightful finale would be much livelier There is a slightly ragged moment or as some of the prominent guitarists of if the appoggiaturas were played, as I two in each work, but otherwise nothing our day, is still admirable in the Grand believe they should be, short instead of is amiss from a technical point of view, Sonata, and fluid and supple in his duties long. The liner notes on this Turnabout and the sound, while resonant, is clear as accompanist. Sound is clean and close; disc are horribly garbled and ignore K. enough to allow one to hear everything stereo separates the instruments, but in- 239 altogether. N.B. that should be heard. It seems to me tegration on the mono version does little that this G minor merits comparison harm. S.F. with Colin Davis', on Philips, and the MOZART: Serenade No. 10, in B Jupiter with Jochum's, also on Philips - flat, K. 361 each a first -class performance. N.B. PROKOFIEV: Peter and the Wolf, Op. 67 -See Britten: Young Per- London Wind Quintet and Ensemble, son's Guide to the Orchestra, Op. Otto Klemperer, cond. PAGANINI: Music for Violin and 34. ANGEL 36247. LP. $4.79. Guitar ANGEL S 36247. SD. $5.99. Six Sonatas for Violin and Guitar, Op. PURCELL: Abdelazar: Suite The little miracles Mozart could accom- 64 ( "Centone di Sonate") -on FALP tArne: The Judgment of Paris: Over- plish with a wind ensemble are nowhere 848 or ASDF 848. Grand Sonata for ture made clearer than in this work, written Guitar and Violin, in A; Tarantella for tByrd: Fantasie for Strings, No. 1 for twelve winds and a double bass (here Violin and Guitar, in A minor; Six replaced by a contrabassoon). All of its Sonatas for Violin and Guitar, Op. S- Chamber Orchestra, Carlos Surinach, richness and variety of sound is beauti- on FALP 849 or ASDF 849. cond. fully conveyed by the fine recording it HELIODOR H 25022. LP. $2.49. receives here. Klemperer very sensibly Régis Pasquier, violin; Oscar Ghiglia, HELIODOR HS 25022. SD. $2.49. does not take all the repeats in the min- guitar. uets, each of which has two trios. This PATHE FALP 848/49. Two LP. $5.79 Nowhere on the jacket of this record is permits him plenty of room, and I am each. the telltale legend "Electronically En- afraid he does dawdle a bit: the first PATHE ASDF 848/49. Two SD. hanced for Stereo Reproduction" to be Allegro molto and the last, and the Al- $6.79 each. found. The admission is made only on legretto section of the Romanze, could the label. My only quarrel with it is the all benefit, it seems to me, by more snap. The Grand Sonata is a beguilingly senti- use of the word "enhanced " -in fact, On the review disc, an acetate test press- mental guitar piece in which the violin's the coarse but reasonably lifelike mono ing, the oboes sounded a little raspy and presence is such an intrusion that any version is far preferable to the disagree- the clarinet tone not very characteristic. string player, upon being asked to join in, able and completely "un- stereo" stereo. But otherwise the sound has plenty of might be forgiven for suddenly remem- The Purcell suite includes some of presence, excellent balance, and effective bering a previous engagement elsewhere. his most attractive incidental music, the separation. The Jochum version on DGG But in this case Pasquier was well advised Byrd is touchingly beautiful, and the Arne is perhaps not as imposing in this respect, to stick it out, because the rest of the is an attractive piece of English baroque. but as a performance it is a livelier music on this pair of recital discs is all As for the performances, it all depends affair. N.B. his: the Tarantella and the Opp. 3 and on what you're looking for. The music 64 are pure violin works which scarcely is played without finesse but with an require accompaniment of any kind. appealing degree of sheer animal vigor. MOZART: Sonata for Piano, No. 12, They are all great fun. The Opus 3 However, in matters of style the con- in F, K. 332 -See Chopin: Sonata (written when Paganini was in his mid - ductor is plainly at the mercy of his for Piano, No. 3, in B minor, Op. twenties and much taken with the editors: thus the Purcell is given with a 58. "ragazza" Eleanora, nine years his jun- harpsichord continuo but the Arne with-

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SEPTEMBER 1966 I out one, presumably because Adam predominantly lyrical conception heard tum. Certainly there was none of the Carse's edition of the latter is innocent of previously from them on an RCA Victor petulant pushing that mars this new read- such antiquarian refinements. Needless LHMV disc of the early 50s. As before, ing, spaciously recorded though it may to say, the Arne sounds naked. Byrd's the energy is chiefly of a nervous, rather be. In short, Angel has provided here piece is great enough to survive its in- than rhetorical variety, and there is al- no competition for its own superlative congruous presentation on orchestral together less stress on the thick, cello- Klemperer recording, nor for the fine strings, but the general lack of stylistic oriented bass line than is evident in, say, Böhm /DGG and Szell /Epic discs. What insight precludes a recommendation for the Casals /Prades Festival reading. The we're given is a fine conductor at work the disc. B.J. players continue to observe the repeat on one of his off days. ALAN RICH of the second part of the Scherzo. The changes that have taken place since the REGER: Sonata for Cello and Piano, earlier recording relate chiefly to a SCHUMANN: Dichterliebe, of the play- Op. 48 No. 4, in A minor, O. 116 -See gradual darkening and aging ¡Beethoven: reading Songs: Adelaide; Resig- Busoni: Fantasia contrappuntistica, ers' impetuosity. While the new nation; Ich liebe dich; Der Kuss is by no means autumnal, the gait is a for Two Pianos. -1Schubert: Songs: Im Abendrot; An trifle heavier. I certainly do not mean die Laute; Die Forelle; Lied eines to imply that the performance is rough- Schiffers an die Dioskuren; Der Nacht, shod (the Amadeus /Pleeth team play SCHOENBERG: Verklärte Op. than recently Musensohn For Strings, No. 2, in with far cleaner ensemble 4; Quartet Budapest /Benar Heifetz, for 10 shown by Fritz Wunderlich, tenor; Hubert Giesen, F sharp minor, Op. the erstwhile instance), but some of piano. sweetness has faded. A general approach Maria Theresia Escribano, soprano (in DEUTSCHE GRAMMOPHON LPM 19125. to that of the Amadeus, but with Op. 10); Edith Lorincz, viola, Zsolt similar LP. $5.79. luster untarnished, can be heard from Deaky, cello (in Op. 4); Ramor Quartet. the DEUTSCHE GRAMMOPHON SLPM the Vienna Philharmonic Quartet on TURNABOUT TV 4032. LP. $2.50. 139125. SD. $5.79. that splendidly reproduced disc TURNABOUT TV 34032S. SD. $2.50. London; early Schubert B flat also includes the The shortcomings of this recital are not by way of bonus. For my own Verklärte Nacht is so familiar in its string Triosatz primarily those of vocalism per se. the Casals continues to reign orchestral garb that it is hard to accept preference. Wunderlich does show a disturbing tend- monophony notwith- the piece in its original sextet form. supreme, its aging ency to let the tops of phrases turn H.G. Whatever the arguments for the original standing. overopen, as in the very first song of may be, it will take a more convincing the Schumann cycle. but for the most performance than this one to carry the part his voice sounds as attractive and point; the Galimir- Marlboro -Columbia SCHUBERT: Songs -See Schimann: flowing as it normally has on records. version states the case more persuasively. Dichterliebe, Op. 48. ' Yet in the Dichterliebe even the songs The Second Quartet is, of course, the that raise no serious musical or inter- famous work which Schoenberg began pretative objections sound bland -pretty within the bounds of a rich. late -romantic SCHUBERT: Symphony No. 9, in C, but uninvolved. Perhaps the loveliest - tonal harmony and pushed outwards - D. 944 sounding are Nos. 5 and 14 -Ich will through a most intense, winding, expres- meine Seele tauchen and Allniichtlich im sive counterpoint -into the unknown re- Hallé Orchestra, Sir John Barbirolli, Traume. gions of free, nontonal chromaticism. cond. But much is missed, and much dis- Great long -range tension and a restless, ANGEL 36328. LP. $4.79. torted. Presumably because Wunderlich expressive, coherent sense of phrase are ANGEL S 36328. SD. $5.79. likes the high option in !eh grolle nicht, needed to sustain this music and make most of the cycle is sung in the medium sense out of it. Unfortunately this per- Were it not for the name clearly spelled keys, with a very noticeable switch to formance, like its companion on the out on the label, I would have difficulty higher keys for Nos. 15 and 16. Natural- overside, lacks both a close -up push and accepting this as a Barbirolli perform- ly the lyric songs are very easy for Wun- convincing long -range motion; every level ance, at least from recent times. Gone derlich in this range, but they make of phrase structure, or dynamic and is the eloquence, the deep sensitivity to little point -we never get a sense of the tempo needs to be more highly clarified, the Viennese lyric line that marked this phrases turning into the fat part of his heightened, and differentiated. In a con- conductor's recent Mahler Ninth, to cite voice. And when he tries to apply some ventional way, the playing (and singing) but one example. pressure in the low range (as he must in is probably not bad, but it does not deal Instead we have a performance that Im Rhein, inn heiligen Strome, for in- with the more than conventional prob- goes by ones and twos, instead of Schu- stance), the results are tremulous and lems and poetics of this music in all its bert's own fours and eights. The problem lacking in the necessary punch. There urgency, its contradictions, and its scope. is largely one of accentuation; Sir John are also some strange calculations of The old Juilliard performance- incredi- seems constantly to come down just a tempo. No. 1 is quite slow, as is No. bly enough, the only other choice -is shade too heavily on almost every down- 9; most of the quick songs, in fact, are still preferable, even in dated and beat. In so doing he robs the music of toned down a bit. But then Ich grolle monophonic -only sound. E.S. just what he is obviously trying to cre- nicht flies right in Schumann's face (he ate: a sense of dynamism and drive. took the trouble to mark it "nicht zu There are impressive things in this schnnell ") with an insensitively fast pace SCHUBERT: Quintet for Strings, in performance, even so. The control is and more forced, trembly tone because C, D. 956 remarkable, and many of the inner de- of the low key. Giesen's work is in gen- tails that are brought forward do deserve eral somewhat limp and flat, though he William Pleeth, cello; Amadeus Quartet. to he heard: the overlapping dissonances is good with some of the more delicate DEUTSCHE GRAMMOPHON LPM at the end of the first -movement devel- passages. 39105. LP. $5.79. opment, for example. Schubert's distinc- The other side also has its puzzling DEUTSCHE GRAMMOPHON SLPM tive wind scoring is honored here more aspects, but at least there are three quite 139105. SD. $5.79. than in most recordings, although the beautiful bits of work -!eh liebe dich, tone in that problematic second subject the apostrophe to the Dioskuren, and Der The Amadeus players have made fewer of the finale is a hit heavy. Dlusensohn -all sung with fine tone and interpretative changes in their reading of I have a dim but happy memory of an a straightforward, musical manner. But this sublime work than in their recent older Barbirolli-Hallé recording of this Wunderlich seems content to skate along re- recordings of some of the other Schu- music (available here for a short time the surface of the meatier songs. lt's bert masterpieces. In the main, they offer on Victor's Bluebird label), in which partly a vocal habit of constantly "taking in this finely reproduced new effort the far more justice was paid to the shape something off" the more lyrical phrases same lightly inflected, classically pure, of Schubert's line at no cost to momen- instead of singing them on through, and

10.E HIGH FIDELITY MAGAZINE Editors Report on Heathkìt® Stereo Receivers!

AU 0 I March '66 Issue "At a kit price of $99.95, the AR -14 repre- sents an exceptional value" ... "And the low price has not been reached by any apparent sacrifice in quality."

AR -14 30 -Watt Solid -State FM /FM Stereo Receiver $99.95* AUDIO Also Said: "Although it is seldom the policy of this depart- build it. That's part of the fiat, though, and sometimes we build kits ment to use superlatives in describing any individual piece of equip- for the sheer relaxation that results. And this one was well worth it." ment, this is one time when it is possible to say that the unit in question is undoubtedly one of the best values we have encountered to date." AT A GLANCE 31 transistor, 10 diode circuit for cool, hum -free operation and "Heath's claims for the AR -14 are relatively modest -5 uv sensitivity, smooth, instant transistor sound 20 watts RMS, 30 watts IHF 10 -watt continuous power outputs (15 -watt music power), channel music power at ± 1 db from 15 to 50,000 cps Wideband FM stereo separation of 45 db or better and so on. We found that the continuous tuner, plus two power amplifiers and two preamplifiers Front power output at I per cent distortion measured 12.5 watts per channel panel headphone jack Bookshelf size ... only 3 Ye" H x 151/4" W (both channels operating), sensitivity nearer 3.5 uv, and channel x 12" D Install in a wall, your own cabinet or either optional separation 47 db. Frequency response at 1 watt measured 10 to Heath assembled cabinets Builds in 20 hours. 65,000 Hz ± 1 db, and 5 to 112,000 H_ ±3 db. At 10 watts output, mounting the two figures changed to 15 to 55,000 Hz and 8 to 92,000 Hz." Kit AR -14, 17 lbs.... less cabinet for custom $99.95 Model AE -55, 6 lbs. ... walnut veneer cabinet $9.95 "So far we have not yet seen a comparable unit at anywhere near Model AE -65, 6 lbs.... beige steel cabinet $3.95 the price, even taking into account the nearly 20 hours required to *less cabinet

Hill/Stereo Review Nov. '65 "It is one of the finest integrated stereo receivers I have seen, comparable to many factory -wired tuners costing far more."

AR -13A 66 -Watt Solid -State AM/FM/FM Stereo Receiver $184.00!

I li -Fi /Stereo Review Also Said: "It delivered substantially more than assembly was difficult, and the set worked well front the moment its rated 20 watts over the entire audio range. Unlike many transistor ii was turned on." amplifiers the AR -13A has low IM distortion at low power levels: under one per cent up to 4 watts, and rising gradually to about 2.5 AT A GLANCE per cent at 20 watts per channel output. Hum and noise were inaudible: 46 transistor, 17 diode circuit Compact, yet houses two 33 -watt' power amplifiers two preamplifiers and wideband AM /FM/ -55 db on the magnetic -phono inputs and -70 db on the high -level ...... FM stereo tuner Delivers 40 watts RMS, 66 watts IHF music inputs, referred to 10 watts output." power at +1 db from 15 to 30,000 cps Built-in stereo demodulator "The FM tuner proved to be quite sensitive ... Drift is negligible, ... automatically switches to stereo Stereo indicator Filtered and AFC is hardly needed, although it is provided. The FM stereo outputs for "beat-free" recording Luxurious preassembled walnut channel separation was excellent, exceeding 22 db from 30 to 10,000 cabinet included. cps, and 35 db from 250 to 2,000 cps. None of the wiring or mechanical Kit AR -13A, 35 lbs. $184.00 Get Full Details & Specifications In FREE Catalog! r Heath Company, Dept 8.9 I HEATHKIT 1966 FREE! Benton Harbor, Michigan 49022 Enclosed is $ plus shipping. World's Largest Please send model (si Kit Catalog ! 108 pages! Over 250 easy -to- Please send FREE Heathkit Catalog. build kits for stereo /hi -fi, amateur radio,' shortwave. test, Name marine, CB, educational. Mail coupon or write Address _'..leer', Heath Company, Benton Harbor, Michigan 49022. City State Zip t Prices & specifications subject to change without notice. HF-19? CIRCLE 42 ON READ=R- SZRVIC9 CARD SEPTEMBER 1966 partly it is simply that he doesn't sound heard here is evidence of the Basilica's he elicits from the Berlin Radio Orches- really inside the songs emotionally. My size, so the strange sound qualities and tra is lush and ripe, quite different from over -all feeling is that Wunderlich has noisy backgrounds realistically document the Cleveland cast, and such passages not thought very deeply yet about his the acoustical environment and the tonal as the violin solo before the last verse Lieder, nor penetrated very far into their characteristics of the instruments, one of Beim Schlafengehen are done with moods and stories. Surely as beautiful dating from 1470 -75 and the other from lots of unexaggerated warmth. The re- and expressive a voice as this should 1596, which -for all the repairs, replace- cording is unusually fine, and the total leave a deeper impression with such ma- ments, and reconstructions over many effect of the side is one of deep beauty terial. The sound is excellent. C.L.U. centuries-still include some of the orig- -what glowing, beautiful songs they are! inal pipes and other parts. When given a proper performance. lni While these extraordinary organs are A bendrot can make you feel that the SCHUMANN: Etudes symphoniques, perhaps none too well suited for music last of the world's true beauty is fading Op. 13; Fantasia in C, Op. 17 as "modern" as that of the rococo -era from sight. Soler, they are inexhaustibly fascinating There is nothing much wrong with Vladimir Ashkenazy, piano. in their own right. But they must be the performances on the overside. but it LONDON CM 9471. LP. $4.79. heard, properly differentiated, in stereo. is less interesting than the first. The or- LONDON CS 6471. SD. $5.79. The more sharply focused mono record- chestrations seem to me to make a con- ing. good as it may be technically, ruth- tribution only to Waldseligkeit, and pos- The present coupling provides the stiffest lessly strips most of the piquancy from sibly Die heilige drei Könige; in possible competition for the recent ex- the delectable antiphonal interplays. Muttertändelei. Zueignung, and Freund - cellent DGG release of the same two R.D.D. liche Vision they seem to me only to compositions played by Géza Anda. Ash - compromise the clarity of the voices and kenazy matches Anda's superb technical to muddy the over -all effect. In addition, equipment point for point. and succeeds SOLLBERGER: Chamber Variations Zueignung has always seemed to me one as well as the latter did in holding to- for Twelve Players and Conductor of Strauss's very few songs that come gether the often sprawlingly diffuse Op. -See Davidovsky: Three Synchro- out much better in a male voice. 17. These pianists actually have much nisers for Instruments and Elec- Schwarzkopf's singing, however, is espe- in common here: both favor kinetic ac- tronic Sounds. cially lovely in Waldseligkeit and centuation, fast tempos, and great sym- Freundliche Vision. metry, and both handle the rich romanti- For the Last Songs, well worth it; cism with cool restraint. Indeed. one STRAUSS, RICHARD: Lieder for the others, I prefer piano versions. could possibly wish a more intimate ap- C.L.O. proach to this material, though i myself Four Last Songs: Muttertändelei; Wald- find the aristocratic detachment and seligkeit; Zueignung; Freundliche Vision; sheer control rather refreshing. Die heilige drei Könige. STRAVINSKY: Pulcinella For me, Ashkenazy perhaps scores over his formidable Hungarian -Swiss Elisabeth Schwarzkopf, soprano; Berlin Irene Jordan, soprano; George Shirley, counterpart in two respects: for one Radio Orchestra, George Szell, cond. tenor; Donald Gramm, bass; Columbia thing, he is a bit more yielding and ANGFL 36347. LP. $4.79. Symphony Orchestra, , poetic; for another, his account of the ANGEI. S 36347. SD. $5.79. cond. Eludes symphoniques contains all five COLUMBIA ML 6281 LP. $4.79. of the exquisite posthumous variations. Quite a gorgeous record, especially the COLUMBIA MS 6881 SD. $5.79, whereas Anda opted for just two. Lon- first side, which holds the Vier letzte don's airy clarity and spaced -out bril- Lieder. It has been years since I heard This is indubitably a new recording of liance capture Ashkenazy's limpid. Schwarzkopf's first recording of these the complete Pulcinella score, performed with slightly hard tone superb realism. songs (under Otto Ackermann), and the by an excellent group of singers and a In short, a most beautiful record. H.G. last time I heard her sing them in con- New York pickup orchestra. But some- cert was in 1957, when she did them one at Columbia had the brilliant idea with the New York Philharmonic under of photo- copying Robert Craft's original SOLER: Six Concertos for Two Or- Fernando Previtali. But it seems to me notes for the deleted Stravinsky/Cleve- gans that her singing of them now is about land Orchestra performance, with the as beautiful as it ever was -a shade less result that the sleeve of this release duly Marie Claire Alain, Luigi Ferdinando springiness and freedom in the line, per- notes "Recorded December 14, 1953, Tagliavini, organs. haps, but the same focus and body in Severance Hall, Cleveland." In addition MUSIC GUILD MG 127. LP. $2.39. the tone, the same remarkable suspension to having the advantage of the latest MUSIC GUILD MS 127. SD. $2.39. and control over the seemingly endless sound, the new set is the only complete phrases. Her lowest notes are compara- version around and, of course, the only tively neutral in quality and presence, In comparison with the more vivacious available edition led by the composer but of course that is of little moment in performances of Padre Soler's delightful himself. these songs, except for a few bars of galant music on two organs by Biggs and Pulcinella, "ballet with song in one Beim Schlafengehen; Strauss went after Pinkham for Columbia ( 1961). or those act after Pergolesi." was commissioned the same thing he had always written on two harpsichords, or harpsichord and in 1919 by Diaghilev for the choreog- for in the soprano voice -the spinning organ, by Erna and Anton Heiller for raphy of Massine. The decor was by head tone with the constant readiness for Vanguard (1964). the present ones may Picasso and the work has a kind of messy di Voce behind it -and Schwarz - seem sluggish; and the present recording, after -image not unlike that of Picassó s kopf is very much mistress of this effect. by Erato engineers, proffers strangely famous Pulcinella -like Three Musicians. Szell allows the music its full measure thick and wheezy sonics against a con- Diaghilev had merely asked Stravinsky of distention and languishment -i'm a stant background of wind and tracker - for an orchestration of Pergolesi -some- bit surprised that the tempos aren't fas- action noise. Yet these apparent defects thing on the lines of the Scarlatti- ter, the corners a bit sharper. The sound are the very reasons why this release can Tomasini Good- Humored Ladies and be recommended to seekers after sonic Cimarosa-Respighi Astuzie Feninini authenticity. The deservedly esteemed which the Ballet Russes had recently performers seem a bit stiff here only he- negotiated with a great deal of success. cause of the inherent limitations of their Diaghilev was actually very much instruments -the celebrated "Epistle" shocked by the result, and so was every- and "Gospel" organs on either side of one else. What they got was Pergolesi the vast choir of the San Petronico Ba- Stravinsky -ized and many people found silica in , Italy. And just as the that more scandalous than Sacre. Pul- immensely long reverberation period cinella was, in fact. Stranvinsky's real

106 HIGH FIDELITY MAGAZINE reentry onto the Parisian scene after the First World War and, for the pub- lic that still remembered the barbaric yawp of pagan Russia, the contrast LOVE'I was too great (of the principal post - and Les Noces did new Sucre works, Renard the not come out until later and L'Histoire was not yet known in Paris). It was from this that the legend of the great Stravinsky about -face grew up, and the composer was accused of all kinds of charlatanism and faddism. In retrospect, it is not difficult to see Stra- KO-727 vinsky's development and, from the earlier works, it is perfectly clear that stereophones "neo- classicism" was a logical and per- haps inevitable consequence. The Pol- cinella experience merely helped to give this development shape and direction. It turned Stravinsky definitively towards the idea of transformation and reintegra- tion, towards a kind of meta -music, de- tached and yet totally involved in the quality of musical experience on a kind Brand new They combine the deep, full bass response of famous Model SP -3X Stereophones with design and comfort features of the of second -order level. sturdy, spring steel in any case. an awful popular Model PRO -4. Foam -filled ear cushions, Now all this is, ear seal), convenient coiled cord. for poor, charming Pol- headband (fully adjustable for tight lot of weight to 60 watts per channel from normal program sources Historical importance Will accept up cinella to bear. and can be used with any 4, 8, or 16 ohm system. Treat yourself is a Stravinsky aside, the work delight. to a completely new experience in stereo music listening. We know - has everywhere taken the eighteenth you'll love it. Ask your dealer for a demonstration today. $34.95. century music at face value and every- ALMOST EVERYBODY LOVES KOSS STEREOPHONES where transformed it into something quite new and perfectly Stravinskyan. It is precious. chic. breezy. elegant. joyous, camp -y (avant le lettre). and curiously KOSS REK-O-KUT with regret, but touching-tinged, not 2227 NORTH 31ST STREET MILWAJKEE. WISCONSIN 53208 is with a kind of irony which at once KOSS IMPETUS: 2 VIA BERNA LUGANO. SWITZERLAND gentle and objective, cool and urbane r ti CIRCLE 51 ON READER- SERVICE CA2C and yet involved and amoroso. The character of Pulcinella -the commedia dell' arte harlequin, the southern rival and the complete antithesis of the pathetic Russian Pétrouchka -is the per- fect representative of all this. Pergolesi was a Neapolitan: so was Pulcinella. Napoli, harlequin. commedia dell' arte. masks, illusion ... these are the images that Pulcinella conjures up. Pulcinella has a special value in its complete version. which is very much of an artistic entity. With the inclusion of the songs, we see that it belongs (with Renard. Les Noces, and L'lli.ctoire) to that special type of Stravinskyan the- atre in which he combined instrumental music, the voice, mime. and dance iri a remarkable new -old mixture. Anyway, the songs are some of the best of it. and Stravinsky's current reading of the music is fast and full of life. The singers here are excellent and, although the orches- tral playing is not especially refined (the opening is noticeably rough and not con- vincing), it is for the most part service- able. I should mention that the label of the record is marked "revised version "; this annotation does not appear anywhere on Like magic. The wonderful world of soLnd at you command. Stereo the sleeve and, since I am without a 4 -track Phonola Magnecord tape recorder, sere.) phonograph and score, I am not able to report on what AM -FM /FM stereo radio...all solid state, al in Ore beautifully hand- ste-eo speakers. Fasciiating these revisions might be. I suspect that crafted walnut cabinet with component you and your family...for your frie-ics. Phonola brings it to you. most of the changes are interpretative ...for The Electra TPR Home Audio Center with a total y new look and mag- refinements and that at least part of About $549.95 nificent new sound. .or nani 3' mr ieaes dealer write the impulse towards producing a "re- vised version" stemmed from the com- poser's desire to get the work under VERY BIG IN SOUND copyright. There is, in any case, no WATERShonola CONLEY CUMPAPY. INC 145 NORTH MICHIGAN AVENUE question that this is an authentic Fri/- CHICAGO. ILL. 6061 4:LBSIDlLR- OE HE TELEX CORP)RAT ON chid/a. E.S. CIRCLE 102 ON READER- ;ERVICE CARD SEPTEMBER 1966 107 VERDI: admired and most revived of the early nonetheless an interesting work, one that Verdi pieces; and while the old Cetra contains several memorable Elena musical pas- Suliotis (s), Abigaille; Anna set that has served so long as a stopgap sages, some outstanding vocal opportuni- d'Auvia (s), Anna; Dora Carral (ms), is not without a certain life and convic- ties (or obstacles, as you wish), and a Fenena; Bruno Prevedi (t), Ismaele; tion, it is not of the sort to intimidate number of moments when Verdi's Walter Krautler sheer (t), Abdallo; Tito producers with international stars and energy and nerve break through to some- Gobbi (b), Nabucco; Carlo Cava (bs), the best of current recording techniques thing genuinely sweeping Zaccaria; and compelling. Giovanni Foiani (bs), The at their disposal. He had nerve much, in High Priest; Vienna -as his way, State Opera Chorus Nabucco is a fun opera, a piece with as Wagner had in his. He was obviously and Orchestra, Lamberto Gardelli, cond. serious weaknesses but with the utter persuaded that his musical vision of a LONDON A 4382. Three LP. $14.37. sincerity and direct, unsophisticated the- scene would simply sweep away the need LONDON OSA 1382. Three SD. atricality that save all except the very for rationality or consistency. His idea $17.37. worst of Verdi's "galley years" operas. of an effective overture at this stage of I cannot by a long shot agree with Toye's his career is a case in point: It seems one starts strange that Nabucco has had assertion that it is the most satisfactory with a rather awful (but to wait this long direct) melodic for stereo treatment. of the pre -Rigoletto pieces -that rank is idea, very simply -even crudely It is not -set only an opera that depends on certainly 's and there is at least forth; one repeats it, one alternates big, physical, massed it effects for much as strong a case to be made for Errtani with one or two contrasting ideas, of its impact but is one the not of most or Luisa Miller as for Nabucco. It is bothering with any real development; then one repeats it again, faster and louder, and works up a conclusion. For some reason, the ideas no longer seem The Virtuoso Touch so awful, nor their presentation so rough; through pure determination and per- sistence, he makes you fight on his ground, where he always wins. Of all Verdi's operas, Nabucco shows most clearly the influence of Rossini- the mature, serious Rossini of Mosè and William Tell. This is apparent, again, in the overture; in the working of many of the vocal melodies (most obviously that of the Abigaille /Ismaele duet, which could almost be interchanged, both mu- sically and psychologically, with the Sinaïde /Amenofi scene in Mosè); in the building of some of the ensembles, ALFRED such as the Act I finale, where the series BRENDEL of ascending sextuplets for Abigaille, plays soaring out over the ensemble and alter- SCHUBERT: nating with the dotted rhythm of Na- Sonata in C minor, D.V. 958 bucco's interpolations, is a typically Ros- Sonata in C major, D.V. 840 German Dances, Op. 33, sinian effect; and in the marches, which D.V. 783 are again reminiscent of the music that VRS -1157 & VSD -71157 announces the comings and goings of "Brendel ... is clearly one of the Pharaoh and his entourage in Mosè. the big pianists of our time." -New York Herald Tribune The mature Donizetti is constantly show- "They [the Mozart Concer- ing through Verdi, even in his later tos] are rarely regarded with works (and the lighter Donizetti is in LEOPOLD so much affection." MAURICE STOKOWSKI -I. Kolodin, ABRAVANEL almost every bar of Un Giorno di Saturday Review regno); but only Nabucco could pass conducting conducting for transmuted Rossini. THE AMERICAN THE UTAH There is no lack of splendid vocal writ- SYMPHONY SYMPHONY ing. From a purely musical standpoint, ORCHESTRA ORCHESTRA Zaccaria is the first of the great Verdi MOZART: VAU3HAN WILLIAMS: bass roles; he has no fewer than three in Serenade B flat major for Floe :: splendid arias, of which my own favorite 13 Wind Instruments, K. 361 Ca-tp Sui e for Solo Viola, Small is the first ( "D'Egitto ld sui lidi ") VRS-1158& VSD -71158 Cboru and Small though the best -known is the second Critical acclaim for Ordhestr a Stokowski or Vanguard: Dona Nobis Pacem: ( "Tu sul labbro"). Abigaille's big scena, "Some dazzling showman- A Cantata for Soprano famous for its vocal difficulties, includes ship, but an equal quotient anc Baritone Soli. Chorus of fantastically beautiful anc Orchestra a very beautiful cavatina ( "Anch'io musicianship." VRS-1159 & VSD -71159 dischiuso un giorno") and an ordinary -The New York Times "A rich VAU3HAN WILLIAMS: cabaletta; while Nabucco's parallel scene -sounding perfor- Syrup-ma) No. 6 mance...lavishly supplied by in E minor in the last act is somewhat the reverse - Leopold Stokowski." V3S -1160& VSD -71160 a well -worked but not really individual -New York Herald Tribune DAVID BLUM Critic-r1 acclaim for Maurice cavatina ( "Dio di Giuda") but a strong .Interpretations that are Abrarane. and the Utah utterly superb." conducting Synepiary: cabaletta -with- chorus ("O prodi miei, -HIFI/Stereo Review "The Utah Symphony Or- seguitemi") which can be spine- chilling THE ESTERHAZY chestra continues to emit ORCHESTRA recorded sounds that are ab- if well sung, a sort of baritone "Di solutely first rate, and Mau- quella pira." Both these parts really at- HAYDN: rice Abravanel offers us ... Stereo Symphony No. 70 in D major perfo marces of sustained tain their best moments in the ensemble Symphony No. 59 in A major power and intensified sections in the second -act fi- cohes veness." -Nabucco VRS -1161 & VSD-71161 04 VANGUARD -EstI /Stereo Review nale after the crown has been struck "Blum's performances . .Sbravanel has devel- from his head by lightning ( "Clii mi Recordings make the joy of discovery all oper' a splendid orchestra." for the Connoisseur the more intense." -Saturday Review toglie it regio scettro?"), Abigaille in the -High Fidelity first finale and in the scene with Na- "Outstandingly fine..." bucco in the third act (particularly the - American Record Guide wonderful outburst of ascending grup- petti with which she tears up the evi- CIRCLE 91 ON READER -SERVICE CARD 108 HIGH FIDELITY MAGAZINE dence of her slave origins). The choral I would imagine she has it in person There is nothing wrong with this con- writing has moments of great eloquence too. The voice has an exciting penetra- dition per se, especially in this role, and -the "Va, pensiero," of course, but also tion and some spin, and some of the much better an emphatic break than a the magnificent unaccompanied "ha- smoldery quality of Callas. There is gen- weak, fuzzy area where nothing quite memo Jehova" in Act 1V, with its in- uine temperament and instinct for the comes into focus, as with so many of our terpolations for Zaccaria. style, particularly in its more overtly current mezzos and dramatic sopranos. The greatest weakness of the opera is dramatic, savage aspects-which is fine But the voice already shows signs of be- that the characters don't really exist; when it comes to Abigaille. ing bottom -heavy: the caliber and quality they have no true dimension or, often, She is an unabashed two -voiced singer, of the top (from the high G up) does motivation, and consequently the actions with a clean, undisguised register separa- not balance the size and toughness of the that depend on their confrontations (the tion between the F and G above middle chest sound but is thinner and less full - plot, in other words) have no believable C. She exploits the division and makes bodied than one would expect; impres- sive high notes alternate with top Bs motivation. It's a long way from Nabucco capital of it for some fierce contrasts- or to Boccanegra or even to Macbeth, and it would be a tough king indeed who Cs of little beauty or impact. At piano an equal distance from Zaccaria to could stand up undaunted against such level, the tone remains hard, rather than Filippo or even Silva. And it is difficult an intimidatingly gutsy chest sound. turning warm and flexible. She cannot to become seriously committed to a work When she sings at a lower dynamic level, trill at any of the indicated pitches or whose primary dramatic and philosophi- of course, the voice evens into a smooth- dynamics, though most of the runs and cal message is, approximately, "Our god er mixture. other figures are cleanly executed. can beat up your god." Not what you'd call Deep Thinking, and cluttered up with an especially shallow and uninterest- ing love -triangle subplot. which affords the only opportunities for what is un- doubtedly Verdi's sappiest tenor role. DELIGHTFUL NEW RECORDINGS FROM xDay"IMPORTS" For its considerable rewards, though, , it is good to have Nabucco in stereo; SOCIETE and perhaps it is well that it has waited FRANÇAISE until now, for with the Messrs. London/ DU SON Singers -in- Decca evidently beyond their RICHESSE DE LA MUSIQUE FRANÇAISE-GRAND Claude Balbastre (1727.1799) the- Tunnel phase (as exemplified in their SIECLE. THE GREAT CENTURY OF FRENCH MUSIC. FOUR QUARTET SONATAS Bullo) and their Reverse- Bayreuth phase A SAMPLER WITH FIFTEEN SELECTIONS Four quartet sonatas for Harpsichord or Plano Mono GS 1 Special Cat. price 62.50 Stereo SGS 1 forte. Accompanied by two Violins, one Bass and (put the singers in a sunken pit and the two Horns. Chamber Orchestra -Jean -Louis Petit. THE BARTERERS opera buffa in one act and eight Mono 174.153 Stereo SXL 20.153 orchestra on the stage. as in the Tristan scenes, composed by: Antoine D'Auvergne set), they have been able to give Na- (1713. 1797). Ordinary to the King and of the Andre Campra (1660.1744) FRENCH CANTATAS Royal Academy of Music. Performed by: Jacques 'Les Femmes,' 'Silene,' La Dispute Del 'Amour bucco the same full, even, and beautifully Herbillon, Gerard Dunan, Francoise Garner and Del 'Hymen.' Jacques Herbillon, Baritone. Instru- balanced sound they have attained in Eliane Lubin. Jean -Louis Petit Chamber Orchestra. mental Ensemble- Jean -Louis Petit. , Mono 174.154 Stereo SXL 20.154 Mono 174.147 Stereo SXL 20.147 their very best recent recordings. All the elements receive their due and nothing seems unduly puffed -up; tree chorus, so important to this work, comes off espe- George Bernard Shaw -ST. JOAN THE ELIZABETHAN SONNETEERS AND SPENSER Starring Barbara Jefford, with Alec McCowen The selection includes sonnets by the Earl of cially well, both as to performance and and a full cast including: Max Adrian, Mark Surrey, Sir Philip Sidney, Michael Drayton, engineering. And in keeping with its Dignam, Barry Foster, Michael Hordern, Derek Samuel Daniel. Spenser: Epithalamion (abridged); Jacobi, Cyril Luckham, William Squire. Recorded stanzas from An Hymne in Honour of Beautie; recent laudable practice, London has in association with the British Council. Directed Most glorious Lord of lyfe; Of this world's given us virtually the entire score. the by: Shirley Butler. Theatre. Mono RG485 Mono RG 470/1/2 Stereo ZRG 5470/1/2 only cuts being brief ones in Nabucco's THE ENGLISH POETS A selection of poems by Campion, Jonson, Her- MICHAÉL MAC LIAMMÓIR fourth -act cabaletta. and again in his rick, George Wither and William Drummond. Read I MUST BE TALKING TO MY FRIENDS by Peggy Ashcroft, Peter Orr and others. Recorded announcement of the Hebrews' liberation An entertainment in which the artist plays the in association with British Council. Mono RG 486 and his own conversion, a few pages host to dramatists, poets, wits, and revolu- tionaries of Ireland. A Tour de Force in dramatic THE GOLDEN AGE OF PIANO VIRTUOSI later. reading. Mono RG 493 JOSEF LHEVINNE PLAYS 'LISZT /BUSONI' La With all these things so well attended Campanella; Chopin: Nocturne in B, Op. 9, No. 3; Etude in E flat, Op. 10, No. 11; Etude in G flat, say the casting MARISA ROBLES PLAYS THE to, I wish I could that HARP MUSIC OF SPAIN Op. 25, No. 9; Liszt: Gondoliera (Venice b Naples). had been done with equal expertise; but, A virtuoso excursion through Spanish music for Strauss, arr. Schultz- Evler: The Blue Danube. Schubert -Liszt: Soirée de Vienne No. 6, granted that operas of this sort are hard the Harp by: Albeniz, Chavarri, Gombau-Guerra, De Falla, Alfonso, Guridi, Franco. Cui: Causerie, Op. 40, No. 6, Albeniz: Sevilla Espagnole), to cast really well even under armchair Mono RG 457 Stereo ZRG 5457 (Suite Espagnole) Mendelssohn, arr. Liszt: On Wings of Song, : Fantasia on Hungarian circumstances, it does not seem to me Gypsy Songs. Ampico Piano Rolls recorded with Mendelssohn the cooperation of the British Broadcasting that the best of the available alternative, STRING SYMPHONIES NO. 9, NO. 10, NO. 12 Corporation. Mono DA 41 have been taken. This is very much an The Academy of St. Martin -in- the -Fields. Cond.: A RECITAL OF ENGLISH SONGS opera for great singers-and topnotch Neville Marriner Mono RG 467 Stereo ZRG 5467 Performed by the Elizabethan Singers with Owen singing is just what we have not been Brannigan, Bass; Louis Halsey conducting. Con- tents: 'Captain Calls All Hands,' 'Captain Boyer,' given. Oliver Messiaen -LA NATIVITÉ DU SEIGNEUR 'A Fair Maid,' 'Mark, Luke and John,' 'I Sowed The set does introduce an interesting Simon Preston, Organ. Recorded in Westminster the Seeds of Love' (G. Holst), 'Wassail Song' and Abbey. 'Bushes and Briars' (Ralph Vaughn Williams) and new soprano -the young Greek singer Mono RG 447 Stereo ZRG 5447 many others. Elena Suliotis. Abigaille is. in a sense, the Mono RG 496 Stereo ZRG 5496 key role in terms of casting, for it is a Malcolm Williamson -THE HAPPY PRINCE THE ENGLISH POETS-John Milton A children's opera composed by Malcolm Wil- Paradise Lost Books 3 and 4. Read by: Tony part that few sopranos can sing, and that liamson. "The Happy Prince" was commissioned Church, Michael Redgrave, Prunella Scales. Re- fewer still are eager to challenge. Callas for the Farnham Festival, 1965, by Watney Mann. corded in association with the British Council. Mono NF 5 Stereo sang it in her youngest days, and the ZNF 5 Mono RG 463 brief career of the brilliantly gifted Anita T 0, II, TFIEEUM[EN Cerquetti embraced some performance' Johann DAS ALTE WER K E of it. sang it (at least Sebastian Bach NIP/ JOHN PASSION BWV ST. 245 (Complete) ST. JOHN PASSION (Highlights) for the old RAI Cetra performance) A first recording with original historic instru- Chorus and recitative numbers 1 to 38. Cond.: and Leonie Rysanek undertook it, though ments in authentic setting. Kurt Equiluz, tenor Prof. Hans Gillesberger. -(); Max van Egmond, baso- (Jesus); Mono AWT 9479 Stereo SAWT 9479 with rather unhappy results, for the Met Bert van t'Hoff, tenor -(servant); Jacques Villi- revival six years ago. Such efforts aside, sech, baso- (Pilatus); Schneeweis, baso -(Peter). Concentus Musicus Vienna. Gustav Abigailles tend to be young, loud singers Leonhardt, Organ. Vienna Boys Choir and Chorus All Mono /Stereo LP's Cat. price 55.79 ea. with more ambition than sense- sacri- Vienensis. Cond.: Prof. Hans Gillesberger. except where indicated fices. Suliotis does have the goods for the Mono KH 19 Stereo SKH 19 3 LP's -5 sides -Special Cat. price $14.48 LONDON IMPORTS 539 W. 25 ST.. N.Y., N.Y. 10001 part. At least she does on records, and 1J from the heft of the tone she produces

SEPTEMBER 1966 In short, Miss Suliotis does well by ularly on top (and, as Verdi baritone a Pinza, a Pasero, and while these may the challenging part. There are some parts go, this one does not lie high), not be available, there are at least the danger signs in her singing, however, really effective only in roughly the octave likes of Siepi, Tozzi, Ghiaurov, Flagello. and of course it remains to be seen between Ds. The sound is seldom beau- The part is true basso- cantante -much whether or not she can produce a more tiful, is insistently monochromatic in high tessitura that is admittedly rough blended, integrated brand of vocalism color, and incapable of the flexibility on a true bass, but plenty of excursions for other roles -few parts, even in the and dynamic shading demanded. The cuts below the staff too, to make it clear dramatic soprano literature, will support seem to have been made to circumvent that a dark, rolling voice of great this sort of elementary belting. An ex- some of the role's demands, and I do strength, steadiness, and wide compass citing talent . let's hope it's not an- not understand why he was cast in a part is what is intended. While Cava has the other case of sheer native gift and energy that clearly calls for a true singing bari- dark color, the strength, and the compass, vs. bad technique. tone; fine artist that Gobbi is, cantabile he lacks the steadiness, the rolling line, Gobbi offers the dramatic stature and line and ease on top have never been the tonal beauty. That the instrument is the tough, snarling sound called for by among his strong suits, and of course, basically a fine one is shown by his the Nabucco of the first two acts, but he is now beyond his prime years. Surely ability to sing both a fine top F and a he is leagues away from the suavity and Taddei or MacNeil would have been meaty low G in the cadenza of his first beauty of tone and line that is a neces- more sensible choices. aria; but the tone is almost never really sary ingredient of the role. His voice Nor is Carlo Cava more than just ac- steady, and often has an ugly, pushed sounds stiff and unmanageable, partic- ceptable as Zaccaria. The role asks for sound at the top. Though one would accept it in a second -line house or on a secondary night at the Met, one is hardly willing to on an ambitious recording from a major company. Prevedi is one of several young Ital- record ian tenors now around who make a solid sound with some metal in it, but who sing with scant polish or line and of with almost no attention to color or dynamic niceties. The role is not diffi- cult or crucial, and he is satisfactory in it -but again, his singing is certainly no special asset to the performance. Giovanni Foiani and Dora Carral are both excellent in their small but impor- month tant roles; in fact, if Carral only han- i dled the turns with true smoothness and style, her "Oh dischiuso è it firmamento" would be the outstanding piece of sing- ing on the set. Though both the chorus and orchestra make a fine effect, I am a bit disappointed in the conducting of Lamberto Gardelli. I enjoyed his work the past season at the Met, and here he shows some of the same sympathy as an accompanist, the same sense of singing flow, as he demonstrated then. But, while I am not asking for phony fire or hysteria, I still think that his rhythms could do with more incisiveness and that his climaxes could be built more firmly. He tends to flatten out the dynamics - much more could be done to shape the opening chorus, for instance-and to let tempos fall rather limp, as with the opening aria for Zaccaria. It's all sensi- ble and clean and even stylish, but only occasionally exciting or moving. Not anyone's ideal performance -but I can hardly counsel sitting it out till the next complete Nabucco. What we have is a performance that at least dis- closes the basic qualities of this interest- The Hague Philharmonic Orchestra ing opera, and that is recorded beauti- PIERRE BOULEZ, conductor fully enough to make even the more un- fortunate moments still listenable. C.L.O. In 1965, NONESUCH RECORDS issued a monumental ver- sion of Stravinsky's Sacre du Printemps, performed under the baton of Europe's most discussed and exciting new conductor VIVALDI: Concertos: in F, P. 290; PIERRE BOULEZ. in D, P. 165; in B flat, P. 385; Now, NONESUCH is privileged to present Boulez' reading of in C, P. 14 Handel's Water Music, complete. A significant event on records. Piero Toso, violin; Solisti Veneti, Claudio H -1127 Mono Scimone, cond. nonesuch $2.50 each, either COLUMBIA ML 6221. LP. $4.79. H -71 127 Stereo mono or stereo COLUMBIA MS 6821. SD. $5.79. In spite of Telemann's ascending star, NONESUCH RECORDS Vivaldi seems still to have his faithful . ..J supporters. The excuse for yet another 51 WEST 51st STREET, N.Y.C., N.Y. 10019 group of his violin concertos may at CIRCLE 31 ON READER -SERVICE CARD HIGH FIDELITY MAGAZINE first seem slender; but in fact these that succeeds so strikingly on first hear- The Chorale Prelude is a short piece works are mostly new to the catalogue ing often leaves much to be desired on written for a "restful music project" spon- and they are superbly played by Piero the twentieth hearing. This may not sored by a New Orleans businessman; Toso, whose technique and timbre in- bother conductors, but it might possibly unfortunately, Yardumian seems to have voke the composer's spirit in a rare and concern record buyers. confused the restful with the soporific. memorable manner. Unnecessary fluctua- The best thing here, to my taste, is That the Philadelphia Orchestra is a tions of tempos, on the other hand, may the First Symphony, which refers to great virtuoso instrument, that Miss indicate that Claudio Scimone's direction Noah and the Flood, not in dramatic Chookasian is a wonderful singer, and occasionally tends towards slackness. or picturesque terms, but in inward, that Columbia can produce first -class Three of the works, by reason of symbolic terms: the dark, dubious voy- recording scarcely need to be said. A.F. their subtitles, can he linked with litur- age and the triumph of arrival. This is gical occasions: the F major is for the quite effectively done. One might even feast of St. Lawrence, the D major for wish to hear it again. The Second Sym- St. Anthony of Padua (and dated 1712 phony is for contralto and orchestra and in the Dresden Ms), and the C major employs the texts of various Psalms. The for the Assumption of the B.V.M. They one good thing in it is a "vocal cadenza" should therefore have been provided wherein the voice is heard alone for a with an organ continuo rather than a considerable stretch. The rest is Holly- harpsichord, although the orchestral wood. parts of the D major Concerto mention both organ and harpsichord. Even a casual glance at the music, or a catalogue of music, suffices to show that there was no such thing as a standard or- chestral ensemble, even in Vivaldi's day. But there are many proofs of the use of Your $5.00 is No an organ -in chapter accounts, letters, diaries- besides the frequent appearance of the word orgaflo in scores and sets of parts. The reluctance on the part of re- Laughing Matter cording companies (Columbia is not alone in this respect) to do what the composer asked is difficult to under- Neither is Our stand. The sterco sound, however, is excellent, and so are the liner notes, Same Day Service whose author should have been named. From a stock of 250,000 LP's and Tapes S my] fNS DI.NIS Minimum 35% Discount On every label available anywhere including VIVALDI: Concertos for Guitar and Columbia, Capitol, RCA, London, Angel -A Total of 500 odd Strings: in C; in A -See Castelnu- No Obligation Policy ovo- Tedesco: Concerto for Guitar and Orchestra, in D, Op. 99. You'll receive only what you order Extra Features found in no other Club I\.,Iltl Up to, 5O°ó savings on Hi -Fi equipment WAGNER: Lohengrin 25% discount on Books of all publishers Lucine Amara, Rita Gorr, Sándor Kónya. Jerome Hines, et al.; Boston Symphony Observe these prices - compare them with anyone's: Orchestra, Erich Leinsdorf, cond. Albums that list for $1.98, 5298, 53.98, S3.98, 55.98 (not on special), $1.23, $1.85, 52.39, $2.99, $3.69 respectively. Tapes are always at least Sí off list and auto cartridges are dis- For a feature review of this recording. counted 20... see page 83. SPECIALS you can save on right now! Entire RCA Red -Seal classical series -52.75 Mono, $3.25 Stereo; Verve Folk & Jazz -52.75 Mono, 53.25 Stereo; Mercury PPS Percus- sion sound & Classic series-55.98 List -Only 51.99 Mono 8. Stereo; Mercury Wing Series-List 52.98 -Only 51.40 Mono & Stereo; Richmond Classics -996 -Opera series 51.25; (Mono only) COMPLETE CATALOGS included in every Series mentioned. WEBER: Trio for Flute, Cello, and Plus you get SCHWANN and HARRISON CATALOGS sent to members FREE, lists 25,000 albums and every available tape. RECORDING NEWS lists latest releases, audit Piano, in G minor, Op. 6 3 -Sec NslaYritra equipment, LP's and tapes on club "SPECIALS." Beethoven: Serenade for Flute, GIFT MEMBERSHIPS are welcomed. Lower enrollment costs in groups allow us to lower fee to 52.50 from the second membership on. (Five in your group brings enroll- Violin, and Viola, O. 25. ment cost down to only 53.00.1 IF YOU BELONG TO ANOTHER CLUB of similar features, you will find joining the UNIVERSITY RECORD & TAPE CLUB one of the most profitable extravagances YARDUMIAN: Symphonies: No. 1; ever! SATISFACTION GUARANTEED Full refund within 30 days if we don't please you No. 2; Chorale Prelude in every way. (We will!) FREE GIFT: 25 polyethylene jackets to protect your recordings. It's yours for acting , contralto (in Symphony quickly: let us prove to you that we are the BEST! No. 2); Philadelphia Orchestra, Eugene r Ormandy, cond. And while you're at it, I'd like gift memberships for the follow- COLUMBIA ML 6259. I.P. $4.79. university record ing people at $2.50 each with COLUMBIA MS 6859. SD. full lifetime privileges. $5.79. fl tape club L "Tape catalog needed" Name 509 Fifth Dept. HF 96 The music of Richard Yardumian is a Avenue. "Tape catalog only" New York, N.Y. 10017 Address popular conductor's dream. As Hans Sounds Great! Here's $5.00 - This covers my full cost for lifetime City & State Moldenhauer points out in his notes on Club privileges. Send the Free Catalogs and Club "specials." Satis- the jacket, this composer's "general style faction is guaranteed. Name Address is rhapsodic rather than classic, expan- Name sive rather than concise." His music is City & State Address also very richly scored and full of in- Name City State Zip genuities that might pass for inventions: Address it well above everything, goes down and r i Check Money Order C7 Cash City S State produces instant applause. But music L J CIRCLE 99 ON READER -SERVICE CARD

SEPTEMBER 1966 I I Two or three of these numbers have been on records before, but most of them are new to me, though I'm not an avid enough follower of the form neces- sarily to have heard all those available. To generalize (unfairly, for there's con- siderable variety of style and mood here), these numbers are by and large effective, flatteringly and shrewdly writ- ten for the voice, and rather predictable. atiscellan The only one to stick to my ribs is the haunting, well -built piece from El Rey Que Rabió-on the basis of my limited [..wiecitals- zarzuela listening, I should say that Chapí shows more substance than his colleague composers. The accompaniments are excellent, ditto the sound, and there are texts with WORTH translations, in addition to notes. C.L.O. MONTSERRAT CABALLE: Zarzuela Arias CANBY SINGERS: "The Dove De- Serrano: La Conción del Olvido: Marin - scending" ela, Marinela. Chapí: El Rey Que Rabió: Mi Tió Se Figura; El Barquillero: Cuando Brahms: O süsser Mai; Ach, arme Welt; WAITING Está Tan Hondo. Vives: Bohemios: No Das Mädchen; Ich aber bin elend. Hinde- Quiero Que Sepa Que Aqul Vengo Yo. mith: Frauenklage; Six Chansons. Gesual- Fernández: El Cabo Primero: Yo Quiero do: O vos omnes. Warlock: Corpus a un Hombre. Arrieta: Marina: Pensar Christi. Hassler: Cantate Domino; O en El. Luna: El Niño Judio: De España Aufenthalt meins Leben. Monteverdi: Vengo. Guerrero: La Rosa del Azafrán: Zefiro torna; Ohimè! Se tanto amate. No Me Duele Que Se Vaya. Penella: Carter: Heart not so heavy as mine; Don Gil de Alcalá: Plegaria y Invocación. Musicians wrestle everywhere. De Ser- FOR! misy: Au joly boys. Stravinsky: Anthem: Montserrat Caballé, soprano; orchestra, The Dove Descending Breaks the Air. Eugenio Marco, cond. RCA VICTOR LM 2894. LP. $4.79. Canby Singers, Edward Tatnall Canby, RCA VICTOR LSC 2894. SD. $5.79. cond. NONESUCH H 1115. LP. $2.50. This is the best Caballé recording to NONESUCH H 71115. SD. $2.50. reach domestic circulation so far. Not only does the voice sound exceptionally With a collection as varied as this one, beautiful, particularly in the upper - whether the effect is of daring imagina- middle area, where much of this music tion or of weird mishmash depends very lies, but the program calls forth a sense heavily on quality of performance. Re- of personal warmth and communicative- gretfully, it has to be said that in the ness that has not always been present present case the performances don't quite in Caballé's work to date. The zarzuela win the day -most of them are consci- arias, for all their formality and the entious but tentative -so that the rather DYNACO quasi -operatic formulas around which desperate application of one title to the many of them are built, induce a more entire album fails to convince the listener direct, natural style in her singing, in of any real unity. Neverthless there are which the effects and shadings that are some beautiful things here, ranging from at her command are always used to Claudin de Sermisy's exquisite chanson good expressive purpose, and never for to Elliott Carter's settings of Emily Dick- their own sakes -nothing sounds de- inson The four Brahms pieces are love- STEREO tached. ly music, and perhaps come off best in Occasionally we still hear the glottal terms of performance; but the Monte- attack, and in the Bohemios aria we are verdi madrigals, which in any case are conscious that the coloratura is not ab- vocally overweighted, cry out for a dif- solutely clean; but these remain only ferent level of virtuosity. Sound quality nits to pick, not serious flaws. The croon- is clean but not very vivid. B.J. ing glide of El Barquillero even makes 120 us feel there might be a good styling of Loesser's 1f I Were a Bell somewhere Music in the Caballé make -up-not that I'm GEORGE COPELAND: Piano suggesting it. of Debussy and Others George Copeland, piano. SUBSCRIPTION RECORDING GC1 /GC3. Three LP. $5.95 each (available Complete specifications through Wardle, 360 West are available on request. Constance 55th St., New York, N.Y. 10019).

DYNACO INC. Collectors of important pianism on rec- 3912 POWELTON AVENUE, ords will delight in the limited publica- PHILADELPHIA, PA. 19104 tion of three discs by the distinguished artist George Copeland. Now in his late eighties, and still playing occasional en- CIRCLE 30 ON READER -SERVICE CARD

I I2 HIGH FIDELITY MAGAZINE gagements, this fine American pianist herab. Die Walküre: Winterstürme wichen able to Melchior. He was a leading tenor was one of the pioneers of early twen- dem Wonnemond; Ein Schwert verhiess of the for many years, tieth- century music. A close personal mir der Vater. Die Meistersinger: Am a Bayreuth regular, and a member of the friend of nearly every composer from stillen Herd; Fanget an! Lohengrin: Das Metropolitan during the 1930s and again Debussy on, Copeland was instrumental süsse Lied verhallt. for a few seasons after the War; he in in gaining classic status for them through later was able to specialize character years of persistent performance. These Else Gentner- Fischer, soprano (in Pur roles (e.g., Herod), and now lives in are his first LP records to be issued ti riveggo); Kate Heidersbach, soprano Munich, where he is prominent as a since his M -G -M releases of the Fifties (in the Lohengrin); Max Lorenz, tenor; teacher. vanished from the catalogue. orchestras [from various originals, 1920s The Wagnerian portions of this disc Inasmuch as most of the performances and 30s]. are most impressive, especially a vital and verhiess mir der preserved here are of recent vintage ODEON E 83394. LP. $5.79. powerful "Ein Schwert (some recorded as late as October 1965), Vater," which has some true heroic ring, very half the one should not expect of the octogenarian Max Lorenz is generally regarded as and the beautiful first of player the ultimate in spit- and -polish second only to Melchior among Heiden- Bridal Chamber Scene with Kate Heid- technique; of course there are a few tenors of the 1930s and 40s- indeed ersbach, which is fresh, firm, and sensi- labored moments. Furthermore, there are some opera lovers insist that in the more tively phrased -a pity that it does not certain stylistic anachronisms in Mozart's lyrical Wagnerian roles he was prefer- continue through the " Höchstes Ver- C minor Fantasy, K. 475, as would be perfectly reasonable to expect from an artist who received his training in the not yet "enlightened" nineteenth century. Yet the important fact is that the lapses and musicological transgressions are so NEW! UNIQUE! LOW -PRICED! few and, ultimately, so unimportant. Copeland, indeed, was a major shaping force on contemporary instrumental style. This is to say that his approach tends towards architectural solidity and sobrie- ty. One will find little of the breaking WORLD between right and left hands, little in the way of exaggerated rubato or any of the numerous other excesses common among artists of an older generation. 1ST RELEASE Of the repertoire contained on the present discs, the lion's share is devoted BEETHOVEN Piano Sonatas: No. 17 "Tem- to Debussy. Copeland's approach to that pest," No. 18. Clara Haskil. PHC 9001 master might be defined as expressionist RAMEAU Castor et Pollux: Ballet Suit% than impressionist: Rouault is GLUCK Orphée: Ballet Suite. London Sym- rather ALBUMS DRAWN FROM THE GREAT phony /Charles Mackerras. PHC 9002 present in his interpretations more than PHILIPS INTERNATIONAL CATALOG Renoir. He invests the music with broad - TELEMANN Don Quixote Suite, Suites fo. Orchestra in G and C, Dance Suite. The Rouen boned, solidly drawn contours expressed Chamber Orchestra /Albert Beaucamp. PHC in terms of a pungent, massive tone so- Repertory from Gregorian 9003 nority. His point of view might be de- Chant to Ives and Bartók GEMINIANI Concerti Grossi, Opus 7. scribed as thoroughly masculine, and a Musici. PHC 9010 somewhat more objective likeness of Performances by renowned way with literature. RAVEL Piano Music (complete). Werner Haas Cortot's the identical artists of our century and ex- PHC 2 -001 Beside the usual helping of Preludes, pieces from the various suites, and citing new talents just re- HANDEL Water Music (complete). Concertge- short bouw Orchestra of Amsterdam /Eduard van miscellaneous morceaux, Mr. Copeland's ceiving world recognition Beinum. PHC 9016 own transcription of Debussy's Prélude Brilliantly recorded Hand- BACH Ten Chorale Preludes. Marcel Dupré is à l'après -midi d'un faune a pleasant organ. PHC 9017 novelty (on GC No. 2). Equally impor- somely packaged tant from a historical standpoint are the IVES Sonatas for Violin and Piano (complete). BARTÓK Sonata No. 2 for Violin and Piano. short selections by Spanish composers Rafael Druian, violin; John Simms, piano. PHC such as Albéniz, Granados, Pittaluga, 2 -002 in and Mompou-heard here completely SCHUBERT Piano Trios (complete). The idiomatic renditions. And, as implied &ó Beaux Arts Trio. PHC 2 -003 above, while taking the general approach CONTAIN DISC WORLD PREMIERES MOZART Bastien und Bastienne (complete). with a grain of salt, one can appreciate Soloists, Vienna Symphony /John Pritchard. beautifully wrought details in the Mozart PHC 9024 Faschingsschwank Fantasy, Schumann and works by Sweelinck, Corrette, Pierre de la aus Wien, Rameau Les Grande seigneurs, Rue, J. S. Bach, J. C. Bach, Ovofák, Tchaikov- and the J. S. Bach /Rummel Jesus, sky, Liszt; Classical Harp Concertos by J. C. Christus, Gottes Sohn. Bach, Petrini, Eichner; Rococo Quartets by CONTAIN WORKS AVAILABLE FOR THE composers of the Mannheim School, and The sound on all the selections never FIRST TIME AT A BUDGET PRICE Gregorian Chant. falls below the level of fairly good, and much of it is very fine indeed. The

artist's characteristically full- bodied ap- PRECEDENT -SHATTERING AT ANY PRICE -NOW YOURS FOR proach is aptly conveyed, and that is the important thing. H.G. record for both stereo and mono: These STEREO records can also be played cn any mono phonograph with a modern lightweight pickup with- MAX LORENZ: Operatic Recital out damage to the modulated groove.

Weingartner: Liebesfeier. Bizet: Carmen: Send for catalog to PHILIPS RECORDS Flower Song. Verdi: : Celeste Aida; 745 Fifth Avenue, New York, N. Y. 10022 Pur ti riveggo, o mia dolce Aida. Wag- ner: Rienzi: Allmiicht'ger Vater, blick' CIRCLE 97 ON READER -SERVICE CARD

SEPTEMBER 1966 11 3 trae'n" and the remainder of the scene. yet heard the mono edition). Three of the The "Winterstiirme" is also extremely five selections will be familiar to connois- musical and steady, though personally I seurs. The double concertos in D by like a firmer treatment of the line; Manfredini and in C (P. 75) by Vivaldi Lorenz aims at nuance and shading, but have appeared earlier in Vols. 2 and 1 winds up losing the forward movement respectively of the Vanguard "Virtuoso" of the music a bit. The Weingartner song series; the familiar Torelli Concerto in which opens the recital is also beautifully D was recorded by Voisin in Vol. 4 of Wanted sung, with an almost Tauber -like his Kapp series. Another, shorter, ingra- warmth. tiatingly lyrical Torelli Concerto in D The other selections reveal the sing- is new to my ears, as is a more cere- IN TRADE er's limitations, however. The upper monial but not particularly engaging range seems never to have acquired quite Concerto in C by Albinoni. the security and freedom it needed, and Turning to "The Golden Age in Bo- often sounds dry and effortful by com- logna, 1650- 1750," the third release parison with the rest of the voice -this in the deservedly famous Vanguard "Vir- OLD TUNERS is most noticeable in the Aida selections, tuoso Trumpet" series, is to jump from where the B flats are strained and lack- the routine to the very best available AMPLIFIERS ing in ring, and where he has difficulty today both in musicianship and in sound maintaining a real legato. The Rienzi reproduction. (Insist on the stereo edi- SPEAKERS, ETC. prayer is also surprisingly uninteresting tion: excellent as the LP is technically, -the turns have no flourish to them. monophony just can't provide the airy In sum, Lorenz impresses as a musical expansiveness best -suited to the festive and intelligent singer, at his best in music and exuberant playing here.) To medium- weight Wagner, but a long way the best of my knowledge, most of these from the vocal and interpretative phe- selections are likely to be new even to REWARD: nomenon of Melchior, a conclusion specialists. Torelli is featured with three borne out by the rather early age at fine works: the high -stepping G. 20 and which his singing went into noticeable grandly ceremonial G. 30 Sinfonias THE decline. (both of them with two trumpet solo- The transfers are well done -a little ists, the latter with duo oboe. violin, and BEST EQUIPMENT surface noise, but at least not excessively cello soloists in addition) and the sturdy monitored. Heidersbach is a lovely lyri- G. 1 Sonata for solo trumpet and strings. cal partner in the Lohengrin, but Else Then there is another Sonata with solo AT A FRACTION Gentner -Fischer's contribution to the Nile trumpet by Domenico Gabrieli. Still more Scene duet does not constitute an over- novel are a dashing Two -Trumpet Sonata OF THE COST! powering selling point. Since this is one by Giuseppe Jacchini (fi. 1688 -1727) of Odeon's "Goldene Stimme" releases, and a brilliant three -movement Two - a couple of bands of reminiscent chatter Trumpet Sonata by Giuseppe Aldrovan- by Mr. Lorenz are included. Everything dini (c. 1665- 1707), who appears here, I is sung in German. C.L.O. believe, in his first recorded representa- tion. And perhaps most exhilarating of all is an anonymous Two-Trumpet Sin - MUSIC FOR TRUMPET fonia remarkable for its characteristically late -baroque energy, for its unique scor- Edward H. Tarr, Helmut Schneidewind, ing of three violin parts, and for a formal Wolfgang Pasch, trumpets; Württemberg structure comprising a short introductory Chamber Orchestra, Jörg Faerber, cond. Adagio (with trumpets tacet), bustling Like this Marantz Model 7T Solid Heinz Zickler, Herbert Thal, trumpets; fugal Allegro, and a rocking final Al- Chamber Orchestra, Günter Kehr, legro in Saltarello style. R.D.D. State Stereo Console ... the finest cond. available. TURNABOUT TV 4057. LP. $2.50. TURNABOUT TV 34057. SD. $2.50. For details, get our famed Trad- NEW YORK CHAMBER SOLOISTS: "Pages from the Notebook of Anna ers' Handbook and list of used Helmut Wobisch, Adolf Holler, trumpets; Magdalena Bach" Solisti di Zagreb, Antonio Janigro, cond. equipment . . . both FREE! Write VANGUARD BG 685. LP. $4.79. New us at: VANGUARD BGS 70685. SD. $5.79. York Chamber Soloists. DECCA DL 9426. LP. $4.79. 239 Mamaroneck Ave., There is good value for one's money DECCA DL 79426. SD. $5.7$ White Plains, N.Y. in Turnabout's bargain- priced "Italian The idea dept. H 9 Baroque Trumpet Concerti," but -none behind this record is so charm- of the relatively unfamiliar soloists is ing that the few defects in its execu-

r PLEASE SEND ME FREE TRADERS' individually distinctive, and while the tion seem unimportant. Harpsichordist HANDBOOK AND USED EQUIPMENT LIST: spirited performances are brightly re- Albert Fuller, who seems to be the guid- ing spirit of the New York Chamber NAME: corded, the sonics are decidedly light- weight (in stereo at least; I haven't Soloists, has taken a selection of pieces ADDRESS: from the 1725 notebook for Bach's second wife and presented them in a variety of settings, as he imagines they dept. H 9 might have been performed by the numerous Bach family in the course of domestic musical evenings. Some of the LO S ilin, *NO UcHaDIO .IUS,Y hi ( i 57010 instrumental pieces- marches, polonaises, minuets, and the like by C. P. E. Bach nee and others -are given varied coloring o by a handful of woodwind and string STORES Also in Manhattan. Jamaica, soloists; others -a prelude, allemande, Brooklyn, Manhasset and Stamford and corrente by J. S. himself-are played 1I in their original solo harpsichord form. CIRCLE S ON READER -SERVICE CARD

Il -J HIGH FIDELITY MAGAZINE to my ears, particularly There are also seven vocal pieces, in- quality is not, low dynamic levels, cluding the aria " Schlummert ein" also beautiful except at is firm and focused, not at all found in a slightly different version in but it The Russian -lan- Cantata No. 82 (Ich habe genug), and constricted or heavy. are, for me, the A the exquisite Bist du bei mir, which is guage contributions in fact the Prince Igor nowadays believed to be by Gottfried most satisfactory; rendition on Heinrich Stölzel. aria can stand beside any stupendous Dame excerpts are, In general the results are delightful. records. The Pique in French at least the In the songs, Charles Bressler's strained regrettably. -but article, and most vocal production is outweighed by his French is the authentic recording s manly voic- sensitivity and musicianship -though welcome in Rogatchewskÿ Massenet, Gounod, and Bizet perhaps a few more embellishments ings of the is the Lohen- of would have been in order -and his Ger- arias. A pleasant surprise just about the only instance man is above average for an American grin farewell, is fine singer. Fuller seems embarrassed by the I know in which a performance French any- length of the E minor Corrente (from enough to make Wagner in is moder- BEETHOVEN's what was later published as Partita No, thing but preposterous. There a few selec- 6), and spoils it by the omission of re- ately heavy surface noise on is high quality peats and the adoption of a breakneck tions, but the vocalism of all elec- tempo, but this is the only serious mis- throughout, and the recordings NINTH calculation on the disc. Most of the trical. C.L.O. performances capture exactly the right note of intimacy, and I was sorry when SYMPHONY the turn- TATUM: Operatic Recital 1 had to take the record off NANCY table and get on with the serious business of writing about it. The recording is Wagner: Tannhiiuser: Dich, teure Halle; Oberon: acceptable rather than outstanding: there Allmiicht'ge Jungfrau. Weber: Monster. Der Frei- is little to choose between stereo and Ocean, Thou Mighty Er- JOAN SUTHERLAND mono pressings -both are clear enough schütz: Und ob die Wolke. Verdi: Aida: O patria but a shade lacking in warmth. B.J. nani: Emani, involami. mia. : D'amor sull'ali. Pon - chielli: : Suicidio! JOSEPH ROGATCHEWSKY: Vocal MARILYN HORNE Recital Nancy Tatum, soprano; Vienna Opera Orchestra, Argeo Quadri, cond. Gluck: Orphée: Objet de mon amour. LONDON OL 5955. LP. $4.79. Armide: Plus j'observe ces lieux. Bizet: LONDON OS 25955. SD. $5.79. JAMES KING Pécheurs de perles: De mon amie. Mas- senet: Werther: Invocation ù nature; Since it is not the usual thing for a Pourquoi me réveiller. Gounod: Séré- newcomer to be launched by a major nade; Faust: Rien! En vain j'interroge. recording company with a solo recital Wagner: Lohengrin: Lohengrins Ab- disc, it is evident that London has large MARTTI TALVELA schied. Borodin: Prince Igor: Cavatina. hopes for this young American soprano. Rimsky -Korsakov: May Night: Lorko's And the voice is unquestionably an in- Romance. Tchaikovsky: Pique Dame: strument of considerable potential, for it Pardonnez -moi; Quelle est notre vie. seems to have the heft and thrust of Gretchaninov: Cradle Song. Liadov: the true hochdramatische Sopran. At Cradle Song. the moment, however. Miss Tatum is HANS far from being a finished singer; the tone Joseph Rogatchewsky, tenor; piano; or- is often tremulous and spread, and SCHMIDT - chestra [from various 78 -rpm originals, vague in intonation. As with so many 1920s and 1930s]. young sopranos these days, her chest ISSERSTEDT Rococo 5232. LP. $5.95. notes are poorly developed and incom- pletely integrated with the rest of her conducting Joseph Rogatchewsky was a Russian range, which does not prevent her from singer with a naturalized French operatic attempting big effects with them. identity; he was a leading tenor in Paris Nor are her musical and interpretative THE VIENNA and (especially) Brussels at the Mon - instincts yet developed; the climax of naie, throughout the 1920s. He became "Dich, teure Halle" sounds not ecstatic PHILHARMONIC director of the Monnaie for a six -year but furious, and both the "Allmiicht'ge period in the 1950s. American record Jungfrau" and "Und ob die Wolke" are ORCHESTRA collectors know him best as the Des approached through a very unpoetic Grieux of the old Columbia Manou series of stabs at the notes. The Italian opposite Germaine Féraldy. Apart from side is not better -the " involami," THE VIENNA STATE that and the Amide aria included above, for example, is dreadfully literal and which has also been in print on an unidiomatic, with no attention paid even OPERA CHORUS Eterna potpourri of Gluck excerpts, I the marked rubati, no polish in the do not believe that he has been repre- phrasing or grading of dynamics, and a sented on domestic LP. preposterously slow tempo, obviously be- Mono A -Sí59 Stereo OSA -1159 The present selection certainly shows cause the voice is too ponderously han- him to excellent advantage. His Des dled to move any faster with anything ap- Grieux on the complete set is uneven, proaching accuracy. And so on. with some fine vocal moments and a The sound is fine, and I rather like ,C0ND0rffrr wealth of the right sort of feeling Quadri's pointing of the accompaniments partially compromised by strained sing- when he is not clearly accommodating ing at odd spots. Here he makes a much the singer, as is the case in the E_ruani more consistent impression, showing aria. The scena from Oberon is sung in much vocal control and finesse to go its original English: "thou mighty mon- with the healthy, resonant tone. The stair." C.L.O.

SEPTEMBER 1966 115 A SELECTIVE GUIDE TO THE MONTH'S REISSUES :1iRepeat Perfor mance

BERNSTEIN: Trouble in Tahiti. Beverly to no expressive end. The Piston, on the Wolff (ms), David Atkinson (b), et other hand, is a beautifully structured al.; orchestra, Arthur Winograd, cond. three -movement work with lovely lyric 01.00K AGAIN! Heliodor H 25020/ HS 25020, $2.50 ideas set in the composer's characteris- [from M-G -M 3646, 1958]. tically muscular contrapuntal and as- IIIIIIIIIIIL Leonard Bernstein's operatic satire on tringent harmonic language. Wild and the THE PRICE ON YOUR suburbia, tracing a typical day in the life Walden Quartet give it their consider- IM QUOTE IS CORRECT MS of a typical middle-class couple, is not able best; Masselos does what can be LOW OF COURSE! OM one of his better works. The subject done with the Hovhaness. Bright, for- ME DIXIE IS Largest discount High _ might have promise, but here the husband ward sonics for the Quintet; the acoustic _ Fidelity component distributors in and wife are so hopelessly repellent and for Khaldis is overly brittle and harsh. the South. Wholesale prices on pack- Bernstein's verbal barbs so 1.111 age or individual components. Latest _- sophomoric E. models in factory sealed cartons that the intended irony never comes off. SHOSTAKOVICH: Symphony No. 1, in shipped immediately from our ware- Musically. the piece has house. Special attention given to occasional F, Op. 10; The Age of Gold, Ballet _ Audio Clubs, Churches and Schools. flashes of wit: the vocal trio which Suite, Op. 22. London Symphony Or- For Special Price Quote -Write OM frames the action and comments upon chestra, Jean Martinon, cond. RCA the joys of suburban living is a deft take- Victrola VIC 1184, $2.50 /VICS 1184, off in the style of a singing commercial; $3.00 [from RCA Victor LM /LSC and Dinah, the wife, has a show-stopping 2322, 1959]. DIXIE aria lampooning a Hollywood epic of Look no further for a handsomely played HI FIDELITY WHOLESALERS the Dorothy Lamour /South Seas variety. inexpensive version of the nineteen - 703 HORTON DRIVE Both numbers deserve a place in a better year -old Shostakovich's first symphonic SILVER SPRING MD show. The performance is adequate, and effort. Aside from the needless side - the sound is appropriately harsh and break just two minutes into movement brassy. Effective use is made of stereo four (putting the ballet first on the disc in spatially pinpointing the numerous would have solved the problem), this CIRCLE 26 ON READER-SERVICE CARD brief tableaux. robust performance fills the bill perfect- ly. The thinly written Age of Gold Suite MENDELSSOHN: Octet for Strings, in (not at all a satire on the capitalist sys- E flat, Op. 20; Sinfonia for String tem as the liner ELLING I notes pretend -it relates HI-f Orchestra, No. 9. String Orchestra, the romance of a Russian athlete and a Arthur Winograd, cond. Heliodor Fascist spy) does not wear especially ORLD WIDE H /HS 25021, $2.49 [from M -G -M well. Its improbable story and bad -boy, 3668, 1958]. wrong -note music might possibly appeal The Octet sounds extremely effective as to Camp followers, however. Martinon NCE 1948 translated into string -orchestral terms, underplays the score's eccentricities, and Winograd's group plays it superla- which is either a mistake or a blessing, COMPONENTS RECORDERS tively, scampering through the youthful depending on how you react to the mu- KITS SPEAKER SYSTEMS TAPE score with taut precision and lyrical ef- sic. The sound is excellent. fervescence. The Sinfonia, discovered LOWEST PRICES over a decade ago in an East Berlin li- STRAUSS, RICHARD: Sinfonia do- SAME DAY REPLY brary, also fares well in a lovely per- mestica, Op. 53. Chicago Symphony TO YOUR INQUIRY formance. The enhanced stereo tends to Orchestra, , cond. RCA dissipate the mono's sharply focused con- Victrola VIC 1004, $2.50/VICS MFRS. SEALED CARTONS 1104, tours. $3.00 [from RCA Victor LM 2103, DOUBLE BOXED 1957]. WHEN POSSIBLE PISTON: Quintet for Piano and Strings. Music critics are still wincing at Strauss's FAST, INSURED SHIPMENTS HOVHANESS: Concerto for Piano, autobiographical Sinfonia domestica. PACKAGE DEALS Four Trumpets, and Percussion ( "Khal- "The biggest bouquet of flowers a corn - dis"). Earl Wild, piano, Walden String poser ever SAVE YOU MORE threw at his own feet" . . Quartet (in the Piston); William "tasteless revelations of family intima- FRANCHISED DISTRIBUTORS Masselos, piano, instrumental ensem- cies" . "overblown, overwritten, over- FOR OVER 50 MFRS. ble, Izler Solomon, cond. (in the Hov- wrought...." It is arguable that Strauss's OPEN MONDAY THRU haness). Heliodor H 25027/HS 25027, scenes of home and hearth are not com- SATURDAY $2.50 [the Hovhaness from M -G -M patible with his large symphony orches- 3160, 1957]. tra, and perhaps TEN CENT 1 -HOUR PARK- the work is not a pro- Like a great many discs of contemporary foundly Hofmannsthalian comment ING METERS AT PREMISES on music, this set couples two works cast in matrimony and parenthood. But on its Send for widely divergent styles. Perhaps there are own terms the music is immensely re- FREE "MONTHLY SPECIALS" people who will respond with equal en- warding and quite pleasurable: the in- of Components, Tapes thusiasm to the cool, sinuous lines of vention is almost comparable to that of and Cartridges. Piston's classically abstract Piano Quintet the composer at his best, the thematic and to the hot, Armenian working RRA WRIF FOR MONTHLY SPECIALS exotic flavor out of the material is fiendishly I if) VISIT OUR STORE of Hovhaness' Khaldis. The latter strikes clever, and the orchestration is dazzling. CAR ETO n,e;,,, me as a facile and empty piece of clut- Reiner's performance is a trifle busi- ter, juggling Eastern modes and melodic nesslike, but preferable to its only rival, 1686 -F Second Ave. I Nr. 871, N.Y. 10028 styles with Western canonic procedures Szell's Columbia disc of two years ago, CIRCLE 15 ON READER -SERVICE CARD

I I () HIGH FIDELITY MAGAZINE supposedly illustrates tie opera's message. which is even more strait -laced (albeit which Russian ensembles always seem to refrain at both the be- superbly executed). The Chicago Orches- cultivate in their Tchaikovsky. Add some stated in a choral brilliantly but without that of the cleanest stereo sound ever heard ginning and end of the work, that under- tra also plays are vital to last ounce of Gem%itlichkeit one would from beyond the steppes to a bargain standing and participation Since in this case understanding like. The sound is vintage 1957, although price and you have Nutcracker excerpts learning. and participation lead directly to death. I found that levels fluctuated in several to conjure with. moral of which is spots. A bargain nonetheless -and a the little homily (the Jasager. Josef Protschka Brecht's invention -in the Japanese orig- must if your Straus s. collection is lacking WEILL: Der inal the boy is not given a choice) seems a Domestica. (boy s); Lys Bert (ms), Willibald Vohla (b); Düsseldorf Children's Cho- rather ambiguous. to Brecht's TCHAIKOVSKY: The Nutcracker, Op. rus and Chamber Orchestra. Siegfried Weill evidently responded 7/ (excerpts). Bolshoi Theatre Orches- Kohler, cond. Heliodor H 25025 HS unconvincing tale. The lean, unsenti- full tra, Gennadi Rozhdestvensky. cond. 25025, $2.50 [from M -G -M 3270, mental, yet oddly touching score is Monitor MC /MCS 2104, $1.98 [from 1956]. of melodic interest and, although the or- well vocal parts could Artia 180 /81 and S 180/81, 1963]. A Weill Brecht collaboration composed chestral as as Taken from a receit Russian recording in 1930. Der Jasager (freely translatable conceivably be handled entirely by chil- of the complete billet, these selections as The Boy Who Said Yes) is based on dren, there are no musical compromises. comprise nearly half the score and in- a Japanese No play which relates how We are constantly reminded that Weill clude all the familiar items. Less fre- a boy on his way across the mountains was an extraordinarily original composer quently heard is the swinging Journey to fetch medicine for his ailing mother and craftsman. The cast, under the super- espe- Through the Snow with its charming ob- becomes ill himself and agrees to be vision of Lotte Lenya, is superb, bligato for children's voices. The or- tossed off a cliff rather than encumber cially the strong -voiced youngster who am- chestra is thoroughly versed in this mu- and thereby endanger his companions in plays the boy. The dry acoustical DAVIS sic, and I rather like the grainy sonority the difficult descent. The boy's sacrifice bience is very apt. PETER G.

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CIRCLE 98 ON READER- SERVICE CARD SEPTEMBER 1966 I17 Proclaiming the Solid State record.

the kind of sounds you like, either full dynamic range and minimum -the initial release features six al- distortion. bums with the finest in jazz, popu- Solid State* is the first line of al- lar instrumentals and vocals, even bums tailor -made for solid state exotic South Pacific music. Meticu- apparatus. At the same time, these lous attention has been paid to recordings are guaranteed to en- each performance; the resulting hance any system of reproduction, Why. artistic values are impeccable. from the simplest to the most elab- Solid State* albums are re- orate. Absolute compatibility is corded exclusively with solid state assured. equipment. The recording console The Solid State* format is one of 28 microphone honest reproduction- Using solid state electronics, contains inputs. All without gim- post- mixing is transistor- presented in its manufacturers of listening equip- done on micks- truest form, ized gear and checked on solid to accomplish the ultimate in ment have succeeded in reducing dy- intermodulation and distortion. state home systems. You will hear namic range. Available wherever an absolutely clean recording with fine records are sold. Now, United Artists has developed a new line of recordings designed especially for solid state equip- ment. We call it Solid State* so you'll have no trouble remember- ing it. You'll have no trouble finding A Division of United Artists Records, Inc. 'Trademark O 1966 United Artists Records, Inc.

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MANNY ALBAM: JIMMY MAGRIFF: JIMMY McGRIFF: TNAD JONES MEL LEWIS: ROHE BAND: WILL BRONSON PRESENTS BRASS ON FIRE THE BIC BAND A BAC FULL OF SOUL THE JAll ORCHESTRA EXOTICA 1970 THE IN CROWD SINGERS Stereo SSIB000, Mono SM 17000 Stereo SS1B001, Mono SM 17001 Stereo SSIB002, Moo. SM 17002 Stereo SS111003, Mono SM 17003 Stereo SSIB004, Mono SM 17004 Stereo S518005, Meno SM 17005, CIRCLE 89 ON READER -SERVICE CARD 118 HIGH FIDELITY MAGAZINE Bert Kaempfert: "Strangers in the Night." Decca and a repertory of songs that comes mainly from the 4795, $3.79 (LP); 74795, $4.79 (SD). teen -ager's Top Forty, leavened by film themes and Bud Shank: "California Dreamin'." World Pacific an occasional dance favorite from an earlier era. 1845, $3.79 (LP); S 1845, $4.79 (SD). A key figure in this trend is Bert Kaempfert, the The Mariachi Brass: "Hats Off." World Pacific 1842, German arranger and conductor who is to the new $3.79 (LP); S 1842, $4.79 (SD). sound what Glenn Miller was to the dancing sound Sammy Kaye: "Shall We Dance." Decca 4754, $3.79 of the early Forties. Kaempfert's use of a relaxed (LP); 74754, $4.79 (SD). but positive beat, crisp, prodding trumpet solos, a strong supporting bass line, and ensembles that has received the ac- CAN IT BE that we are on the threshold of a mingle instruments and voices new golden age of dance music? If not golden, colade of wide imitation (along with Herb Alpert's then at least brass-which is one of the more prom- Tijuana Brass, it is the most imitated personal style inent sounds in the new dance music. Current sounds of the new dance music). "Strangers in the Night" and portents suggest this may be the case. The music is not only an excellent showcase for the Kaempfert played by today's new bands takes its cue from the approach but it also demonstrates his skill at pro- past, offering much the same mixture of pop music, gramming old songs, current tunes, and his own jazz, and Latin rhythms that provided the basis for compositions. the dance music played by the famous bands of the Both the Mariachi Brass and Bud Shank sets Thirties and Forties. To judge from the four discs feature the flugelhorn of Chet Baker, thus bringing under consideration, it all seems to be happening jazz elements into the picture (both Shank, a saxo- again -and with very promising results. phonist, and Baker gained their initial fame as jazz The pattern of this new dance music, shaped by musicians). The Tijuana Brass feeling is present, discothèque dancing and tempered by the calming wordless voices hover in the background, the beat influence of bossa nova, is characterized by an em- stems from the twist, and the material is largely phatic beat (often a shuffle rhythm) usually under- current pop (although the Mariachi Brass have fun lined by a twangy guitar, a fondness for trumpets with that venerable jingle, Chiquita Banana). (either solo or in Tijuana brass ensemble), vocal Sammy Kaye, who had a readily identifiable style groups that weave in and out in instrumental fashion, and sound of his own in the Thirties and Forties, has abandoned that musical identity to take on a com- pletely contemporary sound. On this Decca disc, he seems intent on touching all the bases -Kaempfert, Alpert, Beatles, Batman, movie themes, old songs, organ, trumpet, bass guitar, shuffle rhythm. His arranger is Charles Albertine, who years ago wrote crisp, clipped orchestrations for Les and Larry Elgart's orchestra and now finds that, with the Elgart tempos picked up a bit and a greater variety of instrumental sounds at hand, he had anticipated much of the new dance technique. At the moment, this dance music often seems stylistically repetitious because the recording com- panies are copying whatever is successful. But as more Kaempferts and Alperts arrive -and the music seems sufficiently fertile to attract more creative minds -it should acquire greater variety. Meanwhile there is more spirit and fun and free -flowing melody and rhythm in these discs than has come from instru- Bert Kaempfert: key igure for a new dancing age. mental pop music in a long, long time. J.S.W.

SEPTEMBER 1966 119 West: ew... Mae "Way Out West." Tower ican / Can't Give You Anything But 5028, $3.79 (LP): S 5028, $4.79 (SD). Lore, Bye Bye Blues. and That Old This pairing of Mae West with rock 'n' Black Magic in a manner that focuses from roll is the work of an incredibly per- on rhythm, keeping the melodic develop- ceptive mind. Miss West, as we know, ment relatively simple and direct. has her own unique way of giving a While Bonfá and Byrd incline towards personal comeuppance to the conven- single string expositions, Van Eps, who tions common to popular songs of an uses a seven -string guitar of his own COMMAND earlier era. Who would think that there design, prefers a fuller, chorded style. was a legitimate relationship between Accompanied only by Frank Flynn on Miss West's on- the -line kidding of an vibraphone and a variety of percussion old -hat style and the contemporary mode instruments, Van Eps employs a swing- of popular song? As it turns out, rock ing beat that is more emphatic than the 'n' roll is a perfect vehicle for Miss gentler rhythms of Byrd and Bonfá but \Vest's side -of- the -mouth innuendoes. In which, for his purposes, is no less effec- tact, today's lyrics offer her even more tive. All in all, each collection is delight- opportunities for innuendo than her old ful and each has its own special cachet. LIVE! repertoire. But the surprises do not stop here. "Mame." Angela Lansbury, Beatrice After years of listening to Miss Arthur, Jane Connell, Frankie Mi- West mutter and moan her way through chaels, Original Cast. Columbia KOL a song-and she still moans and groans 6600, $5.79 (LP); KOS 3000, $6.79 in typical West fashion -it is startling to (SD). hear the strong. lyrical voice she oc- The musical version of Patrick Dennis' casionally summons up here. A listener book about his free and easy, live -it- accustomed to such movie sound track up Auntie Mame comes off far better fakery as the voice of Marni Nixon on this disc than it does on the stage. coming from the throat of Audrey Hep- On the record, the basic vulgarity of the burn is tempted to assume that a similar book and the triteness of the staging procedure is in operation here. But the are happily not in evidence. The only more one listens to the open, forthright really overt intrusion from the stage pro- nice, the more one becomes convinced duction's collection of familiar devices that this must be the real West. She has is the title song, which Jerry Herman a distinctive timbre, an underlying rasp, has carefully patterned on his own and a personal inflection that could not Hello, Dolly! In addition to Mame. he duplicated by a vocal stand -in. So Herman has written one great song, If Miss West has rejuvenated herself for He Walked Into My Life, and three the umpteenth time in The LIVE Sound .. and, the process, lively, catchily rhythmic pieces -Open has done quite a bit for such songs as a New Window, We Need a Little Christ- The Sound of ACTION I)aytripper..SIlcrkin' All Over, and Treat mas, and That's How Young I Feel - Him Right. which is considerably more than most The Sensational recent musicals have offered. The show DOC SEVERINSEN SOUND Luiz Bonfá: "The Brazilian Scene." --a mixture of sentimentality and satire, Philips 200208, $3.98 (LP); 600208, both laid on with a heavy hand and, Here's that fascinating new sound created by $4.98 (SD). in some respects, with a warped sense of Doc Severinsen . Charlie Byrd: "The Touch of Gold." Co- . the sound that took New York by storm at humor -touches on high life in the Basin Street East ... lumbia CL 2504. $3.79 (LP); CS 9304, gin- soaked Twenties, the picking up of the sound that led to two extensions of $4.79 (SD). Doc Severinsen's original engagement at that the pieces during the Depression, and famous New York night club ... George Van Eps: "Nly Guitar." Capitol through it all Mame's vague attempts the sound that swept out across the coun- 2533, $3.79 (LP): S 2533, $4.79 (SD). try wherever the Doc Severinsen Sextet appears. to raise her nephew. Angela Lansbury The original Severinsen Sound. built around Charlie Byrd, Luiz Bonfá, and George sings Mame in a husky voice and with a Doc's brilliant trumpet and the dazzling alto saxo- Van Eps are guitarists of differing back- determined manner tends phone of Arnie Lawrence, glows with special live, that to be a active color in these performances as Doc takes grounds who are finding some common shade glib; fortunately, however. she de- a completely new and unexpected approach to ground in the current guitar renaissance. livers the score's big moment, If such familiar tunes as Summertime He and When These discs find all three men in a Walked Into My Life, the Saints Come Marching In . . with power and Reveals a unique and moving ballad style contemporary setting. and each treats his feeling. Beatrice Arthur, in the standard on I'm Confessin' and . Georgia on My Mind . . material with a distinctively personal Lets his comedy spirit run rampant on My worldly- wise-cracking role that Shirley Melancholy Baby . . . touch. Both Byrd and Bonfá have dis- Booth and Eve Arden used to play, uses Gives his own very personal treatment to criminating and helpful ac- a If He Walked Into My Life, Strangers in the Night, orchestral Bankhead -like contralto to good effect Michelle. companiments. Charles Calello has pro- in two songs of somewhat dubious wit, Man Alive! This Severinsen Sound is live! vided Byrd with arrangements involving while Jane Connell, an object of sick WHEN THE SAINTS COME MARCHING IN strings, a French horn. and a group of humor on the stage, on the disc disen- I'M CONFESSIN' THAT I LOVE YOU singing girls, all of which become passing gages herself from that atmosphere DOWN HOME MELODY SUMMERTIME to IF HE WALKED INTO MY LIFE (From accents and colors to set off Byrd's at- make Gooch's Song an appealing tour "Mame ") CIELITO LINDO SUNDAY tractively melodic playing. The pervasive de force. MORNING GEORGIA ON MY MIND STRANGERS IN THE NIGHT MELAN- hack beat of current pop music under- CHOLY .BABY MICHELLE MOTHERS lies most of Byrd's performances, but it Anthony Newley: "The Genius of An- AND DAUGHTERS =901 is used with sufficient subtlety to avoid thony Newley." London LL 3361, AVAILABLE IN STEREO AND MONAURAL any sense of constriction. $3.79 (LP); PS 361, $4.79 (SD). RECORDS AND 4.TRACK TAPE Bonfä s backing includes trombones, The fact that the stereo version of this Write for our new, full color brochure of all Command releases...it's FREE! strings. and Jerome Richardson's flute, disc is described as "electronically re- World Leader in but he establishes his own rhythmic processed" suggests that the recording Recorded Sound settings, as a rule something suggestively was made in pre- stereo days. Yet the RECORDS Latin. His own works form the basis for inclusion of a tune such as What Kind C his program and they are often quite of Fool Ant I? indicates that at least A subsidiary of charming -A vacado. Embolada, and some of the selections come from the abc - RECORDS 1330 Ave. of the Americas .Samba /ero are particularly pleasing. He stereo era. In this performance What New York, N. Y. 10019 plays these as well as the familiar Amer- Kind of Fool is a thin, low -keyed sing- CIRCLE 20 ON READER -SERVICE CARD HIGH FIDELITY MAGAZINE OLD PHILOSOPHIES ALL CIUAD AND MODERN HI-FI PRODUCTS AVAILABLE FROM STOCK

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Specialists in it t *),11111111 ®------QUAD Service Ask your Hi -Fi Dealer for full details or write to Ref. HFI ACOUSTICAL MANUFACTURING CO. LTD., HUNTINGDON, ENGLAND CIRCLE 5.4 ON READER-SERVICE CARD SEPTEMBER 1966 121 ing effort by Newley, but such un- pace because the two elements blend sur- heralded songs as She's Just Another prisingly well. Zacharias' stately strings Girl and Little Golden Clown (a wonder- go jigging through a merrily proper dance fully frisky, sing -along Newley composi- over a twisting beat in America (the tion) make a strong impression. Newley's Bernstein tune from West Side Story). singing style is a personal yowl. When There is give and take and there is join- he projects this yowl effectively. he ing of forces -a fresh, stimulating. and makes himself felt despite the peculiar quite viable view of present popular FOR nature of his singing. In the best per- music. formances on this disc -and there are SOUND quite a few -Newley's personality comes "Great Moments in Show Business." clamoring through. The only surprising Epic THAT SUITS YOU 13105. $3.79 (LP); 15105, $4.79 (SD). thing is that it seems squelched on such TO A "Camp." Capitol 2474, $3.79 (LP). tailor -made material as What Kind of On the surface, these two discs "T" Fool Am 1? -one from the old files of Columbia- Bruns- wick, the other from Capitol's vaults - FROM THE would not seem to have " \lickie Finn's-America's No. 1 Speak- much in com- mon. But some of Epic's TE LEX easy." Dunhill 50009, $3.98 (LP); S "Great Mo- CORPORATION 50009, $4.98 (SD). ments in Show Business" are decidedly A lot of blowsy, beery high spirits are Camp while several entries in Capitol's projected by the entourage at Mickie "Camp" rate at least as rewarding Finn's, the super- honky -tonk in San nostalgia. Diego which provided the basis for a "Great Moments" is a strange and hap- television show last season. Fred E. hazard mélange that covers the years 1929 Finn, the proprietor, presides at a (Clayton, Jackson, and Durante clangorous, tacked piano, leading the raging through Can Broadway Do With - oat way into most of the songs with a joyous Me) to 1940 (Eddie Anderson, Jack attack that easily encompasses both out- Benny's "Rochester," grating out Waitin' right corn and blithe swing. The banjo for Jane). Along with the Clayton, Jack- that often follows Finn's piano is, by son, and Durante classic (and how young annotation inference, played by his and almost polite they sounded in 1929!), blonde wife, Mickie, but there is a the recordings which live up to the col- muscular ruggedness to most of the banjo lection's title include Walter Huston's bits that suggests that Don Van Paulta original recording of September Song is usually hitting the strings. A rough and Bill Robinson's suave singing and and ready band -trumpet, trombone, dancing on Doin' the New Low Down. tuba, and drums -joins the Finns and Pleasant (though scarcely great) mem- Van Paulta as each tune develops, while ories are revived by a Burns and Allen in the background occasional exclama- skit, Cliff Edwards (Ukulele Ike) singing, TELEX Acoustic Products tions of appreciation can be heard. Finn humming, and strumming his uke on Division, headsets, microphones mixes the old tunes with the It'., Only a Paper Moon, Dick Powell and listening accessories, 3054 new - Let Me Call You Sweetheart and You've in his dimple days singing Lullaby of Excelsior Blvd.. Minneapolis, Broadway, and one of Fred Astaire's Minnesota 55416. Got To See Mama Every Night with King of the Road and Alley Cat -and lively but lesser efforts, Slap That Bass. he plays them all with the same rowdy As a curiosity, there is Al Jolson backed TELEX enthusiasm. The disc is pure hokum by Guy Lombardò s Royal Canadians from start to finish and. because it is on Rock -a -Bye Your Baby (which comes all tossed off gaily and casually, it's off surprisingly well with Lebert Lom- fine fun. bardo's distant, muted trumpet con- tributing a particularly poignant accent). But only a deliberate search for Camp Zacharias: "Pop Goes Baroque." RCA can explain the inclusion of Eddie Can- Victor LPM 3597, $3.79 (LP); LSP tor's Little Curly Hair in a High Chair 3597. $4.79 (SD). and Gene Raymond singing Twinkle, The growing relationship between sonie Twinkle, Little Star. contemporary popular music styles and Capitol's "Camp" resorts to quite a few baroque music has spurred Helmut Zach- post -Camp re- creations in which the arias to produce a series of arrange- perpetrators are quite conscious of what ments that make fascinating use of both they are up to even though they play contemporary and baroque elements. This it relatively straight -Rudy Vallee's mid- MAGNECORD Division, pro- is neither swinging Bach in the Swingle dle -aged revival of I'm Just a Vagabond fessional quality tape recorder/ manner nor baroquing the Beatles. Be- Lover, for instance, and the Andrews reproducers, P. 0. Box 1526, cause such melodies as Dominique, Yes- Sisters chanting Don't Sit Under the Ap- Tulsa, Oklahoma 74101. terday, and Lullaby of Birdland have a ple Tree. Renzo Cesana, whose bed- decidedly baroque character, Zacharias room- voiced "Continental" was a Camp Write today for free litera- has been able to juxtapose the sound and conception in practically every sense of ture on the complete line. style of both. He uses violin, flute, harp- the word, is on hand and so is Horace sichord, horns, and a vocal ensemble as Heidt with his cheerful instructions for well as piano, organ, and a modern building your own band. The choice of rhythm section to achieve his baroque one of Harry Belafonte's pathetic, pre - and rock (or rocque) effects. None of success efforts to be a crooner is hitting the instrumentalists is committed to one a bit below the belt, but Nick Lucas' side or the other. The flute is baroque Tiptoe Through the Tulips and Glen and it is hot. The organ is out of Bach Gray's Casa Loma Stomp sound, in their and out of the big beat. A genteel en- different fashions, just as attractive as MÂ(INE('OtIIJ semble flowing through Dominique is ever. There's not a single "great" mo- suddenly interrupted by a piano that digs ment here but quite a few that are in and swings furiously. And yet it is funny, sad, or just pleasantly nostalgic. not an interruption -more a change of JOHN S. WILSON TELEXCIRCLE 58 ON READER -SERVICE CARD

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CIRCLE 52 ON READER -SERVICE CARD

SI P I I 1966 123 CUSTOM COVERS l'HE '-'AYE DECK Seen but a White Lily Grow? and Miserere, My Maker. Furthermore, no Continued from page 127 one could guess the age of the stereo recording from its sonic limpidity. In- tions of new facets of the Red Priest's deed, the only serious flaw here is the genius. lack of a text leaflet. Since one ap- parently accompanied the disc edition, perhaps its omission from my review Make your TAPE LIBRARY WAGNER: Tannhäuser copy of the tape was pure mischance. "Bookcase Neat."

EASY TO APPLY - FITS Anja Silja (s), Elisabeth; Grace Bumbry ALL 7" REEL BOXES r? YOUR CHOICE OF 5 (ms), Venus; Wolfgang Windgassen (t), COLORS - BEIGE -GRAY- "At Pete's Place, New Orleans." OCHRE -SALMON -OLIVE Tannhäuser; Eberhard Wächter (b), Wol- Godfrey LEATHER TEXTURED fram; et al.; Chorus and Orchestra of Hirsch, vibes; Orchestra. Coral ST74 STOCK- VARNISHED FOR LONG WEAR the (1962), Wolfgang 57475, 34 min., $7.95. TITLES MAY BE NEATLY Sawallisch, cond. Filling in for Pete Fountain, Hirsch TYPED BEFORE APPLYING I e PHILIPS PTG 960. Two reels: proves to be one of the deftest vibes approx. 68 and 101 min. $19.95. players since Red Norvo in his palmiest 8 for $ 1.00 days. Nearly as good are Eddie Miller 30 or more 10c ea. Since Tannhäuser has previously been on tenor sax, Nick Fatool on drums, represented on tape only by the recent and an anonymous bassist. This buoyant POSTPAID MONEY BACK GUARANTEE - slow -speed transfer of excerpts from yet always poetically colored program is Custom Covers DLpt.2 Angel's 1962 disc version, I wish that I topped by a zestful Panama, evocative Tin Roof Blues, and nostalgic Do You WINDSOR, CALIF. 95492 could recommend this complete taping with even a fraction of the enthusiasm Know What It Means To Miss New with which I acclaimed the same com- Orleans. But everything else is stimu- pany's Bayreuth Parsifal of a year ago. lating too -not least the distinctive Dec - Unfortunately, I am even less favorably ca stereo recording, which seems just a disposed towards it than were most re- bit heavy at first yet quickly conveys viewers of the disc edition. To be sure, a sense of complete sonic authenticity. RENT For final good measure, the tape proc- some of the distortion noted in these STEREO TAPES pages by Conrad L. Osborne apparently essing itself is as good as one ever hopes has been cleaned up in the first -rate tape to find. Over 2500 different, 4 -track All Labels processing, but this may have been at No deposit on tapes rented the cost of some sonic strength and "P. D. Q. Bach Program." Peter Schik- Postpaid 2 to 5 day delivery (48 States) opulence (the chorus and orchestra seem ele, arr. Soloists, chamber orchestra, strangely anemic here). In any case the Jorge Mester, FREE cond. Vanguard VTC stereo -parti balances are still poor, and the audience 1716, 51 min., $7.95. BROCHURE 1616 -C TERRACE WAY, SANTA ROSA, CALIF obviously suffers from an epidemic of The ambivalences of musical humor be- CIRCLE 82 ON READER -SERVICE CARD bronchitis. There are some noteworthy ing what they are, it's always risky to individual performances, especially by predict what any individual listener will W 11117 Miss Bumbry as Venus and Miss Silja deem uproarious. But it's surely safe as a fresh if not particularly girlishly to say that if you have relished any of UVe Own {/hh{1..e voiced Elisabeth; and Windgassen, who the British Hoffnung Festival recordings, (3 strikes me as unduly labored during you'll enjoy this program -or at least Starreg Petict most of the work, does rise to impressive that there'll be one or two items (the dramatic heights in his Act III Rome Cantata Iphigenia in Brooklyn, S. 53162, __911 90[Uit Narration. But over -all I am so far from if nothing else) to tap your funnybone. . satisfied either musically or technically At the live concert in New York's Town that I recommend a further wait on the Hall, where this recording was made, part of Tannhiiuser connoisseurs. there must have been visual effects which are of course lost here: certainly such featured instruments as the Horn and Hardart, Left -Handed Sewer Flute, r\, YOU SAVE MORE PETER PEARS and JULIAN etc. don't sound as funny as they must BREAM: English Lute have looked. But impresario- arranger I ON HI -FI Songs COMPONENTS t TAPE RECORDERS Schickele is an inspired orchestrator, ef- We invite your test of our Peter Pears, tenor; Julian Bream, lute. fective dead -pan m.c., and imaginative We Will Not Be Undersold Policy. LONDON LOL 90112. 46 min. $7.95. compiler of a Qodlibet of his own which 15 -day money -back guarantee must set a new world's record for the 2 -yr. unconditional guarantee parts K Although the disc edition of this British - number of quotations per playing minute. labor no charge. at local warranty made program was given American re- station, factory or our service dept lease Trade only late last year, the recording "Gilbert & Sullivan Spectacular." D'Oyly -ins highest allow. Send your list. itself Most items shipped promptly from our dates back at least to 1960. Its Carte Company Soloists and Chorus, 250.000 inventory. double -packed and resurrection now probably was stimulated Royal Philharmonic Orchestra, Sir fully insured. by the recent RCA Victor releases of Malcolm Sargent, cond. London LCL Our specialty -APO & Export ship- later Pears -Bream performances, but as 75010, 46 min., $7.95. ments. these last probably will not appear on The Phase -4 sonic sorcerers obviously 21st yr. dependable service --world tape the present reel is all the more wel- have jumped at the chance to enhance wide. come. Not only are the performers them- of D'Oyly Carte singers Easy -Pay -Plan -Up to 24 mos. to pay. the combination Write for our Brice First! selves the ablest exponents of Elizabethan with Sir Malcolm's Royal Philharmonic song literature active today, but their players, which was first heard on rec- program admirably represents the out- ords, I think, in the current complete HI- FIDELITY standing "ayre" composers: Dowland Princess Ida. But, shrewdly, they have CENTER and Morley, with four songs each; Ros- eschewed sensational effects in favor of The House of Low Low Paces" seter and the poet-composer Campian, providing maximum vividness and stereo 239 -H East 149th St., with three each; Ford and Pilkington, expansiveness as a showcase for a well - New York, N.Y. 10451 with one each; plus-and by no means varied, spirited program of familiar ex- least striking -the anonymous Have You cerpts from Mikado, Pinafore, Pirates of CIRCLE 43 ON READER -SERVICE CARD

I 28 HIGH FIDELITY MAGAZINE Penzance, and Ruddigore. For the con- firmed G & S aficionado, there is the novelty of hearing the current D'Oyly SAVE MONEY on PURCHASING Carte stars in more theatrically effective NATIONALLY A HI -FI reproduction than even that of the fine ADVERTISED BRANDS series of complete operettas; for the gen- SYSTEM? of eral public, the present combination HI -FI TRADE -INS OK -TIME PAYMENTS selections and sparkling Phase -4 sure -fire Up to 3 years to pay! sonics is likely to be irresistible. Altec Lansing COMPONENTS Electrovoice JensenHallicrafter "I Hear a Symphony "; "The Supremes Send Us University at the Copa." The Supremes; Orches- TAPE Acoustic Research Janssen Viking tra, Motown MTX 643 and 636, 33/4- Wharfedale ¡Ps, 34 and 44 min., $5.95 each. Maranta RECORDERS Your List of Hai man- Kardan Ampex's enterprise in adding the Mo- Eire Amine town colors to its stable gives tape collec- Sherwood' with ng Crown Recorders tors a chance to become acquainted Components Scotch Tape Detroit's answer to Liverpool's Beatles. Dual Changer* Bogen Diana Ross, Florence Ballard, and Mary Dynakit Fisher TAPES, Wilson are heard here in one program H. H. Scott Leak' ACCESSORIES ForA ECI Roberts assembled from their studio- recorded National best -selling singles (its careless editing SLEEP LEARN KITS Sony Challenger Garrard exposed by the abrupt electronic shut- MERITAPE Package Miracord offs) and in another from a live show Top Quality Recording Tape Rek -O -Kut Finco at the Copacabana in New York City. Fairchild Franchised Distributors Pickering Sonar The latter gives a good notion of the girls' ADC Cartridges considerable charm both as vocalists and Factory Sealed Cartons Quotation Audio Tape Lowest Prices Magnecord personalities; the former reveals more Visit our 3 N.Y. Showrooms ADC Speakers Service of their uninhibited vitality. If all rock Integrity- FREE Hi Fi Catalog. Fair Traded 'n' roll sounds alike to you -stay away! Write for our Mail orders accepted. But if you are less prejudiced, you'll find VERY LOW QUOTATIONS Send store that The Supremes are capable of ex- inquiries to main at 132 Nassau St.. New York, N.Y. 10038 traordinary gusto and lift -as well as of FREE CATALOG methodical plugging and even of down- right schmaltz. AIREX RADIO DRESSNER 69 West 23 St., New York, N.Y. 10011 "Isn't It Grand, Boys?" Clancy Brothers 1523 Jericho Take., New Hyde Pork 32, N.Y. 12 East 42 St., New York, N.Y. 10017 and Tommy Maken. Columbia CQ Visit Our Showroom 132 Nassau St., N.Y., N.Y., 212- 964 -1820 813, 26 min., $7.95. This is the first tape I've heard of these CIRCLE 27 ON READER -SERVICE CARD CIRCLE 2 ON READER -SERVICE CARD celebrated Irish folk singers, and it fully lives up to the high expectations aroused by their consistently favorable disc re- views. They are particularly distinctive, MOVING? HI -FI SHOPPERS it seems to me, for their bold relish of BEFORE YOU BUY what they are doing and for the im- ATTACH LABEL HERE pressive sonorities they command both GET A RABSONS QUOTE in solo and ensemble passages-qualities enhanced here by extremely robust, ap- If you've recently changed your ad- ... YOU'LL BE GLAD YOU DID! parently closely miked recording. Be- dress or plan to in the near future, At Rabsons Competitive Prices, Relia- sides such lusty performances as those be sure to notify us at once. Affix old bility and Personal Service have been title Abu, What address label showing address of the song, O'Donnell here, and print new address below. bywords for over 61 years Would You Do If You Married a It's so EASY and SAFE to deal with Rabsons Soldier ?, etc. the program also includes a richly expressive Eileen Aroon and a Up to 36 months to pay on Easy Pay Plan My New Address Is: Centrally located -as close as your telephone quite virtuoso unaccompanied (except -as near as your mail box Free Mail Order- for rhythm taps) version of The Cobbler, Hi Fi Clinic Service Fast Air Mail Response on Quotation Requests Franchised Distribu- by, I presume, Makem. Best of all, the tor for Hi Fi Lines 61 Years of business selections are notable for freshness and nome please print "Know How" to serve you better Ship- ments DOUBLE PACKED and FULLY INSURED variety, the tunes for consistent catch- "Attractive" Prices Warehouse on prem- iness. ises Fast Delivery -Large inventory permits processing and shipment promptly All address merchandise brand new in Factory sealed "Memories of Naples"; "Neapolitan cartons Save even more on complete sys- tem quotes Export Packing -220 Volts 50 Songs." Franco Corelli, tenor; orches- Cycle merchandise a specialty Free list tra, Franco Ferraris, cond. Angel Y2S of monthly specials. 3684, 33/flips, double -play, approx. city state 64 min., $11.98. What a magnificently big voice! What fite BALL POINT PEN with every quote a rudimentary sense of musicianship! zip code dote at new address Even aficionados of uninhibitedly emo- tional renderings of familiar Neapolitan Notify us of your address change as RABSONS 57 ST. INC. airs may find Corelli's bellowing in this far in advance as possible -it takes 119 West 57th Street, New York, N. Y. 10019 program too much for them. Ferraris' about 6 weeks for a change to be- Tel. Area Code 212-247-0070 accompaniments are strictly routine,. and come effective. the recording itself is a bit dry for all "Our st Year its strength. There are no challenges Mail to: HIGH FIDELITY 61 here to Di Stefano's performances of Subscription Fulfillment Dept. of Reliability" similar materials on a London tape of 2160 Patterson Street last January. Cincinnati, Ohio 45214 CIRCLE 66 ON READER -SERVICE CARD

SEPTEMBER 1966 I 29 lea&ae ADVERTISING INDEX Key No. Page No. Key No. Page No. 1 .... Acoustic Research, Inc... 19 50.... Klipsch & Associates, Inc. 43 (C4 Acoustical Manufactur- 51 Koss ing Company Ltd. ...121 107 LwIMeww fL-wU rewia: 2 .... Airex Radio Corp 129 52 .. Lafayette Radio presents 3 ... Allied Radio 97, 98 Electronics 123 4 ... Altec Lansing 72, 73 53 ... Lansing, James B., 6 ... Ampex Corporation .... 31 Sound, Inc. 30 s 7 .... Audio Dynamics 54... Lectronics 121 Model CC-50S Corp. 16, 17, 26 London Records .. 109, 115 -100 W Stereo Amp/ 8....Audio Exchange 114 57 Mace Pre -Amp 9 .... Audio Originals 44 .... Records 95 Model CC-1 Audio Unlimited, Inc. 127 58 .. Magnecord /Telex 122 -Stereo Control Center 59 .. Marantz, Inc. 29 Model 35D 10.. Barzilay Furniture Mfg. 60 .... Mattes Electronics, Inc. 35 -70 W Stereo Power Co., Inc. 22 61.... McIntosh Laboratory, Amplifier 11.... BASF Tape Computron 23 Inc. 36 Model 35MRM 12 . Benjamin Electronic Minnesota Mining and -Professional Power Sound Corp. 34 Mfg. Co. Amplifier 14 13.... Bogen Communications 96.... Motorola, Inc. 49 .. , for performance as high Division 21 as the state of the art Bozak, R. T., Mfg. Co. 81 31 .... Nonesuch Records 110 permits- without compromise! 103.... British Industries Corp. 54 64 ... Olson Electronics, Inc. 126 Write for complete 15... Carston Studios 116 21.... Orrtronics, Inc. 28 details, specifications and 16 .... Citadel Record Club 9 prices 97 Philips 17 .... Clevite Corp. 26 .... Records 113 65 Pickering . 18 .... C/M Laboratories 130 ... & Co., Inc. 2 98 .... Pioneer Electronics 117 Q LABONArOR/Es 19 .... Columbia Records .. 90, 91 20.... Command Records 120 575 Hope Street, Stamford, Conn. 06879 66 .... Rabsons -57 St. Inc. 129 21 .... Cousin Electronics 68 .... RCA Victor Records 71 Division 28 CIRCLE 18 ON READER -SERVICE CARD 69.... Record Club of America 5 22 .... Crown International 126 70 ... Rheem Roberts 4 READER SERVICE 24 .... Deutsche Grammophon 73 .... Ruxton 46 COUPON Gesellschaft 82 74.... Sansui Electric Co., Ltd. . 32 To get product information FAST simply 26 .... Dixie Hi Fidelity 116 33 Scope Electronics circle key numbers in coupon below. 27 .... Dressner 129 ... Corp. . 37 SEE ADVERTISING INDEX AT 100.... Scott, H. H., Inc. 40, 41 RIGHT! 29.... Dual 6, 7 .... 55 Sherwood Electronic Mail to: HIGH FIDELITY 30.... Dynaco Inc. 112 .... Reader Service, Dept. 9-66 Laboratories, Inc. Cover IV P. O. Box 14306 Annex Station 75 Shure Brothers, Inc. Cincinnati, Ohio 45214 28 . Electro- Voice, Inc. Cover III ...... 74 r 31 .. Corporation 110 76 ...Sonotone Corp. 24 Please Print 9 -66 32 Elpa Marketing 77... Sony Corp. .. 11, 12, 13, 33 Name Industries, Inc. 10 78 . Sony /Superscope, Inc. 124 33 .... EMI, see Scope Electronics 80 .... Sound Reproduction, Address Inc. 127 34 .... Empire Scientific Corp. . 25 City 81.... Stanton Magnetics, Inc. 47

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on two programs of the Philharmonic Society in New York City, appeared the FIRST CLASS introductions to Wagner's Lohengrin and PERMIT Tannhäuser. NO. 111 They were played at the end of CINCINNATI, OHIO the program with a five minute intermission separating them from the other works REPLY M performed so that those who did not want to No postage stamp necessary If mailed In the United States listen to this new music could leave the hall

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HIGH FIDELITY N 1966, when the Boston Symphony P.O. BOX 14306 ended one of its programs in the new ANNEX STATION Philharmonic Hall with excerpts from CINCINNATI, OHIO 45214 Götterdämmerung, again a fair number of New Yorkers left the hall before the Reader's Service Dept. 9 -66 conductor raised his baton for Wagner. At HIGH FIDELITY some subscribers walk out on us, too. Fortunately, others FIRST CLASS PERMIT replace them quickly. The net result: our NO. 111 "audience" grows bigger year after year. It's CINCINNATI, OHIO now close to 130,000 per issue. If you're not yet a subscriber may we suggest you fill in and mail the order form herewith? No postage stamp necessary if mailed in the United States We think you'll enjoy the whole program! Postage will be paid by- HIGH FIDELITS HIGH FIDELITY

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Reader's Service Dept. 9 -66 HIGH FIDELITY SEPTEMBER 1966 musical america

SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY 1 3

Vienna Octet t ,J_ _J_ plays Mozart, Stuttgart State J- 1 Opera brings Hindemith, and if Beethoven at ' production of Lucerne Wozzeck" to Festival. Edinburgh Festival. 4 5 6 7 8 9 10

Dallas Civic Opera Henryk Szeryng Cincinnati Bath Festival presents "Don and BBC Scottish Utah Sym- At Stockholm Fes- Orchestra, with Orchestra give Symphony Giovanni" in phony tival world ppremiere Yehudi Menuhin European premiere males on worworld tour Mexico at 125th anni of Swedish opera as conductor and of Chávez's Violin New York "Tronkrävarna" gives a Palacio de concert soloist, appears at Concerto at Edin- versary of debut at ("The Pretenders ") in Singapore. Athens Festival. Bellas Artes. burgh Festival. Dvorrák's birth. Carnegie Hall. by Gunnar Bucht. 11 12 14 15 16 17

' Eugen iochumd con. ((s ue 1 ' ` ducts Amsterdam Concertgebouw Metropolitan Wolfgang Harkness Ballet _ Orchestra in Opera National The Met gives first Lake Erie Opera O..b Sawallisch opens in Los I, performance of Company starts performance in the in Cleveland Angeles, ÿ Bruckner Sym- new house: world conducts at begin- out on second presents phony No. 5 at premiere of Samuel ning its Besançoni g West Festival of tour. First stop: Barber's "Antony Britten's "Albert Festival. Coast tour. Flanders, Ghent. Indianapolis. ,nd Cleopatra." Herring." 20 21 22 23

San Francisco Ceza Anda is Opera season soloist with Sir Seiji Ozawa is "pens with John Barbirolli guest con- Boston Sym - "1 puritani," and the Hallé ductor with phony gives starring Joan Orchestra in the Berlin first concert Sutherland. Manchester. Philharmonic. of the season.

II ' `> 27 28 29 30 i' +i?' , New York City t, . 5 r , :. Opera launches Chicago Sym season with first and Organist Richard phony under -j- I ': staged production Pina Carmirelli Ellsasser appears conductor Jean 1444 first on East Coast of give of three with Philadelphia of Orchestra in eo- Martinon plays '. Handel's "Julius programs ! Beethoven sonatas son's opening Nielsen S y m Caesar." at Carnegie Hall. concert. phony No. 4. FOR BETTER Or worse, ter, with support from the Martha the full convention. "The performance the individual composer Baird Rockefeller Foundation, was was yesterday." replaced the collective ready to split the costs with five com- Instead, he spoke of the opportuni- Arts Councils of America as the co- munity orchestras who wished to com- ties for community orchestras to ex- protagonist at this year's American mission new works. With coöperation pand their range (and season) by join- Symphony Orchestra League conven- suddenly replacing antagonism, con- ing with the local opera companies. tion in St. Louis (June 15-18). Since ductor Howard Shanet of the Columbia (Victor Alessandro, conductor of the the ACA's birth a dozen years ago, University Orchestra got up to state San Antonio Symphony, later described it had been holding its conventions that, coincidentally, at an earlier meet- how his orchestra had done just that.) jointly with the ASOL. This year, hav- ing of the college orchestras, he had Ralph Black, general manager of the ing outgrown its parent, the ACA cut been appointed their spokesman to National Ballet in Washington, ex- its apron strings and convened inde- make such a proposal to any interested pounded on the collaboration of ballet pendently in New York a month ear- parties. and orchestra in the planning of sea- lier. The vacuum it left in St. Louis The ASOL itself had taken steps to sons. He added that in Washington, was enthusiastically filled by some of help composers. Executive Vice Presi- the National Symphony is too busy to America's most distinguished compos- dent Helen Thompson announced that act as a permanent accompanying or- ers. The League set the stage by sched- the League, in conjunction with the chestra, and that the local opera and uling several composer- oriented meet- National Councils on the Arts and ballet companies are considering or- ings, symposiums, and luncheons. Humanities, is planning not only to ganizing between them a second full - The first, and most dramatic, inci- commission works from composers, but scale ensemble. (Composers were not dent erupted during the convention's to help them in overcoming that cen- forgotten on the convention's final day; second day. At a conductor- composer turies-old nemesis, the costs of copying Paul Creston and were symposium-where the conductors were parts. among the principal speakers at a Mu- seated at a table, the composers scat- The spotlight remained on the com- sical Arts Symposium.) tered throughout the audience-a panel posers the following day, during a The Gold Baton Banquet which tra- of the former presented guidelines to "composers' luncheon" at which Kay ditionally closes ASOL conventions was those of the latter who wished their and Weisgall were the principal speak- once more the scene of awards. Edward music considered for performance ers. "Don't expect me to explode or be D'Arms of the Ford Foundation ac- (write "excitingly" ; write for youth a rabble rouser today," Weisgall told cepted the Gold Baton Award for the orchestras; write something that "my philanthropic organization. ASCAP whole orchestra can play," etc.). Mod- awards went to the New York Phil- erator David Katz, conductor of the harmonic and the National Symphony Queens (New York) Symphony Or- of Washington for their "consistent chestra, then opened a Pandora's box presentation of new and interesting by calling on the composers in the contemporary works," the former being audience for reply. cited as well for its series on twentieth - First up was Ulysses Kay, who la- century music. ASCAP also awarded beled the conductors "a bunch of small the Oakland Symphony, which is led

shopkeepers . . . weaseling out" of by Gerhard Samuel, and the Wichita their responsibility to music. Next rose Symphony, under James Robertson, for , who said he knew of their efforts on behalf of contemporary no composers who deliberately set out American music. to write "dull" music, and questioned Next year's convention, it was an- whether most conductors could tell nounced, will he held in Los Angeles. "good" from "bad" music simply by Abravanel: Permanent Maestro looking at a score anyway. Weisgall, president of the American This fall, the Utah Symphony Orches- Music Center, then announced a pro- tra will make its first New York ap- posai to the "community" orchestras of pearance in a Carnegie Hall concert the ASOL. The American Music Cen- Hugo Weis gall: a modest proposal. which will kick off a fifteen- concert

MA -2 HIGH FIDELITY / musical america tour of Europe. It is no longer un- remarkable old gentleman; 'Write usual when an American orchestra tunefully and traditionally when you're makes the Continental scene, but when young,' he said, 'it's later that you the orchestra is from a city of just can experiment and break some rules' 200,000, where only twenty years ago -with Henri Sauguet and Roger the idea of a resident symphony or- Désormière), Abravanel came to chestra was brand new, and where America to join the conductorial staff even today a majority of the orchestra's of the Metropolitan. He remained members hold down full -time positions there only two seasons, however, leav- (many as teachers) apart from their ing to conduct the Broadway produc- orchestral activities, the situation has tion of Weill's Knickerbocker Holi- its noteworthy aspects. day. "Kurt said, 'You're crazy -you In consequence whereof, we betook can't leave the Met to do this.' But I ourselves to the Hotel Meurice on one was still new in this country, and didn't of this summer's sweltering days to quite realize that one job wouldn't just chat with the Utah Symphony's perma- follow on another, as in Europe, or nent conductor, Maurice Abravanel. that agents exercised so much power in "Permanent" is in this case not a hope- the musical world -in Europe, they ful adjective, for Mr. Abravanel has had been at the service of the musi- been with the orchestra since 1946, has cian. Besides, when Knickerbocker nursed it through seemingly fatal Holiday was being prepared, I attended Abravanel: Utah via Berlin and Broadway. financial crises, built it to its present a meeting of the Playwright's Com- level (seventy-nine concerts last sea- pany, which had just been formed. In is involved, partly through our Salute son), made it famous through record- that room were Robert Sherwood, to Youth concerts. We have students ings (thirty-nine currently available on Maxwell Anderson, Sidney Howard, from Price (180 miles over the moun- Vanguard and Westminster), and is S. N. Behrman, Balanchine, and Kurt, tains) coming to rehearse and perform not about to leave just as Salt Luke City of course-real, live, intelligent peo- with us, at their suggestion. Utahans is building a theatre complex, and ple. I wanted that kind of environ- are taking pride in having an or- when a ten -year projection looks for- ment." chestra which is known now all over ward to full -time, long- season em- Other Weill shows followed, not- the world. The orchestra today is en- ployment for the players. ably Lady in the Dark. "When Kurt tirely resident -no imported players, Maestro Abravanel's early years was in Germany, he was the most Ger- no added players for recordings. Some- were marked by a close association with man of composers, despite being a times I've engaged complete novices Kurt Weill, with whom he studied Jew. It used to infuriate him when who seemed to me to have a musicality and for whom he conducted many foreign composers and musicians were and a willingness to work you some- premieres, both in Europe and, later, preferred to German ones, just be. times don't find in virtuoso players. in America. "I used to write out my cause they were foreign. And when It's a very young orchestra, develop- counterpoint exercises on the trolley he came here, he became the most ing all the time. We have two former on my way to Kurt's in Berlin. Of American person and composer im- Miss Utahs: people raise their eye- course, Kurt was himself very young aginable. In his collaborations, he was brows, but they're wonderful girls - at this time, and a pupil of Busoni. always fighting other peoples' preoc- their playing is as beautiful as their He was very complimentary about my cupations. Every time work would start, looks. Brecht would launch in on Commu- work -I had a good mathematical "What I try to secure, above all mind and wrote out such exercises nism, one lecture after another. Kurt other qualities, is a unique, spontane- perfectly in a very short time. But that just wanted to work. Later, it was ous feeling in our playing. It seems ap- is something very typical of the Ger- Moss Hart with his psychiatrist to me that with mechanical reproduc- man approach at that time, and which pointments-he'd go running off just tion getting better and better, the live in my opinion had an unfortunate as things got going. It was always that musician's only salvation is spontaneity, effect on many young composers: it way-Kurt trying to work, the others the feeling of something really being was all written, it was not based on going off on some other track." created right on the spot, not just sound. I never really heard what I was Then, in 1946, the Utah Symphony. reproduced perfectly over and over writing. I think I was fortunate to There were years of trying to build an again. I think this orchestra has that come under the influence of two great ensemble with end-of -day rehearsals quality, and we try to preserve it on men - and Furtwängler. in a part of the country which had no records -the Mahler Eighth, for in- I don't know how many rehearsals of orchestral tradition (but an entrenched stance, was recorded in just three ses- theirs I attended, just to watch and choral tradition, witness the justly sions, very long takes, and that is typi- listen. With Walter, in particular, famed Tabernacle Choir), and where cal of the way we work. I was happy there was a gentle, warm quality; it the people are noted for industrious- to see in Roger Sessions' book that he was not rigid or 'perfect.' Both of ness and frugality- admirable quali- believes a work needs the full per- those men played superb Brahms." ties which are not necessarily those sonality of a performer before it really After a period with Balanchiné s most looked for by artists in search exists. I agree." company, several assignments in asso- of funds. As we glugged the rest of our iced ciation with Weill, a concert tour of "But response has been tremendous," coffee, the Maestro took his leave en Australia, and a sojourn in Paris (as- says Abravanel. "Imagine -4,300 sub- route to an appointment, the picture sociations with Koechlin -"He was a scriptions! The whole Utah community of a man still excited by his job.

September 1966 MA-3 FS34+--- BY DORLE J. SORIA

THIS WAS our second visit auspices of the State Department, he gained from making television films, to Japan and, after In- had come to arrange an exchange of went on to the programs and problems dia, it felt comfortable members of Japanese orchestras with of the new Easter Festival he is start- and familiar. Tokyo was still noisy and their counterparts in the Boston Sym- ing in next March. It will be traffic- troubled and torn -up, and its phony. If this pilot experiment in East - his own festival, he said. He is finan- musical life was, if anything, even West musical fraternization is a suc- cier, impresario, musical director. "I more active. It was like New York cess, Leinsdorf hopes it will become am free to do what I want." For $100 of another color. an annual project, with other American a music lover can become a Founding But there are, thank Heaven, dif- and other foreign orchestras participat- Member, with rehearsal privileges, ferences. For instance, Japanese critics ing. We had left some books for him priority on subscription tickets, and an are different from American critics. in his hotel room (we were all stay- autographed copy of the opera record- They are deferential and courteous and ing at the Okura), among them one ing Karajan will make each year at the never ask embarrassing questions. And of our favorites, The Honorable Pic- Festival. As we were talking, Mrs. after press conferences or interviews nic. In return the Maestro replenished Von Karajan emerged from the bed- they often bring presents. And Japa- our traveling library with paperbacks room to welcome us. She looked like nese record dealers are different from he had finished, novels of Saul Bellow Melisande with her long blonde hair American record dealers. They are def- and Vladimir Nabokov. His stay in hanging to the waist. She showed us a erential and courteous and never make Japan was short; he had to fly to Eu- magnificent three -strand string of cul- embarrassing comparisons. They give rope for engagements in Prague, and tured pearls she had received the day dinners for you, and they too give you Paris and Rome recording sessions, be- before after launching a Japanese ship. presents. The Soria family came home fore Tanglewood. But discussions are Together we decided it must be worth with a battledore and shuttlecock game, now afoot for his return to Japan soon, more than $10,000. She teased her

pearl cuff links, a six -foot colored this time with the Boston Symphony. husband : "More than you get for a carp streamer (the kind flown in Japan The orchestra's last visit was with concert, Herbert ?" The Maestro raised on Boys' Day), lacquered boxes and Charles Munch in 1960.... A dinner a quizzical eyebrow, then said drily but trays, vases, and an authentically cos- was given Erich Leinsdorf by the Victor with an affectionate smile: "You have turned Noh -play doll representing pros- Company of Japan, complete with Ka- my permission to launch a ship every perity and marital happiness. buki musicians and Geisha girls who In Osaka we heard the Berlin Phil- waited on the Maestro, fanned him, harmonic with Herbert von Karajan, fed him, kept his sake glass filled, the next to the last concert of a fan- entertained him with traditional charm tastically successful tour sponsored by and story. At the end one of the girls NHK, the Japanese Broadcasting Cor- stepped out of character. She produced, poration (see last month's report on seemingly from nowhere (out of her

the festival) . One orchestra member kimono sleeve ?) his Boston Symphony who got a special hand was Japanese recording of the Prokofiev Fifth. "I violinist Kunio Tsuchiya, who had like very much," she said shyly. joined the Berliners in 1959 and was "Please. Sign." returning home for the first time since. Also at the Okura Hotel, we had ... For its tenth anniversary, in 1967, breakfast with Herbert von Karajan, the Osaka International Festival will who had returned to Tokyo for his present the Bayreuth Festival company final concert. He was wearing a yukata in Tristan and Walknire, and the Phil- (the cotton gown Japanese men wear adelphia Orchestra with Eugene Or- under their heavy outer robe) and mandy. expecting his Japanese masseuse. But From the silken -fast new Tokaido his breakfast was definitely Western - Line train, going from Osaka to orange juice, corn flakes, soft -boiled Tokyo, Dario telephoned Erich Leins - eggs, toast, coffee. Talk ranged from dorf, who had just arrived in Tokyo- the satisfaction of giving concerts in his first visit to Japan. Under the Japan to the self -knowledge he had Leinsdorf h wined and dined in Tokyo.

MA-4 HIGH FIDELITY / musical america day." He went back to discussing his dulged in every pleasure but music), juveniles off the crowded streets. festival -to pay for which, we thought, did you know he had a sister in Eng- "There is an indifference to the artist Eliette's would have to be the face that land-an excellent prize- winning cel- in this prosperous colony." And most launched a thousand ships. list of growing reputation abroad? indifferent, says impresario Odell, are Two years ago, Seiji Ozawa was a Her name? Amaryllis Fleming. the Americans, with the British next. young prophet without honor in his Better support for good music comes Hong Kong Impresario own country. Now he is a musical hero from the local Dutch, Italian, and back home. Girl fans follow him about Returning after two years -fancying Japanese, and from the younger gen- as if he were a Beatle. We caught up ourself an old Hong Kong hand -we eration of Chinese. But his business with him at an avant -garde concert he found ourself bewailing "the good old can no longer survive on classical con- was co-conducting at the modern new days." The dragon wing sails of the cert booking. This month he is to bring hall opposite the Imperial Hotel. It fishing junks in the harbor were gone, the Cincinnati Symphony and the Is- has an odd but attractive decor, sea replaced by fast and noisy diesel power. rael Philharmonic and next month the shells embedded in the walls. MUSICAL Skyscrapers were spreading wider and Warsaw Philharmonic. (For economic AMERICA correspondent Eloise Cun- higher and local color was shrinking. reasons there are usually two concerts ningham said she always felt as if she The Suzie Wongs who on our first a day, one at six and one at nine.) were hearing music in an underwater visit seemed so sexy in their cheong- He also recently brought a top pop grotto. The program was fairly far -out, sams, slim sheaths slit halfway up the group, Herman's Hermits, but he even by New York standards. There thigh, now looked almost demure corn - played them at the big stadium. And, was music by Ligeti and Penderecki pared to the girls back home, with while we were there, he was negotiat- (a Threnody for the victims of Hiro- their miniskirts rising higher and high- ing for Kiss Me, Kate. But, complaints shima) and by Yannis Xenakis, who er above the knees. As for shopping- to the contrary, Harry O. Odell loves was present. The Greek architect- No. 1 tourist attraction- prices were his business. He publishes a monthly turned- composer has a young disciple up and we had lost our favorite tailor. magazine, Show Box. In it he runs this in Japan, pianist and composer Yuji But one "landmark" remained un- ad: "You can always be sure of Takahashi. The two Japanese compos- changed: Harry O. Odell, impresario. GOOD ENTERTAINMENT when it ers represented were Toni Takemitsu Seventy years old, white haired, with is presented by me." with a piece called Arc for piano and welcoming eyes behind horn -rimmed Chuchú Talks about Don Pau orchestra (Ozawa has often played glasses and big cigar in his hand as he Takemitsu's Requiem for Strings in talks, talks, talks, Harry O. Odell is In San Juan some time ago we had a America) and Toshi Ichiyanagi (a the S. Hurok of Hong Kong. Artist - reunion with Jesús María Sanromá. pupil of John Cage) with a work promoting and self -promoting, he was He used to live in Boston, where he called The Field for Shakuhachi (a born in Cairo, is an American citizen, was for years official pianist of the sort of Japanese recorder), and or- has lived in the British Crown Colony Boston Symphony and teacher at the chestra. Seiji beamed with surprise forty -six years. He went first as a rep- New England Conservatory. He also when Erich Leinsdorf came backstage; resentative of a large importing firm. toured as a concert pianist and had they were to meet again soon in He was still there when, after Pearl an enormous concerto repertory, in- Tanglewood, which had given Ozawa Harbor, Hong Kong fell to the Japa- cluding many contemporary "firsts." the Koussevitzky Memorial Conduct- nese and he was taken prisoner of war. Like all his friends, we called him by ing Prize back in 1960, when he was Starting again after World War II he his Spanish nickname of Chuchú. In twenty -four. became a stockbroker. Later he turned 1951 he returned with his family to During Japan's Golden Week -a to films and joined Allied Artists. In- his native Puerto Rico where he has long holiday which takes in the Em- terest in the entertainment field, and been ever since, active in every phase peror's Birthday, Constitution Day, and in music, eventually led him to the con- of the country's musical life. His Children's Day -we embarked with cert business to which he has dedicated daughters, he says, still miss New Eng- honeymooners and local trippers on a himself for sixteen years. The first at- land winters and the ice -skating... . day -long cruise of the Island Sea. We traction he presented, in 1950, was Talk turned inevitably to Casals. San- spent a night at the southern city of . Since then he has romá calls him Pau, which is Catalon- Beppu, where tourists are fascinated by brought most of the great international ian for Pablo. Casals is Catalonian by the hot springs of every color and artists to Hong Kong, catching them birth, with a Puerto Rican mother. variety, called "Hells." One of bub- en route to or from Japan or Australia. Sanromá is Puerto Rican by birth with bling mud is known as "Shaved Heads Hong Kong is a filler -date on a world Catalonian parents. One day, Chuchú of Monks "; a dark red pool is named tour, like Honolulu. said, he brought the master the jazz - "Blood Pond"; a seagreen pool steams Harry O. Odell hopes one day Hong beat Bach record of the Swingle Sing- at a temperature of almost 200 degrees Kong will become a Southeast Asian ers. "Either you break the record over Fahrenheit; another shoots up a geyser cultural center. Meanwhile, "though my head or you listen." Casals, pipe at time -clock intervals. These boiling not the cultural desert it once was, it in hand, listened. At one point he re- fumaroles are immortalized by Ian is still creatively parochial." The Con- marked: "But they've kept the orna- Fleming in You Only Live Twice, cert Hall and little Theatre of the new mentation." At the end he simply said: where Bondo -san stalks the maniacal City Hall center are booked months "You can't kill Johann Sebastian." Doctor Shatterband through his sinister ahead, but the business men of the Sanromá spoke with admiration and estate, trapped with suicidal pools of community contribute little towards affection of the near -ninety Casals' de- shuddering sulphurous mud.... Talk- bringing the arts to the working masses, voted young wife Martita. It was ing of 007's creator (whose hero in- or helping through the arts to take destiny, their marriage, he said. Casals'

September 1966 MA-5 mother was born in Mayagüez. That had brought her from Japan as part summer home in Salisbury, Connecti- was a hundred -odd years ago. More of its international exchange program. cut, is practically the work of his own than seventy-five years later another She was very pretty and she played hands. It was an old mill when he little girl was born in the house next extremely well and she had a very poor bought it. when she grew up house. MUSICAL AMERICA recognized door, Martita, who Opening Nights, Other Sights became a pupil of Don Pablo and then her with a glowing review. We were married him. Casals has photographs glad she did well in Moscow. Where are the Opening Nights of of his mother and of Martita, both at yesteryear? Where, O where have Aida Salute to a Music Critic the age of fifteen. They look like sis- and Tosca and Faust gone? No ques- of ters. We talked of that "special qual- Louis Biancolli resigned from his tion, the opening -night pattern is The ity" which has made Casals a world long -time post on the New York opera in America changing. figure. Sanromá said Koussevitzky told World Telegram just before the pa- Great Society likes music. And it's him once that, when Chaliapin was per's near demise. (Could a mere fashionable to look at the performance As young, he had as a rival a far greater music critic's departure have such shat- as well as at each other.... every- singer. But Chaliapin became famous tering consequences ?) A testimonial body knows, the Metropolitan is dedi- and the other disappeared. Chaliapin dinner was given for him by the cating its new house on the 16th of this a American opera, had "that extra five minutes," ex- League for New York Music. Norman month with new and Cleo- plained Koussevitzky. "I call it the Singer, its president, was host. Singer, Samuel Barber's Antony Lincoln third dimension or the Holy Spirit," one -time executive director of the patra, and a $250 top. Across the Metropolitan's less says Sanromá. "Casals has it. He Aspen Festival and now head of the Center's plaza, York City should get the Nobel Prize." Hunter College Concert Bureau, con- grand neighbor, the New fessed he had never met Louis per- Opera, opens its first fall season at the Difficult To Judge sonally until it was time to say good- State Theatre eleven days later with Giulio Cesare, and a $10.00 At a reception given by the Institute bye to him -a rare proof of profes- Han4el's of International Education (across the sional integrity, we thought. In toasts top. General director Julius Rudel is street from the United Nations) for the and talk, flattering and affectionate giving the work its first East Coast young American participants in the stories were told about Louis, many full -stage production. Both the Barber Third International Tchaikovsky Com- about his gift of tongues. He speaks and the Handel operas have a Caesar petition in Moscow, we spotted Erick over a dozen languages. He once told and a Cleopatra; in the former the Friedman across the room. He towers us that when he started to court his singers are and Leontyne above everyone, the tallest violinist we first wife -now dead -she brought Price, in the latter, Norman Treigle know. Violinists, like conductors, tend him to meet her father, an Orthodox and . to be short -take Elman and Isaac Jew who eyed the young man sus- The opens month with I Puritani, Stern, Francescatti and Menuhin ; even piciously and, in Yiddish, asked his the 20th of this the elegant Heifetz (with whom Erick name. Louis, afraid his Italian name giving Joan Sutherland the chance to studied and also recorded) is not as would lose him his love, translated it triumph in the Bellini opera which was tall as he looks on the stage. We were hastily into a more acceptable form. reserved for Callas in Chicago in 1955. surprised to find Erick among the con- Answering in Yiddish, he introduced (It has not been in the Met repertory testants, remembering that only recent- himself as Mr. Weissberg. It was only since 1918.) The Chicago Lyric Thea- ly he had been a judge at the Mar- later, after his future father-in -law had tre has chosen for its first night, Octo- guerite Long-Jacques Thibaud Interna- gotten to know him and to like him, ber 10, Verdi's , with John Vick- tional Competition in Paris. We told that Louis confessed his ruse. His pres- ers, Montserrat Caballé, and Tito him we thought it quite brave of him ent wife, violinist Jeanne Mitchell, told Gobbi. The baritone doubles as Iago to enter the arena when he had been her neighbor at dinner, Leopold and stage director. safe above the battle in a judge's Stokowski, that she was happy Louis's Latest and most provocative news of seat. He brushed aside the question of long life of nights away from home an opening night comes from Wash- loss of face or danger to his career. It was over. But Louis made it clear to ington, D. C., where it is announced was quite simple. Last year he had the Maestro that though he had re- that Leonard Bernstein has been com- become friendly with Oistrakh and had signed from deadlines he had not re- missioned by the John F. Kennedy mentioned his desire to play in Russia. tired from writing. He has half a doz- Center for the Performing Arts to The best way to become known in en books in the offing, among them a compose a major "dramatic work" for Russia is to enter the Tchaikovsky biography of . What the Center's opening in 1969. "Dra- musical Competition, said Oistrakh. And Erick about Stokie, Luigi? . . . The music matic work" could mean thea- Friedman did. The twenty- six-year -old critic on the new afternoon paper, the tre like Porgy and Bess or West Side virtuoso did not get first prize-that World Journal, a merger of the World- Story, or it could mean grand opera, was left to a nineteen -year -old Soviet Telegram and Journal-American, is suitable in theme and style to the violinist -but he was among the win- Miles Kastendieck. Teacher, lecturer, center and the name it bears. In any ners. "It's easier to play than to judge," and author as well as critic, Miles had case, if it's Bernstein, the work will Erick had said to us in New York. Ty- covered music on the Journal- American be neither predictable nor boring. It ing for second prize was twenty -four- for twenty years. He is almost as good may even be the great American opera. year -old Masuko Ushioda, a Szigeti a carpenter as critic. The Kastendieck ... Whatever happened to Cav -and- pupil, whom we heard at Town Hall Pag? At the rate things ace going the last November in a concert sponsored ham -and -eggs of opera will soon be by the National Music League which caviar to the general.

musical america MA-6 HIGH FIDELITY Orchestras U.S.A.

The Season's Forecast

Following is a brief summary of the 1966-67 season's programs around the United States. While the basic pattern remains the same from year to year, each new season brings some changes -more concerts, new personnel, new works, new or altered halls, new artists. The American Symphony, Kansas City, Los Angeles, Oklahoma City, Philadelphia, and Pittsburgh orchestras have all expanded their seasons -Oklahoma boasts twice as many concerts as in previous years. The Symphony moves into the new, six -and -a- half -million -dollar Jesse H. Jones Hall for the Performing Arts, opening with a month -long Houston Arts Festival; in Chicago, Orchestra Hall, home of the Chicago Symphony, has been renovated and modernized. The first four prize winners of the 1966 Mitropolous Competition take up their posts as assistant conductors with the New York Philharmonic (Sylvia Caduff, Juan Pablo Izquierdo, Alain Lombard) and the National Symphony (Walter Gillessen). Jacqueline du Pré, the young English cellist who was acclaimed at her New York debut last year, takes on her first major U.S. tour ; Yehudi Menuhin makes his New York conducting debut at the helm of the American Symphony; Joan Sutherland returns to the U.S. concert stage after a year's absence. Charles Ives's Fourth Symphony, introduced by Stokowski and the American Symphony in April 1965, will be heard in Boston and Rochester; the Deryck Cooke completion of Mahler's Symphony No. 10 will be repeated by the Philadelphia Orchestra. Elliott Carter, Paul Creston, Norman Dello Joio, Lukas Foss are but a few of the American composers who will be represented by new works -at the time of going to press, the number of world premieres to take place amounts to twenty.

AMERICAN SYMPHONY ORCHESTRA: Leopold Stokow- or. October 12 -May 11: thirty-six subscription con- ski, conductor; Joseph Eger, David Katz, associate certs. Guest artists will include pianists Rudolf Firkusny conductors. October 10-May 22: twenty -six subscrip- (Dvorák Concerto), Lorin Hollander (Prokofiev Con- tion concerts. This is the orchestra's fifth anniversary certo No. 2), Walter Hautzig (Schubert-Liszt Wanderer season, and guest conductors will include Yehudi Menu- Fantasia) ; violinists Kyung Wha Chung (Lalo Sym- hin, making his New York conducting debut, Karl phonie espagnole), Berl Senofsky (Tchaikovsky Con- Böhm, Paul Kletzki, and . certo) ; guitarist Andrés Segovia (Castelnuovo- Tedesco Among the soloists will be pianists Andre Watts (Mac - Concerto) ; vocalists Leontyne Price and . Dowell Concerto No. 2), Beveridge Webster (Bar- Choral music will be represented by the Berlioz Re- tók Concerto No. 3) ; violinist Joseph Silverstein quiem, Bach B minor Mass, and Beethoven's Ninth

(Brahms Concerto) ; harpsichordist Rafael Puyana Symphony. ( and Haydn concertos). Each program, with one exception, will feature at least one important BOSTON SYMPHONY ORCHESTRA: Erich Leinsdorf, contemporary work, and there will be several New conductor; Charles Wilson, assistant conductor. Sep- York premieres. tember 23 -April 22: seventy-nine subscription con- certs. Guest conductors will include Colin Davis, Rafael ATLANTA SYMPHONY ORCHESTRA: Robert Mann, Kubelik, Charles Munch, Thomas Schippers, Gunther associate conductor. October 20-April 6: twelve sub- Schuller. Guest artists will include pianists Claude Frank scription concerts. In the absence of a chief conductor (Beethoven Concerto No. 1), Gina Bachauer (Rach - this year, there will be nine guest conductors, including maninoff Concerto No. 2) ; violinist Shmuel Ashkenasi Richard Bonynge, who will direct a program with (Dvorák Concerto) ; flutist Doriot Anthony Dwyer Joan Sutherland as soloist ; , who will double (Nielsen Concerto). The Harvard -Radcliffe Chorus as piano soloist; Boris Goldovsky, whose opera com- will join the orchestra in a performance of the Ives pany will present a staged production of Rigoletto; Fourth Symphony, and two new works will be given Morton Gould; and Milton Katims. Soloists will in- premieres: a piano concerto by Elliott Carter (with Jacob clude pianists Jeanne -Marie Darré, Julius Katchen, Ron- Lateiner), and a piece by William Sydeman, tentatively ald Turini ; violinists Shmuel Ashkenasi, Edith Peine- entitled In Memoriam JFK. mann. BUFFALO PHILHARMONIC ORCHESTRA: Lukas Foss, BALTIMORE SYMPHONY ORCHESTRA: Peter Herman conductor; Richard Dufallo, associate conductor. Oc- Adler, conductor; Elyakum Shapira, associate conduct- tober 22 -April 4: twenty-eight subscription concerts.

September 1966 MA-7 Guest artists will include pianists Claudio Arrau Concerto No. 3) ; violinist Sidney Harth (William (Brahms Concerto No. 2), Peter Serkin (Bartók Con- Walton Concerto) ; vocalists James McCracken and certo No. 3), Andre Watts (MacDowell Concerto No. Sandra Warfield (Mahler's Das Lied vo,: der Erde). 2) ; violinists Isaac Stern (Beethoven Concerto), Zino Francescatti (Tchaikovsky Concerto) ; cellist Leonard DENVER SYMPHONY ORCHESTRA: Vladimir Golsch- Rose (Schumann Concerto and Bloch Schelomo) . Vocal- mann, conductor; Fred Hoeppner, assistant conductor. ists Beverly Wolff, Jon Crain, and Heinz Rehfuss will October 10 -March 28: thirty-two subscription con- take part in a performance of Stravinsky's Oedipus Rex, certs. Guest conductors will include Maurice LeRoux, and the season will close with Beethoven's Missa Andre Previn, Sergiu Commissiona. Guest artists are Solemnis. pianists Jeanne -Marie Darré, Jerome Lowenthal, Rudolf Firkusny, John Browning, violinists Leonid Kogan, CHICAGO SYMPHONY ORCHESTRA: Jean Martinon, Ivry Gitlis; harpist Nicanor Zabaleta; mezzo-soprano conductor; Irwin Hoffman, associate conductor. Sep- Shirley Verrett. tember 29 -May 20: seventy -five subscription concerts. Concerts will take place in the newly renovated Orches- DETROIT SYMPHONY ORCHESTRA: Sixten Ehrling, tra Hall, and in addition to the subscription series there conductor; Paul Paray, conductor -emeritus, Valter will be a June Festival and a contemporary music fes- Poole, associate conductor. September 22 -April 8: tival -the latter held at the University of Chicago. forty subscription concerts. Guest conductors will be Guest conductors will include Carlo Maria Giulini, Stanislaw Skrowaczewski and Eugen Jochum. Guest Rafael Kubelik, Charles Munch. Soloists are pianists artists will include pianists Malcolm Frager (Schumann Vladimir Ashkenazy (Beethoven Concerto No. 3), John Concerto), Emil Gilels (Chopin Concerto No. 1), Browning ( Tchaikovsky Concerto No. 1), Witold Mal - Philippe Entremont (Ravel Concerto), Gyorgy Sandor cuzynski (Chopin Concerto No. 2), Michelangeli (Liszt (Bartók and Rachmaninoff works) ; violinists Mischa Concerto No. 2) ; violinists Yehudi Menuhin (Beetho- Mischakoff (Beethoven Concerto), James Oliver Bus - ven Concerto), Leonid Kogan (Shostakovich Concerto), well IV (Prokofiev Concerto No. 2), Charles Treger Itzhak Perlman (Prokofiev Concerto No. 2), Isaac Stern (Bruch Scottish Fantasy); guitarist Andrés Segovia (Hindemith Concerto) ; cellists Pierre Fournier (Schu- (Boccherini Concerto) ; vocalist Montserrat Caballé. mann Concerto), (Shostakovich The season features four world premieres: Overture,

Concerto) ; vocalists and Thomas Stewart The Strait, by Harold Laudenslager; Concerto for Per- (Schoenberg's Erwartru:g. Bartók's Bluebeard's Castle) . cussion and Orchestra by Donald Erb; Symphony No. 4 by Sten Broman ; and a work by Paul Creston, to be CINCINNATI SYMPHONY ORCHESTRA: Max Rudolf, announced. conductor; Erich Kunzel, assistant conductor. October 14-May 6: forty subscription concerts. Guest artists ORCHESTRA: Sir John Barbi- will include pianists Jeanne -Marie Darré (Ravel Con- rolli, conductor; A. Clyde Roller, associate conductor. certo), Lorin Hollander (Gershwin Concerto in F), October 10 -April 4: thirty -two subscription concerts, Claudio Arrau (Weber Konzertsack and Schumann plus the special grand opening on October 3 of the

Concerto) ; violinists Henryk Szeryng (Bach and Pro- new Jesse H. Jones Hall for the Performing Arts. Oc- kofiev concertos), Zino Francescatti (Brahms Con- tober 3 also marks the beginning of a month -long

certo) ; the LaSalle Quartet; the Modern Jazz Quartet. Houston Arts Festival. Guest artists during the season A highlight of the season will be the United States will include pianists Daniel Barenboim, Clifford Curzon, premiere of Wilfred Josephs' Requiem. Annie Fischer, John Ogdon ; violinist Henryk Szeryng; soprano Judith Raskin. CLEVELAND ORCHESTRA: George Szell, conductor; Robert Shaw, Louis Lane, associate conductors. Septem- INDIANAPOLIS SYMPHONY ORCHESTRA: Izler Solo- ber 22 -May 13: fifty-two subscription concerts. Visit- mon, conductor; Renato Pacini, associate conductor. ing artists will include pianists Emil Gilets, Tong Il October 1 -May 7: twenty -eight subscription concerts. Han, Peter Frankl; violinists Edith Peinemann, Isaac The season will open with a performance of the Brahms Stern, James Oliver Buswell IV; cellist Jacqueline du Double Concerto for Violin and Cello, with Isaac Stern Pré. Lois Marshall, Maureen Forrester, Leopold Simon - and Leonard Rose, and of the Beethoven Triple Con- eau, and Donald Bell will be soloists in Bach's B minor certo, with Eugene Istomin, Stern, and Rose. Other Mass, and there will also be performances of Mozart's guest artists will include pianists Hilde Somer (Gina - C minor Mass, Beethoven's Misia Solemuis, and Brit - stera Concerto), David Bar-Illan ( Rachmaninoff Con- ten's Spring Symphony. certo No. 2), Jerome Lowenthal (Bartók Concerto No. 2); violinists Ruggiero Ricci (Prokofiev Concerto DALLAS SYMPHONY ORCHESTRA: Donald Johanos, No. 1), Sergiu Luca (Mendelssohn Concerto), Henri conductor; Charles Blackman, associate conductor. Sep- Aubert (Wieniawski Concerto No. 2) ; cellist Zara tember 26 -April 17: twenty -one subscription concerts. Nelsova (Prokofiev Concerto No. 2). To celebrate the Guest conductors will include Antal Dorati, who will 150th anniversary of the State of Indiana, a new work, conduct his own Misia Bre:vs, and Howard Hanson. Music for Indiana, has been commissioned from Darius Jacqueline du Pré will be soloist in Elgar's Cello Con- Milhaud. certo, and other visiting artists will be pianists Abbey Simon (Chopin Concerto No. 2), Gina Bachauer (Pro- KANSAS CITY PHILHARMONIC: Hans Schwieger, con- kofiev Concerto No. 3), Leon Fleisher (Beethoven ductor; Jack Harriman, assistant conductor. November

MA-8 HIGH FIDELITY / musical america 1 -April 18: twenty-five subscription concerts. Guest Concertos Nos. 1 and 2) ; violinists Isaac Stern (Brahms artists will include pianists Eugene Istomin (Chopin Concerto), Christian Ferras (Mendelssohn and Strauss Concerto No. 2), Claudio Arrau (Liszt Concerto No. 2 concertos) ; cellist Rostropovich (Dvorák Concerto). and 's Burleske) ; violinists Leonid The Howard University Choir will join the orchestra Kogan (Khachaturian Concerto), Sidney Harth (Lalo for Carl Orff's Carmina Burana, and Gladys Kuchta Symphonie espagnole). There will be performances of and Hans Beirer will star in an adaptation of Tristan Bruckner's Symphony No. 9, Britten's Sin f onia da and Isolde. Requiem, and the final program will be a concert version of Beethoven's Fidelio. NEW ORLEANS PHILHARMONIC: Werner Torkanow- sky, conductor; Kyung -Soo Won, assistant conductor. LOS ANGELES PHILHARMONIC: , con- October 4 -May 9: seventeen subscription concerts. ductor ; Lawrence Foster, assistant conductor. Novem- Guests artists will include pianists Van Cliburn (Tchai- ber 3 -April 9: fifty subscription concerts. Guest con- kovsky Concerto No. 1), Gary Graffman (Rachmaninoff ductors will include Hans Schmidt -Isserstedt, Bernard Concerto No. 2), Wilhelm Kempff (the five Beethoven Haitink, André Cluytens, Colin Davis. Guest artists concertos) ; violinists Zino Francescatti (Brahms Con- will include pianists Leonard Pennario, who will be certo), Henryk Szeryng (Beethoven Concerto). Mau- soloist in the world premiere of a concerto by Miklós reen Forrester and Jess Thomas will sing Mahler's Das Rózsa, Daniel Barenboim (Mozart concerto), Michel- Lied von der Erde. angeli (Ravel Concerto), Artur Rubinstein (Brahms Concerto No. 2) ; violinists Ivry Gitlis (Berg Concerto), NEW YORK PHILHARMONIC: Leonard Bernstein, con- Zino Francescatti (Sibelius Concerto), Ruggiero Ricci ductor; Sylvia Caduff, Juan Pablo Izquierdo, Alain 29 20: (Ginastera Concerto) ; cellist Jacqueline du Pré (Haydn Lombard, assistant conductors. September -May Concerto) ; guitarist John Williams (Rodrigo Con- 118 subscription concerts. Guest conductors are William certo). The Roger Wagner Chorale will take part in Steinberg, Lorin Maazel, Charles Munch. Guest artists performances of the Mozart Requiem, Stravinsky's will include pianists Wilhelm Kempff, Peter Serkin, Oedipus Rex, and Schoenberg's A Survivor from Vladimir Ashkenazy, Michelangeli ; violinists Arthur Warsaw. Grumiaux, Edith Peinemann, Zvi Zeitlin, Isaac Stern; cellist Jacqueline du Pré. A gala concert on September MILWAUKEE SYMPHONY ORCHESTRA: Harry John 28 will present Nicolai Ghiaurov singing scenes from Brown, conductor. October 3 -April 3: twenty-one Boris Godounov. Leonard Bernstein will continue his subscription concerts. Guest conductors will include survey of twentieth -century symphonic forms, and Kenneth Schermerhorn and Ronald Ondrejka. Guest among the composers represented will be Henry Cowell, artists will include pianists Rudolf Firkusny (Menotti Edgard Varèse, Harold Shapero, Irving Fine, Karl - Concerto), Van Cliburn (Brahms Concerto No. 2) ; Birger Blomdahl, and Paul Hindemith. Premieres will violinist Henryk Szeryng (Beethoven Concerto) ; vocal- include works by Lukas Foss, Anís Fuleihan, Rodion ists Eileen Farrell, Regine Crespin. The season will Shchedrin, and Edison Denisov. Dietrich Fischer -Dies- open with the premiere of a specially commissioned kau will sing Mahler's Das Lied von der Erde; Vera work by Robert Ward. Zorina will be narrator in Schoenberg's Survivor from Warsaw; Bartók's Bluebeard's Castle will star Regina MINNEAPOLIS SYMPHONY ORCHESTRA: Stanislaw Resnik and Arnold Voketaitis; and there will be a Skrowaczewski, conductor ; George Trautwein, associate performance of Britten's War Requiem. conductor. October 14 -April 21: twenty subscription concerts. Guest conductors will include Aaron Copland, OAKLAND SYMPHONY ORCHESTRA: Gerhard Samuel, Charles Munch, Thomas Schippers. Guest artists are to conductor ; Robert Hughes, assistant conductor. October be pianists Tong II Han (Liszt Concerto No. 1), 11 -May 11: twenty-four subscription concerts, plus Daniel Barenboim (Bartók Concerto No. 1), Rudolf four concerts by the Oakland Chamber Orchestra. Guest Serkin (Beethoven Concerto No. 3) ; violinists Ruggiero artists will include pianists Eugene Istomin (Beethoven Ricci (Paginini La Campanella), Christian Ferras Concerto No. 3), Claudio Arrau (Chopin Concerto (Brahms Concerto), Isidor Saslav (Prokofiev Concerto No. 1) ; cellists Joanna de Keyser (Haydn Concerto),

No. 1) ; cellists Leonard Rose (Boccherini Concerto), Leonard Rose (Schumann Concerto). Among the less Rostropovich (Britten Concerto). Marilyn Home, Ce- frequently heard works scheduled for performance are sare Valletti, and Gerard Souzay will take part in a Varèsé s Arcana, Richard Felciano's Mutations for performance of Berlioz's Damnation of Faust; and the Orchestra, Webern's Im Sommerwind, and Luigi Nono's premiere will be given of Gene Gutche's Hsiang Fei. Memento- Epitaph No. 3, for speaking chorus and orchestra. NATIONAL SYMPHONY ORCHESTRA (WASHINGTON): Howard Mitchell, conductor; Walter Gillessen, assist- OKLAHOMA CITY SYMPHONY: Guy Fraser Harrison, ant conductor. October 11 -April 12: forty subscrip- conductor ; Harvey Garber, assistant conductor. October tion concerts. Guest conductors will include Antal 10 -April 4: twenty-six subscription concerts. Guest Dorati, , Sir Malcolm Sargent, and Aaron artists will include pianists Byron Janis, Eugene Isto- Copland -the last conducting an American festival min, Hilde Somer; violinists Robert Gerle, Edith Peine - program. Guest artists will include pianists Emil Gilels mann, Henryk Szeryng; cellist Jacqueline du Pré; and (Rachmaninoff Concerto No. 3), Hans Richter -Haaser one program will feature the winner of the 1966 Van (all five Beethoven concertos), Julius Katchen (Brahms Cliburn International Piano Competition.

September 1966 MA-9 PHILADELPHIA ORCHESTRA: Eugene Ormandy, Con- his Alleluja II for five instrumental groups and five

ductor ; William Smith, assistant conductor. September conductors. 29 -April 29: eighty -four subscription concerts. Guest conductors will include Antonio de Almeida, Lorin SAN ANTONIO SYMPHONY ORCHESTRA: Victor Ales- Maazel, Istvan Kertesz, Leopold Stokowski, Georges sandro, conductor; George Yeager, assistant conductor. Prêtre. Among the soloists will be pianists Leon October 8-April 29: fifteen subscription concerts. Fleisher, Anthony di Bonaventura, Philippe Entremont Guest conductors will include Vincent Persichetti, who

(Gershwin program) ; violinists Isaac Stern, Zino will conduct his own Piano Concerto, with James Mathis Francescatti; violist Joseph de Pasquale; organist as soloist, Andre Previn, Georges Tzipine, Richard Richard Ellsasser, who will be soloist in the premiere Bonynge. Guest artists will include pianists Peter Ser- of Antiphonal Fantasy by Norman Dello Joio. The kin (Bartók Concerto No. 3), Whittemore and Lowe posthumous world premiere will be given of a work (Vaughan Williams Concerto for Two Pianos) ; vio- by Webern, Three Pieces for Orchestra; the Deryck linists James Oliver Buswell IV (Barber Concerto), Cooke completion of Mahler's Tenth Symphony, per- Edith Peinemann (Beethoven Concerto) . Joan Suther- formed for the first time last season, will be featured land will appear in a program conducted by her hus- on this year's schedule. Other works of unusual interest band, Richard Bonynge; and for the opening concert are Zodiac by George Rochberg, Concerto per Corde John Corigliano, the orchestra's new concertmaster, by Ginastera, and Richard Rodney Bennett's Symphony will be soloist in Lalo's Symphonie espagnole. No. 1. ORCHESTRA: Josef Krips, PITTSBURGH SYMPHONY ORCHESTRA: William Stein- conductor. November 30 -May 26: sixty subscription berg, conductor; Henry Mazer, associate conductor. concerts. Guest conductors will include Werner Tor - September 22 -May 28: forty -eight subscription con- kanowsky, Hans Schmidt -Isserstedt, Ulrich Meyer, An- certs. This is the orchestra's fortieth anniversary season. dré Cluytens. Guest artists are pianists Philippe Entre- Guest conductors will include Andre Previn, Witold mont (Bartók Concerto No. 2), Rudolf Firkusny Rowicki, André Vandernoot, Carlo Maria Giulini. (Mozart concerto), Rudolf Serkin (Beethoven con- Guest artists will include pianists Grant Johannesen, certos) ; violinists Yehudi Menuhin (Beethoven Con- Daniel Barenboim, Gina Bachauer, Rudolf Serkin, and certo), Zvi Zeitlin (Prokofiev Concerto No. 2). Several Robert, Gaby, and Jean Casadesus; violinists Mikhail orchestra members will appear as soloists: Jacob Krach - Vaiman, Sidney Harth, Fritz Siegal; cellist Mstislav malnick (West Coast premiere of David Sheinfeld's Rostropovich. A Bruckner program will feature the Violin Concerto), Rolf Persinger (William Walton Te Deum and Ninth Symphony. Viola Concerto), Ernestine Riedel (Walton Violin Concerto), and cellist Robert Sayre (Bloch Schelomo). ROCHESTER PHILHARMONIC ORCHESTRA: László Two works will be given world premieres: Kirke Somogyi, conductor; , assistant conductor. Mechem's Symphony No. 2 and Joaquín Nin -Culmell's October 20 -April 6: fifteen subscription concerts, Suite from El Burlador de Sevilla. plus a series of four Mozart concerts. Guest artists will include pianists Daniel Barenboim (Mozart concertos), ORCHESTRA: Milton Katims, Andre Watts (MacDowell Concerto No. 2), Annie conductor. October 10 -March 21: twenty -four sub- Fischer (Beethoven Concerto No. 5) ; violist Francis scription concerts. Guest artists will include pianists Tursi (Berlioz's Harold in Italy) ; harpist Nicanor Zaba- Leonard Pennario (Khachaturian Concerto), Claudio leta (Handel and Rodrigo concertos). Among works Arrau (Beethoven Concerto No. 1 and Richard Strauss's new to Rochester will be Charles Ives's Symphony No. Burleske), Bela Siki (Liszt Concerto No. 1) ; violinists 4, Ulysses Kay's Umbrian Scene, Olivier Messiaen's Les Itzhak Perlman (Sibelius Concerto), Zino Francescatti Offrandes oubliées, Rolf Liebermann's Furioso, and the (Beethoven Concerto). The Seattle Chorale will join world premiere of a new work by Howard Hanson. the orchestra for performances of Carl Orff's Carmina Burana and the Verdi Requiem, and there will be ST. LOUIS SYMPHONY ORCHESTRA: Eleazar de Car - several West Coast premieres: Resonancias by Carlos valho, conductor; Edward Murphy, associate conductor. Chavéz, Atmospheres by Gyorgy Ligeti, Redes by Sil- October 28 -June 3: forty -eight subscription concerts. vestre Revueltas, and Apocalypse by Gian-Carlo Guest conductors will include Donald Johanos and Menotti. Lukas Foss. Guest artists will be pianists John Brown- ing (Barber Concerto), Rudolf Serkin (Beethoven con- UTAH SYMPHONY ORCHESTRA: Maurice Abravanel, certos), Malcolm Frager (Tchaikovsky Concerto No. conductor. October 12 -April 1: fifteen subscription 1) ; violinists Christian Ferras (Mozart concerto), concerts. Guest artists will include pianists José Iturbi Itzhak Perlman (Prokofiev Concerto No. 2), Sidney (Mozart concerto), Van Cliburn (Beethoven Concerto

Harth (Bartók concerto) ; cellists Peter Schenkman No. 5), Grant Johannesen (premiere of Piano Con- (Hindemith Concerto), Rostropovich (Prokofiev Con- certo by Leroy Robertson), Jerome Lowenthal (Barber certo). Elinor Ross, Richard Lewis, and John Shirley - Concerto) ; cellist Zara Nelsova (Bloch Schelomo). A Quirk will join the orchestra for Britten's IVar Re- special United Nations Day concert will feature music quiem, and there will be performances of Fidelio by Leonard Bernstein, Mozart, and Vaughan Williams. (concert version), Debussy's The Blessed Damozel, Major works on the programs will include Mahler's and Mahler's Symphony No. 8. Luciano Berio will be Symphony No. 2 (Resurrection), the Verdi Requiem, one of the conductors for the United States premiere of and Shostakovich's Symphony No. 5.

MA-10 HIGH FIDELITY / musical america State Opera; and at the York Festival, England, he took part in a performance J of Beethoven's Missa Solemnis. July saw him on his home ground, in HERE & Capriccio at Santa Fe... . Appointments

The University of Iowa is inaugurating On ne devrait écrire a Center for New Music this fall, with L'1H21 de la musique de piano the aid of a grant from the Rockefeller Foundation. Musical director is Wil- que pour les pianos TWO NEW PROJECTS in liam Hibbard, who has himself studied Bechstein. music have been an- at the University.... Vytautas Mari- Claude Debussy nounced by the Nation- josius will head a new department of al Foundation on the Arts and applied music at Hartt College of Humanities: a "Project for Young Music, University of Hartford. . . . Musicians," in which twelve specially The Peabody Conservatory of Music selected young artists will be given has announced the appointment of Ray opportunities for public performance; E. Robinson, Dean since 1963, as as- and an exploratory study of the Kodály sociate director of the Conservatory. method in music education, to be un- His successor as Dean is Dr. Dean dertaken by a group of teachers and Boal. . . . Pietro Grossi has been musicians who will spend a year in named to the faculty of Indiana Uni- Hungary, working with teachers of the versity School of Music. He will teach Kodály method.... Shinichi Suzuki, the University's first formal courses in 35 . only who also believes in starting musical electronic music. . . Stefan Bauer - education early in life, but whose ap- Mengelberg has been named President proach employs the use of string of the Mannes College of Music... . Bechstein pianos instruments (Kodály uses the voice Competitions only), will participate as master teacher in a year -long study of his teaching The Fifth International Violin Com- will be imported petition Henryk Wieniawski will be methods at the Eastman School... . An ingenious system for music notation has held in Poznan, Poland in November, this year. been devised by Paul F. Laubenstein. 1967. Entries must be received by July Called "Lasino, The No- accidental 1, 1967, and those interested should Music Notation," the system employs write to the Secretariat of the Wieniaw- differently shaped symbols to represent ski Violin Competition, Stary Rynek notes which are sharps or flats. Profes- 46/47, Poznan, Poland.... The Mar- sor Laubenstein can be contacted at guerite Long -Jacques Thibaud Inter- will one of them Connecticut College, New London.... national Competition for piano and violin will take place in June 1967. Americans Abroad For information write to the Secretariat be yours? The Utah Symphony embarks on a of the competition, Immeuble Gaveau, three -and-a -half week European tour 11 Avenue Delcassé, Paris 8.... The after a send -off concert at Carnegie Friday Morning Music Club Founda- $5,000 to $10,000 Hall on September 9 (the orchestra's tion announces the Fourteenth Na- New York debut). Fifteen concerts are tional Audition for Strings, to be held scheduled, all under the direction of in Washington, in April, 1967. Ap- Maurice Abravanel -in Athens, Bel- plications must be made on or before grade, Ljubljana, Berlin, and London. February 22. For further details write ... The Juilliard Quartet is complet- to Kathryn Hill Rawls, 1805 - 37th ing a four -month tour of seven Pacific Street N.W., Washington D.C. 20007. nations, combining performing with Obituaries teaching and searching for new talent. The seven nations were New Zealand, On June 12 , Ger- Australia, The Philippines, Hong man conductor, died at the age of seventy- Dr. Robin Laufer, Kong, Formosa, Korea, and Japan... . four.... PIANO IMPORTS Mezzo Sandra Warfield sings the title director of the San Francisco Conser- role in a new production of Gluck's vatory of Music, died suddenly from a Orfeo on opening night at the Geneva heart attack, June 2.... F. C. Cop - Opera House.... Texan tenor Wil- picus, concert manager of Caruso, liam Blankenship has appeared in Chaliapin, , and many Lucia di Lammermoor at the Vienna other great stars, died in California on Volksoper, La Traviata at the Munich June 8 at the age of eighty-six.

September 1966 M A-11 THE JIUSI7IL WHIRL

Soprano Jane Marsh, twenty -four, be- came the first American since Van Cliburn to win a first prize in Mos- cow's Tchaikovsky International Music Contest. A native San Franciscan and a graduate of Oberlin, she made her de- but with the Boston Symphony in 1965.

Claire Watson, leading soprano of the Munich Opera, is shown receiving the Bavarian Order of Merit from Alfons Goppel, Minister President of Bavaria. She is the first American singer to be so honored. Miss Watson makes her U.S. op- eratic debut this month in San Francisco.

Pianist Samuel Lipman and conductor Arthur Fiedler performed the Boston premiere of the Prokofiev Piano Con- certo No. 4 this spring with the Bos- ton Pops Orchestra. San Francisco was the next stop, where they collab- orated once again at the end of July. Composer Frank Lewin (center), flanked by violist David Schwartz and conductor Gustav Meier, look over the score of Lewin's Viola Concerto, given its pre- miere in the Norfolk Music Shed (Nor- folk, Connecticut) in mid -July. Lewin is composer of the score for television's "The Defenders," among other programs.

Pianist / harpsichordist Rosalyn Tureck has accepted a post as Chatting after a Concert Party performance by professor of music at the newly the St. Paul Chamber Orchestra in New York last formed University of California spring: Richard Dyer- Bennet, conductor Leopold at San Diego. Classes begin in Sipe and his wife, cello soloist Bernard Green- the fall of 1967. Meanwhile: house. Dyer- Bennet will appear with the St. Paul Bach workshops for Miss Tureck. ensemble in Minnesota this coming November.

A backstage conference of pianists: Da- niel Barenboim, Vladimir Ashkenazy, An- dré Watts. The occasion was the European debut of the twenty -year -old Watts, as soloist with the London Symphony Orches- tra under Schmidt -Isserstedt at Royal Festival Hall. Later he returned to New York for summer Stravinsky Festival. Andrea Velis showed what an honest, accomplished performer he can be. To AT CARAMOOR: be sure, his rather thin, imperfectly integrated tenor voice is not going to CURLEW RIVER, crack the acoustical swirls of the new Met's ceiling -but everything he did at KATONAH REPORT ESCORIAL Caramoor commanded respect, for the voice produced the necessary range of dynamics and varying mixtures of falsetto demanded by the role, and his BY CONRAD L. OSBORNE acting was never less than admirably controlled, gracefully stylized, and specific; he had several very moving moments. IT SEEMS to me that Isaac (the nearest relations of Curlew The others did not succeed quite so we Americans have al- River), one is much more aware of totally in pretending that there were ways played the pastor- the fact that they are taken from mys- not Western operatic singers under the al game very badly-it takes a few tery plays than of the fact that one is masks and robes, but they all stayed in hundred years of tradition to bring off about a man who builds a boat to save the frame. David Clatworthy gave us something like lawn bowling or coun- himself and others in a time of peril, some sturdy, resonant baritone sound try- squire gentleman farming with and that the other is about a man who as the Ferryman; William Metcalf did anything approaching naturalness. That, must sacrifice his son, and that both his work as the Traveler with musicality I suppose, is why there is something are about Man's relation to God. So and dramatic clarity; and Ara Berber - self-conscious about the Caramoor it is in Curlew River. The idea of the ian sang the Abbott's lines firmly and Festival atmosphere; there are only Noh play is evidently what hit the smoothly. Obviously, a generous por- about fourteen people in the world composer -and then the idea of a mys- tion of the credit for so thoroughly who can wear blue Madras trousers tery play on a Noh play, and then of an integrated, consistently styled a pre- without looking preposterous, and opera on a mystery play on a Noh sentation must go to Bliss Hebert, the they aren't in Westchester County. play. And how can the audience ever director; we should see more of his If you somehow look through or forget it? But the piece works. There work hereabouts. The Gemini Varia- around all this, you see the genuine are, certainly, times when one wishes tions, which preceded Curlew River, charm of the rolling countryside around Britten had not tripped over his own turned out to be a composition of no Katonah, and the genuine elegance of cleverness, but they are far between account whatever. It's a short set of the Rosen estate. And once the work and quickly over. One saving factor is variations on a theme by Kodály, writ- starts, you are heartened to see that the utter simplicity and directness of ten to fulfill a small moral debt to a beyond this sea of Paisley walk -shorts the story (see HIGH FIDELITY, June, couple of Hungarian child prodigies, is good old reliable Julius Rudel, with p. 69) ; another is that so many of the and that's exactly what it sounds like. elements of his oldest permanent float- musical and dramatic ideas about which Requiem ing opera company in New York, and Britten is writing are so apposite and Donizetti scattered other realities. Once you have beautiful. When the entire cast (in- Now to less happy matters. I felt really fixed on that, you are not surprised to strumentalists, chorus, and soloists) unable to judge what the effect of the see that the first three weekends of files in (in this case through the cloister Donizetti Requiem (June 18) might the 1966 festival (June 18 -July 10) to the small circular platform stage) in be under sensible performance condi- are programed around a neglected monks' garb, chanting the Te luris ante tions. Not only did we lose the sheer nineteenth -century choral piece (Doni- terminum, then removes the robe and physical impact obtained when big zetti's Requiem for Bellini) ; the cowl for the half -mask and costume of choral -instrumental climaxes are reached American premieres of two works by the Noh, it announces a drama which in a resounding enclosure, we effec- (the Gemini Varia- is at once ritualistic and richly theatri- tively lost almost all of the choral part. tions and his opera Curlew River) ; and cal. The direct, human qualities of the The chorus, which was in any case a revival of a one -act opera (Escorial) presentation do not conflict, but com- neither large enough nor good enough by Marvin David Levy. plement each other and set each other (the tenors, especially, gave us a sort off. A similar fusion has taken place in of garrotted sound), were ranked be- Curlew River the score, which is possibly Britten's hind the orchestra, against the theatre's Of these presentations, Curlew River finest in its command of rhythmic and back wall, and simply did not come (June 26, July 3) proved by far the coloristic variety. across. While orchestral matters were most interesting. No doubt this had somewhat better, one felt that the case The Challenge Met something to do with the fact that it for the work was not being fairly was performed in the cloistered court- The performance was exemplary. Rudel stated. If no acoustical solution (such yard rather than in the Venetian Thea- always seems to rise to the challenge as a shell, or discreet amplification) can tre. But more relevant is the quality of something new and difficult, and be found in this situation, then the of the work and the excellence of the everyone was on his toes -the quality festival ought not perform such works. production. of both the instrumental playing and The piece is almost a precast of the Britten never shakes off form. If the choral singing was first -rate. Away Verdi Requiem, the points of unusual one thinks about such pieces as Noyes from the shadow of the late Alessio de similarity including the rhythmic Fludde or the canticle Abraham and Paolis and the Met's prompt -book, scheme of the opening of the Rex

MA-14 HIGH FIDELITY / musical america game pro- tremenda (exactly the same), the set- role. As the improvised FAMOUS PRODIGY RECORD ALBUM ting of the Ingemisco as a big tenor ceeds, the King gradually reveals his OF INTERNATIONAL FAVORITES then his A New! and Rare L. P. Recording and a turbulent (and recurrent) knowledge of the affair, and aria, PHILIPPA SCHUYLER the part in the Queen's death. As the death by Dies Irae. I found the opening of Phis brilliant American pianist has been (a cappella for the of the Queen is announced, the King acclaimed in 75 countries. She toured Te decet hymrrus Africa and Asia three times at the re- four soloists) interesting; I enjoyed has a moment of triumph over the quest of the U.S. State Department. For PRESS COMMENTS both bass solos (the Ora supplex and jester, then orders him strangled. "Passionate, ardent interpretations." over the jester, -Paris -Jour the Tremens factu.r) ; I thought the a moment, he mourns "First -class pianist with vast range of exits in frenzied exultation. All feeling." -Nacht -Depesche, Berlin Kyrie might make an impressive effect then She has an aura of musical excitement, an ability to I involved in this is owed to Michel de Ghelderode, a belief in the music and under a roof; and was so communicate that belief to the listener." Cesare Valletti's extraordinary voicing author of the play. N.Y. Tines of the Ingemisco that I have no idea Despite the validity of the theatrical de force possibili- what I think of the aria -he knows the situation and the tour roles, I secret of suspending his voice on this ties inherent in the two major sort of mournful, curling line, and us was unable to discover any distinction that along with it. Thomas Paul seemed to in the score, save in the fact of his me not in his freshest voice, particu- though Levy demands much idio- larly on top, but the basic roundness singers, he seems to write more a majority and beauty of his fine bass, and his matically for the voice than the consistent musical and stylistic sense, of his contemporaries. But most of were welcome, all the same. music is simply gesture-it illustrates whatever the composer has found in the Escorial lines, which in some cases isn't really MOUSSORGSK1 : Pletares at an 2, 8). In other words, it simply Exhibition Finally, to Mr. Levy's work (July anything. TURINA: Holy Thursday at Midnight a poor jump at the mirrors the text, on a predictable, mun- COPLAND: The Cat and the Mouse This evening got LISZT: Hungarian Rhapsody No. 6 gate with a slodgy, embarrassingly dane musical level, which is not the INFANTE: Sevillian Variations GERSHWIN: An American in Paris prancy production of Mozart's Bastion function of an operatic score. There (transcribed for piano solo) noise, then a Order from your local dealer or direct and Bastienne. Things boded ill from are big contrasts (lots of We pay postage on cash orders an insinuating piano phrase N.Y.C. residents add 5% sales tax the start, with a horrid little phony - hush and $4.79 (Mono) pastoral pantomime acted out during -you hear it coming ten bars ahead of EMANUEL A. MIDDLETON flesh or rhyth- Music Publisher & Importer the overture, and matters hardly time), but little melodic 1576 linoadn:n. Ncn York. N. Y. 1(036 mended after that. Here was an ob- mic bone, and no hint of imaginative- vious miscalculation on the part of ness in the orchestration. The hopeful is Mr. Levy wrote Escorial Dennis Rosa, the director, and of who- note that ç THE ever decided the production would take eight years ago, and has presumably i` 9EiCi~ large strides since; his Mourning e*h;:xti MANNES on this rather desperately artificialized made 1 air, and in the original language, at Becomes E/ektra surely ought to tell the . " -; COLLEGE that. This sort of thing works only story rather fully. OF with the most carefully selected cast Good Singing, Busy Staging MUSIC and the most thorough preparation; in I with Rosa's basic this case, only Anne Elgar had the again disagreed Nearly half a century's tradition of ex- goods- stylistically, linguistically, or staging decision: everything was lost pert instruction for the aspiring profes- leading to the in a welter of people jumping about sional musician. Courses vocally. The work itself is too fragile Bachelor of Science Degree or Diploma. any to stand up to such treatment, and ex- and being thrown down stairs; yet Extension and Preparatory Divisions. cept when Miss Elgar was holding one of the movements might have been Student body limited to insure intensive attention to the needs valid in the absence of ninety -nine study and careful forth, one's thoughts were mainly on of the individual student. the steaming heat and the myriads of others. We did get some good work Catalog Upon Request Dept. MA moths who had decided on a from both principals: Nolan Van Way little 74th STREET used his smooth, tenory baritone well 157 EAST musical evening. NEW YORK, N. Y. 10021 I to cope with the almost Elektra-like de- Then came Escorial, about which 212 REgent 7 -4476 had heard some good things, and which mands on compass, dynamic range, and has at its core a most playable dramatic sheer endurance, and tenor Harry Theard did some interesting coloring idea: A king, having discovered an af- YUSEF LATEEF'S FLUTE BOOK OF THE BLUES fair between his wife and his jester, while surmounting the considerable Applicable to all treble clef instruments has poisoned the Queen; as she lies in difficulties of his own part. Dramati- Price: $2.50 plus 100 postage in U.S.A. Outside U.S.A. 15c postage her death agony, he summons the cally, the impressive presence of Van jester to entertain him. Naturally Way and the flexibility of Theard YUSEF LATEEF'S STRING QUINTET #1 enough, the jester (who knows the would have been used to better effect, (two violins. viola, cello, contrabass) Price: $6.00 plus 250 postage in U.S.A. is dying, but does not know the as I have suggested, under a different Queen Outside U.S.A. 30v' postage cause) is not exactly at the top of his directorial concept, though things came form. The King taunts him, and then together well at the moment of the YUSEF LATEEF'S SAXOPHONE QUINTET #1 in proposes a game in which the two Queen's death. Mr. Rudel and his or- Price: $4.50 plus 2,' postage U.S.A. Outside U.S.A. 300 postage change places -the jester mounts the chestra performed well, so far as I determine through the unfamil- Address order to Alnur Music, P.O. Box 343, throne and takes the crown and sceptre, could Dept. MA. Teaneck, New Jersey, 07666 while the King assumes the jester's iarity of the music.

MA-15 September 1966 BY SHIRLEY FLEMING

THE MUSIC - MAKING WINSTON -SALEM REPORT MORAVIANS

WiNsToN-sALEm lies in a church. They concentrated, naturally tives, rather short- winded in the expan- green and rolling tract enough, on anthems, chorales, and arias sion of ideas, and pleasantly lyric in the of the Carolina Pied- for religious service; but for pleasure slow movements. Peter had obviously mont which is rich to the eye, rich in they turned to orchestral, chamber, and taken his German education to heart, tobacco and textile fortunes, rich in brass music. The tradition they trans- and handled his materials with ease. history. Exactly two hundred years ago mitted to these shores was European ; The quintets were his only venture into it became the site of the first permanent it never, strictly speaking, became chamber music. settlement made in the South by mem- Americanized, and it began to decline Peter's works were nicely offset, in bers of the Moravian Church, after their in the 1830s. But its ripe period marks the Fine Arts' programs, by three string original landing in Georgia in the a curious and rather isolated chapter in trios of John Antes (1740 -1811) -a 1730s and their subsequent move north the story of music in America. remarkable Pennsylvania -born Moravian to Pennsylvania. Today, thanks to the For more than a century the Salem who, at the age of twenty -four, left the special and characteristic musical in- manuscripts, like their counterparts in country permanently after having built volvement of the sect as a whole (con- the Moravian settlements in Pennsyl- what was probably the first violin to gregational singing has been an im- vania, languished in neglect. Thor be made here. He became a watch- portant feature since the early fifteenth Johnson, who grew up in North Caro- maker and eventually a minister, spent century), and thanks also to what lina and is the son of a Moravian twelve years in Cairo as a missionary, appears to have been an ingrained habit minister, began unearthing them for was tortured by the Turks, and in the of meticulous record -keeping, Wins- performance in 1950, and six years course of the term in Egypt also made ton- Salem-or more accurately, Old later the Moravian Music Foundation his sole contribution to chamber music. Salem itself- houses a remarkable col- was established to pursue the task of The trios (recorded by the Fine Arts lection of music manuscript copies of collecting and cataloguing some 10,000 for Columbia) are Haydnesque -by the late eighteenth and early nineteenth musical documents. The Archives have turns gentle and serious or dancing and centuries. yielded a continuous supply of works rustic, knowingly scored (a particular- Some of this music was born on for the festivals under Johnson's direc- ly delicate passage in the Andante of American soil, written by Moravians tion, held on alternate years since 1950 No. 2 comes to mind), and always en- who in many cases were ministers as in various Moravian communities. tertaining, in the best sense of the word. well as composers; some was the work The Antes family also accounts for First Chamber Music of their European colleagues, brought America's the most socially luminous of the early over as comforting reminders of home; The 1966 festival turned its attention Moravians represented this year in some of it was composed by outsiders first to the most professionally accom- Salem: a sister of John Antes married whom the Moravians admired -among plished of the early Moravians living the Reverend Benjamin Latrobe of Ful- them Haydn, Mozart, Pleyel, Stamitz, in America. Johann Friedrich Peter neck, England, and among their off- Boccherini, and an assortment of Bachs. (1746-1813) was a Hollander who spring were two accomplished sons. During a cool and sunny week in June studied in Germany, migrated to Beth- One was Benjamin Latrobe, who came (12 -19), on the campus of Salem lehem, Pennsylvania in 1770, and ten to America in 1796 and, as surveyor College, some of this music was aired years later moved to Salem. He took of public buildings in Washington un- for modern audiences during the eighth the musical life of the town in hand, der Thomas Jefferson, designed the Early American Moravian Music Fes- directed the choir, gave organ lessons, south wing of the Capitol and even- tival, directed by Thor Johnson. and composed a sizable body of music, tually rebuilt the structure after it was including six string quintets which en- burned by the British in 1814. The Music and Wood Chopping joy the distinction of being, as far as other was Christian Ignatius Latrobe The festival drove one fact home: that anyone knows, the first chamber music (1757- 1836), who remained in Eng- at a time when the gentle folk of works composed in America. Performed land, made his name as a composer Charleston and Williamsburg enjoyed by the Fine Arts Quartet and an as- and as an editor of German and Italian professional performances more or less sisting violist (this was not their initial sacred music, served as an advisor to as a spectator sport, the Moravians- modern presentation), they are respect- Charles Burney, and was counted who organized music societies almost able examples of classical handiwork - among the inner circle of Haydn's as soon as they began to clear trees for busy, well scored, with occasional nice acquaintances when the latter came to a town square -made music as an contrasts of viola timbre against violin, England in 1791. Latrobe dedicated everyday affair both in and out of well supplied with short melodic mo- three piano sonatas to the visiting

MA-16 HIGH FIDELITY / musical america celebrity, which were performed this year in Salem by Mayne Miller. They are rather obvious in their dramatic gestures and rhetorical flourishes, but they faithfully reflect the new romantic vocal spirit of the 1790s. opera - lieder - ballads Dies Irae J. William Bauer Voice Specialist Latrobe's rather operatic turn of mind career found free play in the "big" work of orientation the festival, a Dies Irae for soloists, Member of N.Y.S.T.A. chorus, and orchestra, receiving its first Students currently in Opera. Light Opera, modern performance. There is plenty speech here to keep an audience in a state of Oratorio and on Broadway diction - tension over the approaching Day of projection - Wrath: ominous upward rumblings in poise the low strings, which serve as a sort of leitmotif: a superbly triumphant and difficult trumpet solo complementing the tenor soloist in "The last loud 200 Central Park South, New York City, 10019 trumpet's awful sound" ; a number of polished and effective arias for the By appointment, JU 6 -2842 soloists; in addition to a rather melting duet for soprano and tenor; and much strong and active writing for the chorus -which, curiously enough, only once anything resembling polyph- approaches composers ony. Latrobe obviously had profes- One of the most outstanding contemporary German sional performers to draw upon in Eng- land, and made good use of them. (The Dies Irae was probably never ac- celebrated his 65th birthday on May 17th, 1966. tually performed in Colonial America; His works are published exclusively by B. Schott's Söhne the piano score turned up three years ago on the lists of an English book- Operas seller and was purchased -for the Gynt Columbus Irische Legende handsome sum of $18 -by the Mora- - Peer - - Der Revisor - - Die Verlobung in San Domingo vian Foundation. The orchestration for - 17 Tage und 4 Minuten its Salem premiere followed instru- mental cues in the small score, and Ballets deserves mention for its effectiveness and evident validity.) The soloists, who Joan von Zarissa - - Abraxas - Ein Sommertag - Danza did credit to the work, were Mary Die chinesische Nachtigall - Beth Peil, soprano; Marlena Kleinman, and Vocal Works mezzo; Waldi Anderson, tenor; An- Orchestral drew White, bass -baritone. Thor John- vocal scores his large volunteer Please ask for the complete catalogue of works. Pocket scores, son had whipped and rental materials can be obtained from in the chorus into remarkable shape Associated Music Publishers New York space of roughly four days. B. Schott's Söhne Mainz Salem's week included much more than the high spots mentioned here. There were three organ recitals on dif- ferent instruments, including a refined little Tannenberg (1798) which now resides in the restored Single Brothers The New England Conservatory House in Old Salem; there were lec- A COLLEGE OF MUSIC tures and seminars on Moravian sacred Since 1867, the standard of excellence in music and on concurrent non -Moravian American Music Education developments in early America; there BACHELOR OF MUSIC AND MASTER OF MUSIC DEGREES in all fields was a concert devoted to works by com- DIPLOMA and ARTIST'S DIPLOMA in applied music posers living and working in Salem ORCHESTRA today. Headquarters for the occasion OPERA THEATER CHORUS PROFESSIONAL FACULTY INCLUDES PRINCIPALS OF was the attractive and exceedingly THE BOSTON SYMPHONY ORCHESTRA Fine Arts Center of Salem workable Catalog: Box A, 290 Huntington Avenue, Boston, Maas. 02115 College, completed just a year ago.

September 1966 MA-17 NEW YORK COLLEGE OF MUSIC

BY ARTHUR DARACK

CINCINNATI REPORT OPERA AT THE ZOO

BACHELOR OF MUSIC SUMMER OPERA takes more advanced in their response; they BACHELOR OF MUSIC place at the Zoo in Cin- may burst into applause in the middle IN TEACHER EDUCATION cinnati, not because it of arias, or whenever singers pause PROFESSIONAL DIPLOMA needs to be kept behind bars or segre- long enough to appear to solicit ap- EXTENSION AND gated for other savage reasons, but be- plause, even though it may be nothing PREPARATORY DIVISIONS cause it has always been there. Cincin- more than an afterthought about phras- nati values 114 EAST 85 STREET RE 7 -5751 tradition more than change, ing. Cincinnati audiences, which come in most fields, thus explaining the from nearby cities almost as much as otherwise obscure connection of wild from Cincinnati, are otherwise noted beasts and sopranos. In fact, Cincin- for politeness. Applause for weak nati's Zoo is one of its leading cul- tenors, who were rather more plenti- PIPE tural institutions, also hosting a Fine ful this season than the repertory Arts Festival once a year, centering seemed to require, is often as generous ORGAN around a juried painting show. (The as for strong sopranos. KIT Zoo once possessed an ape with skill Sets, by Andreas Nomikos, from In- Portable, three -rank in finger painting.) The animals seem pipe organ, single - diana University, ranged from rococo manual in kit form for assembly in your to appreciate all this ; they roar, own home. Perfect for chamber ensemble cackle, symbolism to plain realism, with high- and solo use. For illustrated color bro- growl, yelp -in approval, one hopes. ly imaginative use of suggestive, small chure write: The Marshall Stone & Company, Organmakers repertory also reflects Cincin- objects hung overhead. Nomikos, like 4 Potomac Court, Alexandria, Va. 22314 nati's passion for conservatism; not his predecessors (most notably Wolf- many operas outside the common rep- gang Roth), must work on a stage that CARNEGIE ertory get produced. The season this is simply too small for opera or any- college of year (June 22 -July 24) consisted of thing excepting the original, obsolete Faust (new production), Così fan tulle, purposes. Therefore, sets must be FINE ARTS Carmen, (new produc- small, not too obtrusive, and sturdy. tion), Tales of Hoffmann, Madama Usually Nomikos succeeds; however, U INSTRUMENTAL Butterfly, La Bohème, Cavalleria Rusti- , as Carmen, almost 1!1 VOICE COMPOSITION cana, Pagliacci, Cinderella (new pro- pulled over the bullfight arena when MUSIC EDUCATION Proi,as,unal Unuergraduate duction), and La Traviata. Two she leaned too heavily on a pillar. and Graduate Degree Programs operas were performed a week and Such incidents as this are expected, repeated. and can happen in any theatre. When catalog 45 Carnegie Institute of Technology Schenley Parl. Pinshwgn 13 Pa they happen here they Pavilion Improved are considered part of the show. (If Samson can do The Zoo Opera Pavilion has grown it, why not Carmen?) THE CLEVELAND from a partly covered, shabby theatre The chorus is too small, but excel- devoted to such early tribal festivals as INSTITUTE of MUSIC lent, consisting of a few Metropolitan food shows, children's beauty contests, Opera choristers, and mostly graduates VICTOR BABIN, D.F.A., Director and remote, breathless radio programs or graduate students at the Cincinnati DIPLOMA COURSE ... BACHELOR (reporting the festivals), to its pres- AND MASTER OF MUSIC DEGREES College- Conservatory of Music. This ent adequate estate. is ARTIST DIPLOMA . IN- The seating all year's chorusmaster was David Eifron. STRUCTION FOR SPECIAL AND PREPARATORY under cover, the sides and back open. The ballet is local, small, adequate, STUDENTS. Seating totals about 3,000. The stage Faculty includes: ELEANOR STEBER, soprano; trained by Jack Louiso. VITYA VRONSKY, piano; ARTHUR LOESSER, piano; has been rebuilt, slightly enlarged. The This season's conductors, who pre- FERNANDO VALENTI, harpsichord; WILLIAM KROLL, violin; VICTOR BABIN, piano; PRINCI- singers have new rooms that no longer sided over about sixty members of the THE ORCHESTRA PALS OF CLEVELAND induce claustrophobia or heat stroke. Cincinnati Symphony, were Anton 11021 EAST BLVD. CLEVELAND, O. 44106 Telephone: 791 -5165 Area Code 216 The lighting, though it remains primi- Guadagno, Erich Kunzel, Charles Wil- Member N.A.S.M. tive, does at least have several color son, and Martin Rich. Stage directors ranges and powers. Peacocks and other were Tito Capobianco, Ralph Herbert, HEBREW ARTS SCHOOL fowl nearby often interrupt the most Hugh Thompson, and Styrk Orwoll, FOR MUSIC AND DANCE ravishing moments with their raucous, who is also general manager. 120 W. 16th Street, N.Y. 10011 mysterious cries, and the lions often Warm Beginning rp OR 5 -3260 roar in the distance for their private, Tziporo H. Jochsberger, Director CONSERVATORY PROGRAM (Ages 6 -171 powerful reasons. Spectators (feather- Faust, under Guadagno's baton, began PROGRAMS FOR ADULTS Catalog on Request less bipeds) sometimes are not much the season in sweltering heat, with

MA-18 HIGH FIDELITY / musical america two limp performances in key roles- Robert Moulson's Faust, and Beverly Sills's Marguerite. Norman Treigle, as to Mephistopheles, could not redeem the "Will be the standard source for years stage show despite his polished, suave performance. How much the heat had come ... belongs in every operatic library." to do with the Sills -Moulson weakness - American Record Guide is hard to say; the performance became livelier as the evening progressed, sug- gesting that perhaps the singers ac- customed themselves to the temperature ichard trauss (unusual for this time of year) . Così fan tutte, in the Martin trans- A CRITICAL STUDY OF THE OPERAS lation, attracted a much smaller audi- ence and a much finer performance. By William Mann The Nomikos sets were airy and frivo- "There has been a need for just this sort of book ever since lous, and the ladies were distinctive Richard Strauss's death.... To a musician, this book will give and delightful. Anne Elgar's Despina cause to re- examine the work of a major composer; to the opera ancient institution revived the -too lover, it will give entrance into a largely unexplored field of often ignored -of feminine beauty on interest and high achievement; to a student of opera it will give the opera stage, and displayed a voice documentation on the most protracted case history of the rela- which did no discredit whatever to her tionship between a composer and his - many - poets and will person and her pert portrayal. Acting offer a comprehensive insight into the processes of that corn- in opera is like Dr. Johnson's dog poser's mind. To the general reader, the book will grant all of standing on its hind legs -it is aston- the above, plus a readability and a love for the subject that can- ishing that the thing is done at all - not but pique the reader's curiosity and send him to the record and when it is accompanied by fluent, shelf or the opera house. " - PATRICK J. SMITH, Musical America. warm, virtuoso singing, one sees opera 32 pages of halftones. $12.50 only as bliss. Phyllis Curtin's Fiordiligi At all bookstores likewise had a fortunate wedding of OXFORD UNIVERSITY PRESS New York flesh and spirit. She was regal, deter- / mined, in bearing and voice. The Dorabella of Elaine Bonazzi provided the indicated foil. Theodor Uppman's version of Guglielmo carried the day for the male half of the opera. Thereupon a decline set in from Uppman to John THE AMOR ARTIS CHORALE McCollum, the Ferrando. However, Andrew Foldi's Don Alfonso redeemed THE AMOR ARTIS ORCHESTRA male honor by making cynicism sonor- Johannes Somary, MUSIC DIRECTOR ous as well as persuasive. Charles Wilson conducted, not wisely and not Sixth Season TOWN HALL 1966 1967 too well. AN ITALIAN BAROQUE FESTIVAL Mil- The season's Carmen brought FRI. EVE., NOV. 18 AT 8:30 P.M. FRI. EVE., FEB. 17 AT 8:30 P.M. FRI. EVE., APRIL 7 AT 1:30 P.M. Cincin- dred Miller from Cleveland to VIVALDI CARISSIMI MONTEVERUI nati for the first time. Miss Miller's MAGNIFICAT JEPHTE A QUEST' OLMO BALTHAZAR DUE CANTI GUERRIERI Carmen retains traces of her Cherubino, IN G MINOR JUDITHA TRIUMPHANS JUDICIUM EXTREMUM DUE CANTI AMOROSI thus substituting swiftness, decision, Soloists: JUDICIUM SALOMONIS VESPERS (1510) (Celebrating the New York Debut of Soloists: and a beautiful lithe appearance for bass -baritone Four Hundredth Anniversary Gerd Nienstedt, bass -baritone the more elemental femininity Carmen (Bayreuth Festival and Gerd Nienstedt, of the Composer's Birth) Vienna State Opera) Eileen Laurence, soprano Soloists: presumably possesses. Miss Miller's Eileen Laurence. soprano Stafford Wing, tenor Eileen Laurence, soprano mezzo-soprano Stafford Wing, tenor is rather more high -toned than Elaine Bonazzi, William Fleck, bass-baritone Carmen Stafford Wing, tenor William Fleck, bass-baritone smugglers and toreadors could be ex- William Fleck, bass-baritone Igor Kipnis, harpsichordist Igor Klpnls, harpsichordist assisting artists Harriet Wingreen, organist to appreciate. And as her high Igor Kipnis, harpsichordist and pected H -M Slnple series of three concerts: lope $12.00; Orch. center $9.60: Orch. sides E8.40; o c. A -G $6.00, Balc. $4.80. make check or money notes added lusciousness and her low concerts: lope $5.00: Orch. center $4.00; Orch. sides $3.50; Salt. A -G $2.50; talc H -M $2.00. Please Floor, Third Ave., New York 10017. Enclose stamped, sell- oddrers.i envelope. notes elegance, Miss Miller's Carmen order payable to Amor Arils. Inc., 23rd 777 Milton Goldin, Mgr. RE 4.7419 Docca Records was one of the most stylish operatic presentations. Sherrill Milnes was the toreador, muscular in appearance, with ACADEMY of VOCAL ARTS a great, ringing baritone voice and a Complete Training for Opera Elsewhere manner born to the stage. ONLY the cast had strength. The sets had a SCHOLARSHIP BASIS VERNON HAMMOND. Director shade too much of simplicity; the Nicola Moscona, Dorothy Di Scala, Vocal Dept. Tito Capobianco, Stage Director Continued on page MA -24 1920 SPRUCE STREET, PHILADELPHIA, PA. 19103

September 1966 Baldwin -Wallace Conservatory of Music FESTIVALS Berea, Ohio (Suburb of Cleveland) Cecil W. Munk, Director IN ENGLAND Courses leading to degrees B.Mus., B.Mus. in ALDEBURGH / GLYNDEBOURNE Church Music, B. Mue. Ed., and B.A. with music major Member of N.A.S.M. n Converse College School I Of lnsic (Managers and Directors of Brerard Music Center, Brerard, N. C.) BY EDWARD GREENFIELD p Professional School of Music in small td liberal arts college. Bachelor & Master t,f Music degrees. Chorus, symphony, od, opera workshops, chamber en- . nt blec. Full cnmpttc life. HE Aldeburgh Festival and John Williams, any Ctlg.: Dean, School of Music, Dept. M -23, sinking rival- J Converse College, Spartanburg, S.C. (June 8 -21) holds its ries and performing an enchanting position in the British series of duets -not just Elizabethan PHYLLIS musical calendar as the most magical items and spectacular Spanish pieces, of all: here is a place where musicians but a double guitar sonata by one Soprano C: U RTI N can make music as though it were just Gottlieb Scheidler (dates obscure), who Columbia Artists Management Inc. for fun again ; where Sviatoslav Richter cribbed outrageously from Mozart's P. r,onal Direction: Judd, Ries & Dahlgren 165 W. 57 St., N.Y.C. 19 and Benjamin Britten can play Mozart operas but produced fresh results. and Schumann piano duets (one key- Or take the English Opera Group's DALCROZE board) ; where, after a supremely in- production of Handel's Acis and Gala- SCHOOL OF MUSIC tense performance of Die Winterreise, tea, set in stylized poses against a Wat- '1. billing the beet features of Peter Pears go European and American Education." can along to the Fes- teau -like decor. There may be scholarly COMPLETE MUSIC CURRICULUM- tival Party and decorously sing such doubts as to whether Handel really did ARTIST FACULTY DALCROZE TEACHER'S CERTIFICATE COURSE classics as Night and Day and Miss intend a full, operalike staging along 161 East 73rd St., New York 21, N. Y. TR 9 -0316 Dr. Hilda M. Schuster, Dalcroze School of Music Otis Regrets; where even the music these lines, but there is no doubt what- BARBARA critic can sit back and enjoy himself, ever that the result is twice as vivid not counting the man -hours involved. when the simple charade of Poly - For the Aldeburgh Festival may phemus's killing of Acis is illustrated Holmquest provide an intensive program, but each colorfully instead of being presented, PIANIST concert is imaginatively devised ; you oratoriolike, on the concert platform. NEW lnitK RECITAL ASSOCIATES never feel you are chugging through John Wakefield as Acis and Elizabeth 200 W. 37th Street, New York, N. Y. 10019 an undigested mass of music lumped Harwood as Galatea sang superbly. together for convenience. There was Britten's Roles LAUREL HURLEY a concert entirely devoted to the music of Percy Grainger, for which Grain - But it is Britten who still stands as the Soprano, ger's widow, now in her late seventies, main inspiration of the Festival, not Eric Semon, Assoc. 91 W. 57th St., N.Y.C. 19 came over from New York. You might merely in his role as composer, but infer that the inclusion of Grainger as pianist (accompanying Pears or KOCH SCHOOL OF MUSIC was an act of painstaking devotion - Richter), and above all as conductor. but how wrong you would be. The Two of the most beautiful concerts Frederick Koch, Director composer of Country Gardens and were led by him: a program of Mahler, 13th Season Handel in the Strand may not have Mozart, Debussy, and Beethoven with

Prospectus on Request been a great creative genius, but he the English Chamber Orchestra (the 2220 Wooster Rd., Cleveland 16, Ohio 331 -3828 was a vibrant musical personality whose Jupiter Symphony done with extraor- enthusiasm for music surged over in dinary finesse and subtlety), and EUGENE LIST Jubilee Hall to match the salty air of Haydn's Creation. It is interesting to Aldeburgh. note that because he is so intensely Pianist So, too, when five of the most self -critical, Britten can change his Columbia Artists M ment Inc. 1.r.onal Direction: Judd, Ries & Dahlgren talented of British singers -April Can - mind on interpretation matters between 165 W. 57 St., N.Y.C. 19 telo, Janet Baker, Peter Pears, Robert rehearsals without ever seeming indeci- Tear, and John Shirley -Quirk -joined sive to his performers. MARYMOUNT COLLEGE together for a Purcell concert. Much The only major new work from the TARRYTOWN. NEW YORK Purcell music lies unperformed just composer this year was an important MUS. B B. A. MUSIC MAJOR APPLIED MUSIC ALL THEORY COURSES because of the very difficulty of getting one; the opera -or, as Britten prefers ENSEMBLE OPERA WORKSHOP together singers like this (an inevitable to call it, "parable for church perform- rally arcredited scholar-skips available NN rite: Dir. of Admission., result of the star system) ; it was good ance" -The Burning Fiery Furnace. to hear such rarities as the Elegy on This was a conscious attempt to pro- the Death of Queen Mary for soprano vide a sequel to the unique and evoca- Olive MIDDLETON and contralto duet and the complete tive Curlew River. With the same SOPRANO masque from Timon of Athens. And librettist, William Plomer, Britten has Available: Opera- Concert I wonder where else you would ever again set his mystery play in a medieval 171 W. 57th St., New York 19, N. Y. have a chance to hear two of the great- monastery with the ceremonial of the 1.1 (1_1281 est guitarists in the world, Julian Bream monks and their prayers making a

MA-20 HIGH FIDELITY / musical ..erica Rochester A1 ' e1 mirml t,1,1p

Philharmonic it ,.+.r Orchestra FORTY - FOURTH SEASON /1966 -67 Laszlo Somogyi Music Director and Conductor

For information write: Rochester Civic Music Association, T. lannaccone, General Manager 30 Gibbs Street, Rochester, N. Y. 14604, Tel. 716/454 -2620 OS

frame round the play's stylized action. brilliant passage is the instrumental hearted, but in this compact house it is As the title implies, the story tells interlude, when the musicians, acting as compelling as any production to be of the ordeal of Shadrach, Meshach, in consort, join in procession round seen. George Shirley is the splendid and Abednego; though this is inevita- the center of the church. The music is new Tamino, but as so often at Glynde- bly less touching than the story of the deeply influenced by the Orient (as bourne it is not the quality of singing Madwoman in Curlew River, it is far was Curlew River), but somehow more that brings success so much as the good more clearly dramatic in an operatic concrete in Western terms, less evanes- teamwork. sense. Curlew River can fail in per- cent than the earlier work. It will be The same was true of the new pro- formance when the right atmosphere interesting to see how it fares away duction of Massenet's Ir'erther, not is lacking, but The Burning Fiery Fur- from Orford Parish Church for which very well sung and not very vigorously nace is firmly based on the sort of it was written, immediate and intimate conducted (at least initially) by Carlo dramatic effects that should make an in atmosphere. Felice Cillario. But visually it was a impact whatever the stage setting: the delight, with Henry Bardon (designer New Look at Glyndebourne entry of Nebuchadnezzar with a spec- for Acis and Galatea at Aldeburgh) tacular red and gold train borne by At Glyndebourne, the new -look season again placing the characters against acolytes; the erection of the idol, the has had fair success. First production what seems like an antique oil painting. God of Gold, on a twin flagpole, ex- was an unexpected coupling of Pur- Despite the high points, a mere four actly like the one in Curlew River; the cell's Dido and Aeneas (Janet Baker productions in a Glyndebourne season sudden disappearance of the idol when, an expressive and deeply moving -and a shortened season, at that - after the ordeal, Nebuchadnezzar orders heroine) and Ravel's L'Heure espag- seems precious few. Glyndebourne still its destruction. nole (with Michel Sénéchal placidly manages to exist without state subsidy; In such moments Britten and Plomer funny as the self -regarding poet). A but with the contraction of the season, have faithfully captured the sort of curious mixture, but on the whole well some have commented gloomily about wonderment that would attend a medi- fitted to the Glyndebourne set -up the evils of retrenchment -though eval performance. When the three are where, after a long and well- lubricated there is no hint of this from Glynde- cast into the fiery furnace, the acolytes dinner interval, the second half seems bourne management circles. It may in hold aloft a betasselled, flame -colored best when it is lighthearted. fact prove very healthy if the house cloth, which first hides them complete- You might even say that the Glynde- is not sold out so consistently as in ly and then reveals them safe and alive bourne Zauberflöte, with ingenious, at- the past: Glyndebourne has still the accompanied by the "shining figure" tractive, and above all efficient sets by strength to be adventurous, and it need of the Bible story. Musically the most Emanuele Luzzati, is primarily light- not pander to the audience.

September 1966 MA-21 BY EVERETT HELM

SCHAT'S LABYRINTH; HOLLAND REPORT ROTTERDAM'S NEW HALL

THE Théâtre Carré in nature -an unending series of inter- Doelen, inaugurated shortly before the Amsterdam was the twined legs, breasts, navels and the Festival began. It was here that the or- scene of what was in- like. The alienation effected by these chestra of the Southwest German Radio tended to be an atomic musical explo- animated dirty postcards was further (Baden- Baden) gave a concert of con- sion. In reality, however, the world enhanced by close -ups of a black insect temporary music such as one might premiere of Peter Schat's Labyrinth crawling over bare flesh. dream of. Under Ernest Bour, this turned out to be something of a dud. superb ensemble gave exemplary per- The amount of publicity and fireworks Disorientation formances of Fortner's Impromptus for preceding this performance was enor- All of this was connected (it said in Orchestra, Stravinsky's Variations "In mous. It began five years ago when the the program notes) with the banal Memoriam Aldous Huxley," Pender- author -team, of which composer Schat story of a worn -out prize fighter (Vul- ecki's Sonata for Cello and Orchestra, is the most vocal member, began kan Fiber) whose wife (Beauty) has with the phenomenal Siegfried Palm as hounding the Holland Festival man- left him for a film producer. But the soloist, and Messiaen's Chronochromie. agement to produce this work of "total authors' stated intention was not to At this concert and another by the theatre." The management had certain tell the story but to disorient the audi- Rotterdam Philharmonic under Franz reservations concerning both cost and ence and leave every spectator free to Paul Decker it became evident that quality. The team, however, refused draw his own conclusions. Disorien- Rotterdam has come close to hitting to take no for an answer. Continuing tation was fostered through simultane- the acoustical jackpot. The sound is pressure in the press and in Parliament ity of action on various time levels and clear and natural, perhaps an iota on carried the day, and the show was on. by the inclusion of activities and epi- the brilliant side, with very few dead Labyrinth's claim to being total thea- sodes which had nothing to do with spots. It is a large hall, seating 2,249, tre can not really be disproved, since anything-d la theatre of the absurd. and it gives a fine feeling of spacious- nobody quite knows what this term The basic fallacy in the whole produc- ness. It is said to be the largest in terms implies. What one saw in Amsterdam, tion was the authors' apparent belief of cubic volume (not of seating capac- however, produced total boredom. For that by assembling a collection of so- ity) in Europe. The unobtrusively over three hours all kinds of things called avant -garde formulae and clichés handsome color scheme is based on happened. Actors declaimed and they would automatically come up with blue seats (very comfortable) and shouted; the chorus, seated in the a fascinating, smart, and highly modern 360-degree dark brown wood paneling. audience, screamed, clapped, moved show. Instead, they produced a jumbo- A low "screen" of white marble sur- about now and then, made assorted sized assortment of poor imitations. rounds the orchestra on three sides. noises with toy instruments and occa- The overly loud and in the main The protruding boxes are painted red sionally sang. Conductor Bruno Ma- aleatorically conceived music, consist- and gold -the only questionable fea- derna gave signs for the aleatory music ing of tone clusters and dissonant chord ture. The foyers are spacious and most to start and stop and doubled on bongo formations, added little to the evening's attractive; marble of various types is drums; three soloists went from one experience. Only the incongruous, again in evidence. part of the hall to another; dancers oratorio-like finale showed signs of The small hall, seating 604, is a moved abstractly on a reduced portion musical promise, but by then nobody little gem, perfect for chamber music. of the regular stage, while the main cared. Very moderate applause -no Here was held the International Music "action" took place on the floor of the boos, no catcalls, no rioting- marked Council's three -day congress on "The horseshoe-shaped hall ; the the end of a five -year crusade. Composer of Today and the Public." Symphony Orchestra and a number of Participants from all parts of the world round podiums shared this space; an Acoustical Jackpot took part in six sessions devoted much elegant lady in white, wearing ten - The month -long Holland Festival is too much to speeches and much too inch elevator shoes, made her way de- crowded with interesting events liter- little to discussion. In contrast to prev- liberately through various sections of ally too numerous to mention. One of ious congresses sponsored by the In- the audience; dancers climbed about its charms is that it takes place not ternational Music Council, this one re- aimlessly and with very little aplomb in one locality, but in several cities of fused to catch fire. The subject proved on a network of ropes suspended over the tiny country. This year something to be too broad and unwieldly; the the floor. And to top things off two new was added in the form of Rotter- agenda was crowded with too many screens showed films of an anatomical dam's magnificent concert hall De speakers.

MA-22 HIGH FIDELITY / musical america MU PHI EPSILON International Musk Sorority MENOTTI'S SUPERB Janet Adams Wilkie, President 5744 34th, N.E., Seattle, Washington 98105 REPORT Virginia Porter Flier, Executive See. -Tress. PELLÉAS SPOLETO 1139 N. Ridgewood Dr., Wichita 8, Kansas NEW The RABINOFS Benno VIOLIN -PIANO DUO Sylvia "A singularly artistic union of two perfect- IlY WII,I.I.1M WEAVER ly matched talents." -San Antonio Evening News Columbia Artists Management Inc. Personal Direction: Judd, Ries, Dahlgren 165 W. 57 St., N.Y.C. 19 CATHERINE BEFORE the opening of and it also justified the inclusion of the of usually -cut scene between the child Reiner the ninth edition Soprano Spoleto's Festival of and the shepherds in Act Four. Recital and orchestral app Two Worlds, Gian Carlo Menotti- For inquiries write: The American and Easy P.O.R. 817 New York, N. Y. 10023 the festival's founder, organizer, and Cast: prime mover-complained, as usual, in The cast was largely American, and for GYORGY the Italian press that he lacked money; this reason perhaps the music was sung and he implied that this year's Due with unusual naturalness and ease, with SANDOR Mondi would be much reduced and almost none of the odious "Debussy "Calif have become the would be carried out only in the strict- gasp" that seems to Mgt.: ERIC NEMI)N V..1)C. est economy. The calendar of events official way of singing (or not -sing- 31 W. 57th St., New York 19 was, in fact, a bit less rich than usual; ing) this opera in France. The voices but the individual productions betrayed had tone, the words had weight and Sigma Alpha Iota no distressing signs of poverty. meaning, and were clearly enunciated National Professional Music Fraternity The most important event in this with quite acceptable French pronunci- Jeannette Kirk, President was production ation. Only the Pelléas himself (Dad- year's festival the new 7906 Jamieson Ave., Reseda, Calif. of Debussy's Pelléas of Mélisande, tone John Reardon) lapsed now and a French which inaugurated things on June 24. then into kind of Sprech- NORMAN SUMMERS To begin with the visual aspect of Stimme, but this lapse was no doubt BARITONE this fresh achievement: Rouben Ter - due more to tessitura problems than Ernest Bloch "Sacred Service" with Toronto Symphony Arutunian's sets and costumes were con- to interpretative aims. As Mélisande, "A Voice of Warm Appeal " -Toronto Evening Telegram sistently and magically beautiful and Judith Biegen was completely winning, "An exceptionally pleasant Voice keeping you quite engrossed" -New York Herald Tribune music-enhancing. The sets had only innocent without being kittenish, frail Carole Macon: Artists Rep ravive without being limp. André Jonquères 2 Tanglewood Drive, Livingston, N. J. 07039 one fault: they did not photograph Area Coda: 201 -9924330 well. So one had to see them to believe was a splendid, bluff, full- voiced Go- them. The lines were art-nouveau in laud. But then, all the roles were well THEODOR inspiration: furniture made of tendrils filled, and one must also mention Anna and boughs, windows of indefinite Reynolds, a warm Geneviève; the ma- UPI) 111 a 11 B 1.itone shape. There was a suggestion of jestic Arkel of John West, and METROPOLITAN OPERA ASSOCIATION Arthur Rackham about Arkel's Alle- Spoleto's own Lorenzo Muti, the ex- Columbia Artists Management Ine. monde. Mélisande's tower might have cellent Yniold. Personal Direction, Nelly Walter 165 W. 57 St.. N.Y.C. 19 been carved from a great tree trunk. The conducting of Werner Tor - The lighting was also the best ever kanowsky merits special, unconditioned "A pianist of remarkable qualities." seen in a Spoleto production, and the praise. He drew first -rate playing from Frrrurcio Rusons "Ha, p red Busoni's epochnmking style" gossamer sets seemed at times to dis- the Trieste orchestra, which is a laud- Jean Sibelius solve into the surrounding illumination. able but not always superlative organ- EDWARD WEISS The staging was in the hands of ization. His reading of the score was A Favorite pupil of Rusoni Maestro Menotti himself. Pe lléas, as he notable for the telling clarity of detail, 853 Seventh Ave., N. Y. 19, N. Y. CI 5 -8769 has often declared, is one of his favo- but also for the capture of the subtle rite operas ; and this affection was evi- differences in shading from scene to DAVID dent in every moment of the action. scene, and for the excellent, over -all SAPERTON, Mus.D. For over 17 yrs. on Major Piano Faculty of The For once the lovers really did seem pace of the opera. Curtis Institute of Music. Assistant to Director, Josef Hofmann, Member of famed Busoni like children, justifying Golaud's be- Since conductor, designer, and most "Circle" in Berlin. Son -in -law of the late Leo- pold Godowsky, many of whose compositions lief in their essential innocence and his of the singers are American, and since and paraphrases he recorded. Recordings: Vic- is tor Red Seal, Command Performance Records, final grief, and for once (the casting director Menotti an American resi- Inc. and Kapp. Steinway Piano. was surely Menotti's) Yniold was dent, it should not be difficult for some Taught: JORGE BOLET SHURA CHERKASSKY played by a real boy and not by a musical organization in the United SIDNEY FOSTER JULIUS KATCHEN soprano mincing about States to import this production. It SEYMOUR LIPKIN WILLIAM MASSELOS broad -beamed ABBEY SIMON and famous others foolishly. This casting made the would be a great pity if it were tc die 344 West 72nd St., New York, N.Y. 10023 Yniold -Golaud scene more effective, after these too-few performances. Tel. SU 7 -1745

September 1966 MA-23 CINCINNATI ZOO OPERA HEOH lBOiL/TY Continued from page MA -t9

mountains and the Lilas Pastias Tavern musical america were more or less interchangeable. Roland Gelatt Editor in Chief NEXT MONTH Costumes had their traditional Gypsy Shirley Fleming Managing Editor Production Manager New York salutes Stravinsky . . baubles. Charles Wilson conducted. Sue Severn comes to Roy Lindstrom Art Director The London Symphony Don Pasquale, in Phyllis Mead's Sheila Schultz, Edit. Asst. Daytona Beach . Music at Marl- . . . English version, introduced a most in- Claire N. Eddings Dir., Adv. Sales boro . The Aspen Festival Walter F. Grueninger Circulation Dir. Bayreuth 1966 ... Summer music at teresting young lady to Cincinnati, Provence, Dubrovnik, Athens. Warren B. Syer Publisher Aix -en- whose name is Patricia Brooks. Her appearance combines Roman aristocrat- Among outstanding Metropolitan Opera ic beauty with a trace of the sensual, S A M U E L artists studying with Mr. Margolis are: and her stage behavior is sufficiently the brilliant baritone, ROBERT MER- a fluent RILL (his only voice teacher) JEROME inclusive to produce strong, HINES, famous basso, and other cele- lyric coloratura and a dramatic range M A R G O L I S brated singers. from archly stylized, deceitful female St., N.Y.C. COlumbus 5 -9155 205 W. 57th comic impersonation to leading -lady savoir faire and beauty. Nicola Mos- with New York's Renowned Study Singing cona, in the title role, and Theodor DR. JAMES MORRISON - Famous Voice Expert Uppman, as Dr. Malatesta, provided BEGINNERS ADVANCED POPULAR rich, subtle comic impersonations. The CONCERT OPERATIC STAGE sets were the best of the season. Public appearances while studying Hours: 3 -10 P.M. In sum, grand opera at the Zoo is Morrison School of Singing 1650 B'way (Ent. 51st St.) Circle 6 -9891 most effective when grand effects need be only suggested. The best moments BOSTON CONSERVATORY of MUSIC here are the intimate details. Grand A. Brambillo, Dean has as much intimacy A College of Music. Drama and Dance George opera, after all, Composition and Applied Music lead to Bachelor of Music, massed effects Majors in Music Education, degrees. Drama as sonority, and because Bachelor of Music Education, Master of Music, Master of Music Education lead to Bachelor of Fine Arts degree Faculty of 60 includes members of are not possible with a small budget and Dance Courses for women. Member NASM. Boston Symphony Orchestra. Summer & Fall terms. Dormitories and smaller stage, the concentration write Dept. A 8 The Fenway, Boston 15, Moss. For brochure. must be upon finesse. Excepting for tenors, the season was highly attrac- MANHATTAN SCHOOL of MUSIC tive and fulfilling of its promise. JOHN BROWNLEE, DIRECTOR, Bachelor and Master of Music Degrees Catalog on request: 238 E. 105 St., New York City Member of the National Association of Schools of Music and the Middle States Association of Colleges and Secondary Schools English Written, which explains PIANO SINGERS, STUDENTS, SPEAKERS . Write now for revolutionary book and speech. new scientific method of teaching easy, quick, perfect, free voice for singing You'll learn many voice secrets! You'll get it by return air mail. Air mail check for $10 to Francisco Aranda. MARIENKA MICHNA "Agents Wanted." Address: R. Invalidos, 18-1001 Rio de Janeiro 2C 58, Brazil. Concert Pianist- Teacher Opera Coach - Accompanist hotel Ansonia. Bw. & 73 St.. N.Y.C. STELLA AMES- EISNER ROSALIE MILLER Only teacher of LUCINE AMARA Teacher of Singing and Interpretation Metropolitan Opera 155 W. 68th St., New York City SCHOOLS 344 W. 72nd ST.. N.Y.C. SU 7 -3808 Phone 362- 5076 -By appointment only MADELIENE KING BARTELL PIANO TUNING COURSE MAESTRO N. PALUMBO ORenri by Lee Schaart z. Full t line summer course Teacher of Singing - New York Singing Teachers TEACHER -COACH for 15. Timing. repairs. regulating -At. West. National Association Teachers of Singing ( Teacher of celebrated Licia Albanese and Comm of Music. 555 Mountain Ave., Westfield. N. J. many other Metropolitan Opera singers) 30 Burling Ave.. White Plains, N.Y. 914 RO 1.3715 By Appointment Only Call SC 4 -0453 WILLIAM BAUER - Maestro of the Voice Opera - Lieder DOLF SWING NATS -NYSTA SIGHTSINGING Fluent in Five Languages VOICE DEVELOPMENT & COACHING 200 W. 59th St., N.Y.C. 19 JU 6.2842 Amer. Acad. of Teachers of Singing MAURICE FINNELL 75 W. 67th St.. N.Y.C. 23 TR 7 -5889 Musicianship - Ear Training - Theory JUNE BURGESS Classes - Pvt. Study - By Appt. All phases of Vocal Instruction MAUDE DOUGLAS TWEEDY Fast American Musical & Dramatic Academy Fac. American Academy of Dramatic Arts Write, 23 E. 86 St.. N.Y.C. 28 SA 2.6215 Ansonia Hotel NYSTA -NATS SU 7.3300 TEACHER OF SINGING 73rd & Broadway (Apt. 10 -112) 50 NS cst 67th St.. N.Y.C. TR 7 -8439 STRINGS CARMINE GAGLIARDI WILLARD YOUNG N.A.T.S Faculty, Manhattan School of Music New York Singing Teachers Assoc. Teacher of Robert Dunlap Amer. Acad. of Teachers of Singing THRUSTON JOHNSON Leading Baritone, Metropolitan Opera 160 W. 73 St.. N.Y.C. 10023 EN 2.9621 VIOLINIST 171 West 71st St., N.Y.C. TR. 4 -7227 Studio: 600 W. 116 St., NYC 27 RI 9-7839 LOLA HAYES NYSTA Coach -Accompanist TEACHER OF SINGING VOICE 1200 Fifth Ave., N.Y.C. TR 6 -2989 AMELIA SMITH JACOBSON SOLON ALBERTI CECILE Concert Accompanist for Artists on Tour Voice Production "Teacher of Singers" Voice Technic Mg. Dir.: Opera Repertory Group Coaching in Opera - Concert - Oratorio NYSTA -NATS 4227 Peachtree Cir. E., Jacksonville 7, Fla. Hotel Ansonia, Bway. & 73rd St., N.Y.C. 23 160 W. 73 St., NYC, TR 7 -2573 - TR 7.6700 Telephone: Area Code 904; 398 -7689 SU 7.1514 and SU 7 -3300

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