Stereo Receivers

BENEDETTI MICHELANGELI a legendary pianist returns 60 cents high fideli JANUARY THE MAGAZINE FOR MUSIC LISTENERS mcc a survey of solid -state stereo receivers

compact

space - savers designed

for big sound

including specifications of all 1966 models

tap , hi mon litter contou,

www.americanradiohistory.com it Fisher engineers have done done everything to combine in h more than just install a top - the 95 the performance of quality ity all- solid -state FM- stereo components with the conveni- r and phono playback system ence of a decorator -planned cus- andsome walnut cabinets. tom installation. -y have designed a system that But we've saved the best for casually simple to operate. last: The price of the Fisher 95 Specifications, Models 85 and 95 ontrols are on the front of the with 8" woofers is only $369.50! Tuner (Model 95 only) lifier- changer cabinet, so that With the optional, larger speaker Large illuminated slide- rule -type dial 4 -gang front end Sensitivity 2.2 uv (IHF) 4 IF stages are accessible at all times, systems, the price is $399.50. plus separate limiter STEREO BEACON Auto- matic mono -stereo switching Built -in FM antenna when the dust cover is on. For music lovers who do not Amplifier FM tuner, the Fisher Conservatively designed output stage No output gold- plated front panel is require an or driver transformers All-silicon low -level stages I, making all controls easy to 85 contains the same audio elec- Complete audio control center Record Player and to use. The loudspeakers tronics as the 95 and is even more Garrard automatic turntable Pickering magnetic stereo cartridge Optional Plexiglas dust cover :onnected to the amplifier on compact. Price of the Fisher 85 permits stacking of 10 records holding with 8" woofers is $269.50. With Loudspeakers ,ottom of the cabinet, Compact two -way system with 8" woofer (stand- connecting wires inconspicu- the optional, larger speaker sys- ard) Bookshelf system with 10" woofer (optional) Both speaker systems have extended -range 21" close to the shelf. Fisher has tems, the price is $299.50. tweeters. *PAT. PENDING

her9S! CIRCLE 29 ON READER -SERVICE CARD

www.americanradiohistory.com Now Fisher has made the proc- B ess of selecting, matching and in- muc stalling a component system as quali Mail this post card for your free copy of The Fisher Handbook 1966. i easy as placing the Fisher 95 on tune r a bookshelf. No longer is it nec- in h PLACE essary for a music lover to worry The 40 about anything but the music. is u STAMP The world -famous Fisher engi- C eGU9 ë HERE w;eEa=i neering staff has done it all for amp r>w4. N they arv` g you. °ógtilá They have chosen the Fisher even - 9 u,c u ÿ07 uC FISHER RADIO CORPORATION tuner and amplifier which are best The rA áv L°°" 11 -35 45th Road for each other, and then carefully tiltet read i-,idEy` Long Island City, N.Y. 11101 selected a pair of Fisher speakers vOC-m0 plus a record changer and a car- are c »$óA°e tridge to match. The only finger the t á.o v 41 > [9=p6p9 É r lifting you'll have to do is when the c úÓmaú z Q J you turn the 95 on. oust ISLAND CITY, N.Y. 11101. OVESSEAS AND CNDIAN RESIDENTS PLIESE WRiTE TO IIIINER RDIO INTERNATIONAL, INC- LONG Get a Fig

www.americanradiohistory.com How to match and install six top -quality stereo components without lifting a finger:

www.americanradiohistory.com www.americanradiohistory.com Capture natural sound with Píckerín.

From the softest flutter of the woodwinds to the floor- shaking boom of the bass drum, natural sound begins with Pickering. Right where the stylus meets the groove. Any of the new Pickering V -15 stereo cartridges will reproduce the groove, the whole groove and nothing but the groove. That's why a Pickering can't help sounding natural if the record and the rest of the equipment are of equally high quality. To assure compatibility with your stereo equipment, there are four different Pickering V -15 pickups, each designed for a specific application. The new V- 15AC -2 is for conventional record changers where high output and heavier tracking forces are required. The new V- 15AT -2 is for lighter tracking in high -quality automatic turntables. The even more com- pliant V- 15AM -1 is ideal for professional -type manual turntables. And the V- 15AME -1 with elliptical stylus is the choice of the technical sophisticate who demands the last word in tracking ability. No other pickup design is quite like the Pickering V -15. The cartridge weighs next to nothing (5 grams) in order to take full advantage of low -mass tone arm systems. Pickering's exclusive Floating Stylus and patented replaceable V -Guard stylus assembly protect both the the record and the diamond. But the final payoff is in the sound. You will hear difference.

PICKERING -for those who can hear the difference.

Pickering & Co., Plainview, 1.1., N.Y. CIRCLE 51 ON READER -SERVICE CARD 2 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Page 50 eillak

high fidelity

Music and Musicians 46 Michelangeli and the Machine Roy McMullen 56 The Posthumous Career of J. S. Bach Leonard Marcus 59 The Unfashionable Generation Peter J. Pine 16 Notes from Our Correspondents: New York, Vienna, London, Paris, Berlin

Sound Reproduction 37 High Fidelity Newsfronts: room walls and groove walls Norman Eisenberg 45 The Intent of Our Cover: an editorial 50 A Survey of Solid -State Stereo Receivers Robert Angus 65 Equipment Reports Dynaco Beocord 2000 Tape Recorder Kenwood Model TK -80 Stereo Receiver Schober TR -2 Basic Amplifier Kit Shure Model M55E Cartridge EMI Model 901 Speaker System

Reviews of Recordings 38 "John Fitzgerald Kennedy ... As We Remember Him" William Styron 42 Folk Music 73 Feature Record Reviews Schubert: Symphonies (8) (Orchestra of Naples, Denis Vaughan, cond.) Tchaikovsky: The Oprichnik; The Maiden of Orleans; Cherivichki; Pique Daine (four complete operas from Russian sources) Bach: The Well- Tempered Clavier, S. 846 -93 (João Carlos Martins, piano) 77 Other Classical Reviews 102 "A Treasury of Great Music" 105 The Lighter Side 109 Jazz 113 The Tape Deck

118 Index to Equipment Reports, 1965

JANUARY 1966 VOLUME 16 NUMBER 1

Published monthly at Great Barrington, Mau., by The billboard Publishing Co. Copyright % 1965 by The Billboard Publishing Co. The design and contents of High Fidelity Magulne are fully protected by copyright and must not be reproduced in any manner. Second-clan postage paid at Great Barrington and at additional mailing offices. Authorized as second .clnt mail by the Post Office Department, Ottawa, and for payment of postage in cask Nigh fidelity' Musical America Edition published monthly except December when it is published temi. monthly. Subscription Anywhere on Earth $9. National and other Editions published monthly. Subscription Anywhere on Earth $7. Indexed in the "Readers Guide to Periodical Liters. Change of address notices and lure." undelivered copies (form 3579) should be addressed to High fidelity, Subscription Department, 2100 Patterson , Cincinnati. Ohio 15214.

JANUARY 1966 3

www.americanradiohistory.com high fidelity SOME SHAPES NEVER CHANGE Ykil solid -state 1 stereo receivers

F,r>: Ai Enr tt.ZOK 4.4

d d 1gók sodC

Cover: by Roy Lindstrom

Roland Gelatt Editor in Chief

Joan Griffiths Executive Editor

Norman Eisenberg Audio Editor

Sue Severn Managing Editor

Peter G. Davis Assistant Editor

Shirley Fleming Managing Editor For example, a spoon. a VW or an 88 Stereo Compact. They are made for a specific purpose and fulfill it so well, the basic design never Musical America Section changes. Improvements are made though. Spoons are better balanced. VW's Leonard Marcus have larger tail lights. We've added a pause control to the 88 Stereo Special Projects Editor Compact. We've improved the automatic stop, Included a pilot light and put a push- button on the counter - but we haven't changed the basic de- Roy Lindstrom sign. An 88 is still only 13 x 13 x 7" and fits into most hi fi consoles. Art Director 88 Stereo Compacts always deliver smooth tape handling, excellent frequency response, feature off the tape monitoring and separate Nathan Broder hyperbolic heads for erase, record and playback. R. D. Darrell An 88 Stereo Compact is never obsolete. Ask those who own one - design and quality have endured the test of time. So we didn't change it Alfred Frankenstein - we just made improvements. Conrad L. Osborne Robert C. Marsh Contributing Editors

88 Stereo Compact in modern Claire N. Eddings walnut finish cabinet with Director of Advertising Sales hinged cover. Walter F. Grueninger Circulation Director

Warren B. Syer Publisher

A D V E R T I S I N G Main Office Claire N. Eddings, The Publishing House Great Barrington, Mass. 01230 Telephone: 413 -528 -1300 880 Stereo Compact complete with New York tachable speakers - in portable case. 163 W. 46th St., New York 10036 Telephone: 212- 757 -2800 Seymour Resnick, Andrew Sponberger .4t11t.... Chicago MADE BY SKILLED AMERICAN CRAFTSMEN AT Taylor/ Friedman tt 333 N. Michigan Ave., Suite 314, Chicago 60601 Telephone: 312 -332 -7683 IN ìkìng OF MINNEAPOLIS Los Angeles R. J. Friedman Associates Angeles 90048 9600 Aldrich Ave S. Minneapolis, Minnesota. 434 So. San Vicente Blvd., Los 55420 Telephone: 213 -652 -2100 CANADA: Ale. L. (Jack. Ltd.. 1151 Bioor St. W.. Islington. Ontario and Electo Tec Marketers. Ltd.. 1624 W. Third Av.. Vancouver, British Columbia The Billboard Publishing Co. CENTRAL 6 SOUTH fMERICA:ManRep Corp.. P.O. Boa 29 N.Miami Beach. Florida. U.S.A. 1520 No. Gower, Hollywood 90028 S. . Minrcnpol.s. Minn.. U.S.A. OvERSE AS EXPORT: International Division Viking of Minneapolis. Inc.. 9601 Aldrich Av. Telephone: 213- 469 -5831

CIRCLE 79 ON READER -SERVICE CARD 4 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com RECENT PROFESSIONAL INSTALLATIONS OF AR SPEAKERS

($89 -$102, depending on finish)

Aeolian- Skinner reverberation system cor- rects excessively dead acoustics in the chapel of Choate School, Wallingford, Connecticut. Duncan Phyfe, musical director of the school, describes the effect on live pipe organ and chorus as "so natural one is not aware of an electronic reverberation system." Similar Aeolian- Skinner installations are operating in Christ Church, Cambridge, Massachusetts, and in St. John's Episco- pal Church, Washington, D.C. AR speakers were chosen because of their lack of coloration, their undistorted, full -range bass, and their reliability.

($109 -$128)

Sound reinforcement system for the summer jazz concerts in the sculpture garden of New York's Museum of Modern Art. Live music had to be amplified without giving the sound an unnatural, "electronic" quality; AR speakers were chosen after testing many brands.

C:, . ,,.Co,. «.,U. ,a. tL ...rD»14,116 . s

($203 -$225)

One of the listening rooms in the Library & Museum of the Experimental Music Studio of the University of Illinois. Performing Arts at Lincoln Center in New York City. AR -3's Dr. Hiller (seated) writes about the AR -3's, used as were chosen for these rooms to achieve an absolute mini- monitor speakers: "I wish all our equipment were as mum of artificial coloration. trouble free."

AR speakers and turntables are often used professionally, but they are primarily designed for natural reproduction of music in the home. Literature is available for the asking. ACOUSTIC RESEARCH, INC., 24 Thorndike Street, Cambridge, Massachusetts 02141

CIRCLE 1 ON READER- SrVICE CARO JANUARY 1966 5

www.americanradiohistory.com JUST A FEW OF THE CLASSICAL RECORDINGS NOW AVAILABL

r THE MOST WIDELY ACCLAIMED SPECIAL OFFER RECORDING OF OUR TIME! This Deluxe 7- record set counts as only 4 selections

An Historic Return BEETHOVEN'S HOROWITZ AT 9 SYMPHONIES CARNEGIE HALL George Szell and the Cleveland Orchestra 1977.1978. TwoRecord Set (Counts As Two Selections.) 2203.2204.2205.2206.Seven- The fabulous "live" perform- Record Set (Counts as Four ance, his first concert in 12 Selections.) All nine Bee- years! Hailed by critics and thoven Symphonies in a mon- fans alike! umental recording! Includes informative brochure. REGULAR or STERE RECORDS if you begin membership by purchasing any one of these records, and agree to buy a record a month during the coming nine months (you will have over 200 records a month to choose from)

RESPIGHI LEONARD BERNSTEIN PHILIPPE ENTREMONT IVES /SYMPHONY No.4 conduct. BEETHOVEN VIVALDI th The PINES CHOPIN: BERLIOZ Saint. ed Rome CARL NIELSEN THE Saëns Quartet FOUR SEASONS The SYMPHONY NO. 3 Symphonie Leopold Piano No. 12 FOUNTAINS Royal Danish Orch. 'u Stokowski Thom.. Leonard Bernstein ol Rome Fantastique Concertos Budapest AMCRC0.N Scbppsi Y. PHILHARMONIC ,N$ Roman Nos. String SYMPNDNYi T 2 A4 N John Corigliano FESTIVALS ORMA ND inn ORCHESTRA New Yrk t VIOMIN Duarte P arm.a 01MIR,1 T- Philadelphia Orch. EUGENE ORMANDY Premere ® I r r Y1 ar.NOrn.' rni nln PHILADELPHIA ORCH. 1109 2215 1405 2217 1082 2216

ESPAÑA BARTOK: Vienna, My City TCHAIKOVSKY Bach HAYDN: Concerto for Orchestra Piano Concertos Nos. J .pf Dreams 28 REVERIE THE NM( OHIAI® CONCERTOS BERNSTEIN EUGENE ORMANDY Dar De lame Brame Organ RICHARD E. POWER BI66S, owe SPANISH TM Phd.dIpb. Orch YMel_oms Worm TUCKER Favorites Glaeb StFMaT ORMSfi FAVORITES rors I. - ether hoodemem by FALLA Heart 0. E. Power RAVEL I Lon, For Vrenna GARY GRAFFMAN Biggs CHABRIER 11 MORE EUGENE ORMANDY Philadelphia Orchestra Eugene Ormandy FHA PHILADELPHIA ORCH. earreR. PIMAIIIMIK NKR : ::: or:.: S ORNANO1 Philadelphia Orch. 1909

TCHAIKOVSKY: Rhapsody in Blue BERNSTEIN CONDUCTS VLADIMIR A FESTIVAL OF HARGNES DVORAK: Symphonia Domestica MUSIC OF JUBILEE I JOHN Pathétique Symphony RICHARD STRAUSS An American in Paris BERNSTEIN March of the Toreadors New World Bach ,1WILLIAMS HOROWITZ s Favorites ram, Free On The Toms American Salute Symphony GEORGE . ` Virtuoso oh for Organ Leotard Candide Overture Stars and Stripes Forever BERNSTEIN SZELL 1tor Duets by Chopin Liszt Bernstein and )Paganini Prelude, Fugue Si Rifts Meadowlands The . New York . Rachmaninoff Orchestra VHIrlobos BENNY GOODMAN le.. Ai 9 more Philharmonic Cleveland purr Schumann .al Granados am the . Gershwin PHILADELPHIA Orce, E. POWER NEW YORK MYILNARMONIC DOCH. .M echare ORMANDY [r r il wi BIGGS [tal 1605 1695

BACH: THE ORFF: CARMINA BURANA SERKIN BEETHOVEN LORD'S PRAYER WAGNER: VERDI REQUIEM TM{ YNlladltNNA 'anl YUSNaSIRCI d GROPE: WELL- TENPERED CLAVIER MAUI. MORMON Richard Tucker scausts and cheres TABERNACLE CHOIR -MI ILIAC .100. OrI.r GRAND Good Maureen Forrester Book 1 ORMANDY cndu

Rims ky- Korsak on TCHAIKOVSKY NONE BUT Villa Lobos Guarnierl BOHEMIAN CARNIVAL PROKOFIEV: BERNSTEIN THE Gora. Sr.. IANO CONCERTO Ne 3 LONELY HEART Copland Chavez others SCHEHERAZADE CONDUCTS Cleveland Orchae.e RACHMANINOFF: SWAN a Philadelphia ISAAC STERN LATIN AMERICAN STRAVINSK . CONCERTO Ne COPLAND r.. - .i FIREBIRD SUIT Orch. LAKE Plays r- FINLANDIA El Salon Men TCHAIKOVSKY: IAOFLPHIA DREW SERA 1 Suite ROAMON CHOIR Ballet GREAT ROMEO AND JULIET TIetRMICIF Eugene Appalachian Spring EUGENE ORMANDY LEONARD BERNSTEIN Ormandy }VIOLIN e Veri.o iri.le %sm. BERNSTEIN N.Y. Philharmonic THE MOLDAU N. Y. PHILHARMONIC s..eaN MPs., FAVORITES BYRON JANIS piNnMHr.1 ®New York Philharmonic FOUR I PHILHARMONIC SLAVONIC DANCES PPr Gynt Swle Re MOSCOW 1102 1300 1322 1651 1404 1096

VIENNA CHOIR BOYS SAINT -SA ENS STRAVINSKY CHOPIN: MAHLER LAIR de L N Dances for Orchestra Orgn Symphony (No. 31 CONDUCTS Les Sylphdes "Resurrection" A Debussy FOURTH SYMPHONY stns DANSE MACABRE PhlladelDMa WAN Ormatey STRAVINSKY Symptom R. T DELIBES: !} Piano Recital by LEONARD BERNSTEIN SACRED Dumbarton Oaks Suites from BRUNO PHIUPPE ENTREMONT HABANERA N. Y. PHILHARMONIC MUSIC Concerto Cecus POS. Sylvia, Coppeha WALTER POLOVTSMN DANCES eANO LOVE SONGS Greet.' ORMANDY New York 4 more by Preis. Philadelphia Philharmonic SCHUBERT a BRAHMS Orchestra Westminster NMaNBT. PMIaMIPia Sob PHILIPS ] Cgs Roh.iC.WmaM s,..

1690 1076 1686 1321 1111 -1112 Set Counts As 2 Selections ® Columbia Recorda Distribution Corp., I UBO

CIRCLE 12 ON READER -SERVICE CARD 6 IIILrIi I 11)1 Nt.kc:lzltiE

www.americanradiohistory.com TO NEW MEMBERS OF THE COLUMBIA RECORD CLUB

BAYREUTH FESTIVAL RECORDING SPECIAL OFFER OF PARSIFAL This Deluxe 3- record set counts as 2 selections Conducted by 4 FAVORITE VIOLIN CONCERTOS Hans Knappertsbusch ISAAC STERN plays 2207. 220$- 2209. 2210.2211. Five- Beethoven, Mendelssohn, Record Set (Counts As Five Se- lections.) Features Jess Thomas, Brahms, Tchaikovsky George London, Hans Hotter, Irene Dalis. "An acoustical ban- quet, served up by a master 1940.1941. Three- Record Set chef. " -Saturday Review (Counts As Two Selections.) Stern is backed by Leonard Bernstein and the New York Philharmonic; and Eugene Ormandy and the Philadelphia Orchestra.

SPECIAL OFFER)

This Deluxe 3- record set counts as 2 selections GREAT ROMANTIC FREE PIANO CONCERTOS Plus this RECORD RACK 11 PHILIPPE ENTREMONT Amr plays RACHMANINOFF: FREE Holds one This attractive brass - finished Concerto No. 2; record rack adjusts to your needs up to sixty! . . it expands as your collec- Rhapsody on a tion grows, and folds flat when Theme of Paganini not in use. 'AS.J 1 GRIEG: Concerto in A Minor TCHAIKOVSKY: Concerto No. 1

EUGENE ORMANDY 2015 -2016. Three -Record Set (Counts Two God Bless PUCCINI AND As CONDUCTS THE Selections.) "Entremont is nothing less than America PHILADELPHIA ORCHESTRA VERDI a genius. "- London Daily Telegraph FAVORITES Mormon EILEEN Tabernacle FaiiiterS FARRELL.,..... Choir RICHARD ' D mangy TUCKER, Phna Orch GOULD / BERNSTEIN RIDE Of TNT VALKYRIES _'d New York PN,Iharmon.c SARRE DANCE 6 more = Ar \'Nr d( tì 2180 2152 1661 2018 . The Gaiti'Parisfenne SEND NO MONEY -JUST MAIL COUPON NOW Romantic BIZET: Strings of HIGHLIGHTS ANDRE - KOSTEL.RNETZ HERE'S HOW TO GET YOUR 8 RECORDS-FREE COLUMBIA RECORD CLUB, Dept. 238 -2 Andre eh Terre Haute, Indiana 47808 Print your name and address in the spaces I provided 2128 1523 at the right. Write in the numbers of your 8 free records DEBUSSY: LAMER PROKOFIEV I) RAVEL: DAPHNE ET -then choose another record as your first violin Concertos Nos.1 A Name CHLOE IS.II Ns. 7) selection, for which you will be billed $3.79 (Please Print) First Name Initial Isaac Stern (regular high -fidelity) or $4.79 (stereo), plus Last Name a small Ormandy mailing and handling charge. In short, you will receive nine classical rec- The ords for less than the price Philadelphia + " of one! Record Address Orch. + rack is included FREE! :L.wE, S,.R CI..DDOOrch ATRIA whether you want your 9 records (and 3Checkall future Zip 1650 1685 selections) in regular or stereo. City Stale Cede HOW THE CLUB OPERATES: Each month vs y RACHMANINOFF the Club's staff of music experts selects several outstanding MUTCRACKER Second Piano Concerto SEND ME THESE EIGHT RECORDS ALSO classical recordings -as well as records from other - SEND ME SUITE GARY GRAFF/BAN FREE (fill In numbers below) THIS RECORD BERNSTEIN fields of music. These recordings are described Prokollev: in AS ` N E rAiIABI..K MY FIRST the Club's music Magazine, PETER AND which you receive free Rn1 each month. Your only membership SELECTION THE WOLF obligation is to purchase a record a ttonnd Beinsinn j( month during the coming nine C Y Pm. arnonn months. You may discontinue membership at any time thereafter. The records you want are mailed and billed to you at the regular Club price 1070 1652 of $4.79 (Popular $339), plus a small mailing and handling charge. TCHAIKOVS

www.americanradiohistory.com make the KENWOOD 3 -point test SIR: Heartiest congratulations on your No-

vember issue I "The Mozart Operas "l, which should become a collector's item. Every page of it is first -rate, and Conrad L. Osborne's coverage of the Mozart opera recordings is brilliant. Considering the fiction dispensed by most of our leading newspaper critics -in the East, at any rate -it is all the more pleasurable to be able to read the astute, authoritative, and musically written words of Mr. Osborne. He obviously knows voices, technique, and Mozart. It may be of interest to many of your readers to know that Ina Souez (Fiordiligi and Donna Anna in the Glyndebourne recordings of Così fan tulle and Don Giovanni) is not Spanish, as Mr. Osborne inferred, but a native of Windsor, Colorado and is presently teaching in San Francisco. The West Coast is certainly privileged to have this artist, with her knowledge of Mozart singing style, instructing young singers. Thomas Matthews New York, N.Y.

Abrasha and Valodya MODEL TK -50 FM MULTIPLEX STEREO RECEIVER SIR: We wish to congratulate HIGH FIDELITY for printing the enlightening and enter- Our KENWOOD engineers are a very fussy group. And because taining "Conversations with Horowitz" they are, they have built into Model TK -50 all the deluxe features by Abram Chasins IOctober 19651. Our entire family was among the privileged associated with units sell- and high -quality performance usually and excited audience at the historic May ing for considerably more than the TK -50 price of $219.95! 9 concert, so we were all the more elated Check some of these features -and make your own compari- to read this informative interview between "Abrasha" and "Valodya." Mr. 4 50 watts at sons: Total music power of 60 watts at ohms, Chasins' articulate and expert questions 8 ohms. Wide frequency range accomplished by silicon power produced a fascinating, humorous, yet transistors. High sensitivity of 2.5 microvolts (IHF Standard). touching discussion. We hope there will be many more Horowitz concerts, and a -end, power Model TK -50 has four gang all transistor front many more similar interviews in HIGH transistor protection circuit, automatic silent switching to proper FIDELITY. mode indicating instantly the reception of FM stereo broadcasts, Dr. and Mrs. Lorris Aibel Brooklyn, N. Y. 4 I.F. Stages with 3 limiters and wideband ratio detector, and many other features that make it an outstanding value. A Koussevitzky Archive Add to all of this the handsome chassis, at no extra cost, and SIR: urge to become a KENWOOD we're sure you'll get that irresistible As a Koussevitzky collector, I found my owner. attention immediately attracted by your Koussevitzky Unsung" in Why not see your nearest franchised KENWOOD dealer? He'll heading "Of the "Letters" column, October 1965. I be glad to assist you with the comparison test. heartily second Mr. Harvey's suggestion that RCA Victor begin reissuing his recordings. It is certainly high time that approach to quali t,, the mood this great man, now only a faint memory to the majority of music listeners, is given KENWOOD his due recognition. Ultimately, a Kous- Los Angeles Office: 3700 South Broadway Pl., Los Angeles, Calif. 90007, ADams 2-7217 on page 10 New York Office: 212 Fifth Avenue, New York, New York 10010, MUrray Hill 3 -1115 Continued CIRCLE 39 ON READER -SERVICE CARD MAGAZINE 8 HIGH FIDELITY

www.americanradiohistory.com Which of these great musical masterpieces are missing from your record collection?

The RCA VICTOR RECORD CLUB now brings you a unique opportunity to expand your library of fine recordings ...quickly and economically in STEREO) $ Take any or regular hi -fi For people who consider good music not just a fad but a ful- for only filling experience, the RCA Victor Record Club presents a You merely agree to buy 5 more records within a year sensible plan that enables you to build a classical collection truly representative of the finest recorded music available 5- Tchaikovsky: Concerto No. 1 Cl 454- Beethoven: Sonata No. 14 today. Your record library will be transformed into a source In B -Flat Minor, Op. 23 -Van in C -Sharp Minor, Op. 27, No. 2; of constant pleasure and pride. You will soon have at your Cliburn. Sonata No. 26 in EFlat, Op. 81a; Sonata No. 8 in C Minor, Op. 13 123- Caruso -Vesti la giubba, La command an imposing repertory of the world's most trea- -Artur Rubinstein. donna e mobile, other immortal sured music, to call upon whenever you wish. Moments of performances. (Reg. LP only). 465 -Tchaikovsky: Symphony No. solitude will become more meaningful... interludes with fam- 6 in B Minor, Op. 74- Charles 226 -Tchaikovsky: 1812 Overture Munch, Boston Symphony Orch. ily and friends will become more memorable. You and your Op. 49; Ravel: Bolero- Morton (Dynagroove). Gould & Orch. children will know the deep, abiding satisfaction horn of en- 492- Rachmaninoff: Concerto No. joying inspired performances, inspired musical compositions. 294 -A Mighty Fortress - Robert 2 in C Minor, Op. 18 -Van Cli- Shaw Chorale. burn. Select any 4 records for just $1 301 -Rimsky -Korsakoff: Scheher- 463- Mozart: Symphony No. 41 azade, Op. 35 -Fritz Reiner. Chi- in C, K. 551; Eine Kleine Nacht This special offer is presented to introduce you to the many cago Symphony Orch. musik -Erich Leinsdorf, Boston advantages of Club membership. Here is the easy, economi- Symphony Orch. (Dynagroove). 303- Sibelius: Concerto in D 486 -Mahler: Symphony No. 1 In cal way to acquire the good music that affords you pleasure. Minor, Op. 47- Jascha Heifetz. Shop from your favorite chair, in relaxed comfort, have D -Erich Leinsdorf, Boston Sym- and 314- Debussy: La Mer; Ibert: phony Orch. ( Dynagroove). your records delivered right to your door. Without exception, Ports of Call -Charles Munch, 467- Beethoven: Symphony No. these are records of guaranteed quality. As a matter of fact, Boston Symphony Orch. 6 In F, Op. 68 -Fritz Reiner, Chi- RCA Victor's Dynagroove records are the world's finest. 327 -The Vienna of Johann cago Symphony Orch. (Dyna- Strauss -Herbert von Karajan, groove). Vienna Philharmonic Orch. 488- Vaughan Williams: Green - You continually get outstanding records FREE sleeves and other 333- Vivaldi: The Four Seasons selections - As an active Club member, you can select important records -Societa Corelli. Morton Gould Orch. (Dynagroove). like those described here -and get them free...one free with 646 -Bach: Two Violin Concertos; 356 -My Favorite Chopin - Van Double Concerto -David and Igor every two you purchase after fulfilling trial membership. You Cliburn. Oistrakh. (DGG). receive a free subscription to the MUSIC GUIDE, the fasci- 367 -Mozart: Concerto No. 24 In 716 -Maestro - Guitar Solos by nating monthly magazine edited expressly for members. You C Minor, K. 491; Rondo in A , Scarlatti, Albeniz, Tor - have the privilege of ordering CLUB SPECIAL RECORDS - Minor, K. 511 -Artur Rubinstein. roba, others -Andres Segovia. unavailable elsewhere at any price. These exclusive record- 369 -"He's Got the Whole World in His Hands" and 18 Other 717 -Handel: Water Music (com- ings, created to RCA Victor's unsurpassed quality standards, Spirituals- Marian Anderson. plete)- Rafael Kubelik, Berlin Philharmonic Orch. (DGG). feature artists of extraordinary talent, exciting discoveries... 370 -Grieg: Concerto in A Minor, and, in months to come, will include magnificent selections Op. 16; Favorite Encores -Artur 719 -Bach: Orchestral Suites 2 Rubinstein. and 3- Ernest Ansermet, l'Or- from RCA Victor's treasury of acclaimed performances, dif- chestre de la Suisse Romande. ficult or impossible to secure in any other way. CLUB 396- Beethoven: String Quartet (London). No. 14 in C -Sharp Minor, Op. 131 957, 957A, SPECIAL RECORDS are yours to own. if you wish, for as -Juilliard String Quartet. 9578- Verdi: Aida little as $1.89 with a regular Club purchase. (complete, with libretto) -Leon 420- Tchaikovsky: Excerpts from tyne Price, Rita Gorr, Jon Vick- I-, "The Nutcracker," Op. 71 You NOT a -Fritz Robert Merrill, Giorgio Tozzi. need accept record every month Reiner, Chicago Symphony Orch. ers,(3-record set, enter 3 nos.) With trial membership, you agree merely to buy 5 more records within a year at regular Club prices. Choose the Club To: RCA VICTOR RECORD CLUB, Indianapolis, Ind. 46219 selection, an alternate -or no record at all that particular Please send me the 4 rec- INDICATE BY NUMBER THE 4 RECORDS YOU WANT: month. The choice is yours, from among hundreds of excel- ords indicated at right, enter my trial member- lent records to be offered during the coming year, featuring ship in the RCA Victor RCA Victor and other prominent labels. Regular Club prices Record Club and bill me are usually $3.79 or $4.79; $1 more for stereo. A small shipping later for only $1. I agree STEREO O Check here if you have stereophonic equip- to purchase 5 more rec- ment and want these and future records in Stereo. charge is added to each order. ords within a year at regular Club prices. Send no money now Thereafter, for as long Name as I remain an active Print) You'll be billed for only $1 and shipping charge after you re- I Please member, I will receive ceive your records and start enjoying them. So pick your 4 one record of my choice Address._ records now, write their numbers on the coupon and mail FREE with every two I without money...today. buy. A small shipping charge is added to each City State_ Zip Code___ order. RC 7 -D9 Select the records you want, fill in coupon and mail today! This : P,.r ,t . ,d only n U S A. J Note: Stereo records must be played only on o stereophonic record plover. r...lsl a .o,o co.o.,Io.. or .,,c,c Deco ,w.00 .or o,se,.e ao..o,. orsr.csce.rr..m.u.I.r.r.orr. CIRCLE 54 ON READER -SERVICE CARD JANUARY 1966

www.americanradiohistory.com LETTERS

Continued from page 8

ROBERTS sevitzky recording archive should be created so that suitable copies of his old broadcast transcriptions can be reproc- essed, as the Toscanini broadcasts are NEW 10" REEL being restored today. Edward D. Young Wellesley Hills, Mass. MODEL 5000X STEREO Shorn Repeats SIR: In reviewing the new discs of Sviatoslav Richter and Wilhelm Kempff playing Beethoven Sonatas [November 1965], TAPE RECORDER. Harris Goldsmith writes: "Soviet artists are such sticklers about observing every last repeat in classical music that I sometimes wonder whether they are motivated by conviction or by fear of the music!" I suggest that it is the performer who does not observe repeats who is afraid of the music and /or his audience. Or it may be that he simply does not understand the music. This is why Artur Schnabel's interpretation of the Beethoven sonatas makes so much more sense than Wilhelm Kempff's. Apparently Kempff is correct- ing some of his earlier lapses in this respect, for his new recording of the Tempest Sonata does contain the repeat of the exposition and the whole first movement regains its proper balance thereby. The same rule is applicable to all classical sonata form structures: where, for instance, is the "heavenly length" of Schubert's Ninth Symphony when, as is the usual practice, the work is shorn of its repeats? Samuel Schulze Music Department McLaughlin Public Library Oshawa, Ont. Canada Information, Please

SIR: In reviewing two Artia releases in your September 1965 issue (Dvo"rák's Rusalka and Kim Borg's recital of Russian songs),

Continued on page 14

High Fidelity, January 1966. Vol. 16, No. I. Published monthly by The Billboard Publishing Co., publisher of Billboard, Vend, Amusement Business, American Artist, and Modern Photography. High Fi- E. 22,000 Cycle Cross Field Head 4 Digit Index Counter delity /Musical America Edition published monthly except December. when it is pub- Electrical Speed Change lished semi -monthly. Member Audit Bureau 4 Heads, 3 Motors of Circulations. 32 Watts, Solid State Stereo 2 VU Meters Editorial correspondence should be addressed to The Editor. High Fidelity, Great Piano Key Controls Mike, Radio /Phono Inputs Barrington, Mass. 01230. Editorial con- tributions will be welcomed. Payment for Equalized Pre -Amp Outputs 2 Large Speakers articles accepted will be arranged prior to publication. Unsolicited manuscripts should Direct capstan drive and Cross Field head design offer flawless, studio per- be accompanied by return postage. formance in the home on all size reels up to 101/2" $699.95 Subscriptions should be addressed to High Fidelity, Great Barrington, Mass. 01230. Subscription rates: High Fidelity/Musical America: Anywhere on Earth, 1 year $9. National and other editions published monthly: Anywhere on Earth, 1 year S7. Change of address notices and undelivered 7ROBERTS copies (Form 3579) should be addressed to 5922 Bowcroft St., Los Angeles, Calif. 90016 High Fidelity, Subscription Fulfillment Dept., 2160 Patterson St., Cincinnati, O. A DIVISION OF RHEEM MANUFACTURING COMPANY WITH 75 PLANTS AROUND THE WORLD 45214.

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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 atsuper 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 recprds 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.

tM NMI MN ' Citadel Record Club 1 545 Fifth Avenue, New York, N. Y. 10017 Please enroll me for three months, without charge,

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JANUARY 1966 11

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Conrad L. Osborne rightly complained that no descriptive matter or libretto or translations were supplied with the records. He, and buyers of these records in America, will be even more annoyed with Artia when they learn that in Eng- land, where the same recordings are issued on the Supraphon label, they come with full text and translations. In fact, all Supraphon records which require them are accompanied by leaflets or booklets that compare favorably with those produced by major English companies. E. M. Blatchford Amersham, Buckinghamshire England

Prices Corrected

SIR: The price of Everest's "International Piano Festival," reviewed in the Novem- ber 1965 issue, was incorrectly listed as $9.96 for the mono edition. The prefix l#1.; Lti:' .«1'.j'.atll-i.w1+.11!icl!!#1.1c!!1# numbers and prices for this two -disc set are 6128/2, $3.98 (monaural) and 3128/ 2, $4.98 (stereo). I would also like to bring to the attention of your readers that the complete proceeds from the sale of this record are being donated to the United Nations World's Refugees. Bernard C. Solomon President. Everest Enterprises, Inc. moving mass Hollywood, Calif. In virtually all loudspeakers the electrical energy is first converted into mechanical energy and then into acoustic energy. It is the stored mechanical energy ALL QUAD in the mass of the cone that is the chief reason why loudspeakers usually sound like loudspeakers. PRODUCTS The moving elements of the QUAD Electrostatic loudspeaker, however, are about 200 times lighter AVAILABLE than the average moving coil assembly and the stored energy is correspondingly less. FROM STOCK This is why the QUAD is a musical loudspeaker - it has no tone of its own! Delivered FREE For the closest approach to the original sound ... within the U.S.A. Our slogan for fifteen years and our design objective for twice that long. Ask your dealer for details of the Specialists in Service QUAD range of high fidelity units or write direct to and Satisfaction Acoustical Manufacturing Co. Ltd., Ref. HF, Huntingdon, England. 11:1R!NON1' HOIST, INC. 147 East 76th Street U1'% New York, N. Y. Q ) ,..:J CIRCLE 33 ON READER -SERVICE CARD

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You can do all this with both the DUAL 1009 and the DUAL 1019 equipment 1. Track flawlessly with any cartridge at its lightest recommended tracking force ... even as low as 1 gram. 2. Play all standard speed records - 16, 33, 45 and 78 rpm. Equipment reviews in every leading audio publication -and by consumer testing organizations -have Vary pitch of any record with 6% Pitch -Control. 3. placed Dual Auto /Professional Turntables in a class 4. Achieve perfect tonearm balance with elastically by themselves as the equal of the finest manual damped counter -balance that offers both rapid and fine - turntables. And these findings have been confirmed thread adjust. repeatedly by experienced audiophiles, many of 5. Dial stylus force with precision of continuously variable whom have actually traded in their far more costly adjust from 0 -grams up, plus the convenience of direct manual equipment for a Dual. reading gram -scale. This unprecedented approval has been earned by automatically with either single play or changer 6. Start relentless spindle ... and start manually at any position on either Dual's precision design and engineering, rotating or motionless record. quality control, quiet operation and matchless performance ... notably, flawless tracking as low as 7. Remove records from changer spindle or the platter without having to remove the spindle itself. ?, gram. For all these reasons, the only choice today for the 8. Change turntable speed and record size selector at any time during cycling or play. perfectionist rests with either the world- renowned DUAL 1009, or the even more advanced DUAL 1019. 9. Install in just 123/4" x 111/2" area with only 61/2" clear- ance above for changer spindle. Just some of the design and operating features of both models are presented here, to help you decide 10. Mount, secure and demount from base or motorboard which one best meets your own requirements. If ... all from above. you had been considering anything but a Dual, we 11. Even restrain the tonearm during cycling without con- suggest you bring this guide with you to your cern for possible malfunction or damage. authorized United Audio dealer. There you will find the comparison even more enlightening. ... And to all this, the new DUAL 1019 adds 1. Direct -dial, continuously variable anti -skating compensation for any tracking force from O -grams up. 2. Feather -touch "stick shift" Cue -Control for both manual and automatic start. 3. Single play spindle that rotates with your records exactly as with manual turntables. 4. Cartridge holder adjustable for optimum stylus overhang. 5. "Pause" position on rest post for placing tonearm with out shutting motor off. DUAL 1009 Auto /Professional Turntable ... closed the gap between the manual and the automatic turntable. $99.50

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"Look at that mon- ist. As matters evolved, however. there ster!" Ruggiero Ricci was no cause for worry: during playbacks NEW YORK gestured threateningly the violin and piano balance was to towards a concert everyone's satisfaction. grand piano. "They bring a nine -foot pi- Mr. Ricers Repertoire. An album of vio- ano into a recording lin showpieces written by earlier virtu- session: then they throw drapes over it osos for their own use is another off -heat and lay rugs under it and put up sound programming idea by Ricci. (In the past deflectors beside it -all this so the poor he's already demonstrated his flair for violinist won't be drowned out. Why the original with a recital played on a can't we just have a smaller piano with collection of violins all made in Cremona CHECK YOUR the lid down ?" Apparently this tirade was between 1560 and 1744 -Decca DXF. SHURE STYLUS not completely tongue -in- cheek, for Ricci 179 or DXSE 7179, and by a recording PERIODICALLY continued in all seriousness. "We should of Vivaldi's /Font Seasons with an ensem- use a smaller piano for concerts too," he ble of Stradivaris -Decca DL 9423 or True, it's unfortunate . . and unfortu- said. "An instrument like this one here is Dl. 79423.) This latest project occurred nately, it's true: the diamond tip of fine for a pianist's solo recital. but a to the artist while he was looking over ANY high fidelity stylus eventually seven -foot model makes for a far better some old programs given by Paganini wears out. Some sooner, some later. balance with a violin." himself. In addition to a generous se- The new ultra -lightweight tracking Perhaps it was the nature of the music lection of diublerie by that fabled violin- force cartridges (1 or 2 grams) extend Ricci was about to record that prompted ist. the disc will include pieces by virtu- diamond tip life many times. But even the expression of these views: certainly osos Ernst, Vecsey, Locatelli, Ysaÿe, they need periodic inspection. De- the collection of nineteenth -century vir- and Wieniawski. pending upon the degree of wear, a tuoso violin pieces ( "knuckle breakers." "It's difficult to come up with new worn stylus will (at the very least) ap- he calls them) which he taped for Decca repertory these days." Ricci confided. preciably accelerate audible record last October had never been written to "Almost everything that the public will wear-or it can actually damage a show off the keyboard performer. Per- buy has been recorded so many times. record beyond redemption, in a single haps it was also the very sight of that Even so. when l make a recording I like playing! placid "monster," with two large record- to do something a little different." With ing mikes peering inquisitively under an that, he marched up to the microphones SHURE PERFORMANCE upraised lid a bare few inches from its and, after a brief conference with re- DEPENDS ON A GENUINE strings -an arrangement that might have cording director Israel Horowitz and SHURE STYLUS been assumed to give the accompanist an unfair sonic advantage over the solo- Continued on page 20 The superior performance of all Shure cartridges DEPENDS upon the Shure Stereo Dynetic Stylus Assembly. An inferior stylus replacement will au- dibly detract from and significantly reduce the cartridge's performance, and increase record wear. Obviously, if an imitation Shure Stereo Dynetic Stylus is used, we cannot guarantee that the cartridge will perform to published specifications. Accept no sub- stitute. Look for this wording: "THIS DYNETIC STYLUS IS PRECI- SION MANUFACTURED BY SHURE BROTHERS, INC."

9s REPLACEMENT STYLI Write: SHURE BROTHERS, INC. 222 Hartrey Ave., Evanston, Illinois Ruggiero Ricci: he likes to try something fresh. CIRCLE 61 ON READER- SERVICE CARD l6 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com The Lively Sound of 66! New from UNIVERSITY -A lively trio of new, enjoyable oompact 3 -way speaker systems. Modern Scandinavian styling in rich, natural oiled walnut with contemporary boucle grille. Three sizes that go anywhere. Description - New high compliance 12" The SENIOR 66 woofer, high efficiency mid -range, patented Super Tweeter. 30 watts IPM *. 22- 24,000 cps. 231/4' x 157/8" x 111/2" D. Brilliance /Presence control. Selling Price ;123.50 Description - New high compliance The COMPANION 66 10" woofer, high efficiency midrange, new 31/2" wide -angle tweeter. 30 watts IPM* - 24- 20,000 cps. 24" x 131/2" x 111/2" D. Brilliance Control. Selling Price ;99.50. Description - Exclusive mass -loaded The MINI -FLEX 66 long throw woofer, direct radiator midrange, new 31/2" wide -angle tweeter 20 watts IPM* - 40- 18,000 cps. 15" x 91/2" x 6" D. Sealed air suspension system - ebony trim on oiled walnut. Selling Price ;61.50 *IPM - Music Power Listen to the lively 66's at your franchised University dealer today - ask him about his special component stereo systems that feature University's total lively sound of music. Send for University's newest catalog and guide to Stereo. All free. Write to Desk A -61. Listen- University Sounds Better UNIVERSITY SOUND A DIVISION OF LTV LING ALTEC. INC. 9500( W. Reno Oklahoma City, Oklahoma

CIRCLE 75 ON READER- SERVICE CARD JANUARY 1966 21

www.americanradiohistory.com NOTES FROM Condescend to observe OUR CORRESPONDENTS honorable tape recorder. Continued from page 20 international background is that she Is unnecessary to give what our honored pressure pads; tape speeds 71/2 and 34'4 ips with speaks Russian, Greek, and Spanish. as American friends call "snow job" in pointing knob change, 1'/e ips with capstan sleeve well as Italian.) In the beginning her Cipher 98 four -track change; wow and flutter less than 0.2 %; signal - out superiority of new musical education was focused on the stereo recorder. Specifications are own best to -noise ratio better than 52 db; two VU -type advertisement. Honorable audiophiles will rec- panel meters; automatic shutoff; digital tape piano. Only later were her vocal abilities ognize Cipher 98 as number one sun of world's index; pause control; plays horizontally or discovered. and a move made to Milan, with own detachable stereo fastest- rising tape recorder industry. New solid - vertically; comes for concentrated study, in 1962. The very incorporates nearly every fea- speakers and two dynamic microphones. Hon- state Cipher 98 next year Miss Suliotis made her debut, ture of very expensive professional machine, orable dealer most happy to demonstrate. (Ah so! at price significantly lower than comparable Our honored American friends wonder where we as Santuzza. on the stage of the Teatro recorders made across Pacific or in Europe. learned to speak well English. We studied elec- San Carlo in Naples. Subsequently she engineering at University of California!) Observe: 3 heads (erase, record, playback); no tronic also sang in Genoa and Trieste. CIPHER 98 $350.00 but it was in Naples that the Decca- London representatives discovered her and invited her to sign the first recording contract of her career. Other artists taking part in the Nahrrcco sessions were: Carlo Cava (Zaccaria), Dora Carral (Fenena), Bruno Prevedi (Ismaele), Giovanni Foiani (Sacerdote), Walter Kriiutler (Abdallo), Stefania Ma- laga (Anna). Great care was taken by Decca- London to see that the Viennese chorus matched the style of the mainly Italian cast: for this purpose chorus master Roberto Benaglio was specially called in from La Scala. The recording is expected to be released next month, by which time Miss Suliotis will have been heard at the Chi- cago Lyric Opera and at La Scala. Other engagements for this year include a re-

WITH N NDSOME CARSTINO CASE AND WLNUT -COLOR CONTROL FANEL. turn to Argentina to sing at the Teatro FON MORE INFORMATION, WRITE TO INTERMADO CORPORATION, Colón. Rumor also has it that Miss SS WEST SATO STREET. N. N. 1001E. IN CANDORI INTENNANO ELECTRONICS LTD.. SOS ERIOD[LAND AVE., TORONTO 19. ONT. Suliotis' fluency in Russian will assure CIRCLE 37 ON READER -SERVICE CARD her a place in Decca- London's future plans for recording Russian operas. KURT BLAUKOPF

I.ondon's Kingsway is hardly the stately LONDON avenue that its name suggests. It is, none- MOSL Y ANNOUNCES theless, a fine wide street, and at the time AN E CITING COLOR it was built was an early example of modern town planning. BREAKTp-IROUG H! cutting boldly through a maze of back Now Mosley offers yob a colorful NEW streets in the heart of the city. Musically, grandly named. if short - for coax it housed the line of TV outlets designed lived, London Opera House, notable for installations! Available to you are the appearance of the legendary contralto Marguerite d'Alvarez and for the coax outlets in decor -harmonizing gargoyle of Oscar Hammerstein I, high colors of Antique Ivory, Fawn Beige, up on the coping and thus seen by nobody but steeplejacks. That has all and G'ey Mist; packaged complete disappeared, but on the other side of with notching C -59 receptacle plug the road stands Kingsway Hall, a Method- ist place of worship which for twenty for t$e with RG -59íU Coax. years or more has maintained the dis- trict's musical connection by its use for `Mosjley 300 ohm TV outlets (pack - recording. agd with model303 plug) are Klemperer's 'ANlissa Solemnis." It was in till o available NEW eye - this bleak building that both EM1 /Angel and Decca London were active this past apypealing coloijs plus Standard fall. First on the scene was Angel, for Blown and Ivory. its Afissa Solenntis with the New Phil - harmonia Chorus and Orchestra under Otto Klemperer. At eighty this incredible Fo ¡More informatipn Write: man, whose first professional engage- 4610 M. Lindbergh Blovd., ment, in 1906, was to direct fifty per- Bridgeton, Missouri 63044 Continued on page 24 ï I CIRCLE 48 ON READER -SERVICE CARD HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com NOTES FROM OUR CORRESPONDENTS

Continued from page 22

\, formances of Offenbach, must feel that here at last is the crown of his career. .--.--' Looking at this noble figure as he went about directing Beethoven's monument to the Reformation, one had the feeling that between the conductor who had suffered political exile and physical paralysis and the composer whose life was often also an agony there was a bond transcending time and place. Klemperer had insisted that the whole work should be recorded in sequence, which meant that everybody had to be on parade during the whole of the ten days, and in long takes. Chorus master Wilhelm Pitz had performed his usual miracles with the men and women under him, and Klemperer himself had privately rehearsed all the soloists- Elisabeth Söderström, Marga Höffgen, Waldemar Kmentt, and the new Finnish bass Martti Talvela. This was Mr. Talvela's first recording for Angel, by the way. As some readers may have heard, he's an imposing presence, nearly seven feet tall; he also has an imposing appetite, as his alarmed colleagues noted when sandwiches were brought in to provide CAN sustenance through the normal dinner hour. YOU HAVE Also coming from Angel in 1966 will be a new stereo Carmina Burana (Orff) PERFECT FM with Lucia Popp, Gerhard Unger, and the U.S. baritone Raymond Wolansky. SOUND? conducted by Rafael Frühbeck de Burgos, and Strauss's Four Last Songs with Elisabeth Schwarzkopf and George Szell. And Klemperer? The Violin Con- TRY THE ALL NEW WINEGARD STEREOTRON AND FIND OUT! certo of Beethoven is scheduled with You've got an FM tuner. Let's say it's the best that money can buy. But for Menuhin. some reason the sound isn't "just so ". Maybe it hisses. Or maybe the pureness of that FM signal is being distorted. This can happen to any FM Mozart with Repose. A few days later Decca tuner ... even in strong signal areas. The cause -an inadequate FM antenna. /London was in possession of Kingsway Hall, with Istvan Kertesz con- The cure ... a Winegard Stereotron FM antenna. Stereotron's two power- ducting the London Symphony in Bruck - ful driven elements give it the highest front -to -back ratio of any FM antenna. ner's Fourth. Late that same afternoon It reduces multi -path distortion, eliminates hiss and noise. the LSO had moved out to make way for the New Philharmonia and If you're miles from the nearest FM station and never dreamt of receiving Carlo Maria Giulini for a session on Mozart's beautiful FM sound, you should know this: Winegard Stereotrons are No. 40, to be issued with the Jupiter GUARANTEED to bring in 85% of all FM stations within a 200 mile radius (No. 41) in the spring. This when used with the Stereotron antenna amplifier. day of contrasts-from the full romantic pan- Winegard Stereotron antennas carry a 100% guarantee. If you're not com- oply of the Bruckner to a New Phil - pletely satisfied, your money will be refunded. Write today for technical harmonia cut down to size for Mozart - specs, gain charts, polar patterns, VSWR, etc., and get a brochure on FM was a triumph for Decca engineer K. E. reception plus an FM station log and map absolutely FREE. Wilkinson and recording supervisor Erik Smith. I have seldom attended a more relaxed session than that for the Mozart. STEREOTRON ANTENNAS AMPLIFIERS Again the takes were long, and the conductor's lithe, athletic figure assumed ',,,:2 a repose that at least confirmed my guess as to the general composure. This was Signor Giulini's first recording for the company -and I would call it a propitious start.

MODEL SF100 MODEL SF80 MODEL SF60 2 MODELS In Britain, U.S. Columbia. Previously 32.50 24.95 19.95 from 39.95 distributed by Philips, Columbia Records is now standing on its own two feet in the United Kingdom, with Quita Chavez, one of the most experienced Winegard Co. people in the industry, having a large 3000 Kirkwood Burlington, I(WI Continued on page 26 CIRCLE 80 ON READER -SERVICE CARD 24 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com LIBRARY KEWKEWAU NEE PUBLIC SI AUI L CON You'll capture her fancy as well as her attention when you turn on the FiTFsF'her 440 -T stereo receiver. The greatest weaver of sonic spells since Circe, the 440 -T will make her forget everything , but the music. Be careful though: the Fisher power at your fingertips is great enough (70 watts!) to transport her to the concert hall. Of course, it's easy to join her there. Just listen. The 440 -T will capture her fancy in other ways, too. Its impressive front panel is at home in the most elegant interiors and its modest space requirement (163/4 inches horizontally and only 11 inches front -to -back) allows extraordinary flexibility in placement. Yet this compact electronics package incorporates a superb, all -solid -state FM- multiplex tuner with automatic mono- stereo switching, a versatile stereo control -preamplifier and a 70 -watt stereo amplifier. All the stereo electronics you are ever likely to need, all with Fisher reliability. But there's nothing fancy about the price of the Fisher 440 -T. Only $329.50. (Cabinet, $24.95. ) When she hears that, she's sure to keep listening while you tell her about the Fisher speaker systems designed to match the 440 -T. For a free copy of the 80 -page Fisher reference guide to high fidelity, 1966 edition, use card on magazine's front cover flap.

How to make your wife listen:

ANO IOPISNLPNNOIO I NTCNNAT IOMAL, INC., CONO ISLAND CIT/, M. Y. í1101.1 I S.. . II/1010 COOPTION, INC., 11.1, 45T NONO. I ONO 131.140 CiYi, it O.L...r CANACIM WNItl CIRCLE 29 ON READER -SERVICE CARO JANUARY 1966 25

www.americanradiohistory.com NOTES FROM Here's a new RCA microphone, the OUR CORRESPONDENTS Continued from page 24 SI{-31,* part to play in its success. Among the ideal for home recording.* biggest sellers to date have been the Prokofiev Violin Concertos (Stern), Bernstein's Nielsen Symphony No. 3, the Stravinsky albums, and Craft's It has superb frequency response Schoenberg. This is bold and venture- some; so too is the amount of chamber music available. Recording here in November was from 50 to 14,000 Hz.* Aaron Copland (his Statements for Orchestra and Short Symphony), and this year Isaac Stern will be undertaking sessions with a string section of the LSO. It's rugged* (relatively insensitive In June will come Honegger's Joan of Arc at the Stake with Vera Zorina and Seiji Ozawa, the young Japanese head of the Toronto Symphony, as conductor. to shock and vibration), light- The fact that Joan's only English production was at the London Opera House, just before its demolition, takes us back weight* (only 5 oz.), compact* to where we came in. ROGER WIMeusU

One knows, to adopt (only 41/2" long, l'/2" in diameter), a useful Gallicism, PARIS that record collectors do not collect block- busters exclusively, or and attractively even mostly. But one styled» often tends, in reporting news of big projects, to slight many items of charm and simplicity that turn It can be mounted out to seduce people into becoming com- almost any way pulsive listeners.

Ciccolini and Satie. When pianist Aldo you want:* gooseneck, Ciccolini, back in the pre- stereo era, recorded his first Erik Satie recital (Angel label in the United States), the feeling around the Paris Pathé-Marconi office desk- . or floor -stand was that the firm had done one of those nice but commercially foolish things a big company can afford once in a while. The feeling was mistaken. The disc rap- or hand idly turned into a quiet best seller, and held.* so did an extract for the 45 -rpm market. The three Gymnopédies attracted radio and film directors, and began to be heard -at least in France -almost as often as Albinoni's Adagio. Eighteen months ago the record was redone, this time in stereo and with a couple of short pieces added. Now, Ciccolini has recorded a second Satie recital for Angel. Included are mor- sels which the composer grouped under such typically waggish titles as La belle excentrique, En habit de cheval, Déscrip- lions automatiques, Véritables préludes flasques (for a dog), and A perçus désa- gréables. The compulsion, I would guess, is built in.

French Horn it la Française. "I am think- *01-1,YES, AND IT'S QUITE INEXPENSIVE -$3100 ing," Critère's president, Roland Douatte, ,(Optional distributor resale price.) told me recently, "of an answer to critics of the French school of horn playing - to those people who think they detect a Available at your Authorized RCA Microphone Distributor mooing sound." His answer has taken the form of a recording of Mozart's four RCA Electronic Components and Devices, Harrison. N.J. horn concertos, with Georges Barboteu as the soloist. The orchestra is Douatté s Collegium Musicum de Paris, conducted The Most Trusted Name in Electronics Continued on page 28 CIRCLE 52 ON READER -SERVICE CARD 16 HIGH FIDEI ITY MAGAZINE

www.americanradiohistory.com At last amplifier manufacturers i are breaking the 20 to 20,000 cps i barrier. response

IT'S ABOUT TIME. After all, we've been making speakers that go well beyond those limits for years!

0Let's start at the bottom (as much as . an octave below most other woofers). Our thirty -inch diameter woofer repro- duces 15 cps fundamental bass at full volume without doubling. Nothing less than a live performance can compete with the sound you hear -and feel -from this giant speaker. Model 30W $250.00 Over a decade of engineering refinement has made this E -V twelve -inch cone speaker unexcelled in mid -bass performance (and it's also an uncommon value as a full -range speaker from 30 to 15,000 cps). Model SP12 $65.00 It takes this sophisticated team of compression driver and patented diffraction horn to fully satisfy the rigorous demands of the treble range. There's no smoother combination than E -V T250 and 8HD. Model T250 $88.00 Model 8HD $21.00 Ruler flat from 3,500 to 23,000 cps! But extended range is just one of the bene- fits of the T350 VHF driver. Its exclusive throat and horn design spreads undistorted highs to every corner of your listening area. Delightful! Model T350 $66.00 These unusual component speakers have been combined in the Patrician 800 -often acclaimed the world's finest loudspeaker system. $995.00 in Traditional or Contem- porary cabinetry. It's waiting to be challenged by the most powerful, widest -range amplifier you can buy. Listen. The difference you hear is what high fidelity is all about!

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www.americanradiohistory.com ALLAN SHAW LOVES

NOTES FROM REK -O -KUT OUR CORRESPONDENTS Continued from page 26

by himself. Since the disc will be appear- ing in the United States eventually under an American label, I won't try to anticipate the response of this journal's reviewer to Douatte's "answer." But I did wonder, listening to virtuoso Barboteu, how Ignaz Leutgeb, Mozart's horn -playing friend, managed to execute all this intricate loveliness with an eighteenth - century valveless instrument. Add that ktitzzymoi poor Ignaz was further handicapped, in the manuscript scores he received, by affectionate but heavy jokes from the composer -blue, red, and green notes, and elaborate expressive instructions: "Adagio, a lei signor asino. animo, presto, Allan tried them all actually bought - three turntables in su via, da bravo, coraggio one season before he bestia . . . discovered Rek -O -Kut R -34 was the bravo poveretto." only one that delivered the proper performance. And it stands Also on the Critère schedule are the to reason that you, too, can depend on Rek- O -Kut, the com- Handel concerti grossi of Opus pany that has been delivering top performance 3 (two in high fidelity, discs), and a recording of Mozart radio broadcast and recording studio equipment for ar- over 25 rangements of Bach preludes and fugues. years. Allan then gave the R -34 a try. Why don't you. It's at The Handel will be performed your dealer. $89.95. by Douatte and the Collegium Musicum, the Bach- ALMOST EVERYBODY LOVES REK -O -KUT Mozart by the French String Trio. The latter, whose members are Gérard Jarry, Serge Collot, and Michel Tournus, is notable for skill with Schoenberg as well as with the older classics, and has been KOSS REK-O-KUT attracting a lot of favorable attention since its appearances last year 2227 N. 31st Street Milwaukee. Wisconsin 53208 at the Aix festival and at the Salle in CIRCLE 56 ON READER -SERVICE CARD Gaveau Paris. Heine Metamorphosed. Normally, a French translation of German poetry would be a bit beyond the province of these notes. Anyone who understands Zazi/7,61"&i.SIeo Tafrietae French, however, and who is interested in great literature, ought to be told about a forthcoming disc in the Literary Archives series being produced the by the MULTICUBE French branch of Deutsche Grammo- A NEW DIMENSION phon. The poems are by Heine, and IN AUDIO- STORAGE FURNITURE the French translations- "metamor- phoses" would be more accurate -are by the marvelous Gérard de Nerval, who was a close friend of Heine. The readings (some are in the original German) are by French actors and actress Serge Reg - giani, Serge Ilmen, and Véra de Reynaud. The musical part of the disc includes Dietrich Fischer -Dieskau singing Lieder set to Heine texts. Roy MCMULLEN

In order to coördinate Philips' recording ac- BERLIN tivities on an international level, a com- mittee has recently been set up at the OV`Cat acs 9r-,ß company's headquar- am ters in Baarn, Holland. It consists of John McLeod (formerly associated with "The Showroom of Fine Audio Furniture" EMI), Ernst van der Vossen, and René Klopfenstein. Artistic matters are mainly DESIGNERS CUSTOM CABINETS being handled by M. Klopfenstein, who MANUFACTURERS AUDIO WALLS TRADITIONAL MODERN has been associated with the French & DISTRIBUTORS CONTEMPORARY ORIENTAL branch of Philips since 1957 and who will retain his position as a & r director SHOWROOM VISITS THROUGH YOUR AUDIO DEALER or DECORATOR ONLY in the Paris office in addition to his HOURS: TUESDAY -FRIDAY: 10 A.M. to 5 P.M.: SATURDAY by APPOINTMENT - CLOSED MONDAY new duties. When I talked with him at was SEE YOUR DEALER OR WRITE FOR FREE MULTICUBE COLOR BROCHURE, DEPT. 12A the Hotel Berlin here he already 146 EAST 53RD ST., N.Y.C. TEL 752 -2354 (NO BROCHURE ON CUSTOM DESIGNS) Continued on page 30 CIRCLE 72 ON READER -SERVICE CARD 28 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com The new Sony Solid State 350 adds professional performance to home entertainment systems

Selecting the brilliant new Sony Solid State 350 to fulfill pre -amps. Dual V U meters. Automatic sentinel switch. the stereo tape recording and playback functions of your Frequency response 50- 15,000 cps 2db. S.N. ratio professional component music system will also endur- plus 50db. Flutter and wow under 0.15%o. Richly hand- ingly compliment your impeccable taste and passion for some gold and black dacor with luxurious walnut music at its finest. With an instant connection to your grained low profile base. This remarkable instrument other stereo components, the versatile two -speed Sony is yours at the equally remarkable price of less than 350 places at your pleasure a full array of professional $199.50. Should you want to add portability to all features, including: 3 heads for tape and source monitor- this, there's the Model 350C, mounted in handsome ing. Vertical or horizontal operation. Belt -free, true dark gray and satin -chrome carrying case, at less than capstan drive. Stereo recording amplifiers and playback $219.50. For information wrie Superscope, Inc., Sun Valley, Calif.

Portable Model 350C CIRCLE 66 ON READER -SERVICE CARD JANUARY 1966 29

www.americanradiohistory.com the NEW NOTES FROM ANNOUNCING OUR CORRESPONDENTS Continued frone page 28

busy carrying out recent decisions ar- THOREf rived at in Baarn, the first involving TURNTABLES a series of recordings with Lorin Maazel. The Messrs. Philips' Mr. Maazel. Maazel The NEW - THORENS TD -150AB Integrated Turntable.You pay no more for Thorens Traditional quality. Features galore: COMPLETELY SILENT OPERATION recently made Berlin his permanent resi- . . two speeds, (33V3 and 45 rpm). An integrated tone arm that incorporates the dence, having simultaneously been ap- latest safety lowering device with hydraulic damping action. An extra -light, low -mass pointed to two important positions in aluminum plug -in shell with exclusive adjustable vertical tracking angle ... An the city's musical life: Generalbnusik- Industry First! A handsome slim -line chassis. A unified suspension of turntable direktor of the Deutsche Oper, and per- platter and tone arm. Speed regularity better than ±0.1 %. Tracking Error below manent conductor of the Radio Sym- 0.2% c m radius. A low speed double synchronous motor (375 rpm) drive system. phony Orchestra (RSO). Before taking Only $99.50. You receive everything you ever wanted in an integrated Transcription up these posts, Maazel had already Turntable, especially Thorens quality. entered into an agreement with Philips to conduct a number of Bach recordings, but the project had been held up by a search for a suitable hall. M. Klopfen- stein was the one who finally discovered an auditorium that met all requirements -the Festival Hall in the precincts of the Johannes -Stift, a religious foundation embracing a complex of buildings, including a home for the aged, in the West Berlin suburb of Spandau. When I visited the hall, the RSO and Maazel had just embarked on the fourth of Bach's Orchestral Suites. For a moment I really wondered whether I was in fact looking at a Berlin orchestra: I was sure the first trumpet player was a musician I had seen elsewhere, and the concert- master seemed to be an Oriental. I was right on both counts. The orchestra was indubitably the RSO, but the occupant of the first violin desk, Mr. Koji Toyada, was indeed born in Japan, and the first TD -150 A = trumpet player turned out to be M. Maurice André, imported from Paris for The THORENS TD -124 HAS CHANGED! We've changed the color ... we've the occasion. changed the knobs . . we've changed the motor mounts and, by popular demand, a non -ferrous turntable. We didn't change another thing, not even the model number. Bach in Maazel's Manner. The recording NOT because we couldn't, simply because no other change would be an improve- of the Orchestra Suites formed part of ment. The TD -124 SERIES II still has more performance features, more built -in a major program which had begun extras than any Transcription Turntable available today. Still $125 less arm. See earlier with the taping of the Mass in it at your dealer. (Illustrated with the Ortofon RMG -212 tone arm ) B minor. Soloists for the Mass were Teresa Stich -Randall, Anna Reynolds, Ernst Hiifliger, and John Shirley- Quirk; the choral parts were entrusted to the RIAS Chamber Choir. Through the courtesy of Herr Volker Straus, who was in charge of the whole proceedings, I was given a chance to listen to what had been done. I commented on the sound, which had the clear transparency of the adjacent Festival Hall, where I had just heard the suites, with a rich reverberation suggestive of a church. Maazel is apparently not unduly concerned about historical authenticity or musicological orthodoxy. "We cannot re- create the outer circumstances that gave rise to artistic works of the past," he says; "conditions have changed and our manner of appreciating music has changed as well. What we can and should do is to try as best we can to live up to their greatness in our own manner." Philips has made it possible for Maazel SERIES II to demonstrate his approach to Bach unequivocally: during 1966 no fewer TD -124 than thirteen discs will be issued, con- Don't settle for less than the best \ ELPA ELPA MARKETING INDUSTRIES, INC. when you're B Mass, the Orchestral upgrading or start- NEW HYDE PARK, N. Y. taining the minor ing a music system. Have the Suites, and the Brandenburg Concertos. proud knowledge that you own In CANADA KURT BLAUKOPF the best... insist on a THORENS. Tri -Tel Associates Ltd. Dc snsview, Ontario CIRCLE 27 ON READER -SERVICE CARD 30 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com The world's first fully automatic tape reversing system *Electronic Sensory Perception-an amazing Sony your old tapes and on your new tapes. The Sony development. The ESP electronic brain constantly 660 also records in both directions for making scans and automatically senses the voice or music your own 4 -track tapes. modulations on your recorded tapes. Within IO And the Sony 660 adds a whole lot more. XL -4 seconds after the sound has ended, the Electronic Quadradial Speaker System surrounds you with Sensory Perceptor automatically reverses the tape a virtual curtain of stereophonic sound. 50 watts direction! Then, magically, the music resumes - of pure music power per channel. Two profes- every note flawlessly reproduced. You never touch sional V U meters. 3 motors. 2 speeds. Sound on the tape, you never touch the recorder -Sony ESP sound. Separate bass and treble controls. FM reverses the tape automatically. You never again stereo inputs. Push -button solenoid activation of bother about recording electronic reversing signals. all mechanical modes. For literature and address Sony ESP tape reverse is activated solely by si- of dealer nearest you, write Superscope, Inc., lence. Sony ESP automatic tape reverse works on Department 11, Sun Valley, California.

CIRCLE 67 ON READER -SERVICE CARD JANUARY 1966 31

www.americanradiohistory.com Actual Size Of The World's

POWER ON PULL

NEW Heathkit' Solid-State AR -14

The AR -14 At A Glance Advanced Solid -State Circuitry 31 11 31 transistors, 11 diodes --1 db from 15 to 50,000 cps at 15 The AR -14 uses transistors and diodes for that clean "tran- ' sistor sound ", cool operation, and long life ... no tubes to deterior- watts per channel IHF music power, 10 watts per channel RMS ate. Its new transformerless output circuit is known as complemen- Wideband FM Stereo tuner plus two preamplifiers and two tary design. Each channel uses two output transistors -a comple- power amplifiers Front panel headphone jack Bookshelf size mentary PNP and NPN pair. This has proven superior, exhibiting ...31/4" H x 151/0" W x 12" D Installs in a wall, your own cabinet, lower phase shift and distortion and wider response. All power or either optional Heath cabinets Builds in 20 hours transistors are adequately heat -sinked for long life. The FM multi - plex tuner circuit uses a 3- transistor "front -end" and a 4 -stage Only Your Pocketbook Can Tell The Difference ... between IF section. the superb solid -state performance of this new Heathkit AR -14 Receiver and its low price. Here for the first time is a truly fine 15- 50,000 cps Response Sensitive Tuning receiver for under $100. With no component skimping. And no ... circuit short -cuts. Two preamplifiers and two power amps provide a frequency -power response of ± 1 db from 15 to 50,000 cps ... and at full power in How Can We Do It? both channels, thanks to a generous power supply design. And there's plenty of power to drive all but the most inefficient speaker Judging from the high prices you see on other stereo receivers these system ... 30 watts IHF music power or 20 watts RMS at 4 and days. you may have a few doubts about the AR -14's quality. 8 ohms output, slightly less at 16 ohms. Its sensitive FM tuner Don't have. Here's why! eagerly seeks stations, far and near ... you'll like the easy way the flywheel dial glides across the band. For beat -free tape recording, First, famous Heath know -how that's been responsible for the best the tuner outputs are filtered. v Tiie in hi -fi components since 1949. Our special staff of audio engineers use the latest, most sophisticated techniques in the "state of the art ". Their first design consideration is always performance. Front -Panel Controls For Full Command And each new design must survive several stages of rigid perform- Include a 6- position source switch to handle the tuner, plus your ance testing ... your assurance that every Heathkit is "specification tapes and records, stereo or mono; dual -concentric volume control guaranteed ". But don't take our word for it. Compare specifications. to individually adjust each channel; a tandem treble control with Read the Heathkit component reviews by respected hi -fi editors. push -pull AC power switch; tandem bass control with push -pull Or ask any Heathkit owner ... you'll find plenty of them around. speaker on -off switch for use when listening with stereo headphones from the convenient front panel jack; stereo phase control for 45 db Second you buy direct from the factory ... no middleman expenses or better separation; and automatic stereo indicator light. togaa to the price. We offer more services than many dealers . . . liberal credit terms, advice on product selection, and complete servicing facilities. You enjoy the convenience of shopping in the Bookshelf Size, 3 -Way Installation comfort of your home, and get delivery right to your door. And who doesn't get excited when a package arrives in the mail? Measures just 3.7fi" H x 15!4" W x 12' D ... a boon for limited spaces. Its handsome anodized extruded aluminum front panel fits Third, you build it yourself in around 20 hours ... thus labor costs neatly in a wall, your custom cabinet, or in either optional Heath are eliminated. And building it is half the fun. Takes no special walnut veneer or beige steel cabinets. Marry it with two speakers skills or knowledge. Simple Heathkit step -by -step instructions and and enjoy. Use coupon to order yours now. large pictorials show you what to do, and how to do it ... even how to solder! The tuner "front -end" is already preassembled and Kit AR -14, 15 lbs., less cabinet $99.95 aligned. You just assemble two circuit boards, mount some parts AE -55, 4 lbs., walnut veneer cabinet $9.95 on the chassis and wire the controls. So easy, anyone can do it. And what better way to see what it's made of? AE -65, 5 lbs., beige steel cabinet $3.95

CIRCLE 35 ON READER -SERVICE CARD

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SOLID STATE STEREO RECEIVER MODEL AR -14 0 102 104 if'

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AMPLIFIER: Conti power output: 10 watts each channel -20 watts total. switched. Speaker Terminal Blocks; One Left & One Right Speaker. Ground Music power output (IHF): 15 watts per channel. Speaker output impedance: Terminals: I; Triple Phone Sockets. Power requirement: 105.125 volts 50/60 4 through 16 ohm. Tape output impedance: 3.5K ohm. Damping factor: 50. cps; 32 watts idling; 65 watts full output; (No load on AC power sockets). Hum and noise: Phono: -60 db; Auxiliary: -63 db. Frequency response: 12 to Dimensions: Overall 151/2" W x 3%" H x 12" D. Mounting position: Horizontal 60,000 cps +1 db; 6 to 100,000 cps _3 db. Power response: 15 to 50,000 cps or Vertical; Cutout required 15" o 3'/2"; Depth required from front of mounting -1 db; 7 to 90,000 cps +3 db. Input sensitivity: Phono: 4.5 mv; Auxiliary: surface 111/,". FM: Tuning range: 88 -108 mc. Antenna: Balanced input for ex- 300 ms,. Input Phono: impedance: 47K ohm; Auxiliary: 180K ohm. Channel ternal 300 ohm antenna. Intermediate frequency: 10.7 mc. Sensitivity (IHF): 5 uv separation: 45 db or better. Total harmonic distortion (at rated output): .5'1', for less than 3% total noise, distortion hum -30 db. Hum L noise (IMF): -50 db. or less (rr 1000 cps, I /, or less (rr 20 and 20,000 cps. Intermodulation distor- Audio frequency response (IHF): 0 to -3 db from 20 to 15.000 cps. Harmonic tion (at rated output): Less than 1% (60 & 6,000 cps, 4:1). Phone equalization: distortion (IHF): 1 °; or less. Image ratio (IHF): -40 db. Capture ratio (IHF): RIAA. Front panel: 6- position Source Switch: Mono -Phono; Stereo Phono; Mono db. AFC correction: I50 KC per volt. AM suppression (UHF): -35 db. IF rejec- Auxiliary; Stereo Auxiliary; Mono FM; Stereo FM; Volume Control; Bass control; tion (IHF): -- 80 db. FM Stereo: Separation: 30 db Of I KC. Treble Control; Phono Jack. Rear panel: Fuse AC Power Socket: Switched & Un- or equcvalen,. Available As Stereo Separates!

Kit AJ -14 FM /FMX Tuner ... $49.95* it AA -14 30 -Watt Amplifier ... $59.95 Same fine tuner performance as the AR -14. Assembles in just 17 transistors, 6 diodes. Performance and features equal to 4 to 6 hours! 14 transistor, 5 diodes. the AR -14's amplifier section. Assembles in about 10 hours. Walnut cabinet $7.95, metal cabinet $3.50. 6 lbs. Walnut cabinet $7.95, metal cabinet $3.50. 11 lbs. less cabinet Heath Company, Dept. 8 -1 FREE! Benton Harbor, Michigan 49023 HEATHKIT 1966 1966 HEATHKIT 4 CATALOG! Enclosed is $ , plus shipping. 'illSO Contains Please send model(s) descriptions and specifications of the AR -14 and all Please send FREE 1966 Heathkit Catalog. Heathkit stereo hi -fi components, Name plus 250 other __- Heathkits. Use Address City coupon. or write Heath Company. State Zip Benton Harbor, Michigan 49023 for Prices & specifications subject to change without notice. H F-188 your FREE copy. CIRCLE 35 ON READER -SERVICE CARD

www.americanradiohistory.com ,S.1 44 wl na n Otl You are looking at the world's only '- lon;llalr ' true e , cartridge. l 'nl,nl n: ^a P. In this unretouched photograph, the of resistance to skating, too. long, black hair of the brush built into But even without the brush, the the new Stanton 581 is shown in action Stanton 581 Longhair is today's most on a rather dusty record. Note that all desirable stereo cartridge. Like its the loose lint, fuzz and dust are kept out predecessors in the Stanton Calibration of the groove and away from the stylus. Standard series, it is built to the unique- That's why the Longhair is the ideal ly stringent tolerances of Stanton pro- stereo cartridge for your Gesualdo mad- fessional audio products. Its amazingly rigals and Frescobaldi toccatas. Its pro- small size and light weight (only 5 tective action is completely automatic, grams!) make it possible to take full ad- every time you play the record, without vantage of the new low -mass tone arms. extra gadgets or accessories. And its frequency response is factory The stem of the brush is ingeniously calibrated within 1 db from 20 to 10,000 hinged on an off- center pivot, so that, cps and within 2 db from 10,000 to regardless of the stylus force, the bristles 20,000 cps. Available with 0.5 -mil dia- never exert a pressure greater than 1 mond (581AA) or elliptical diamond gram and always stay the right number (581 EL) ; price $49.50. of grooves ahead of the stylus point. The For free literature, write to Stanton bristles provide just the right amount Magnetics, Inc., Plainview, L.I., N.Y. Stanton CIF. CIA 65 ON READER -SERVICE CARD 34 HIGH FIDELITY MAGAZINE

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B Y N O R M A N E I S E N B E R G NEWSFRONTS

The Walls (Resound) About You. One of tube and transistor amplifiers A -B'd the new edifices along New York City's through the same speaker systems. "It's upper Second Avenue announces itself mostly a difference in the midrange and as the headquarters of Interiors and lows," he told us. "Transistors sound Sound, Inc., a two -story design center, crisper. Poorly designed and many low - furniture emporium, and audio dealer's priced transistor amplifiers sound plain shop presided over by a youngish, ener- bad to me, but the better models sound getic man named Jack Hardoff, who very transparent." seems equally at home in the realms of Another of Hardoff's pet subjects is audio engineering and interior design. the care with which a stereo installation In the latter area, Hardoff's main con- should be worked out. "With transistor cern right now is with walls. His thesis, equipment, the era of the half -trained as outlined to us during a recent visit, technician casually wiring a customer's is that it is high time the wall "came into system has ended," he stated. "Slight its own as a design element." differences in performance that may be Bell Labs: "a major accomplishment." A wall, he feels, not only is "suitable" tolerable in tube equipment show up as (for visual appeal) and "expedient" (as a major defects in solid -state products. So to a loudspeaker, produced the "re- space saver), but is to be recommended, a lot of things suddenly become more constituted tones." even urged, as the best repository for critical -such as the wire used for Aside from aiding in research into the installing audio equipment -all of it. speaker runs. You must use heavier gauge nature of sound, the study at Bell Labs Especially turntables: "A wall- mounted wire to maintain correct impedances: implies that eventually the computer it- turntable is the only way to avoid feed- you'd be surprised by how much a too self could be used as a "prime musical back and the effects of floor vibrations." narrow wire to the speaker can reduce instrument " -a matter conceivably of in- By way of practicing what he preaches, the power fed by a solid -state amplifier. terest both to composers and performers. Hardoff has fitted one of the walls in his I use at least 16 -gauge for most jobs, and shop with a bank of turntables -auto- never go below 18- gauge. For FM an- Dual Vs. Skating. About forty years ago, matic and manual- together with other tennas, I prefer co-ax lead -in. Even a Bavarian manufacturer of precision audio gear and his own unique "dial -a- the T -pads or L -pads used for controlling machinery built a record player using program" selector-a telephone dial set- remote speakers should be of the high- the (then) newfangled electric motor. up that permits direct hooking into est quality: so- called bargain accessories The firm's faith in this untried device twenty combinations of audio compo- actually can limit the sound you have was qualified, and just to make sure the nents, and which has enabled Hardoff to paid for, and so they're not really bar- product worked, it fitted each player boast that his is the "only stereo shop gains once installed." with two motors: one electric and the in town where the wires don't show." other spring -wound. With a direct logic "There's no such thing," Hardoff in- Purcell on the Computer. From Bell Tele- which matched the practicality of the sists, "as a bad wall-only the wrong phone Laboratories, which some years design, the company named its new approach to hanging stuff on a wall. Any ago gave us transistors, comes word of player the "Dual." In today's Dual turn- wall, from cement to near -paper, can be trumpet sounds synthesized on a com- table, of course, one motor suffices, but adapted for a component installation." puter that are indistinguishable from there is no intention of changing the Many of the custom installations done those of the actual instrument. Although name to Single. by Interiors and Sound have, in fact, this is not the first time musical sounds This bit of history, and some techni- been fitted on -or sometimes in -walls have been artificially produced, brass cal matters of more immediate import, of clients' homes and apartments. But for timbre has been in the past particularly were disclosed recently as we chatted those who are not moved by Hardoff's difficult to simulate, and Bell feels that with Dual's chief engineer, Heinrich persuasiveness, he offers a variety of this latest effort represents a major ac- Zimmermann (over from St. Georgen in cabinets-some factory-made, some de- complishment. Direct credit for it goes the Black Forest, where Duals are made), signed by himself. to Jean Claude Risset (seen in the ac- and Julian Gorski, who as head of Turning to audio matters, Hardoff in- companying photo, reading a Purcell United Audio represents Dual in the sisted that he could distinguish between score for trumpet), a twenty- seven -year- U.S.A. Right now Dual is mounting a old French physicist and composer who singular campaign against tone -arm skat- has been on visit to Bell Labs for the ing -what with a recent press confer- past year. The over-all computer pro- ence on the subject, documentation of gram -which includes tones of other research into the problem, an antiskating instruments -was devised by Max V. adjustment included on the new Model Mathews and refined by Joan E. Miller, 1019 player, and -to top it off -the both of Bell Labs. Skate -O- Meter, a new kind of meter Risset first recorded trumpet tones on which may be plugged into any tone tape in an anechoic chamber. Each re- arm, in place of the normal cartridge, corded tone was then converted into to read actual skating force in milligrams. digital form and fed to an IBM com- Why the emphasis on skating? This puter which analyzed it to indicate rel- force, we were told, actually varies the ative amplitudes of frequency compo- stylus tracking force you think the player nents. The data was then programmed has been adjusted for, by increasing it and fed to the computer, which gen- at the inner portion of a record groove erated numbers that were then converted Hardoff's equipment selector wall. to electrical signals. These signals, fed Continued on page 118

JANUARY 1966 37

www.americanradiohistory.com "John Fitzgerald Kennedy...

As We Remember Him"

by WILLIAM STYRON

THE UNIVERSAL sorrow and guilt ac- scathing folk ballad very popular in its poetry and power at Amherst College, companying the assassination of an day, which had to do mainly with Mrs. the June 1963 talk to the country on civil American President seem to create an McKinley's grief, has been lyrically rights, among others. atmosphere more receptive to a superfi- memoralized by the country singers Les- The mixing together of all these ele- cial iconography than to the meaningful ter Flatt and Earl Scruggs on a Columbia ments is in general expert, the pacing and recording of history. Sometimes it may record). When the man is John Fitzger- rhythm constantly engaging without be- go on for a hundred years. Abraham ald Kennedy, who was young and radiant ing aggressive or mannered (except for a Lincoln, for instance, was indisputably a and the hope of the world, it is no won- distracting and quite meaningless device racist in that despite his great compassion der that two years later the nation still by which the narrator, instead of simply he felt the Negro to be an inferior crea- weeps and the tributes flow undiminished. introducing a voice, allows the voice a ture. This was no secret and ugly flaw One part of this sumptuously produced sentence or two and then interrupts to in his nature but a belief he happened Legacy Collection set -a tworecord al- identify the speaker mid -passage), and the to share with nearly every white Ameri- bum and an abundantly illustrated book, quality of the sound is all that one could can of his century, including his great the royalties of which go to the Kennedy wish. Why, with all these apparent vir- predecessor Thomas Jefferson and cer- Memorial Library -is at least successful tues and with the potential for something tainly William Lloyd Garrison. Lincoln's iconography, and both parts comprise a very moving, the effect is one of insipidity immolation in the cause of freedom has sincere and dignified tribute notably free and frequent boredom, is a matter that persuaded history to overlook this aspect of sentimentality, though neither qualifies has to do with the innate value of the of his character, which would make him as significant history. The real failure is recorded, spoken word and in this par- less a saint and more of a human being the record album. These records, with ticular case with the cast of characters and politician, and the mountainous quan- a careful but undistinguished narration who have done most of the speaking. tity of débris that has accumulated around written and spoken by Charles Kuralt, There would seem to be no superiority his memory since 1865 -like the famous trace Kennedy's career from his boyhood of the spoken word over the written ex- Barrett Collection in Illinois with its and education through his service in the cept in a handful of categories, and even numbing catalogue of letters, photo- Pacific and marriage to his campaigning then the spoken word does not supplant graphs, memoirs, medals, spectacles, pen days as a Senator, concluding on the final the written but supplements it due to knives, locks of hair, menus, life masks, side with a portrait of Kennedy as Presi- some completely unusual or engaging watch chains, false teeth, gaiters, posters, dent. It is largely an album of reminis- quality of the recording itself. This is flags, and other homely relics of the slain cences, and the people involved in the when the spoken word is tonally instruc- president and his time -is witness less to reminiscing include his mother, two of tive, as in lessons in Russian or French: history in any important sense of the his teachers at Choate and Harvard, long- or dramatic, as with a brilliantly spoken word, or to what Lincoln's greatness really time friends like LeMoyne Billings and performance of a Shakespeare play; or was, than to something talismanic and Charles Bartlett and Torbert Macdonald poetic, such as Dylan Thomas reading magical, a Carl Sandburg fantasy, as if and William Walton and Charles Spald- his own poetry or Herbert Marshall's through all these masses of reminiscences ing, in addition to a sprinkling of better - great recitations from the sermons of and photographs and tokens we can as- known and public associates such as his John Donne; or historical, when a famous sure ourselves that somehow the ghastly brother Bobby, Walt W. Rostow, Jerome speech of the past or the utterance of a enhanced by deed that we have done is undone and the Wiesner, Adlai Stevenson, and Lyndon notable person now dead is voice. martyr dwells again among us. Johnson. Interspersed among these mem- our hearing the sound of the actual best how- Even a bad President like the loutish oirs are excerpts from Kennedy's most Even under the of conditions, made McKinley, when assassinated, can induce famous speeches: the "Ask not what your ever-even when there has been available to us the voices of Frank- a nationwide paroxysm of mourning (al- country ..." passage from the Inaugura- amply though an amount of rejoicing from the tion, the address to the nation on the 40 proletariat too; "McKinley's Gone," a missile build -up in Cuba. the speech on Continued on page

38 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com JOHN FITZGERALD KENNEDY

Continued from page 38 lin Roosevelt and Churchill and Hitler - recorded history for some reason tends toward monotony and a little of it goes a very long way, which is doubtless why the Edward R. Murrow J Can Hear it Now albums are among the most prominent dust -collectors in the record libraries of American homes. Unfortunately, these Kennedy records suffer from an added handicap which comes from the apparent supposition that the spoken words of LeMoyne Billings and Torbert Macdonald and Charles Bartlett and Charles Spalding are valuable enough to claim our attention over and above whatever interest we might have in reading those same words which are generally included in the companion book. I say "generally" because several of the anecdotes on the record do not Revolutionary diamond elliptical stylus reaches into your records seem to be included in the book, and this to deliver the full beauty of the original recording. is all the more the pity. The fact is that Charles Bartlett and Charles Spalding Elipticon eliminates 3 major sources Without equal anywhere, this breakthrough in high fidelity sound very much alike -indeed, they are sound distortion of eliminates the drawbacks of conventional almost interchangeable-and although the spherical stylii and produces brilliant performance gentle, wry. often quite humorous and wildest and faithful sound reproduction beyond your touching reminiscences of all of these expectations. Most important, it can make your obsolete e cartridge new again! many friends of Kennedy are a pleasure to have, there is simply not enough that is trtl[tl,N !Wire( Watt Won WWII From $12.50 at most record and hi -fi shops. distinctive and revealing about their Send for FREE booklet describing voices to warrant our listening to them Me revolutionary Elipticon. rather than reading their words. easily and conveniently, in the volume that ac- 6875 S.W. 81ST STREET companies the set. Only very occasionally MIAMI, FLORIDA 33143 INTONE' i. while one is hearing these records does CIRCLE 21 ON READER -SERVICE CARD the gray and heavy air of tedium lift and the sound spring into buoyant life, and this not unnaturally occurs when we Eager to sell, buy or swap used hear the familiar, charming, vital, ex- high fidelity speakers, amplifi- hortative accents of John F. Kennedy. How far wrong ers, cartridges, turntables, tun- But if the record set is a disappoint- ers, records, etc.? Turn to our ment, the book on the level it sets for it- monthly bulletin: The BUY - self is a fine success; it is the best work can you go? SELL - or - SWAP NEWS- we have had on Kennedy and is a happy LETTER. departure from the mortuary displays which appeared after the assassination. If you want to SELL -classified Published in collaboration with Athene- listings of used equipment and um, it has been laid out in exceedingly records cost only $1 per ad- good taste (the absence of all those rack- limit 30 words including name ing scenes in Dallas is especially gratify- and address. No dealer ads ing), the photographs have been selected accepted. with skill and care, and here the recol- lections of the President's friends and If you want to BUY -lots of acquaintances are a rich and lively coun- bargains offered in the 50 or terpoint to the reproductions of the more ads that appear here every schoolboy letters, the old football pic- month. Subscription price: only tures, and the scenes of Kennedy at work $2 a year! and at play as he moves from Congress to the White House. The book is really If you're audio-minded, how altogether so artful and finished that it far wrong can you go for these makes one hope that it is in the nature small sums? Fill in and mail the of a climax, the last of its kind in the form below today! current flood of type and sound and images which are not history but a kind of desperate myth- making -as if we can- HIGH FIDELITY, Dept. CE Enclosed is my payment for S not escape still from the sickening horror Great Barrington, Mass. Insert the following 30 -word adver- of this man's death except by endlessly in Start my annual subscription to your tisement (including name and address) printing and recording our way out of it. issue the BSS Newsletter. BSS Newsletter with the next issue the next of ($1) (Only $2). Type or print plainly.) "John Fitzgerald Kennedy . . . As We Name Remember Him." Address City__ Produced by Goddard Lieberson; nar- rated by Charles Kuralt. State Zip COLUMBIA L2L 1017. Two LP. $19.95.

40 HIGH FIDELITY MAGAZINE

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Outside, there's the bold thrust of its bevelled front panel, the sweep of its recessed, walnut -grained dial. The full complement of controls and switches provides for simultaneous or selective listening to local and remote speakers plus phones. Also on /off switching for tape monitoring, loudness /volume and AFC. Geared flywheel action makes tuning smooth and fast; the instrument -type meter makes it precise. But it's inside the RT8000's all- transistorized circuitry that you get the full benefit of Bogen's ten years -plus in solid state design. Circuitry that includes 34 transistors, 12 diodes, 3 multi -cell silicon rectifiers, 1 AFC diode and 1 zener diode. The power supply alone uses 6 silicon diodes and 3 transistors for superior filtering, lower residual hum, consistent performance regardless of line voltage variations. Multi -stage AM and FM circuitry offers high gain, superior adjacent channel separation, incredibly low distortion and low drift. Completely automatic time- division type multiplex, with special composite -signal amplifier improves stereo separation, especially at high frequencies. And there's advanced Stereo - Minder circuitry to prevent triggering on false stereo signals. Oversize military -type heat sinks provide lower operating temperatures and increase transistor life. If you are in the market for total performance at a totally realistic price, visit your Bogen dealer today and listen to the expensive sound of this modestly priced receiver.

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CIRCLE 8 ON READER -SERVICE CARD JANUARY 1966 41

www.americanradiohistory.com ÇJo UR GREAT ONES FOL gROM X,PirriXiXiff2AIMM 1FaÑwnrs Obernkircben Children's Choir: "On raw material from some 180 ethnic PETE SEEGER Tour." London OL 5895, $4.79 (LP); groups within the U.S.S.R., Moiseyev !FOLIC MUSIC! OS 25895, $5.79 (SD). synthesizes-musically as well as choreo- LIVE ATE The gossamer texture, the earnest purity graphically -the varied elements of a of Edith Möller's famed children's choir folk dance into a new entity that be- tl rn are caught in all their translucence on comes a dazzling theatrical experience. 1.1 -4 this splendidly engineered release. The He augments his dancers with an orches- choir's program mixes songs by Schu- tra that rivals any symphonic organiza- mann, w Mendelssohn, and Bruckner with tion in skill. On this release, the En- x traditional 1- tunes from Germany, the semble's marvelously supple instrumen- á whole spiced with French, English, and talists, beneath the batons of maestros > Spanish airs. The young voices soar high Galperin and Nekrasov, re- a typi- $nn create 31V9 3 1IA 3H11V 2X#1; and sweet under Miss Möller's subtle cal Moiseyev program. Tsigany smolders discipline and, if they bring no emotional properly with gypsy passion, and FV / FVS-9013 Green insights to their songs, they extract the Grass is all springtime ebullience; but t.. last full measure of melody. A pleasant the alternation of languorous melodies Zama and refreshing recital, heavily handi- and smashing rhythms in the Moldavian Yancey tdfp capped by the lack of any information Suite Zhok seems to apotheosize the Art Nodes ' other than song titles on the sleeve; and Moiseyev spirit. The Russian stereo re- Plays not even these are translated. cording will not overwhelm you with BLUES "` separation, but all the dynamics are nice- Hedy West: "Hedy West /Volume Two." ly accounted for. Vanguard VRS 9162, $4.79 (LP); VSD 79162, $5.79 (SD). "Jackie Washington at Club 47." Van- Hedy West is a member of that vanishing guard VRS 9172, $4.79 (LP); VSD breed, the true folk singer. Born in the 79172, $5.79 (SD). EM4 Georgia hill country, she grew up in the In the past I have reacted variously ambience of orally transmitted ballads to the soft, warm voice of Jackie Wash- FV / FV S-9015 where 300 -year -old love affairs and yes- ington. Sometimes he has been stirring; terday's crime fuse into a timeless tradi- sometimes he has been irritatingly bland. tion. Miss West's voice, clear and power- This record does nothing to crystallize ful, echoes the twang of rural America. an opinion. He shapes a superb Mala- Her songs, in this day of inevitably gueita salerosa and a gently melancholy programmed John Henrys and Shenan- Man of Constant Sorrow. But most of doal +s, are melodically and lyrically the rest of the program seems to elude fresh; further, they offer striking insights him, or he it. I would except the goodly into the history of America and the number of contemporary freedom songs changing attitude of Americans. Pans of Washington includes. He sings them with Biscuits recalls the strange Populist move- intensity, but frankly they aren't very ment-racially advanced, economically good. Emotional, yes; but freighted with retrograde -that swept the South before mediocre melodies and banal lyrics. The the turn of the century; Run, Slave, Run Civil Rights movement, I fear, still harks back to the historical sympathy of awaits its Marseillaise. FV / FV S-9017 the Southern mountaineers for the Negro slaves of the coastal areas. Miss West's Woody Guthrie: "Bed on the Floor." world of song is a long, marvelous step Verve Folkways FV 9007, $4.98 (LP); beyond the campus combos. No one FVS 9007, $5.98 (SD). t truly interested in folklore should fail to Still another album of heretofore unre- explore it. leased Woody Guthrie songs. Despite re- mastering, the sound of these vintage "Moiseyev Dance Ensemble." Orchestra recordings remains muffled and luster- of the Moiseyev Dance Ensemble, less, so much so that Cisco Houston, Samson Galperin and Nikolai Nekra- who joins his old friend in half a dozen sov, Gonds. Monitor MF 451, $4.79 selections, is discernible only as a kind D (LP); MFS 451, $4.79 (SD). of echo. Nonetheless, Guthrie buffs will Igor Moiseyev himself has best stated the want this disc if only for his splendid, SOMETHING NEW artistic rationale of his phenomenal harsh -voiced version of Slip Knot or for the peculiar his limning of that relentless equalizer, NEW ARTIST! FV /FVS-9012 dancers: "While we preserve national quality of each dance, we work Death. that comes even to "silken bar- Ve,ee/Folkways is distributed by MGM Records. to reveal its inner content and to enrich room ladies" in Little Black Train. a div S,on of Metro Goldwyn Mayer, Inc. its imagery and emotion." Drawing his O. B. BRUMMELL CIRCLE 78 ON READER -SERVICE CARD 4 , HIGH FIDELITY MAGAZINE

www.americanradiohistory.com FOR THE AUDIOPHILE

The Second High Fidelity Treasury brings you 28 top audio articles published from 1962 to 1965 in HIGH FIDELITY or in STEREO 1965 Edition and 1964 Edition.

If you've missed any of these, here's a last chance to add them to your library -as a book you can refer to time and time again. Even if you've read them before, you'll probably want to add them to your bookshelf, for they tell you just about everything you need to know for achieving good sound reproduction in your hofane.

PARTIAL CONTENTS

The Second HIGH FIDELITY TREASURY throws the spotlight

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Speakers: Past, Present and Future . . . Headphones Up to Date . . A Budget for Stereo ... Room Acoustics ... Keep It Playing ... The

Origins of Psychoacoustics . . . New Trends in Stereo Kits . . . Can High Fidelity Be Measured? ... A Guide to Stereo Shelving . . . Dis- tortion, The Eternal Enigma ... Pros and Cons of Wideband Response

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166 Wyeth Press, Publishing House, Great Barrington, Mass. 01230

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Name

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JANUARY 1966 43

www.americanradiohistory.com This is the AT 60, quite possibly the "best buy" among automatic turntables, considering how much this excellent unit has to offer. There's a true dynamically balanced tone arm of the most advanced tubular aluminum construction ... a precision stylus force adjustment ... an arm system which could track flawlessly at 1/2 gram ... a balanced, heavy cast turntable and the other outstanding features shown below. Then ... consider that the AT 60 sells not for $129.50, nor even $84.50 ... but for $59.50 ... and you will begin to realize that a record -playing instrument of such calibre at this modest price could have been developed only by Garrard. More than 50 years of leadership, supported by the great advantages of established volume, substantial manufacturing facilities, and vast engineering resources combine to make the AT 60 the exceptional purchase which it is.

Tubular, dynamically -balanced counterweight -adjusted tone arm-same type and construction as on the highest priced automatic turntables and popular separate arms.

Built -in stylus force adjustment and pressure gauge, legible from top for precision setting to fractions of a gram.

Automatic anti -skating control eliminates the natural e pressure on the stylus ich often causes distortion d rapid record wear with ordinary tone arms.

Heavy cast, balanced, oversized turntable.

Two spindles -a convenient short spindle for playing single records manually; an terchangeable center op spindle for automatic ay when desired. Spindles emove for safety and convenience when taking records off the turntable.

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ouble-shielded Laboratory riesa 4 pole shaded motor signed exclusively for the AT60.

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Important reading: 32 -page Comparator Guide detailing all Garrard models. Write for complimentary copy to Garrard, Dept. GA -26, Westbury, New York 11591.

CIRCLE NO. 103 ON READER SERVICE CARD

www.americanradiohistory.com The Intent of Our Cover

ON THE COVER of this issue is something new achievements of its electronic engineers, particularly under the sun-a photograph of the sole model of in the development of transistorized equipment. a high fidelity unit designed by no manufacturer This emancipation has certainly made itself felt and available from no dealer. It is, in fact, our own in the production of many new and handsome units brainchild ( "our" meaning the editors of this maga- currently on the market, which in sum point to a zine and a noted young industrial designer, H. John new and more sophisticated relationship between Kretschmer), and we point to it with some pride. form and function. In our view, this relationship Here is embodied, we think, both a sensible func- needs to be even more fully explored and encouraged. tionalism and an exemplary sightliness. The receiver pictured on our cover is by no means Our unit is obviously a stereo receiver, but with a radical design; Mr. Kretschmer, indeed, dreams differences from those commonly seen. Note, for of compressing high fidelity components into a frac- instance, its unusually long low lines and the logical tion of their present bulk and of combining equip- grouping of controls, with those for the tuner all ment into entirely new forms that would be an conveniently placed above the tuning dial, those for integral part of a room's architecture and décor. But the amplifier at bottom, and the speaker selector our model may, we hope, suggest new directions in switch and headphone jacks at the right. Note too which the imagination might profitably travel. the use of color, introduced as a conscious design We are fully aware that we at our mental draw- element, the soft green reflecting the familiar green ing board are in an enviable position. Even small of all electronic scopes and screens and the shades changes in the design of consumer products cannot of blue blending harmoniously while at the same be undertaken lightly, and major changes necessitate time providing clarity and definition. The enclosure drastic decisions. The use of a molded enclosure, for itself is a one -piece molded form, as distinct from instance, means tooling for a large output, which the usual tray -and -panel arrangement. in turn means gambling on a large sale for what is In projecting this design, the intention of our still essentially a small- volume industry. It is un- staff and Mr. Kretschmer -who, by the way, has likely that any one firm would be willing to take gathered a number of awards for innovations in the such a risk unless other companies, including well - field-was to go beyond the mere factor of expedi- established producers, were thinking along similar ency, which necessarily controlled the design of audio lines. We do not expect our high fidelity manufac- components in the early years of high fidelity. It turers to turn themselves into idealistic dreamers; should be remembered, of course, that this industry we hope, however, that they will never come to re- is a very young one, still not far removed in time gard the ideal as forever unattainable. from the backyard machine shops and basement High fidelity design, we are convinced, can now workshops that were its beginnings. In those days accept the purely aesthetic challenge as it has ac- tubes and transformers and switches were such -and- cepted -and so marvelously triumphed over -the such shapes and sizes, and circuits had to be laid challenges inherent in the reproduction of high out in such -and -such a fashion; the exigencies of fidelity sound itself. Our cover photo we contribute the electronics -their size, their number, the heat to what we should like to anticipate as a growing they generated -predetermined the shape and size debate. The potential for revolutionary change is and material of the box they were put in. The fact present, and its exploitation depends not only on is, however, that today the high fidelity industry has the makers of equipment but on the concern of all been emancipated from such limitations by the of us who buy it and live with it.

JANUARY 1966 45

www.americanradiohistory.com by Roy McMullen Michelangeli and the Machine

IN New York and Chicago this month Americans with more warmth than stylistic accuracy -as "Liszt will have a chance to hear in person Arturo Bene- reincarnated." In his native Italy, where he has con- detti Michelangeli, a remarkable artist remarkably tinued to appear in recitals and concerts, he has al- reluctant to travel or to make records. This will be ways had a large and fervent following, which in- his first trip to the United States since 1950. His cluded the late Pope John. He has long been admired recent Beethoven -Galuppi -Scarlatti disc for London abroad as a pianist's pianist, with an unearthly was his first since the Rachmaninoff -Ravel released technique; and he has not been exactly immured by Angel eight years ago, and brought the available behind the Alps during the last sixteen years. There grand total to two. The visit will also afford observers have been brief trips as far as South America, and an opportunity to satisfy visual curiosity about a a sensational tour, in 1964, of the Soviet Union. grand seigneur of the concert hall -one who has Now, however, encouraged by skillful manage- recently become, in France, Germany, England, ment and motivated perhaps by a feeling that at Japan, and way points, a musical hero with much forty-five one ought to begin to think about one's the power of Horowitz, a colleague in reluctance, place in history, he has embarked on a new and more to turn listeners into worshipers. Reports of the public phase in his career. And since he began his death of Romanticism, we are discovering, have present world tour last January in Paris, his formerly been exaggerated. dormant legend has been preceding and following Not that Michelangeli himself (he is resigned to him, with splendid journalistic results. In European 1 the West, the the public's slightly incorrect omission of Benedetti) headlines he has become the Richter of I has just been discovered, or even rediscovered. At Hamlet of Brescia, and the Garbo of the keyboard. fifteen he aroused the enthusiasm of Ravel for his He is known for his fast cars, icy nonchalance, gold - interpretations of Ravel. He was hailed by Cortot- tipped Turkish cigarettes, high- necked polo shirts,

46 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Introducing a celebrated European pianist who regards his instrument as a racing driver regards his car.

personal piano, lavish generosity with students, al- drive in that dangerous race. In spite of his insistence leged taciturnity, alleged capriciousness about concert on not "opening doors with elbows" he is today far dates, and an alleged recklessness while skiing, moun- too serious about his art to imperil his hands (which tain climbing, or being his own automobile mechanic are, in fact, insured in the normal way) by using that has allegedly made his valuable hands unin- them to extract pistons. But he does have a me- surable. Add that his health is popularly supposed to chanic's knowledge of, and ear for, the motor of be Romantically uncertain and that he is handsome his Ferrari. in the manner of a Kiplingesque colonel just back This sort of knowledge and interest verges on from east of Suez. the fantastic when the machine in question is a piano. The legend contains a deal of truth, and anyway I think he would like to have all pianos sold as kits, it is serving the cause of good music. I have no to be assembled by the performer. He insists-in wish to debunk it. I should like to try, however, in the fashion of every top pianist, but infinitely more post -Existentialist jargon, to "structure" it a bit and relentlessly-on making sure, sometimes months be- focus out the phonier details, with the hope of thus fore a concert, that the instrument he is to play will disengaging a thoroughly nonphony personality, a respond as he wishes. And there is more to this sensitive musician, and a reassuring human being. matter than, in his manager's phrase, "Oistrakh not playing Stern's violin." What he wants is a reliable and familiar mechanical extension of his nervous WE CAN BEGIN the structuring with some fragments system, for otherwise the musical dialectic will be of a backstage conversation in Deauville last sum- out of balance. Hence his preference for traveling mer. "The violins and wind instruments," Michel - with his own four -year -old Steinway whenever he angeli remarked, "are not machines, but the piano can. He brought it to Paris last January at his own is very much a machine." Then: "You know, you expense, thereby eating up much of his fee in ad- have to really read a score." Then, referring to the vance and persuading the French that he was an evening's program: "To play Chopin, you yourself authentic monstre sacré. For shipping it to Japan must have a sense of rhythm." No pianist is apt to last spring, by cargo plane via Rome, New York, be startled by such common, rather pedagogical opin- and San Francisco, he demanded and obtained a ions. Michelangeli holds them, however, with more subsidy from the Italian government. than common intensity, and carries them into action With or without the personal Steinway, every en- with a lucidity which suggests a peculiarly vivid gagement means hours -even days, if the home in- dialectical process. He never tires of insisting on strument is not used -of work for Cesare Augusto respect for the piano as machine and for the score Tallone, an ebullient, dedicated little man of seventy - as ideal intent; he is aware of how the nature of the two who is usually referred to as Michelangeli's per- one strains against the nature of the other; he is sonal tuner but who is much more. Tallone is an for dominating both and producing a personal syn- expert with his own piano factory in Italy, and thesis. This verbal pattern is of course too flat and from thirty years of listening to Michelangeli he has simple to explain a multidimensional musical reality acquired a knowledge of every pressure and move- -and too generally true to explain individuality. ment of his employer's fingers and feet. What he But its triangle of emphases helps me to appreciate does is better described as "even -ing" than as tuning: the characteristic tension, transparency, and fluidity he goes over the machine with special tools to make of Michelangeli's playing as well as to understand the certain that no hammer, lever, or other part will be occasional (but interesting -and rare when he is a source of distortion. In audio terminology, he supported by a responsive audience) dryness or will- builds into a piano a flat response to Michelangeli's fulness of his interpretations. prodigious and subtle variety of signals. He also Moreover, the pattern can be discerned in several functions, to digress for a moment, as an old and of his alleged eccentricities. He likes machines in protective friend: my impression is that he regards general. Although his Italian passion for automobiles Maestro as rather an innocent in this rough world, has been exaggerated (a stock joke among his en- and that Maestro feels the same way about him. tourage is "Maestro, to the car-journalists are com- This concern for the right instrument in the right ing"), it exists. The version of his legend which has state of adjustment can be a source of distress for him winning the Mille Miglia is incorrect; but as a everyone involved. There was a moment of burgeon- young man, already an accomplished pianist, he did ing panic in London last June when the piano stool

JANUARY 1966 47

www.americanradiohistory.com the emphasis on the piano- machine, particularly when a lot of competent, and expensive, people must read a score together. When negotiations began last year for an appearance with Herbert von Karajan and the Berlin Philharmonic, Michelangeli's demand for five hours of rehearsal for the Schumann concerto was duly advanced by his manager, Jacques Leiser. Back came a long- distance phone call from the orchestra's manager, which probably loses some of its staccato energy when written: "Please inform Michelangeli that the Berlin Philharmonic knows the Schumann concerto and so does Von Karajan." Leiser finally had to settle for an hour of rehearsal plus a session of consultation between conductor and soloist.

THIS DESIRE to be absolutely certain of knowing every note and expressive shading in a work may lie back of a surprising aspect of the Michelangeli enigma -his strangely limited public repertory. He has spoken to me (his famous silences, which can eddy around a room until everyone present is hushed, do not occur when music is the topic) of his admiration for Scriabin's sonatas, for Bartók ( "actually not always so percussive "), for Stravinsky, for -where musician and machine are in intimate dia- Schoenberg. Europeans who heard him years ago lectical contact -was discovered to be too high talk of his brilliant performances of Ravel's Gaspard (Michelangeli had just bought it in Britain, his regu- de la nuit and Brahms's Variations on a Theme of lar one having been left in Brescia). It was the Paganini. He does play in public, of course, the con- evening of the recital, after all self -respecting British certos of Mozart, Beethoven, Schumann, Chopin, workmen had locked up their tools and gone to Liszt, Grieg, Rachmaninoff, and Ravel. But for a dinner or to Brighton. Appeals for a compromise long while now he has had two recital programs found the Maestro courteous, as always, but un- which he repeats everywhere he goes. One consists moved: he would be at the wrong altitude and so, of Busoni's arrangement of Bach's Chaconne; the naturally, he could not play. Half an hour before young Beethoven's C major Sonata, Op. 2, No. 3; the scheduled first number a Steinway man rushed Debussÿ s Images; and sometimes Chopin's Scherzo into the Royal Festival Hall with a saw and removed No. 2, Op. 31. The other consists of Scarlatti so- the offending fraction of an inch from each leg. natas or exercises; Beethoven's No. 32, in C minor, And while this is being written, complications are Op. 1 I I ; and half a dozen Chopin items. There may looming over the American tour. The Brescia piano be a few shifts. You may, for instance, hear De- is tuned to the 435 concert pitch, and Michelangeli bussy's Children's Corner. But the two basic patterns does not want it raised to the 440. He is willing, do not change; and, while each makes for a bal- however, to use an American instrument if it is anced and satisfying evening, I think-respectfully- properly personalized; and so I assume, hopefully, that it is time they did change. It would be deplor- that everything will be all right by the time this able if Michelangeli, of all people, were to become article appears. typed on the recital circuit. Moreover, an artist with Incidentally, any alarm among pianists and manu- his gifts and high seriousness has a clear obligation facturers over what Tallone does to an instrument to accept his own challenge and not deprive audi- would seem to be unjustified, even if one assumes ences of his full scope. that de-Tallonizing is difficult. In Paris, following the This mild complaint, however, ought to be quali- first concert, the previously skeptical management of fied by an admission that the concentration of so the Société des Concerts du Conservatoire concluded much talent on a limited and familiar repertory is that Michelangeli was not mad after all, and offered justified by the heard results. These are particularly to buy his personal Steinway (his refusal included the striking because of their contrast with what is seen. dry comment that they might not get the same results Seated on his ludicrously low stool, with his coat with another pianist). In Tokyo, Tallone refused a tails almost brushing the floor, with his arms -elbows six -month contract to stay on in Japan and explain in- hanging relaxed from his big shoulders, with his his even -ing secrets. rather anguished mask directed towards nothing in The conviction that "you have to really read a the hall, Michelangeli is a negation of Cortot's image score" can cause almost as much managerial pain as -the anti -Liszt incarnate. There is no pianistic

48 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com pouncing, except by the intelligence. The hands flick modern Italian. But he is modern with a modern across the keyboard and rise and drop away almost malaise: he would not he out of place, I think. in negligently. But what you hear is some of the most one of those bleakly honest Antonioni films in which exciting virtuosity now being dispensed. allied with a human communication is difficult, the artist is always uniform (Tallone aiding) precision in details which cornered and compromised, and everybody is a hit suggests audible notation, or music made visible in overwhelmed by the technological landscape. There timeless space. Synesthesia is widespread among are several curious episodes in his past. the mention Michelangeli critics: in press clippings on my desk of which produces one of his eddying silences. He I find references to glinting fish. glittering fjords. an studied medicine in his youth. He spent some time in intellectual glare, dreams bathed in daylight, hyp- a monastery with the intention of becoming a Fran- notic moons, the columns of the Parthenon (assem- ciscan. He was imprisoned by the Nazis for eight bled by the left hand), the Venice of Guardi. the months during World War II, and escaped in spec- luminous contours of Vermeer. newly cleaned paint- tacular fashion. And that business of the Mille Miglia ings in a museum, and -implying disapproval-pho - does not seem to he quite explicable simply in terms tographs of musical landscapes. of a liking for automobiles. Was he perhaps trying That there is a cool. objective quality in this art to force himself into a new relationship with the cannot he denied. Call it classical reserve if it pleases twentieth century? you, or a lack of commitment if it bothers you. At He obviously loathes vulgarity of all sorts, in- the same time -here comes the third side of the cluding the vulgarities of the prima donna and the dialectical triangle- everyone agrees that Michel - musical matinee idol, and he will go to great lengths angeli's readings of standard works are unpredict- to prove that the legend of his unreliability is unable: he is at once more impersonal and more per- founded (which it is). Last summer. for instance, sonal than the other great pianists of our era. In he failed to play an engagement at Besançon. and this respect he reminds me, in my own synesthetic I suppose the myth has grown accordingly. What moments, of Monet, who was content to go on paint- the public does not know is that he drove up from ing the sanie church or pond with serene detachment Brescia in severe pain (he suffers occasionally from until he had intensified the outer object into his own an arthritic condition in his shoulders) and canceled subject. Sheer skill is of course involved in this kind his appearance only when playing became clearly of art: Michelangeli's Beethoven, Scarlatti, Debussy, impossible. As Leiser says, "Because he is Michel - and Chopin are his own partly because of his unique angeli. he has no right to he ill." ability to control a rather unmodern nonpercussive For many years his students were more im- touch, to make his instrument sing in the grand old portant to him than his concert career, and I think way without the not -so -grand old sentimentality, to they still are, in spite of his present tour. They come pedal without obscurity, to keep strands separate, to him from all over the world. they can he seen and to play all the notes at whatever speed he wants. clustered hopefully around him backstage after each But the skill would not mean much without its concert. and with them his habitual look of aristo- possessor's personal outlook on life and music. cratic disenchantment turns into paternal scrutiny. Although he refuses to see journalists and business- men during the day before a performance. he will IT IS A FAIR GUESS that Michelangeli knows little of give lessons right up to the last minute: and he does the taste of conventional failure. He began playing not accept payment. the violin at the age of three. A year later he added He does have his eccentricities. In his Brescia the piano. and was admitted to the Venturi Musical home there is no telephone. and he refuses to write Institute in Brescia. his home town. At thirteen he letters -at least his manager. during all the frequently had his diploma from the Milan Conservatoire. At complicated negotiations of the past year. has never nineteen he won the Concours International in Ge- got one from him. He has believed. until recently, neva, began an international concert career, and he- that recording studios could not capture the sound came a professor at the Martini Conservatoire in of his Tallonized piano without adding a sharp. per- Bologna. Eventually he had his own piano conserva- cussive effect (which my ears. at least, do not regis- tory and his own music festival. He is happily mar- ter, although they do find in the recorded tone a ried to one of his former students. and has a pleasant certain thinness which does not exist in the concert home in the country near Brescia. One of the less hall). He has more disdain for the ordinary than the mysterious reasons for his reluctance to travel has ordinary merits. But the chief reason for his legend been the lack of a financial motive: for a good can scarcely he called eccentric. It is simply a quite many years he has been able to appear in public in unusual belief in the nobility of music, combined Italy whenever he wished, for a fee of two million with a not altogether unjustified suspicion that this lire (about $3,300). nobility is menaced by the modern world of concerts, Yet he creates an impression of a man constantly records, business. and journalism. Last summer, talk- worried by the possibility of failure according to his ing to the French critic Claude Samuel, he said: own, far from conventional, criteria. He is, in spite "I tried to fight it. At first everyone was in agree- of his air of being vaguely pre -Sarajevo, a thoroughly ment. And then I found myself alone."

JANUARY 1966 49

www.americanradiohistory.com Solid -State

ROBERT ANGUS StereoBY Receivers

50 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com TRANSISTORS HAVE TURNED

THE THREE-IN-ONE COMPONENT INTO A

RUNAWAY BEST SELLER.

THERE WAS ONCE A TIME when the term "high fidelity componentry" implied exposed tubes, boulderlike transformers, trailing wires-an image of an undomesticated world peopled by fanatics. Of course, some people understood that such paraphernalia represented not only an esoteric diver- sion for the technically minded but, much more importantly, the means for a vastly enriched experience of music listening. As long as the cost, complexity, and bulk (chiefly the complexity and bulk) of such equipment remained what they were, however, many potential owners simply passed it by in favor of the "packaged" phonograph. Admittedly, the latter offered less satisfactory performance, but as a single, self -contained piece of furnishing it was easier to live with. Nor were designers and manufacturers of high fidelity components una- ware of this fact. Their increasing emphasis on the convenience and sightliness of their products has been evident for some years, and the trend has clearly paid off in an expanding high fidelity market. A dramatic case in point is the reception accorded the recently developed solid -state stereo receiver. A current survey indicates that in the past year some seventy - five per cent of high fidelity system sales included this "combination component," a unit providing in one compact chassis a stereo control amplifier and stereo tuner -a piece of equipment encompassing what was once available only as anywhere from two to five separate products. Combination chassis have not, of course, been unknown in the high fidelity world: in 1961, for example, you could buy, for about $350, a 20- watt -per- channel tube stereo receiver with built -in AM and FM mono tuners, standing about six inches high, requiring a thirteen -inch -deep shelf, and capable of producing an appreciable amount of heat. But the new type of receiver now available has greater power output for about the same cost, offers stereo FM (and in some cases AM too), stands only five inches tall, fits comfortably on a twelve -inch shelf, and presents no serious ventilation problem. This development could have evolved only as a direct result of transistors and related solid -state techniques. The pea -size transistor eliminated not only the bulk and heat of tubes, but it did away with the output transformer normally required by tube sets. The new type of set proved able to provide performance significantly better than what had hitherto been associated with the combination chassis or "receiver," and in some cases it even exceeded the performance of many an older,

JANUARY 1966 51

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www.americanradiohistory.com completely separate, component system. In short, keep them to a minimum for a less cluttered look. the new "3S receiver" (solid- state, stereo)' is not a Among controls commonly found are the on /off compromised product or "audio stepchild." Rather, switch, sometimes coupled with the volume con- it comprises a new product grouping, with the trol; bass and treble controls -a single control on normal variations among models found in any some very inexpensive models, four separate knobs other product category. on some more elaborate ones (separate bass and treble controls for each of the two channels); a balance control; a selector switch to choose mono PECIFICALLY, what does a transistor receiver in- or stereo FM, and among the inputs; a tuning dial; clude, and how does it compare with tube models loudness and rumble filters; muting switch; and and separate components? A receiver may be on some models, a speaker selector. Most receivers thought of as a "three -in -one" product: tuner, pre - have three pairs of stereo inputs -for a tape deck, amp, and power amp. The dial on the front of the a phono cartridge, and an extra "just in case." receiver looks very much like the dial on any tuner The power amplifier may range in size from IO or receiver, and includes some sort of stereo indi- watts or less to more than 50 watts per channel. cator plus a meter to help you tune in the station Circuits include heat -sinks where necessary to dis- of your choice. The stereo indicator usually is a sipate whatever heat may be generated. In some bulb which lights up as you pass a stereo signal models the chassis itself serves as a heat -sink. In while dialing. On many of the costlier sets, the in- any case, the output transformers -one per channel dicator is part of an automatic switch that changes -are gone. A power transformer, to couple the AC reception automatically from mono to stereo. The line to the set, still is required of course, and some most common type of tuning indicator is the D'Ar- sets use small "interstage" transformers to boost the sonval meter, marked in numbers. The higher the audio fed to the output transistors. reading on the meter as you tune into a station, the Virtually all receivers today have outputs for stronger the signal. A variation on the D'Arsonval is stereo headphones, usually on the front of the unit: a meter tuned for a center -of -scale indication. Some and virtually all have outputs for stereo tape record- sets provide both types -when maximum signal ing at the hack. Most have stereo taps for 4-, 8 -, or strength on one meter does not agree with center - 16 -ohm speakers, with raised Bakelite barriers that of -scale tuning on the other meter, something may prevent the accidental touching of speaker leads be amiss at the antenna, or the set may need re- which could short out the amplifier. A few have aligning. Two types of "cat's- eyes" are also in use - provisions for a center, or phantom, speaker chan- one providing a fan- shaped image which grows as nel, composed of left and right channel signals. you tune towards a station and shrinks as you pass As is true of most transistorized equipment, the it; the other consists of lines which converge as you case often is sealed to prevent you from poking near your station and diverge as you pass it. Since around inside. "Since the average customer can't both of these actually are a form of tube, they are replace transistors as he could tubes in the older losing favor among designers of transistor sets. sets," says one manufacturer, "we sealed the unit to The stereo FM tuner itself consists of a front prevent damage to the equipment or accidental end, IF stages, limiter stages, and detector. Some damage to the customer." manufacturers use transistors for all of these; others use nuvistors- miniature vacuum tubes offering many of the same advantages as transistors yet THE NEW BREED of receiver has been widely pro- costing less -in the front end. Many of the earliest moted by audio dealers, quick to sense that with 3S receivers used nuvistors; more and more, how- this product they could interest a broader market for ever, front ends are being made with transistors. quality equipment. Thus, coincidental with the rise (The addition of AM to receivers this year proof the 3S chassis has come an unprecedented in- vides an interesting insight into high fidelity buying crease in the number of "system deals" offered by habits. Three years ago, before the major manu- audio outlets. Such a sale is rather like an audio facturers introduced their transistor models, they blue plate special in which a store offers a complete virtually all included at least one AM -FM receiver component system -no substitutes allowed -at a in the line. In 1964, the industry decided that its prix fixe. In addition to the receiver, the system usu- customers really were interested only in FM, and ally includes an automatic turntable with cartridge, when the new lines made their appearance that fall and two loudspeaker systems. The cost of the entire not one transistor AM -FM receiver was available system frequently is little more than the list price from a major manufacturer. AM broadcasters, up- of the receiver alone, and is made possible by set about the situation, raised the question with volume purchases of all the related gear plus the component manufacturers. Eventually, the AM use of "private label" loudspeakers designed by the facility began to reappear, and one -third of this store itself. Of course, the buyer is free to select year's models do include it.) better speakers or an alternate record player if he is The preamp -control section of a 3S receiver is willing to pay the higher prices for such equipment. similar to that of most amplifiers. Some manu- Prices of high fidelity equipment have always facturers provide a great number of controls; others been confusing to the newcomer. This year, there's

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www.americanradiohistory.com a new element in the audio pricing structure. Once, ing and general appearance. The receiver is now audio products carried a "list price" -which rarely thought of as a product that must appeal visually was the price paid by the buyer. Because of thz as well as sonically. As a result, the buyer has a simplified distribution pattern originally character- wide choice of styles as well as of control features istic of the audio field, the prevailing selling price or power output. was lower than "list" and came to be known as As for performance and reliability, the fact that "audiophile net." Eventually, this "net" took the a receiver is fully or partly transistorized is of it- place, for all intents and purposes, of a "list" price self no guarantee of quality construction or of high in that discounts from it- particularly in highly fidelity sound. You still have to listen and judge competitive market areas -became common prac- for yourself before buying. Generally speaking, the tice. To bring some order out of the price chaos, best receivers are those offered by established high manufacturers have begun to require minimum re- fidelity component manufacturers. It can be ex- sale agreements with their dealers- contracts under pected, by the way, that as the 3S receiver trend which the dealer agrees not to sell the item under continues, higher -powered sets will be offered -with a specified price (usually 20 to 30 per cent off little or no increase in size or even in cost. The audiophile net). This amount is now called the average power of current models already is in ex- "minimum resale" price. cess of 30 watts per channel. And steadily, the cost Whatever the cost, an overriding desire on the to manufacturers of reliable transistors has come part of the buyer of a receiver is for convenience down. This may be offset to some degree by rising and reliable performance. The former need is being costs in other areas, but it seems reasonable to expect satisfied not only by astonishingly compact dimen- that eventually prices for solid -state equipment will sions but by new, often radical, innovations in styl- match, or dip below, those for tube equipment.

WHAT DO THE SPECIFICATIONS MEAN?

The "total performance" of a stereo receiver is Hz to 15 KHz). The amplifier must pass this band described by its technical characteristics or speci- as well as that of other program sources (tape, fications. It is beyond the scope of this article to disc) which may be connected to it (nominally 20 document the specifications of all the sets listed, Hz to 20 KHz). although a brief guide to some of the more im- The amplifier's ability to drive a speaker system portant features can prove helpful. is based on its power output. Either the IHF mu- Tuner sensitivity is the set's ability to respond sic power method or the more rigorous continuous to weak signals. Most manufacturers use the IHF power method (which yields a lower figure) is rating method, and the figures range from just valid, but when comparing sets it is important to below 2 to a little more than 3 microvolts. The know which method is used. smaller this number, the higher the sensitivity. The An amplifier's damping factor is an indication set's ability to distinguish between two stations - of how well it controls the speaker vibrations. As one local, the other distant-coming in on the a rule, the higher this figure the better, although same frequency is its capture ratio; again, the increases much beyond a value of 10 generally smaller the number, the better. are held to offer little tangible improvement in Channel separation is the tuner's ability to performance. maintain the two stereo channels as discrete sig- The transient response of an amplifier indicates nals so that the stereo effect will not be degraded. its ability to respond to the sudden changes in Thirty db of separation is the legal requirement for signal level, and relates to clarity and definition stereo broadcasting. Somewhat less than that of musical transients. This characteristic is ob- amount across most of the audio band is con- served by square -wave tests. sidered acceptable for stereo reception. The pro- Equalization is the frequency "recontouring" portion of clean signal to spurious noise etc. in introduced by an amplifier to compensate for the the audio output is the signal -to -noise (S /N) ratio. deliberate skewing of those signals that took place Good tuners and amplifiers have S/N ratios on the when they were first impressed onto a disc or order of 60 db. tape. The amplifier's equalization, for either the Total harmonic distortion (THD) should be less RIM disc or the NAB tape characteristic, should than 1 per cent; most of the better models have produce a response uniform within 2 or 3 db. figures below 0.5 per cent. Some increase (ideally A detailed explanation of these and other char- not more than twice this figure) is normal when acteristics, including a guide to the numerical changing from monophonic to stereo reception. values used, appeared in the article "Can High Intermodulation distortion (IM) generally runs a Fidelity Be Measured ?" published in this journal little higher than harmonic distortion. in July 1962. Reprints are available for 10 cents A tuner's frequency response indicates its ability each to cover handling costs. For documentation to supply an audio signal at least as wide in range of specific models under test, the reader is re- as that transmitted by the station (nominally 50 ferred to our monthly equipment reports.

JANUARY 1966 55

www.americanradiohistory.com c 't Ad,/ -goa eoea ( J. S. BACH

FOR MORE THAN TWO HUNDRED YEARS, THE MUSICAL WAVES OF THE FUTURE HAVE HAD THEIR SOURCE IN THE MUSIC OF JOHANN SEBASTIAN BACH.

by Leonard Marcus

FOR DECADES musicologists have been trying vainly but brought to its peak by him. One will hardly find to convince us, the music -listening public, not to a harmony, either assonance or dissonance, in the lump together all pre -Bach music as "pre -Bach mu- works of, say, Richard Strauss or Mahler that can- sic." Look, they say, simply look at that fine pre- not also be found somewhere in Bach -most of Bach, er, that fine music written before Bach's time. them, probably, in the final B minor fugue of the Consider how vast it is in quantity, how many sep- Well - Tempered Clavier (Book I). As for radical use arate ages it encompasses, how great a variety it of dissonance, Bach's fugue will outpoint almost any demonstrates. There were, the authorities rightly pre-Ives work offered in combat. Even Beethoven's point out, the earlier baroque composers like Bux- last quartets, with a harmonic language "farther out" tehude and Torelli and Corelli, not to mention than any before Bartók, can boast of few clashes not Vivaldi and Monteverdi and even the Gabrielis. And contained there. before them, there was the whole Renaissance with "With my prying nose," wrote music critic James Des Prez and Dufay and Ockeghem, and before that Huneker half a century ago in Old Fogy, "I dipped there was Machaut and ars nova, and let's not forget into all composers, and found that the houses they the Gothic with Pérotin, and.... And so forth back erected were stable in the exact proportion that Bach to Orpheus. But still the music lover, in his divine, was used in the foundation." Still, it may be asked, omnipotent ignorance, divides the sea of music into how could Bach have become the foundation for the two parts: a rivulet of "ancient" music, which is future if he remained "unknown" for so long? Every- primarily of historic interest to him and therefore one has heard of the famous concert at which a little performed, and an ocean of living music, which twenty -year -old Mendelssohn resurrected Bach -in speaks directly to him. Johann Sebastian Bach, of 1829, nearly eighty years after his death -with a per- course, is the watershed. formance of the monumental St. Matthew Passion. But is it really our ignorance? Or is it that Bach, Bach's own generation had all but ignored him as a the most gigantic figure in music history, stamped composer, even though he was Europe's most famous the future of music in his own image? For two and organ virtuoso. The following generation treated him a half centuries of music, the "common- practice" as a strapping lad treats his aging father, with period, composers all spoke the same harmonic lan- patronizing smiles, for by then Bach's polyphonic guage. They even spelled all the words alike. This style was not only dead but -what is always more period lasted until the Stravinsky -Schoenberg revo- fatal- unfashionable. If somebody mentioned "Bach" lution in our own century and, although some off- in public, he would have been referring to Carl shoots emerged in the music of Scriabin or of De- Philipp Emanuel or, in England, to Johann Christian. bussy and Ravel, these soon came to dead ends. This The "real" Bach did not stand up until Mendelssohn's universal language was not only developed by Bach, concert, and even Beethoven by then had died.

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www.americanradiohistory.com Bach's posthumous history, in fact, gave the original of the Well - Tempered Clavier, it is based in large basis to the popular legend: "An artist is never ap- part on how Czerny recalled Beethoven playing preciated until he has been dead a century." these preludes and fugues. Except that even in Bach's case, it's simply not true. The generations that ignored him were the generations of the public-a public having little oppor- IF I COULD choose one great musical event at which tunity to hear the thundering masterpieces of this to have been present, that 1829 concert would surely supreme tone -architect. But the composers and mu- be it. What a moment it must have been! The event sicians-ah, they knew their J. S. Bach well. These was well attended, but few had come to hear Bach. composers nurtured Bach in their own circles as It was, rather, Mendelssohn, darling Felix, whom Masons guard from the laity their secret lore and everybody had come to see -and perhaps even to icons. They pored over his music and lovingly passed hear -conduct. Imagine sitting there, prepared to it on from teacher to pupil. Haydn, who was already suffer through hours of music by some forgotten eighteen when the older composer died, got to know composer who had somehow captured Felix's fancy, Bach's works intimately. It was a major event in and then being overwhelmed by the opening of the Mozart's life when he came into contact with Bach's St. Matthew Passion, with its inexpressibly powerful music through Baron Gottfried van Swieten. As a dirge building up to the entrance of the two choruses, child, Mozart had studied Bach's art through the crying, pleading, shouting at each other while a piano pieces, but at Van Swieten's house he was third, angelic choir of boys penetrates through the awakened to the whole world of German polyphony. massive sound. Berlioz, who with Debussy was one Mozart immediately set to work transcribing some of the few important musicians who could take Bach of Bach's fugues for string quartet, and his own or leave him, heard the work fifteen years later and music suddenly took on the deeper, darker, Bachian had to admit: "It took my breath away." I know coloring. It initiated a "minor- mode" time of his that, for myself, it would almost be worth having life, and what resulted were a C minor fugue for two been deprived of Bach's music during my own youth pianos, K. 426 (later supplied with an Adagio and to have had him first presented to me, unsuspecting, arranged for string quartet), the D minor and C in such dramatic fashion. minor piano concertos, K. 466 and K. 491, the C At any rate, the concert over, Bach was installed minor piano sonata and fantasy, K. 457 and K. 475, as the nineteenth century's Romantic god. While the and the G minor piano quartet, K. 478. Mozart's classical composers had adored him for his purity, wonderment increased even more when, a few years the Romantics worshiped him for his thunderbolts. later on a trip to Leipzig, he heard Bach's motet His presence for the rest of the century was so op- Singet dem Herrn ein neues Lied. Bach was to re- pressive that at times it became detrimental. Every- main Mozart's spiritual companion through the final, body had to write fugues, even Berlioz, and fugal incomplete Mass in C minor and the D minor writing was inimical to the Romantic spirit -espe- Requiem. cially when many of the Romantic composers, again It must be admitted that Mozart was also taken by like Berlioz, apparently could not write a decent one. Handel's music at this time. He added wind parts to Schumann tried his hand when he was in his mid - Messiah, Acis and Galatea, Ode to St. Cecilia, and thirties, producing, among others, six on the notes Alexander's Feast for performances at the Baron's of the magic name B -A -C -H (B is German for B house. Sociologists will note that Handel's reputation, flat; H is German for B natural). They are among if hardly his music, is still often placed on a par with his poorer efforts. But Schumann did benefit from Bach's. During their lifetime Handel had much the his attempts at creating angular, Bachian fugue sub- greater renown, of course, and for various reasons jects and passagework. Although he was not able to his partisans have kept his name well polished. The use the resulting themes fugally, he did harmonize British scholar John Alexander Fuller -Maitland's them in his own idiom and, as a consequence, added 1902 volume of The Oxford History of Music was a strong backbone to such works as the Manfred and titled "The Age of Bach and Handel," and nearly Faust Overtures, the cathedral scene in Faust, and every comprehensive music history since has had to the third, fourth, and fifth movements of the Rhenish include a chapter with that heading. It is unfortunate, Symphony. Liszt too wrote a fugue on B -A -C -H since Handel does not fare too well in the compar- and is said to have known all forty -eight preludes ison. Still, we must be tolerant of the British in their and fugues of the Well -Tempered Clavier by heart. touting of their immigrant son; they are hard put to More recently, such composers as Max Reger and foster anybody else. Walter Piston have written B -A -C -H fugues. As for Beethoven, he was weaned on Bach when If the classicists had tried to monopolize Bach, he was a student of Christian Neefe. Later, as a com- the Romantics exerted themselves to expropriate poser of thirty, he even tried to encourage his pub- him. Schumann wrote that "the whole so- called Ro- lisher in issuing Bach's works. "Your intention {to mantic school (of course I am speaking of Germans) do so)," Beethoven wrote, "rejoices my heart, which is far nearer to Bach in its music than Mozart ever beats wholly for the majestic art of this father was; indeed, it has a thorough knowledge of Bach. of harmony." And, as anyone will remember who I myself make a daily confession of my sins to that has read the preface to Czerny's still popular edition mighty one, and endeavor to purify and strengthen

JANUARY 1966 57

www.americanradiohistory.com myself through him.... In fact, to my mind Bach symphonic literature. The pleasure one derives from is unapproachahle -he is unfathomable." And, playing them comes from knowing the original and again, Schumann says: "In the course of time the imagining the sound of the orchestra as one plays distance between sources diminishes. Beethoven, for the microcosmic version. It would never turn up on instance, did not need to study all that Mozart studied a concert program. except perhaps as a tour de force. -Mozart, not all that Handel -Handel, not all that And while we may be fascinated by a Handel con- Palestrina- because these had already absorbed the certo grosso or a Brahms piano quartet in the orches- knowledge of their predecessors. But there is one tral transcription of a Schoenberg, here it is the source which inexhaustibly provides new ideas - interaction of two great musical minds that chal- Johann Sebastian Bach." lenges our interest. Schoenberg's transcriptions are That's how it is with Bach. Each generation finds more Schoenberg than Handel or Brahms. in him the dynamism behind its own energy. Whether A truism defines a musical masterpiece as a work it be the classicists broadening the rococo, the Ro- in which every note is in the right place and none mantics overwhelming classicism, the later Romantics can he changed without detracting from the music. opposing the earlier Romantics, the Wagnerites at- Yet neither scholars nor performers are in agreement tacking the Brahmsians, the Brahmsians counter- among themselves as to how Mozart's ornaments are attacking the Wagnerites, or the more recent contra - to be played, and we know that Mozart and Bee- puntalists Schoenberg. Hindemith, and neoclassical thoven both improvised from their written notes. As Stravinsky smashing the nineteenth century, each has for Bach. scholarly arguments still rage over what waved pennants emblazoned "Back to Bach." And the correct notes actually are. and Bach improvised each has then awaited the ominous next generation, at least as much as he wrote down. Well -known invading under the same banner. editions of Haydn's scores allegedly contain thousands of wrong notes. I dare say that today not one listener in a thousand, if indeed any, has ever heard WHAT IS IT that makes Bach so universal? In all a single Beethoven symphony performed with all the of art, only Shakespeare can compare with him. And, notes exactly as they appear in the score. Yet we like Shakespeare. Bach stirs the blood whether played have all been stirred by "nonauthentic" versions of in modern dress or in costume. The B minor Mass such music and recognized them as masterpieces. has been sung by chamber choirs of thirty -and less How. then, do we do so? Because of their wide -and it has been sung by mammoth choruses of a vision, their originality, and their inexplicable strokes thousand. (I would venture to suggest that this work of genius. -which I believe to be the supreme creative expres- In the music of Bach, these three touchstones sion by one human being since the beginning of reach their epitome. His vision embraces all mankind civilization -could well he sung by the whole number -if not in the limited German Protestant purpose of the earth's habitants.) The violin concertos can of much of his work, at least in the music that re- be stunningly performed as piano concertos, as the sulted from it. No atheist could fail to be caught up composer indicated when he thus transcribed them in that terrifying, desperate shriek of "Kyrie eleison" for keyboard. A listener will be excited by the Art that opens the B minor Mass. Already in the first of Fugue performed by any combination of instru- measure, as the bulk of the chorus stops in dreadful ments; Bach did not even indicate which instruments silence, the sopranos are heard soaring with ecstatic he had in mind. The organ works reached a genera- agony to the next outburst. It is all very brief, and tion of listeners as orchestral transcriptions by Leo- suddenly the chorus is gone as the orchestra prepares pold Stokowski or Ottorino Respighi -and, consid- a fugal foundation of solidity for its return. When the ering the muddy sound of most organs and the chorus finally reappears, its "Kyrie eleison." although echoes they produce in their auditoriums, those now utterly resigned, is an expression of such con- transcriptions presented the all- important musical summate faith in the Almighty's compassion that we lines more clearly than they could usually be heard feel He hardly has any choice. Compare this with in the original. Nobody needed to be surprised when Beethoven. Beethoven -democratic, humanistic Bee- the 1964 recording "Bach's Greatest Hits" became thoven -whose embrace was always for humanity, a best seller in the field of jazz. Drums and bass "Se id umschlungen, Millionen! Diesen Kuss der were added, but the notes sung by the scat singers ganzen Welt!" struggled for the unattainable with had all been written by Bach. A subsequent record- such superhuman will, especially in his last works, ing in the same vein was issued, but it incorporated that the music became disembodied, suprahuman.

music by other masters and was not as successful. . . . Bach, whose thoughts were always with God, Universality is the only free pass to unlimited guise composed the most human music of all, and every and, like most free passes, it is not transferable. shade of human passion -joy, comfort, ecstasy, awe, This kind of universality does not obtain in the resignation -is present in his art. With Beethoven work of other major composers. One could hardly we touch the stars, but with Bach we are men. imagine a successful "arrangement" of a Mozart Bach's strokes of genius are myriad. The Germans sonata or a Beethoven symphony. Our piano arrange- have a picturesque word, Einfall, for an inspiration ments of orchestral works are mainly studies and that just seems to "fail in" from nowhere. Almost playthings for conductors and other students of the every measure in Bach Continued on page 119

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www.americanradiohistory.com b) PETER PIRIE UnasJtonabTe &enerallo n

Notes on some minor masters who swam apart from the mainstream of twentieth -century music.

"ONLY THIN SMOKE without flame, from the heaps of composers 1 shall discuss, the use of any language couch -grass, yet this shall go onward the same, but their own would have been quite impossible, no though dynasties pass." Thomas Hardy wrote in the matter how intrinsic to the times that language might confidence that the changes between 1850 and 1950 be. Besides, the work of Britten and Shostakovich would be no more than those wrought between 1750 has proved that this question of techniques is only and 1850. We know now that he was wrong. In the part of the story. So, really, is the matter of music last hundred years not only the changes in our physi- inspired by nature. Although it is true that nature cal world but in our modes of thinking have been music usually involves the use of certain late- romantic greater than in the whole of human history before. techniques, there is no law against it -like the matter We no longer write of the heaps of couch -grass, of atonalism, it is surely a question of taste. Even nor do we sing of the passing of the seasons. It has today, there are still country men. been less than sixty years since Schoenberg wrote his Far more important in accounting for the un- first atonal work, the Opus I I Piano Pieces, but since fashionable generation is their placing in time. Not then the speed of change has been traumatic. Tonal- only did they become involved in an intellectual and ity is not yet ended -among living composers, Shos- spiritual revolution that they were not by tempera- takovich and Britten come immediately to mind - ment completely able to embrace, but the political but for a time, at least, the battle for serialism was events of their world hit them hard also. They were intense and bitter. In the midst of this revolution Europeans, and the war of 1914 -1918 broke at the a whole generation of composers stood apart. They beginning of their careers. Two English composers are charged with having "turned shudderingly away" of promise did not survive: George Butterworth from the spirit of the times, with persisting in out- ( 1885 -1916), who was killed in the Battle of the worn patterns of thought and technique, with re- Somme, and Ivor Gurney (1890- 1937), who was maining concerned with nature when the accepted gassed and went mad. Thus at the very beginning subject of art had become artifice. These are "the of their career the members of this generation met unfashionable generation," for whose cause I pro- disaster, a disaster repeated twenty years later with pose here to put in a plea. the Second World War, disrupting their lives in There is, actually, no logical reason why a com- the crucial late middle years. There is more to it poser "must" use a given technique. Composers tend than this too; for many of us who lived through to evolve their own language, as an integral part of the grim decades 1918 -1939, during which their best what they have to say, and adoption of methods for- work was written, the whole period is one we would eign to their own nature betrays itself in a basic prefer simply to forget. insincerity of the work so created. For many of the It would be possible to compile a long list of

JANUARY 1966 59

www.americanradiohistory.com Arnold Bax: "the passing of worlds."

Frank Bridge: "an enchanted darkness."

these unfashionable composers, but it is in England that their plight may be seen at its most typical and extreme. This country, at the turn of the century, had just begun a musical renaissance, for the first time since the death of Purcell producing composers of significance. The forgotten generation in England is the one that succeeded Elgar and Delius, and I would like to concentrate on three men from this John Ireland: "the pure Saxon strain." group to represent them all. They are: John Ireland (1879 -1962); Frank Bridge (1879 -1941); and Ar- nold Bax (1883 -1953).

THERE HAVE BEEN greater composers in England than John Ireland, but none so completely English. Just as the comparatively minor Fauré is more exclusively French than the major figure of Debussy, so Ireland is without the eclectic element we find in a composer like Elgar. In Ireland the pure Saxon

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www.americanradiohistory.com strain -lyrical, evanescent, wistful -tends to be al- Bridge's last works and a fascinating concatenation most his entire matter. A pupil of Charles Villiers of glittering color. Bridge died in 1941, and his name Stanford, he quickly outgrew the watered -down was swallowed up by the War. But Britten remem- Brahms of his teacher and developed his own indi- bers him with affection and admiration, and has vidual voice. The rainbow comes and goes, and been programming his work in concert; he and lovely is the rose" -the deep pessimism that was a Rostropovich play the Sonata for Cello and Piano part of Ireland's nature, and which can be heard together, and Britten usually includes the lovely tone in his fine Cello Sonata and in the second of his poem There Is a Willow Grows Aslant a Brook three Piano Trios, found consolation in the beauty in the Aldeburgh Festival programs. Today, indeed, of the English countryside; such pieces as the Con- Frank Bridge's name is being heard again, as is also certino pastorale and the Downland Suite are a distil- that of Arnold Bax. lation of the English spirit. Yet that same countryside has also an atavistic darkness with which Ireland as Bax did. felt an affinity; we see, for instance, the ambiguous, FEW ARTISTS have ever challenged fate sinister aspect of the Dorset countryside, with its Yet the man himself was shy, gentle, and self- great prehistoric earthworks reflected in the sym- effacing. He was held in great affection by all who phonic poem Mai -Dun. He wrote one of the best knew him, and inspired one of the most startling and light piano concertos of our time, in rather the same moving openings to an obituary notice that can ever style and weight as Rachmaninoff's Third, and a have been written: "Dear Arnold Bax!" (Music & number of distinguished songs and short piano pieces. Letters). Possessed of great technical gifts, he ex- His hard and powerful Piano Sonata is impressive, pended them lavishly, pouring out music from his just before his seven- and so is the suite of three pieces called Sarnia (after seventeenth year until his death the Roman name for Guernsey), which is a com- tieth. The sheer size of his output militates against pendium of his expressive range: the dark and sinis- familiarity with it, and has led to the accusation that way ter Le Catioroc; the wistful In a May Morning; and he was unself- critical. Another of dismissing the brilliant Song of the Springtides. He was pain- him is just to write "Celtic Twilight" and leave it at fully self- critical, and destroyed more music than that. He was fond of Ireland, but only his early he published. works were Celtic in spirit, and he destroyed most More eclectic was Frank Bridge, who was Ben- of them, including three or four symphonic poems jamin Britten's teacher. The first reaction of anyone and a symphony. He belonged, in fact, to an old hearing Bridge's music for the first time is to remark Surrey- Sussex Quaker family. His lavish early music how like Britten's it is, and, indeed, Britten derived quickly hardened and simplified, and sonata form, many of his fingerprints from his teacher. But the for chamber combination or orchestra, began to personality is distinct. Even in Bridge's earliest music, obsess him. Between 1922 and 1939 he wrote seven which at a superficial glance resembles salon music, symphonies; the Second, Fourth, and Seventh were there is a streak of strangeness, an otherness or en- performed for the first time in America, the Seventh chanted darkness. It can be heard in his first Piano being commissioned by the American people. Trio, and in the Two Poems of Richard Jeffries; his Unlike the other English composers of his genera- early suite, The Sea, has never quite left the repertory tion, Bax studied not with the conservative Stanford in England. The look of salon music is misleading, but with the progressive Frederick Corder. Corder's for the radical streak was stronger in Bridge than in gods were Strauss and Wagner, but there is little any other English composer of his generation -to- of them in the characteristic early works of Bax. wards the end of his life he was writing music that was Here, in the compositions of before -1920, the obvi- virtually atonal. He was a great professional; when ous influences are the Russians Borodin and Balakirev hardly more than a boy he had played in the Joachim and (especially in the piano music, including the Quartet. and Sir Henry Wood used to rely on him first two of Bax's four Piano Sonatas) Liszt. These to take emergency performances at the Promenade influences he worked slowly through, until by the Concerts, since he could conduct any modern work end of his career, in such things as the Violin Con- in the repertoire at sight. certo and the Sixth and Seventh Symphonies, there It is the combination of wild and dark imagination is little of them left. He was a prodigious pianist, with cool professionalism that makes Bridge's music but made it a point never to play or conduct in fascinating; it is seen at its best in his four String public- though he once recorded Delius' 1892 Violin Quartets, which are among the finest ever written Sonata with M. Harrison. by an Englishman. He had enchanter's nightshade Bax's sensitive spirit and intoxicated sense of in his veins, and his last compositions, such chamber beauty were at war with a terrible honesty that ob- pieces as the second Piano Trio and the magnificent served and grieved over this world's pain. The con- Phantasm for piano and orchestra, are intensely in- flict rages unceasingly in his symphonies, in the vast, dividual. The Phantasm is a work of great originality, stormy Piano Quintet, and in such things as the sym- particularly in scoring and harmony, from which phonic poem November Woods. He loved the far some of Britten's latest works, notably the Cello Sym- north, pine forests, mountains, and tempestuous seas; phony, have taken a great deal. Britten was also and there, among surroundings of wild and stormy fascinated by the overture Enter Spring!, one of beauty, often working in his overcoat in the depths

JANUARY 1966 61

www.americanradiohistory.com of the northern winter. he wrote his mature works. uneasy interlude. A solitary trumpet. crying a sad He greatly admired the poetry of William Butler tune with a Scots snap, indicates Morar. Inverness - Yeats, and the spirit of his music has much in com- shire. the environment of so much of Bax's work. mon with Yeats's later poems. So too it has with the The last movement is a daring formal experiment: music of Sibelius, but there was no direct influence. Introduction, Scherzo, Epilogue. The clarinet theme Bax's complex textures are very different from those of the Introduction also undergoes transformation of the Finnish composer and the relationship is one in the movement, but the main business is the tiger- of close affinity rather than direct influence. ish Scherzo, with its demonic rhythm. its sudden It will he seen from the above brief account of his angry harshness. Once again there is a drastic con- music and its nature that he flew in the face of the trast; the Scherzo mutters into silence, to he followed most typical manifestations of the modern spirit; and by a trio of such startling simplicity that the point if it were not for the bleakly tragic nature of so much is at once made. When the Scherzo resumes, it is of his music. works that no one could accuse of being with terrifying ferocity; and we remember that. like escapist (but many do. in ignorance), one might say Vaughan Williams' Fourth and Walton's First, it was that the charges against the unfashionable generation written during the middle 1930s: "None shall break are justified in Bax. Even here. in this bleak and ranks Though nations trek from progress." stormy music. his approach is one of heroic tragedy, Bax's scoring, always masterly, reaches in this in an age which insists that heroic tragedy is dead. movement a point of great virtuosity -the sheer The recklessness of Bax's challenge lay in his in- tension of the sweeping, leaping. vanishing climaxes sistence that this was not so. Like Beethoven, he builds up remorselessly. The harmony becomes more remained true to his experience, which told him that acrid, the percussion noisy; with a feeling of awe the beauty of the world was no less real than pain. we notice that the heavy brass are contributing only and that the significance of man as a being lay in an occasional note to the staggering uproar. When his refusal to accept evil as the final fact of life or they do enter, with a hitter transformation of one of dully to accept the flux of events as wisdom. His the Symphony's noblest themes. the roots of the earth belief in the validity of the challenge of mind and are torn up. and we have a sense not merely of the idealism was a part of the defiance. along with his breaking of nations but of the passing of worlds. The lavish orchestration, the technical difficulty of his air is full of the flying debris of themes. which slowly music, and the unfashionable nature of his radical, sink into unearthly light; with heart -rending elo- but not atonal, harmonic idiom. quence the horns sing their song of renewed youth Bax's first three symphonies form a single process, and loveliness as the Symphony fades into luminous

and are thematically linked; the brutal, curt First, silence. . . . Bax asks to be judged by the highest the vast and tragic Second, and the Third, in which standards. Personally, I think that by all but the very the conflict ends, for the time being, in supernal highest standards, he stands. peace. His Fourth is an outburst of almost irrespon- Within a few years of the Sixth Symphony's com- sible gaiety, and the composer admits an extra - pletion the Second World War broke out. and the musical inspiration -wild seas bursting over rugged ranks of the unfashionable generation were scattered. coasts on a windy, sunny day. His Fifth has a leg- their work regarded as no longer viable. But are the endary aspect, and is beautifully constructed. But I charges against them valid? should like to discuss here his Sixth, as speaking for To make explicit what I have implied. Granted all the unfashionable generation. that the official revolution and especially atonal and The conflict at the heart of Bax finally explodes serial music have added greatly to the scope of our in his Sixth Symphony. In no other work of his does art, does it necessarily follow that all other music

the head -on collision between beauty and brutality written after 191 I was stillborn? The facts -Daphnis express itself more forcibly. In the first movement et Chloë, Mathis der Mahler, Belshazzar's Feast, the contrast is between a grinding ostinato topped Peter Grimes, the works I have here described - with a barking brass phrase and episodes of a beauty indicate otherwise. Logically, one can say that exceptional even for Bax, which alternate in startling Schoenberg enriched the art; one cannot say that his contrast; this contrast has led to difficulty before, music invalidated the music of others. There is no but by its simple acceptance. with no attempt at mainstream of music, and greatness can never be softening the impact, a new synthesis is here achieved. absolute; variety is one of the greatest virtues of art. One is reminded of Mahler, who in his Sixth Sym- Tonal music continues to be written and to be lis- phony (there can be no question of influence) uses tened to. And perhaps in time it may even be no much the same stark opposition, and in Bax too the crime to be a nature- composer -say, when Messiaen simple contrast between major and minor is deployed. has finally completed a symphonic catalogue of all The legend of Bax's prolixity dies hard; in this sym- the bird song in the world. Today. in England espe- phonic movement, as in most of his others, all the cially. the forgotten names are beginning to creep material can he derived from the opening phrases, hack. Men still burn couch -grass on the downs be- transformed with Liszt -like ingenuity to fit the vary- hind Storrington; and outside The White Horse I see ing circumstances of the conflict. The movement the tall shy wraith of Arnold Bax. To hold a hand ends with the conflict unresolved. The slow move- uplifted over fear; and shall not loveliness he loved ment, as so often in Sax, is a troubled dream, an forever?

62 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com u t: OEM

_.._... rÿ, . _

w 90 92 94 96 se RII 101

MARANTZ 10 -B TUNER: rather spectacular results." Q. Mr. Marantz, your new 10B stereo are the reasons for this improved fringe adjustments and a switch. The rest of FM tuner has caused quite a stir in the area performance? the necessary associated circuitry would similar for both types of hi -fi industry. Now that a large number Mr. Marantz: Technical people will find be basically are in the field, what reactions have you it self- evident that the rare four -way indicator. The price of the 10B tuner is received? combination of high sensitivity easily justified by its sophisticated -better high - Mr. Marantz: The overwhelming than 2µv, IHF -both phase linearity precision circuitry and extremely reaction has been one of surprise from and ultra -sharp selectivity in our new quality parts. owners who found our claims were not advanced IF circuit, and a unique abil- Q. With the 10B's exceptionally high exaggerated. One user wrote he had ity to reach full quieting with very weak performance, does it have any commer- "... taken with a grain of salt your signals -50 db @ 3µv, 70 db @ 24 µv cial or professional application? was as good as statement that reception - virtually spells out the 10B's superior In fact, playback of the original tape or disc. reception capabilities. Engineers will Mr. Marantz: Yes, very much so. However, after using the tuner for sev- fact that a growing number of FM stations are also appreciate the additional already using 10B's for monitoring their eral days I felt I owed an apology for our circuitry exhibits very high rejection doubting the statement." This is typical. noise -sideband- own broadcast quality. One station of "ENSI," or equivalent- wrote that they discovered their 10B Q. What success have users had with interference. outperformed their expensive broadcast fringe area reception? Q. Considering the 10B's excellent monitoring equipment, and were now Mr. Marantz: Letters from owners dis- fringe area performance, shouldn't one using it for their multiplexing setup close some rather spectacular results. pick up more stations across the dial? adjustments and tests. From the California coast, which is nor- Mr. Marantz: Yes. The report published mally a very difficult area, we have had Q. Just how good is the general quality in the April edition of Audio Magazine FM stereo broadcast signals? many letters reporting clean reception claimed to have logged 53 stations with of from stations never reached before. An an ordinary folded dipole used in the Mr. Marantz: As I have remarked on owner in Urbana, Illinois told us he reviewer's apartment, which was "more previous occasions, the quality of FM receives Chicago stations 150 air miles than ever before on any tuner!" broadcasting is far better than most away with a simple "rabbit ears" TV people realize. The Model 10B tuner antenna. Another in Arlington, Virginia Q. I appreciate, Mr. Marantz, that the has proven this. What appeared to be consistently receives fine signals from 10B's built -in oscilloscope tuning and poor broadcast quality was, in most Lancaster, Pennsylvania, 125 miles multipath indicator is very valuable in instances, the inability of ordinary FM away; Philadelphia, 200 miles away, achieving perfect reception. How big a receiving circuits to do the job properly. and three stations in Richmond 100 factor is this device in the total cost of The Model 10B, of course, is based on a miles over mountains, which he said the 10B? number of entirely new circuit concepts "come in as good as local stations." Mr. Marantz: Well, first we should note designed to overcome these faults. the fact that no manufacturer would Q. For the benefit of these readers Q. In other words, the man who uses a interested in the technical aspects, what offer a quality tuner without tuning and signal strength meters. Therefore, what MARANTZ 10B FM tuner can now we should really consider is the differ- have true high fidelity reception? ence in price between ordinary tuning Mr. Marantz: Yes, very definitely -even meters, and our infinitely more useful under many conditions where reception and versatile Tuning/ Multipath Indica- may not have been possible before. This, tor, which is only about $30! While our of course, opens up a tremendous source scope tube and a pair of moderately of material for the man who wants to priced d'Arsonval meters costs about tape off the air, and who needs really the same - slightly under $25 -the $30 good fidelity. He can, as many of the price differential covers the slight addi- 10B owners are now doing, build a tional power supply complexity, plus superb library of master -quality tapes, two more dual triode tubes with scope especially from live broadcasts. Price: S600

m rianI 2m Also see the exciting Marantz Stereo MARANTZ, INC. SUBSIDIARY OF I UK i INC. Pre -Amplifier, Stereo Amplifier, and 25-14 BROADWAY, LONG ISLAND CITY, NEW YORK Straight Line Tracking SLT -12 Turntable. CIRCLE 45 ON READER -SERVICE CARD JANUARY 1966 63

www.americanradiohistory.com THE COMPLEAT AUDIOPHILE

The intrepid angler without a tackle box? The mighty this leads to the need for a place to store the many small hunter with no gun case? The philatelist without a stock and delicate items comprising your collection. book or stamp album? The artist without his taboret? The Cartridges, for example. The true audiophile invariably without a Never. Never. chef pantry? Never! owns more than one. He chooses the correct cartridge for The fact is you enjoy an avocation more fully with the the record -and for the occasion. Keeping them safe and right accoutrements for the task at hand -and, inevitably, handy is a problem that Shure has undertaken to solve. Voilá!

Exclusive, custom -designed, handsome 12" x 5'/4" x 21/2" black simulated leather box with gold leaf tooling. Compartment- CARTRIDGE alized and fully lined. Holds up to 4 cartridges and 6 extra styli CADDY -or 3 cartridges and 6 extra styli, with room to spare for your pressure gauge, brush, etc. Sim- ply send $4.95 and proof of purchase of any Shure Stereo Dynetic cartridge to the address below. (Value? Name your own price- the Shure Cartridge Caddy is unavailable anywhere else at any price!)

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v-15 M55E M80E

THE ULTIMATE! Literally handmade and in- MODERATE PRICE. Compares favorably to the THE "FLOATING" CARTRIDGE. MSSE type, spected in accordance with the stringent stand- V -15, but produced under standard quality con- spring -mounted in head -shell for Garrard Lab ards of the Shure Master Quality Control trol conditions. Features elliptical 15° stylus. 80 and Model MO Series automatic turntables. Program. Features biradial elliptical 15° Will improve the sound of any system (except Bounce -proof and scratch -proof. Cartridge stylus. Reduces IM, harmonic and tracing dis- those using the Shure V -15). $35.50. retracts when pressure exceeds 1' /2 grams. tortion. A purist's cartridge throughout. $62.50. $38.00. or the Shure M9D at $15.75; M7 /N2ID at $17.95; or any of the Shure M44 series cartridges at $17.95 to $21.95. Shure Brothers, Inc., 222 Hartrey Ave., Evanston, Illinois CIRCLE 62 ON READER -SERVICE CARD 64 HIGH FIDEI.ITY MAGAZINE

www.americanradiohistory.com wh°debtQ U 1 P M E NT **1\1 111 REPORTS The consumer's guide to new and important high fidelity equipment

gradual or speedy adjustment of the recording level DYNACO BEOCORD 2000 TAPE RECORDER for signals, independently or all at once, from microphone, phono, and radio. Complete mixing and fad- ing from three different sources during recording THE EQUIPMENT: Dynaco Beocord 2000, a multi - thus is possible. A fourth, matching control adjusts speed tape record /playback tape deck with built -in playback level through the built-in amplifier. amplifiers and optional speakers. Available as a con- To the right of the sliding controls is a pause lever sole: deck without speakers in walnut base; or as a that stops the transport but keeps the tape in con- portable: deck plus speakers that become part of tact with the heads to permit manual "rocking" to carrying case. Console dimensions: 18 by 14 by 9 locate a specific passage. Next to this lever is the inches; weight, 38 pounds. Portable model dimen- main drive control, with three positions for rewind, sions: 18 by 14 by 10 inches; weight, 41 pounds. forward, and fast -forward. To its right is a three -digit Cost: console, $498; portable: $525. Manufactured index counter and reset button. Below the drive con- by Bang & Olufsen of Denmark to Dynaco specifica- trol are three more push buttons: one introduces tions; distributed in the U.S.A. by Dynaco, Inc., 3912 loudness compensation when playing back through Powelton Ave., Philadelphia, Pa. 19104. the 2000's built-in amplifier and speakers; the other two select either or both pairs of stereo speakers that COMMENT: Replete with unique features and boasting may be connected to the machine. To the right of high performance, the Beocord 2000 is of obvious these controls is a low- impedance stereo headphone appeal to both the audiophile tape recording enthusi- jack. The Model 2000 can drive two sets of external ast and the music listener. It is a quarter- track, three - speakers, a headset, and an external component am- speed (71/2. 33/4, and 1 ips) machine using sepa- plifier and its speakers all at once, if desired. Finally, rate heads for erase, record, and playback. It is de- there is a dual -concentric balance control for record- signed to be used in the horizontal position. The ing and playback, and a similar control for treble transport section of the deck is powered by a hys- and bass for the built -in amplifier. teresis- synchronous motor which drives the capstan Actually, the versatility and possible uses of this and is connected via a linkage system to various drive machine are too varied to describe fully in this re- wheels in a frictional- drive, speed- change system. The port; the instruction manual -which is clearly written tape passes seven fixed tape guides and two movable guides in its path from supply to take -up reels. The control panel, below the reels, is unique in tape equipment offered for home use. It looks, and is, professional in that it comprises in effect many of the features of a "compact sound studio." It is angled downward, rather like a lectern, which makes operation quite convenient. The top left corner contains two rows of push buttons which control the individual record and playback functions for each channel. One button permits using only the built -in amplifier (without activating the tape drive system) so that the unit can serve as a general purpose amplifier. Another button makes possible monitoring from the source or from the tape. Others permit echo effects while recording, synchronizing the sound of one channel with prerecorded sound on the other channel for special multiple -recording effects, and so on. Be- low these controls are two VU meters which operate and amply illustrated- contains 36 pages detailing during recording. all the possible combinations of switch arrangements The center portion of the control panel is taken up for a variety of applications in recording and play- by sliding potentiometer controls which permit either back -both monophonic and stereo -including echo

Equipment reports are based on laboratory measurements and listening tests. Data for the reports, on equipment other than loudspeakers, is obtained by Nationwide Consumer Testing Institute, Inc., a subsidiary of the United States Testing Company, Inc., of Hoboken, New Jersey, a completely independent organization not affiliated with the United States Government which, since 1880, has been a leader in product evaluation. Speaker reports are based on controlled listening tests. Occasionally, a supplementary REPORT POLICY agency may be invited to contribute to the testing program. The choice of equipment to be tested rests with the editors of HIGH FIDELITY. No report, or portion thereof, may be reproduced for any purpose or in any form without written permission of the publisher. No reference to the Nationwide Consumer Testing Institute. Inc.. to its seals or insignia, or to the results of its tests, including material published in HIGH FIDELITY based on such tests, may be made without written permission of the publisher.

JANUARY 1966 65

www.americanradiohistory.com NAB PLAYBACK FREQUENCY RESPONSE AT 7'/2 IPS +5 Dynaco Beocord 2000 Left Channel Right Channel ------c -5 Zero DB =10vu recording level on Ampex 31521 -01 test tope 6, Lab Test Data 20 50 100 300 500 1K 3K 5K 10K 20K Performance FREQUENCY IN Hz characteristic Measurement

RECORD /PLAYBACK FREQUENCY AT 7' /t IPS +5 Speed accuracy, 7' /z ips 0.54% slow (at 120, 127, or 105 volts AC) -5 33/4 ips 0.61 % slow (at 120, 127, or Left Channel 105 volts AC) 10 17// ips 0.54% slow (at 120, 127, or Zero DB - -1 Ovu Right Channel - -- 105 volts AC) 20 50 100 300 500 1K 3K 5K 10K 20K Wow and flutter, 71/2 ips 0.04% and 0.08 °0 FREQUENCY IN Hz respectively 33/4 ips 0.06% and 0.08% 7t/2 IPS respectively RECORD /PLAYBACK TOTAL HARMONIC DISTORTION AT 6 17/s ips 0.16% and 0.12% Left Channel 4 respectively Right Channel 2 Rewind time, 7 -in., 1,200-ft. 0 reel 32 seconds 20 50 100 300 500 1K 3K SK 10K 20K Fast -forward, same reel 32 seconds FREQUENCY IN Hz NAB playback response, 7' /2 ips (ref. Ampex test tape No. 31321 -01) m RECORD /PLAYBACK FREQUENCY RESPONSE AT 33/4 IPS Ich +5,- O db, 50 Hz to 15 KHz +5 r ch +3,- O db, 50 Hz to 15 KHz 0 -5 Record /playback response ó Left Channel (with VU recorded 10 -10 s Zero DB - -10vu Right Channel signal), 71/2 ips, I ch + 1.5, -2.5 db, 20 Hz to 18.5 20K KHz 20 50 100 300 500 1K 3K 5K 10K r ch +2, -2.5 db, 20 Hz to 19.5 FREQUENCY IN Hz KHz

334 ips, I ch +0.5, -3.5 db, 37 Hz to 10.5 KHz 6 Left Channel r ch +0.5, -3.5 db, 41 Hz to 10 4 Right Channel KHz 2 13/s ips, I ch +2.5, -3.5 db, 23 Hz to 5 IPS 0 RECORD /PLAYBACK TOTAL HARMONIC DISTORTION AT 33/4 KHz 20 50 100 300 500 1K 3K 5K 10K 20K r ch +2, -4 db, 26 Hz to 5 KHz

FREQUENCY IN Hz S/N ratio (ref. 0 VU, test tape), playback either ch: 48 db record/ playback either ch: 48 db

+5 = Zero DB = -10vu Sensitivity (for 0 VU 0 RECORD /PLAYBACK ÌÜ recording level) -5 mic input either ch: less than 100 ;,v FREQUENCY RESPONSE AT 11/4 IPS ION 10 phono input I ch: 8 mv; r ch: 8.5 my Left Channel Right Channel radio input I ch: 350 mv; r ch: 440 my 20 50 100 300 500 1K 3K 5K 10K 20K Maximum output level FREQUENCY IN Hz with 0 VU signal I ch: 450 mv; r ch: 500 my

with -10 VU signal I ch: 150 mv; r ch: 170 mv

6 Left Channe! "."2",10. THD, record/ playback 4 ( -10 VU signal), 71/2 ips either ch: under 2 %, 40 Hz Right Channel - 2 to 10 KHz; 2.4% at 15 KHz 33/4 ips either ch: under 2 %, 60 Hz 0 AT PA IPS RECORD /PLAYBACK TOTAL HARMONIC-- DISTORTION to 5 KHz; 3% at 30 Hz and 8.2 KHz 20 50 100 300 500 1K 3K 5K 10K 20K 17/4 ips either ch: under 2 %, 40 Hz FREQUENCY IN Hz to 3.5 KHz; 3% at 32 Hz and 4.7 KHz

IM distortion, record/ playback effects, recording sound -on- sound, synchronizing for 0 VU recorded level I ch: 7.5 %; r ch: 7% slide projectors, and so on. -5 VU recorded level either ch: 4% The circuitry is composed of solid -state modules. -10 VU recorded level nonmeasurable for micro- As supplied, one module handles inputs Recording level for max RIAA- phono preamp; phones; another is an equalized 3% THD I ch: 1.8 VU; r ch: 1.6 VU the third is for the "radio" input. These modules may be substituted for others, available as accessories, Accuracy, built -in meters left reads 4.5 VU low; right for alternate input arrangements: special mike cir- reads 3.5 VU low high -level sig- cuits, additional phono inputs; special Power output, built -in at rated output impedance nal inputs. For instance, one can swap the supplied amplifier (4 ohms), each ch clips phono board for a second mike board, and so on. at 6.3 watts The recorder has several sets of input and output

66 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com jacks. On the left side are the line output, and the external program sources connected to the set: red radio, phono, and microphone inputs. These all are for phono; blue for tape head; green for auxiliary. DIN (European standard) multipin jacks which must Flanking the tuning plate are, left, a variable intersta- be used with the connectors supplied. Instructions for tion muting control; right, the station -tuning knob. wiring these connectors and relating them to U.S.A. - The lower half of the panel is given over to a are included. A type jacks group of similar jacks on host of controls. At the extreme left is a low - the right -hand side permit connecting four separate impedance stereo headphone jack. Next to it is a speaker systems (two stereo pairs). The pair supplied five -position output selector combined with the power with the machine are prewired and so may be off /on switch. This control selects either or both plugged in directly. Additional speakers for the other pairs of stereo speakers that may be connected to the set of jacks would require, of course, the use of the TK -80; it also has a position that mutes the speakers. DIN connectors. The headset is driven in any position of this switch. In addition, there are duplicate connections of the Continuing across the panel: there is the volume more familiar U.S.A. -type under the machine. These control; a rocker switch for loudness contour; another include ordinary screw terminals for one set of stereo rocker for tape monitor; a dual- concentric, friction - speakers; a system -grounding terminal; and three coupled bass control; a similar type treble control; stereo pairs of RCA -type jacks for line output, phono the channel balance control; a rocker switch for input, and radio input. There is no mike input here. multiplex noise filter; another rocker for AFC Performance tests, conducted at Nationwide Con- sumer Testing Institute, Inc. (a subsidiary of United States Testing Company, Inc.), are detailed in the accompanying charts and graphs. They add up to a tape system that, within normal tolerance limits, meets its specifications and is in general a high - performance tape system of better -than- average characteristics. Response, in both NAB playback and in record /playback, was uniform within a few decibels `kÌ across the audio band at 7'/2 ips; and only slightly 5.r -. less so at 33/4 ips. Even the slowest speed of 17/8 ips had reasonably good response. Distortion, at any .4Ä14 speed, was exceptionally low and uniform across the largest portion of the response. The machine handled all tapes gently and could off /on; the program selector knob with positions for be put through its (very many) paces readily and FM mono, FM automatic, phono, tape head, and auxil- with assurance of expected results. Its playing of iary; and finally, the mode switch with positions for tapes at 7'/2 ips leaves little to be desired; its ren- left or right channels only, stereo, reverse stereo, dition of commercially recorded 33/4 -ips tapes indi- and monophonic sound. cates that the 2000 has been designed for extended The treble and bass controls may be used to response at this speed. The speakers supplied are regulate each channel separately or simultaneously, reasonably clean- sounding for their size, though as desired. The tape monitor selects tape playback, lacking full bass response; the 2000, however, really when a tape deck is connected to suitable jacks on comes into its own sonically when connected, via its the rear, regardless of what position the program line output, into a high fidelity stereo component selector is on. The FM automatic position permits system. In this hookup, it takes its place as one of the set to switch automatically to stereo when a the best tape machines available for home use. stereo FM signal is received. The stereo lamp on the FM dial comes on at the same time. Both actions are part of an indicator circuit that works directly off the FM signal and is an exclusive feature of the Ken - wood. The rear of the set contains input jacks for KENWOOD MODEL TK -80 STEREO RECEIVER signals from stereo tape head, magnetic cartridges, crystal or ceramic cartridges; auxiliary (high level) sources; and tape playback amplifier. There also THE EQUIPMENT: Kenwood TK -80, a solid -state stereo is a stereo pair for feeding signals to a tape recorder. receiver (tuner /amplifier). Supplied in integral There are four sets of speaker terminals: for the usual brushed metal case with rubber feet. Dimensions: stereo speakers, and for a second pair of stereo 173/4 by 6 by 14 inches. Weight: 28 pounds. Price: speakers. In addition, there is a derived center -channel $289.95. Manufactured by Trio Corp. of Japan and output jack for feeding an A- plus -B signal to an ex- distributed by Kenwood Electronics, Inc., 212 Fifth ternal mono amplifier. Antenna terminals are for the Ave., New York, N.Y. 10010, and 3700 Broadway 300 -ohm (twin -lead) type; a separate grounding screw Place, Los Angeles, Calif. 90007. permits using 300 -ohm shielded cable. A fuse -holder, the AC line cord, and a switched AC convenience out- COMMENT: The Kenwood TK -80 combination tuner/ let complete the rear complement. amplifier, or receiver, is a handsome instrument that The circuitry of the TK -80 is all solid-state except offers just about every feature desirable in this type for a nuvistor and two vacuum tubes in the tuner of equipment, and at an economy price. The silver - front end. A total of 42 transistors, 13 silicon diodes, anodized case is integral to the chassis, and the set 17 germanium diodes, and 1 zener diode is used. may be custom -installed or simply placed on a shelf The only transformer is the one for the power supply. or table top. The upper half of the front panel con- Most of the parts are neatly laid out on printed tains the FM tuning dial, calibrated very accurately circuit boards, the whole showing evidence of careful in steps of 1 megacycle and supplemented by a design and high -grade workmanship. The output power zero -to -100 logging scale. On the left-hand portion of transistors are silicon types, installed in large heat - the dial plate is a maximum -strength FM tuning sinks, themselves encased in perforated cages that meter; above it are colored lamps -red for mono occupy their own rear section of the chassis. The and green for stereo. The right -hand end of the tuning main AC line is fused, and additionally, an automatic plate contains three more colored lights related to shut -off system, also claimed to be exclusive with

JANUARY 1966 67

www.americanradiohistory.com Performance characteristic Measurement Tuner Section

IHF sensitivity 7 µv

Frequency response, mono ± 2.5 db, 20 Hz to 20 KHz

THD, mono 1.6%

Square -wave response to 50 Hz, left, and to 10 KHz. IM distortion 0.34%

Capture ratio 2.4

ó O i= S/N ratio 60 db te IHF USABLE SENSITIVITY CURVE -10 c Frequency response, stereo I ch +2.5, -4.5 db, 20 Hz to 15 -20 r ch KHz IHF Usable sen. at 98mc = 7.0µv +3.5, -5.5 db, 20 Hz to 15 -30 KHz

-40 THD, stereo, I ch 2.6 °,o at 400 Hz; 3.7% at 40 Hz; 2 °,o at 1 KHz = 1 10 10' 10' 10' 10' á r ch 2.9% at 400 Hz; 3.8% at 40 ó Hz; 2% at 1 KHz TUNER RF INPUT IN MICROVOLTS Channel separation, better than 25 db, 30 Hz to either channel 5 KHz; better than 35 db o at mid -frequencies; 14 db z +5 at 15 KHz

5 FM Monophonic Frequency Response 19 KHz pilot suppression -40 db 38 KHz subcarrier -47 db 20 50 100 300 500 1K 3K 5K 10K 20K c. suppression FREQUENCY IN Hz Amplifier Section

Power output (at 1 KHz into 8 -ohm load) +5 I ch at clipping 27.3 watts at 0.14% THD 0 I ch for 1% THD 36.9 watts -5 r ch at clipping 28.8 watts at 0.17% THD FM STEREO FREQUENCY RESPONSE 11111111111111 r ch for 1% THD 37.4 watts 10 AND CHANNEL SEPARATION both channels simul- 15 .1111®` Left Channel taneously 20 I ch at clipping 23.1 watts at 0.22% THD Right Channel 25 r ch at clipping 24 watts at 0.21 % THD 30 Power bandwidth for 35 constant 1% THD 21 Hz to 22 KHz 40 20 50 100 300 500 1K 3K 5K 10K 20K Harmonic distortion 32 watts output under 0.5 %, 48 Hz to 7 KHz; FREQUENCY IN Hz 1.2% at 41 Hz and 20 KHz 16 watts output under 0.5 %, 23 Hz to 9.5 KHz; 0.87% at 20 Hz and +2 20 KHz .. 0 o- - 2 alit Power Bandwidth at 1.0% THD IM distortion to z -4 -7 1.0 4 -ohm load under 1% up 30 watts 15 t THD at 32w output; under 1.5% up to 011 -6 0.5 34 watts 'airt9riL 0 -8 THD at 16w ;, 8 -ohm load under 1% up to 19 watts o 10 AMPLIFIER PERFORMANCE CHARACTERISTICS AIM output; under 1.5% up to e- - 12 34 watts ° -14 16 -ohm load under 1% up to 13 watts > -18 output; under 1.5% up to Frequency Response at 1 watt - 18 25 watts og - 20 Zero DB 32 watts - 22 Frequency response, 1K 1 10 100 IOK 100K 1 -watt level ± 2.5 db, 13 Hz to 80 KHz +2.5, db, 20 Hz to 20 FREQUENCY IN Hz RIAA equalization -0.5 KHz NAB equalization +4, -0 db, 20 Hz to 20 KHz INTERMODULATION DISTORTION 4 Q factor 19.5 ó 3 Damping rr Sensitivity, various inputs mag phono 1.72 mv o 16 L1 u 2 1111111111111 xtal phono 100 mv tope head 2.5 mv iiimummor aux 145 mv W 1 OC 1i S/N ratio, various inputs mag phono 50 db 0 xtal phono 50 db 40 tape db 1 2 4 7 10 20 head 50 aux 71 db AUDIO POWER OUTPUT IN WATTS

68 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Kenwood, protects the output transistors in case of an printed circuit board. A novel, and useful, feature of accidental short across the set's output terminals. the TR -2 is the low -noise fan behind the chassis cage Both the tuner and amplifier sections of the which circulates air through a series of vent holes. In- TK80 were measured at Nationwide Consumer Test- stead of a line fuse, the amplifier employs an effec- ing Institute, Inc. (a subsidiary of United States tive circuit -breaker. Testing Company, Inc.), and the results are shown in All controls are located at one end of the unit. A the accompanying graphs and charts. They range, in toggle switch in the upper left -hand corner turns the sum, from average to better than average for a combination chassis in this price class. Amplifier performance was espec;ally noteworthy. The power bandwidth extended beyond the nominal high-fidelity range of 20 Hz to 20 KHz. The low -level frequency response, and the equalization curves, showed a "hill" below 1 KHz, but it still was within the 2.5 -db level; actual frequency response was within plus or minus 2.5 db from about 15 Hz to 75 KHz which, for a low-priced receiver, is remarkable. Harmonic distortion was very low across the band; IM distortion followed a linear characteristic rather than the "bump- and -dip" found in many low-priced solid-state units. The amplifier's damping factor of nearly 20 was very favorable; combined with the set's stability and good high -frequency square -wave response, it would indicate its suitability for driving any speaker system. The low- frequency square -wave response showed the effect of subsonic filtering used in the set. amplifier on or off. Below it is the AC line cord; Tuner performance was quite good, all things to the right is the circuit -breaker reset button. Speaker considered. IHF sensitivity was measured as 7 micro- connections are made via a pair of binding posts. volts. The manufacturer specifies 1.8 microvolts, but The level or volume control is at the upper right; uses a different rating system than the one employed below it is the RCA -type input jack; below this is a at Nationwide. In any case, all other FM characteristics were very favorable, including uniform response on both stereo and mono; excellent channel separation and capture ratio; high signal -to -noise ratio; very low IM; and good dial calibration. All in all, these Lab Test Data characteristics -as we have had occasion to point out in the past -can balance what appears to be a Performance relatively low numerical sensitivity. The fact is, with characteristic this set we have logged just two stations less than Measurement with some of the costliest separate tuners. All told, TK -80 Power output (at 1 Hz into can be summed up as an attractive, well - 8 -ohm load) engineered package that offers a lot of good equip- at clipping 46.5 watts at 0.25°ó THD ment at a comparatively low price; it strikes us as a very good buy in its class. for 0.5 °e THO 50 watts (rated distortion)

Power bandwidth for constant 0.5% THD 13 Hz to 26 KHz

SCHOBER TR -2 BASIC AMPLIFIER KIT Harmonic distortion 40 watts output less than 0.5 %, 20 Hz to 12 KHz; less than 0.75°,ó THE EQUIPMENT: over -all Schober TR -2, a monophonic solid - 20 watts output less than to state basic amplifier available in kit form. Dimen- 0.5 %, 20 Hz 17 KHz; less than 0.6% sions: 51/4 by 71/2 by 111/4 inches. Weight: 13 pounds. over -all Price: $69.95. Manufacturer: Schober Organ Corp., 43 West 61st St., New York, N.Y. 10023. IM distortion

4 -ohm load 2.1% at 1 -watt COMMENT: and 34 -watt Originally designed as part of an electronic output; 0.78% at 15 watts organ, the Schober TR -2 amplifier now is offered on 8 -ohm load 1.8% at l -watt and 47 -watt its own and for what you will: it may serve, of course, output; 0.7 °c at 26 watts to upgrade existing organs or to add more speakers 16 -ohm load 1.5 °o at 1 -watt and 32 -watt to an organ. Perhaps more germane from a high output; under 1%, 7 watts fidelity playback standpoint, the TR -2 will do nicely to 31 watts as the amplifier for a powered center -channel speaker in a stereo system or to pipe mono versions of stereo Frequency response, +0.2, -2 db, 21.5 Hz to 20 programs into another room, or as a general -purpose 1 -watt level KHz; down 3 db at 17 Hz "utility" or public address amplifier, or- perish the and 26 KHz thought -simply as the basic amplifier in an old - fashioned mono system. Of course, two TR -2s can Damping factor 1.8 be used for a normal stereo setup. The TR -2 is compact and very sturdily constructed Sensitivity 86 my to 1.1 volt, depending of high-grade parts. Its circuitry is solid -state; no out on setting of input control put transformer is used, although there is an inter - stage transformer between the driver and the power S N ratio 60 db output stages. Most of its parts are mounted on a

JANUARY 1966 69

www.americanradiohistory.com SHURE MODEL M55E CARTRIDGE

THE EQUIPMENT: Shure M55E, a magnetic stereo cartridge fitted with elliptical stylus. Price: $35.50. Manufacturer: Shure Brothers, Inc., 222 Hartrey Ave., Evanston, Ill. 60204.

COMMENT: The Model M55E cartridge is essentially a lower- priced, but nonetheless high -performing, ver- Square -wave response to 50 Hz, left, and to 1() KHz. sion of the Shure V -15 (see HIGH FIDELITY, August 1964). It is designed to track at the 15- degree verti-

3 cal angle and is supplied with a biradial (elliptical) INTERMODULATION DISTORTION stylus. Compliance is very high -rated at 25 x 10-6 2 cm /dyne. Recommended tracking force is from 3/4 to 11/2 grams; our tests indicated that while the M55E 1 would indeed track well at 3/4 gram, it tracked excel- 60 cps and 7000 cps - 4:1 ratio lently at 11/2 grams. o Measurements of the M55E made at Nationwide 2 4 7 10 20 30 40 50 Consumer Testing Institute, Inc. (a subsidiary of

POWER OUTPUT IN WATTS United States Testing Co., Inc.) at 11/2 grams indicate performance characteristics that are similar, though slightly less splendid, than those of the +2 Power Bandwidth at 0.5% THD costlier V -15. The frequency response curves for the o left and right channels of the M55E are almost (Estimated on scope below 20H\ -2 carbon copies of those of the V -15, but with a higher above 20KHz) \ 4 1.0 peak measured above 10 KHz. Over-all response of 42, THD at40w 6 0.5 = the M55E on the left channel was uniform within 8 0 a few decibels over the audio range, with a 6 -db peak THD of 20w i 10 at 11.5 KHz; the right -channel peak of 8.5 db oc- PERFORMANCE CHARACTERISTICS _ 12 curred at 10.5 KHz. Zero DB - 40 watts o 14 Channel separation also resembled the curves of 16 ó the V -15, although somewhat less separation was 18 evident in the highs. i Frequency Response at 1 watt extreme It was excellent at 20 _ the important mid -frequencies with a maximum of 10K 100K 1 10 100 1K at least 23 db up to 3.5 KHz, reaching a minimum FREQUENCY IN Hz of 6 db at 11 KHz. Output signal levels measured were 6.6 millivolts and 6.7 millivolts for left and screwdriver -type sensitivity adjustment, which may be right channels respectively, values well suited for used to obtain full power output from input signals magnetic phono inputs. Over -all balance between of varying strength. both channels remained within 2.5 db across the In tests at Nationwide Consumer Testing Insti- band. Harmonic distortion did not become evident tute, Inc. (a subsidiary of United States Testing Com- until the 4 -KHz point on the test record and remained pany, Inc.), the Schober TR -2 met its power output low out to 15 KHz. Vertical and lateral tracking and THD specifications with room to spare, and shaped up as a worthy high -powered basic. Rated power out- 10 put is 40 watts; at the unit's rated distortion of 0.5% +5 the TR -2 delivered 50 watts. The power bandwidth m o and the low -level frequency response both extended, ° -5 within a few decibels, from a bit below to just above FREQUENCY RESPONSE AND CHANNEL SEPARATION the 20 Hz to 20 KHz band. Harmonic distortion was W 10 very low and well within specified values. IM dis- 15 ° 20 r' tortion generally followed the pattern of many transis- Left Channel rf lev- 25 tor amplifiers in that it was higher at low output Right Channel els, dropping to its minimum as power demands in- 30 LC Zero DB == 6.6mv creased, and then of course rising at the power 35 RC Zero DB = -6.7mv limits of the amplifier. In general, IM was lowest above 10 watts output, and depended somewhat on 20 50 100 300 500 1K 3K 5K 10K 20K the impedance loaded to the amplifier. The IM curve, FREQUENCY IN Hz combined with the TR -2's low damping factor of 1.8, would indicate that while this amplifier can drive any speaker it probably will show up best when driving systems that are at least somewhat more efficient than the acoustic suspension types, and of a higher impedance than 4 ohms. au SIMI Square -wave response showed a tilt in the bass, 1111111M1111111111111 and a rounded top in the highs -which reflect phase - shift and rolloff respectively, fairly typical of low - priced amplifiers. At that, the amplifier remained sta- 111111 111111 ble under all conditions of loading and could be used with any type of speaker system. A special circuit 1 -KHz feature protects the output transistors against dam- square -ware response. age due to accidentally shorting the output. The TR -2 comes as a kit; the instructions are quite clear and even the first -time kit builder should have no trouble in assembling the unit. Depending on one's experience, the job should take four to six hours.

70 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com characteristics were excellent, and the M55E had for hookup to the amplifier. Midrange and high fre- no trouble staying in the groove on the most demand- quency level controls are provided. Input impedance ing of test passages. is 8 ohms; efficiency is fairly high. The enclosure itself The 1 -KHz square -wave response showed some is rock -solid, and finished in oiled walnut. The drivers ringing, indicating a resonance at the very high end. are mounted on a slightly recessed baffle board so This effect, which is reflected in the measured re- that the long dimension of the woofer runs vertically. sponse peaks, was doubtless intensified by the sever- The five drivers radiate past a metallic grille, itself ity of test signals; it is, in any case, not discernible designed to help disperse the sound; this grille is while listening to normal commercial discs. Indeed, the framed by a generous amount of walnut edging to sound of the M55E on playback is extremely clean, present a neat appearance. The rear panel of the en- well -balanced, well- articulated, and fully agreeable. It closure, incidentally, also is walnut- finished. stays with the most thunderous crescendos and ap- Our tests of the 901 were conducted in a carpeted pears capable of presenting the full signal engraved room and did indeed confirm the recommendation on a record -including much of the elusive air and about the bottom panel. The system definitely sounded space that are characteristic of good stereo. If the better with the panel in place. "Better" here does "numbers" indicate a pickup not quite in the same not imply any change in the response range but class as the V -15, judgments based on careful listen- rather an improvement in over -all clarity and articula- ing put it very, very close behind. tion, especially of complex instrumental passages. Doubtless, other listeners -using the system installed in other types of rooms -will prefer to remove the bottom panel; at least the option for experimenta- tion is provided. We also liked the idea of placing a heavy unit like the 901 on rollers: they facilitate moving the system about and tend to remove in- hibitions about seeking that elusive "best spot" in the room (speaker manufacturers, please copy!). Our checks of bass response indicate strong and useful response down to about 40 Hz, with doubling EMI MODEL 901 apparent in the 40- to -70 -Hz region when the system is driven abnormally hard. At that, the Model 901 is quite efficient, and can produce enormous sound SPEAKER SYSTEM levels in a room with relatively little rotation of the amplifier volume control, so that in normal use it would not have to be driven hard. We note that the manufacturer specifies bass response to 28 Hz: this is doubtless a measure of sound pressure, while our judgments are based on audible tones. THE EQUIPMENT: EMI 901, a full -range speaker sys- Upward from the bass, the Model 901 responds tem in enclosure. Size: 341/2 inches high (including smoothly; a gentle slope becomes evident at about roller casters), 28 inches wide, 20 inches deep. Price: 8 KHz, but seems to maintain fairly uniform level $395. (Speaker components alone for installing in to 13 KHz and then rolls off toward inaudibility. The one's own enclosure, $285.) Manufactured by EMI striking feature of the midrange and high -end response dis- (Electric and Musical Industries Ltd.) of England; is its uniform spread: a 1 -KHz tone was completely tributed in the U.S.A. by Scope Electronics Corp., 235 audible from any position about the system and this East 42nd St., New York, N.Y. 10017. effect was not diminished out to above 10 KHz. The pattern narrowed somewhat above 10 KHz. White COMMENT: The Model 901 is a medium -size floor - noise response varied from harsh to fairly subdued. standing speaker system housed in an oiled walnut depending on the setting of the rear -panel controls, enclosure that rests on four small hidden rollers. An with the midrange control affecting this more than the unusual feature of the cabinet is a removable bottom high frequency control. Our final preference was to plate: when in place, this panel seals the enclosure back off the midrange by a bit more than half its full completely so that it approaches an infinite baffle. rotation, and then to lift the high frequency control When the panel is removed, the resultant opening to just past its halfway rotation. serves as a port for bass reflex action. In general, the Over -all, the sound of the Model 901 on program manufacturer recommends removing the plate when material was full and well balanced. There is a slight the 901 is used in a fairly live room so that the sys- tendency to projection of the spoken male voice, but tem provides relatively better tonal balance between other than this effect, the 901 simply places its lows and highs. In a room that is fairly well damped sound "in the room" over a very wide sound front all acoustically -one with carpeting and draperies-it is about itself. Handling a variety of music, from piano recommended that the panel be left in place. solos to grand opera, the 901 gave an admirable ac- The woofer in the 901 is an enormous and heavy count of itself. There was no favoring of one portion oval- shaped unit, 19 by 14 inches. This shape was of the spectrum, nor of any one class of instruments. chosen, according to EMI, to avoid spurious vibrations Transients, strings, percussion, brass, reeds, even the and resonances in the cone response. Mounted across formidable upper reaches of Tebaldi's voice (try her the woofer are four cone tweeters, each 33/8 inches Mimi on an inferior playback system some time!) all in diameter. The two nearest the edge of the woofer came through cleanly and with no audible strain. are relatively directional in their propagation of the For the listener interested in a speaker in this size and highs; the two nearer the center are fairly omni- price class, the EMI 901 surely merits audition. directional. The design aim here is to provide a wide horizontal polar response combined with a controlled, narrower vertical response so that the sound will be REPORTS IN PROGRESS spread but not overly diffused as a result of ceiling and floor reflections. The crossover frequency to the two sets of tweeters is 1,800 Hz, handled by a net- ADC 10E Cartridge work installed within the enclosure. The rear of the Dual 1019 Automatic Turntable enclosure contains binding posts, marked for polarity,

JANUARY 1966 71

www.americanradiohistory.com "Tie songs... have more melodic grace and inventive distinction than has been heard in some years: Howard Taubman (N. Y. T/MES)

ON acLeARDAS Original wty Cast Album RCA VICTo The most trusted name in sound 0 Now Plapng, Mark Ne / /loger Theater. New York City

CIRCLE 55 ON READER -SERVICE CARD HIGH FIDELITY MAGAZINE

www.americanradiohistory.com reviewed by BERNARD JACOBSON NATHAN BRODER ROBERT LAWRENCE O. B. BRUMMELL ecords CONRAD L. OSBORNE R. D. DARRELL ALAN RICH SHIRLEY FLEMING Ill (view ERIC SALZMAN ALFRED FRANKENSTEIN DENIS STEVENS HARRIS GOLDSMITH JOHN S. WILSON

Schubert's Symphonies The Scores Corrected And a Finish for. the Unfinished

Denis Vaughan: musicological sleuth. by Alan Rich

DENIS Vaughan is a young Australian are in the Fourth Symphony, which does There are plenty of works from the peri- conductor and musicologist who has been indeed sound more vital, cleaner, and od immediately after he had given up making a lot of noise in recent years starker in Vaughan's version. the Symphony, including the magnificent with the revolutionary idea that a com- According to an interview with and vital Wanderer Fantasy, that attest poser deserves to have his scores pub- Vaughan, the scores of the symphonies to the composer's health. We will never lished and performed as they were writ- contain some 3,800 mistakes that his new have the answer, unless, indeed, the miss- ten. Vaughan first came to general at- version undertakes to correct. Naturally, ing music turns up. There is just a scrap tention through his charge that the at least 3,795 of them will not be de- of hope for that, since there were pages House of Ricordi was sitting on Verdi's tected by the casual listener. Some of missing from the back of the manuscript original manuscripts and allowing cor- them are rather intriguing, however. folio containing the Symphony. The most rupt editions of the operas to circulate as Take, for instance, the case of the final reasonable answer, as of now, is that, authentic; he has since been given sanc- note of the "Great" C major Symphony having no hope of getting a performance tion by the Italian government to get the (No. 9). The mark over this note, a for a work so difficult and involving manuscripts released, restudied, and pub- five- octave C held for five beats, is as such a large orchestra and, possibly, lished in corrected versions. Now he has clear a diminuendo as anyone could being discouraged with the scherzo as turned his attention to the music of want, and has been printed that way in sketched, Schubert sensibly directed him- Franz Schubert, abetted and encouraged Eulenberg. Some conductors observe it, self to making some money. (The Fan- by another toiler in the vineyards of notably Klemperer in his recent Angel tasy was published almost immediately musical truth, H. C. Robbins Landon. The recording. Vaughan disputes it, evidently upon completion.) initial fruits of these labors are contained reasoning that on this hastily written The scherzo isn't a bad work, but it in this five -disc album of eight of Schu- page (reproduced, incidentally, in the is certainly inferior to the two preceding bert's nine symphonies, which presents booklet accompanying RCA's album of movements. Although it has an agree- the works "as they were written" and the Philadelphia performance under Tos- able rustic character, making some use also includes Mr. Vaughan's own com- canini -who doesn't observe the diminu- of harmonic drones, and contains the pletion of the sketch for the scherzo of endo) Schubert merely roughed in a big, kind of rough -cut clashes we also en- the Unfinished. The results, if not ex- boisterous accent to cover the whole du- counter in the scherzo movements of actly revolutionary, are at least highly ration of the note. This makes sense; the Symphonies 2 and 4, it is simply not interesting. diminuendo simply seems wrong as the first -rate Schubert. Without going into Many things go into the creation of a conclusion for so on- rushing a move- the question of whether Schubert recog- corrupt score. In Schubert's case, they ment. nized the voices of angels in his E major are understandable; he wrote quickly and The matter of "completing" the Unfin- Andante, he must be given credit for occasionally sloppily, and seems to have ished, or at least of presenting Schu- recognizing a proper or improper contin- been particularly remiss in the matter of bert's design down to the last drop, is a uation. distinguishing between a mark of accen- somewhat knottier one, partly because Even so, it is valuable, after all this tuation ( >) and a diminuendo () of all the romantic nonsense that has time, to have access to the movement, for Vaughan has taken on the job of re- grown up around the composer's possible whatever light it casts on the composer. evaluating each of these marks in con- motives in abandoning the work. Only The set would have been even more valu- text. (Nobody will ever know, of course; one thing is quite clear: Schubert did able, however, if it could have included we can merely judge whether they sound not give up the score because of illness the other unfinished and really important correct.) The most extensive revisions or anything else equally incapacitating. Schubert Symphony, the true No. 7, in

JANUARY 1966 73

www.americanradiohistory.com E. This is, first of all, a wonderful score, and it is an important transition between the style of the first six works, still largely rooted in the eighteenth century, and the flooding romanticism of No. 8. Schu- bert left a complete sketch of all four movements, and there is a completion by Felix Weingartner, published by Univer- sal in 1934 (and recorded fairly well under Franz Litschauer on Vanguard 427). But Weingartner's orchestration is thick, far more Brahmsian than Schubertian, and Vaughan is obviously the man to redo the job. As a conductor, Vaughan is equipped Peter Ilich Tchaikovsky to put his findings before the public in a good light. I find that his sense of pacing, control, and balance in the early symphonies compares favorably with the best available performances (which EVERY SO OFTEN the record industry outside Russia and a few Central Euro- means, in general, those of Sir Thomas makes us aware all over again of the vast pean locales. When Golden Slippers was Beecham). He is the only conductor musical continents that. for Americans, staged here, it turned out badly and re- since Beecham to make that extraordi- remain largely unexplored, despite all inforced the impression. But here we narily delectable finale of No. 6 work the musicological excavation of the past find one stupendous grand opera (The at a jogging, easygoing tempo, and he few decades. Usually it is the small Oprichnik), and another (Maid of Or- accomplishes this without Beecham's cuts. companies who do this work, and it is leans) that is uneven but which rises to His smallish orchestra is ideally equipped one of the misfortunes of the industry's tremendous heights in its most important for the task, and Schubert's wind scor- commercial structure that they are not scenes. Not only are they exciting operas ing is better honored here than in larger- always equipped to do the job fully in completely unknown in the West; they scale performances. terms of production or distribution. are operas of a sort barely hinted at in The Unfinished also receives an ex- Yet there is always someone willing the more familiar Tchaikovsky pieces. cellent, straightforward reading, with and even eager to convert some cobweb- The Oprichnik is the biggest surprise. somewhat larger forces employed (the by corner of the musical pantry into a In the flush of discovery one is apt to photograph in the booklet shows six low- volume sales counter. In the case of overrate a work, and I don't suppose stands of first violins, which is hardly Russian opera, our LP education has that this is really a piece on the level chamber- orchestra proportions). The come almost entirely from such sources; of Don Carlo, which it virtually seems Ninth, however, is not quite so success- some years back, it was Period and Col- at first. But at the very least, it is a ful. One detail here I would question osseum, then Artia (later MK- Artia) and large -scale grand opera that works at most vigorously. Vaughan seems to favor Monitor, and now Ultraphone. Seldom every level, that manages to juxtapose an unusual reading of the famous trom- have the discs been up to Western tech- successfully a massive backdrop with a bone passages in the first movement nical standards (though some of the series of intense personal involvements. (bars 199 -223, recapitulated bars 516- MK-Artia releases provided at least de- This is what happens in the greatest of 540), regarding the dotted -half -quarter cent monophonic sound), but they have nineteenth- century Western European rhythm as a double -dotted -half- eighth. (I given us our only long listen to the op- grand operas; it is also what is aimed say "seems," because the trombones are eras of Rimsky -Korsakov, for example, for in many Russian operas but attained a little sloppy at this point.) Perhaps or such un- Russian but very Slavic in only a few (e.g., Boris), either because Schubert did intend this, although it is oeuvres as the operas of Janácek and the structure is too loose and arbitrary not mentioned in Vaughan's notes, but DvoFák, and incidentally to some great (as in Prince Igor) or because the it seems to undermine the effect of the Iron Curtain performing artists. Not the characters do not ever take on really speed -up of the same figure in the en- millennium, I grant, but still a good individual lives. suing bars. I also find Vaughan's big distance from the days when one risked This opera, set in the reign of Ivan ritard at the end of the first movement, an FBI investigation to buy badly proc- the Terrible, deals with a young man and his slower pace for the first sub- essed Soviet 78s in the second -floor named Andrei Morozov. He is out to sidiary episode in the slow movement, lobby of the bad old Stanley Theatre, avenge the death of his father and other somewhat fussy. where Soviet films also gave us our sundry family misfortunes. He is, how- This aside, we have here an important first personal glimpses of such Russian ever, in love with a girl named Natalia, and musically admirable album. I add singers as Reizen or Petrov. who is the daughter of one of his fami- only that the two Italian Overtures fill- Ultraphone's particular concern to ly's chief persecutors; and he has sworn ing out the second side of the Fourth date has been with the operas of Tchai- blood brotherhood with an army corn - Symphony are charming pieces; one con- kovsky. About a year ago they gave us rade, Basmanov, who belongs to a secret tains material later used in the Alfonso his very beautiful Iolanthe. Now they society headed by the Prince Vyazmin- and Estrella (or Rosamunde) Overture. have added The Oprichnik, The Maid of sky, another hated enemy. This society They are done to the hilt as, indeed, Orleans, and Cherevichki, of which only is the brotherhood of the Oprichniki, a is most of the music here presented. the last has, so far as I know, ever bunch of dissolute young turks under the been performed in America (at the City Tsar's special protection; they are a SCHUBERT: Symphonies (8) Center ten years ago, under the title of cross between the Brown Shirts and our The Golden Slippers). So if we count leather-jacket motorcycle boys. To the No. 1, in D; No 2, in B flat; No. 3, the already available Pique Dame and intense pain and scorn of his mother and in D; No. 4, in C minor ("Tragic "); No. Eugene Onegin, we have six of Tchai- to the distress of Natalia (both of whom 5, in B flat; No. 6, in C; No. 8, in B kovsky's operas open to inspection -as he must foreswear in the initiation), minor ( "Unfinished"); No. 9, in C; Over- many as we have in the case of Doni- Andrei joins Basmanov in the Oprich- tures in the Italian Style: in C; in D. zetti. niki, seeing his membership as a means The experience of coming up against towards consummation of his revenge on Orchestra of Naples, Denis Vaughan, these pieces is chastening. In the West, his enemies. It doesn't work out that cond. Tchaikovsky has always been regarded as way, however, and the ending is a sort RCA VICTOR LM 6709. Five LP. a composer of symphonies, ballet suites, of combination of the final scenes of $23.95. and songs, and of two viable operas Trovatore and Ernani, with Russian mu- RCA VICTOR LSC 6709. Five SD. (Onegin and Pique Dame), neither of sic, if you can imagine that. $28.95. which has achieved any real popularity Structurally, the admirable thing about

74 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com The Richnesses of Russian Opera

by Conrad L. Osborne

The Opric /uiik is that while it makes of one or two sides. Tarkhov, the tenor, Joan's justly famous aria, usually sung liberal use of choruses and concerted sometimes overdrives his voice into a in French as "Adieu, forêts." numbers, and of the "historical canvas" steely, straight tone, but most of his sing- There is much else of interest along approach common to so many Russian ing is healthy and ringing, backed by a the way, including some writing sharply operas, it never loses sight of its prin- good measure of temperament and sen- descriptive of the atmosphere of defeat cipal characters and their destinies; every- sitivity. The accomplished Dolukhanova, at the French court and some excellent thing grows out of the confrontations fresher and brighter- sounding here than ballet music. Once again, Tchaikovsky among them. They are well defined and in her recent American appearances, is builds a magnificent ensemble-finale powerfully motivated, and their situa- splendid as Basmanov, and the mezzo late in Act Ill (the scene of her father's tions play to Tchaikovsky's greatest Legostaeva is powerful and moving as denunciation of Joan following the cor- strength as an operatic composer, which Andrei's mother, after a somewhat equiv- onation at Rheims), starting with the (like Verdi's) is his ability to give his ocal start in her monologue. Polyaev unaccompanied soli and moving into a characters a profound and emotionally is a pushed- sounding heavy baritone, soaring massed ensemble which must lift stirring kind of life through the outpour- reminiscent of some of our contemporary an audience right out of its seats. In ing of simple, direct, passionate song. Wagner singers, but he has authority and case my endorsement of this opera sounds He is at his best in Natalia's longing out- is right for the role of Vyazminsky. The at all fainthearted, I will add that my burst at the end of the first scene; in supporting roles are in good hands, and enthusiasm for it was somewhat shad- the chilling introduction to Act II and in both the orchestra and chorus do very owed by a subsequent first hearing of the fine monologue for Andrei's mother fine work under Alexander Orlov, though The Oprichnik -quite on its own, The that follows, grippingly descriptive of their efforts are in part compromised by Maiden would serve to assure Tchaikov- the despair of the Morozov house; in the the sound. It goes without saying that if sky's stature as a composer of grand splendid duet between Andrei and his you are after beautiful sound or impres- tragic opera. mother, where one gorgeous melody fol- sive liner booklets, these sets are not This performance introduces an en- lows another. In fact it is all good - for you; but if the prospect of seeking tire company (the Kirov of Leningrad) the Oprichniki music is splendidly de- out a really exciting opera in a good that I do not believe has been heard be- scriptive and characteristic, and the writ- performance interests you, then the medi- fore over here -certainly the soloists ing for Vyazminsky, their leader, omi- ocre sonics should be of small impor- are all new to me. There is not a weak nous and weighty. The overture is bril- tance. singer among them. Preobrazhenskaya liant, Natalia's first song a lovely, mourn- turns out to have a big, booming dra- ful one, remindful in coloring of the SOME of this same excitement per- matic soprano or mezzo of good quality, "Salce" in Verdi's Otello. Basmanov is vades most of The Maiden of Orleans, perhaps a bit longer on sheer authority a splendid mezzo trouser role with a and again one is impressed by Tchaikov- and strength than on actual beauty, but fine song in praise of the life of the sky's talent for the handling of large- not unattractive and used with consider- Oprichniki. The crowd scenes have splen- scale situations. The Maiden is not as able imagination and dash. She is clearly did presence and variety, and behind strong a work as The Oprichnik, partly a major singer. There is also an excellent the whole thing is the sinister, unseen because there are passages (not many, tenor named Kilchevsky as Charles VII, presence of the half- insane Ivan. But and not long) of music that is only basically lyric but capable of plenty of the thing which really turns the trick, decently worked and rather predictable ring in his stirring Act II duet with the which immediately places Tchaikovsky (a trio in Act I; the business of Joan's faithful Dunoix. The soprano, Kasheve- among the great operatic composers, is angel voices) or that is overextended (a rova, is again possessed of that particular the drawing together of all the individual solid but very lengthy triumphal chorus edginess which is not an Italian ideal of skeins, together with the choruses of the in Act III); but more because the char- tonal beauty, but she sings knowingly people and the Oprichniki, into the finale acters are not so well defined here, or and accurately. The baritone Solomyak of Act III, a long, magnificently built their personal situations kept sight of so is a little muddy- sounding but attractive section of pulverizing weight and extra- consistently. Schiller is the source, and and solid as Lionel, and there is a mar- ordinary emotional impact. It begs for all the externals of the story are taken velous bass, Shashkov, in the brief but the best modern stereophony, but even more or less at face value, with Joan's important role of the old Bertran. The this mediocre 1948 monophonic record- affection for the converted traitor Lionel orchestra is very good, the chorus stu- ing cannot disguise the force and sweep as the prime cause of her downfall. pendous, and the sound, while still hardly of the writing; it is overwhelming. Tchaikovsky has set it with obvious prize- winning, is more consistently ac- The performance is in most respects conviction, and I am sure that in the ceptable than that of the Oprichnik first -rate. Rozhdestvenskaya is fairly theatre the piece must have great impact. pressings. typical of good, but not great, Russian There is, again, a wonderful overture, Cherivichki, I might admit, is an an- sopranos-a certain harshness of tone and in Act I there is a long, sustained noyance. Or perhaps l should say that and generosity of vibrato which many scene of tremendous power, embracing it is simply off on another wave length; Western listeners do not cherish. With- a choral pageant of France's imminent the combination of Slavic folksy humor in this frame, however, she is a perfectly downfall, an old man's moving narra- (Earthy Human Warmth Division) and good singer, and I found the voice ob- tive of the siege of Orleans, and Joan's cute Slavic devils -a combination that jectionable only when it combined with assumption of leadership of the demor- pops up with some frequency -is, at some distortion, notably towards the end alized French; this moves directly into least for me, an infallible recipe for

JANUARY 1966 75

www.americanradiohistory.com boredom. So far as I can determine, conducting and choral singing no judg- AYOUNG PIANIST COUld do nothing Tchaikovsky shared my for the ment would be fair, since opinion, the sound is more ambitious for his recording debut score that he produced for this meander- so cramped and distant. I really did than a complete Well -Tempered Clavier. ing and pointless libretto is a half- not enjoy listening to the set, and what- Not only is the work itself one of the hearted one. Once more, there is a fine ever historical attributes it may possess greatest and most arduous masterpieces spiked with some ingenious do not mean much an overture, to American col- in the keyboard literature, but also the orchestration. There is a nice love con- lector. The opera itself, is a of course, competition in existing recordings is ex- fession the and a satisfactory wonderful for tenor dramatic creation, and one of tremely stiff. A newcomer must do some- and the girl he worships, the duet for him major companies should set about thing remarkable to justify entering the perhaps the most unattractive recording it. (London had a version in Oksana- arena. João Carlos Martins, a 25- year -old heroine in all opera. There are also the lists for a while, but the perform- Brazilian, achieves more than mere justi- which are ance was many clattery little interludes of moderate interest.) fication. Indeed, it seems to me that he cleverly descriptive (a snowstorm, the Whatever the weaknesses of some of utterly eclipses all other pianists in the Devil and the witch Solocha riding these recordings, and whatever one's lists; and, in specific comparison, this a etc., etc.) ; one through the sky on broom, opinion of or two of the operas, Ul- includes such distinguished artists as but while cleverly descriptive interludes traphone should have the thanks and sup- berg Demus, Rosalyn Tureck, and (in a are important for Bullwinkle Moose, they port of any opera lover with a phono- not yet complete version) Glenn Gould. are pretty secondary in opera. There is graph for the importation of The Oprich- "All other pianists" does not, of course, a dreadful quintet; a long and tasteless nik and The Maiden of Orleans, both of mean "all other versions," because "The scene where several would -be bedmates which deserve the serious attention of Forty- eight" has also been recorded on of Solocha's hide from one another in collectors. And eventually, one would the clavichord and the harpsichord, and potato sacks, like L'Heure espagnole hope, of producing companies? in the latter field Martins has the great minus the wit; and any number of other Landowska to contend with. Here a few passages where Tchaikovsky seems sim- words are called for on the question of ply to have stared glumly at the material TCHAIKOVSKY: The Oprichnik which instrument should be used. The he had to set, then finally written down propriety of playing Bach on the piano any formula that came to mind, merely N. Rozhdestvenskaya (s), Natalia; Z. ranges from zero, with a work like the to be rid of the thing. Possibly all this Dolukhanova (ms), Basmanov; L. Le- Italian Concerto, to something like a seems magical and inimitable from the gostaeva (ms), The Boyarina Morozova; hundred per cent, in the case of The other side of the Iron Curtain, but I D. Tarkhov (t), Andrei Morozov; K. Well- Tempered Clavier. In the Italian wouldn't pick it to spearhead the next Polyaev (b), Prince Vyazminsky; A. Concerto contrasts of texture and the cultural exchange project. Korolyov (bs), Prince Zhemchuzhny; alternation of solo with notional tutti are The performance is more than accept- Moscow Radio Chorus; Moscow Radio central to the music, and they cannot be able, the only weak link being a fierce - Symphony Orchestra, Alexander Orlov, properly achieved on an instrument that sounding soprano, E. Kruglikova, as cond. lacks the harpsichord's facilities for vari- Oksana. Antonová s fine alto voice goes ULTRAPHONE ULP 131 /34. Four LP. ety of registration. The Goldberg Varia- far towards making Solocha a likable $19.92. tions constitute a midway case: here figure, and Nelepp shows his customary much of the music's point is accessible high competence in the role of Vakula. to a resourceful pianist, but it is open to This devil is a baritone, and Ivanov TCHAIKOVSKY: The Maiden of question whether the piano can charac- manages to render all the conversational Orleans terize the several variations as sharply as passages in an engagingly light, natural the harpsichord, and there are passages style, holding his rather impressive voice S. Preobrazhenskaya (s), Joan; O. Kas - which call for both ingenuity and com- in reserve for the few real singing pas- heverova (s), Agnes; V. Kilchevsky (t), promise if they are to be played on a sages, such as his invocation of the Charles VII; L. Solomyak (b), Lionel; single- keyboard instrument. In most of storm, which makes a fine effect. Or- V. Runovsky (b), Dunoix; I. Shashkov "The Forty -eight" the essential linear chestra, chorus, and the smaller roles (bs), Bertran; I. Yashugin (bs), Thi- attributes of the music offer no special are again well done, though the singers bauld; N. Konstantinov (bs), Cardinal; problems to the pianist, and only a few are certainly free in their handling of Chorus and Orchestra of the Kirov Op- passages present real difficulty, such as the music. era (Leningrad), Boris Khaikin, cond. the one in Fugue No. 20 of Part I where Along with these additions to the ULTRAPHONE ULP 135/38. Four LP. Bach envisaged the use of a harpsichord recorded Tchaikovsky repertoire, Ultra - $19.92. with pedal board. phone has brought out another Pique There is one way in which interpreta- Dame. It seems to me a badly judged tions of Bach on the piano commonly release. It is true that a new recording TCHAIKOVSKY: Cherivichki fall short, and that is through the tend- of it would be most welcome -a new ency of pianists to try to make their recording. This one is labeled "His- E. Kruglikova (s), Oksana; E. Antonova instruments sound like harpsichords, or torical," by which is meant, I gather, (c), Solocha; G. Nelepp (t), Vakula; A. at least to refrain from using the re- that it is simply old. There is one lvanov (b), The Devil; M. Mikhailov sources of the modern concert grand to Pique Dame available, on MK -Artia; (bs), Chub; Chorus and Orchestra of the full. The most immediately striking in most ways it is a good perform- the Bolshoi Theatre, Alexander Melik- characteristic of Martins' playing is the ance, even outstanding in certain re- Pashayev, cond. triumphant way he avoids this misguided spects. The sound is not of the best, but ULTRAPHONE ULP 111/13. Three LP. archaism. In his performance the piano that failing is not remedied by the Ultra - $14.94. really sounds as if it is being extended phone set, which sounds like a 1930s to the limit of its possibilities, just as the short -wave broadcast. The Ultraphone harpsichord must have done when Bach performance is not without some interest- TCHAIKOVSKY: Pique Dame played the work on it. This is not to ing features. Baturin, heard very briefly suggest that Martins produces ugly tone. as Igor on an old Asch abridgment of K. G. Derzhinskaya (s), Lisa; M. P. Mak- On the contrary, his infinite gradations the Borodin opera, is the best Tomsky sakova (ms), Paolina; B. Y. Zlatogo- of color are never unmusical. Further- I can remember hearing. The Paolina, rova (ms), The Countess; N. S. Kha- more, they are applied with so unerring and so is the Yelet- Maksakova, is good nayev (t), Hermann; A. I. Baturin (b), a judgment of the structure of the music Nort- sky, a fine high baritone named Count Tomsky; P. M. Nortsov (b), that not a single fugal entry from begin- sov (whose Artia competition, however, Prince Yeletsky; Chorus and Orchestra ning to end of the whole work misses its is the superb Lisitsian). But as Lisa we of the Bolshoi Theatre, Samuel Sarno- effect. But there is hardly a measure have the bumpy, frayed singing of Der - sud, cond. in which it is not possible to hear every zhinskaya, and the Hermann, Khanayev, ULTRAPHONE ULP 141 /43. Three LP. line of the counterpoint, because the re- sounds thin and strained. About the $14.94. lief of principal voices is achieved with-

76 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Classical

Joáo Carlos Martins: a new virtuoso enters the lists. ARENSKY: Variations on a Theme Bach's "Forty- eight "-on the Piano of Tchaikovsky-See Tchaikovsky: As a Piano Should Sound Serenade for Strings, in C. Op. 48.

by Bernard Jacobson BACH: Christmas Oratorio, S. 248

out the undue suppression of subsidiary instinctive musical rightness and a depth Gundula Janowitz, soprano; Christa ones. of expression which have never been sur- Ludwig, contralto; Fritz Wunderlich, Martins' incredible technical powers passed. It is sobering, too, to find how tenor; Franz Crass, bass; Munich Bach enable him to play some of the preludes, often she is musicologically more correct Choir and Orchestra, Karl Richter, cond. particularly figurative ones, at remark- than her successors, for all the supposed ARCHIVE ARC 3253/55. Three LP. ably rapid tempos which, in conjunction advances in scholarship since her record- $17.94. with his complete clarity of fingerwork, ing was made. Her pupil Ralph Kirk- ARCHIVE ARC 73253/55. Three lend unusual exhilaration to the music. patrick, who had recorded Part I in both SD. $ 17.94. His tempos for a few individual move- clavichord and harpsichord versions, gives ments could be questioned, but they are a fine performance but rarely reaches This is the first stereo recording of the never thoughtless or insensitive. In orna- Landowska's heights. Oddly, he is often Christmas Oratorio, and the first new mentation, he is for the most part so at his best in problematical passages: recording of it of any sort to come our stylish that the occasional omission of an thus he gives a sensitive and exquisitely way in something like eight years. It essential trill on the penultimate note of graced reading of the C sharp minor sets a high mark for future versions of a fugue subject seems incomprehensible. Prelude -it is hard to say whether his the work to shoot at. For one thing, Nor can I understand why he fails to or Landowska's playing of this move- Richter's conception of the oratorio has double -dot the French -style Fugue No. 5 ment is the best on record -but then matured considerably since he recorded in Part I, or to embellish the C sharp canters through the Fugue at an almost it, with the same chorus and orchestra minor Prelude in the preceding pair of skittish pace. but different soloists, for Telefunken. movements -but then there are as many To my mind, then, Martins has pro- For another, he now has the advantage views on the execution of that wonderful duced a version that outclasses all his of solo singers of unusual quality. piece as there are performers. rivals except Landowska. If he falls Fritz Wunderlich, as Evangelist and Though I doubt whether Martins is short, naturally enough, of her maturity tenor soloist, sings with apparent ease right on these small points, they hardly and depth, it is not by much; and to com- and no impairment of tone even in the detract from the size of his achievement. pensate, his part- playing is even cleaner highest reaches of recitative; there is a In comparison with him, Tureck on Dec - than hers. fine, lyric quality in his performance in ca suffers from the mincing antiquarian- The recording is available in three general and particularly in "Nun miirt ism I have already described; with the forms -45 -rpm stereo, 331/2-rpm stereo, ihr stolzen Feinde schrecken" (Part VI); added disadvantage of boxy recording, and 331/2 mono -in automatic sequence. and he does as well as any male larynx her piano never sounds like a piano, and The piano tone is reproduced with clari- can with the difficult instrumental writ- her phrasing too is affected and unspon- ty and warmth and with a wide range ing of " /ch will nur dir zu Ehren leben" taneous. Her whole approach illustrates of color and dynamics. (There are a (Part IV). Outstanding even among her the dangers of a musical culture that can number of surface clicks, but these may fine colleagues is Christa Ludwig. Her accept such a sobriquet as "The High be confined to my copy.) I have failed silvery voice, which here seems to have Priestess of Bach," as if the poor man to detect any difference in quality be- more of a mezzo soprano than a con- were a religion instead of a composer. tween the two stereo recordings, and the tralto color, shapes phrases beautifully; Demus, on Westminster, is much better: mono is inferior only to the extent by she conveys as few singers do a firm he phrases with musicianly naturalness, which mono recordings usually are. All sense of musical logic while at the same his tempos are just, and his technique told, this release is an outstanding event time the ravishing beauty of her voice is equal to the work's requirements. But in recording annals, and João Carlos caresses the ear. Pleasure of another his solutions to some stylistic problems Martins has established himself at one kind is provided by Gundula Janowitz. sound half -hearted (for instance, his stroke as a great pianist and an excep- Her voice does not have much velvet, neither- fish -nor -flesh ornaments in the tional musician. but it is extraordinarily clean and pure, above- mentioned C sharp minor Prelude), and she never strays a hairsbreadth from and he simply sounds tame next to Mar- the correct pitch. She sounds here like a tins. So, surprisingly enough, does Glenn BACH: The Well-Tempered Clavier, beautifully played oboe. The trio for Gould, in his three -disc Columbia album S. 846 -93 soprano, alto, and tenor, "Ach! wann of Book I. His performance is clean, wird die Zeit erscheine,," (Part V), is a analytical, and unconvincing: he seems João Carlos Martins, piano. model of how such things should be to have lost the inspired as well as the CONNOISSEUR SOCIETY CSM 8657. done, and its effect is enhanced by re- infuriating qualities of his earlier enfant Seven LP. $34.86. markably transparent recording. Franz terrible period. CONNOISSEUR SOCIETY CS 8657. Crass, with his warm, round tone and It is a delight to turn again to Lan - Seven SD. $41.86. firmly focused production, completes dowska. Her Victor recording sounds CONNOISSEUR SOCIETY CS 8657. this first -rate group. His voice does not good for its age, and her playing has an Seven 45 -rpm SD. $41.86. have enough metal for a trumpet aria

JANUARY 1966 77

www.americanradiohistory.com like "Grosser Herr and starker König" BACH: The Well- Tempered Clavier, them with a temperate warmth but never (Part 1), but he sings this and all the S. 846 -93 becoming overly subjective. Gone are the other music assigned to him very well days when Rubinstein used to opt for indeed. Joiio Carlos Martins, piano. the gaudy Saint -Saëns cadenzas. As in Except in one number, "Ehre sei his second 1957 performance, he plays Gott" (Part II). which is dominated by For a feature review of this recording, the second of the two Beethoven cadenzas the sopranos and in which the singers see page 76. in the first movement and the composer's aspirate the vowels, the chorus performs only one for the finale, retouching a few with good balance, tone, and style. The points here and there. sound is magnificently clear and realis- BARBER: Quartet for Strings, Op. 11 Leinsdorf's orchestral framework is tic throughout. N.B. -See Diamond: Quartet for sturdy and unexceptionable, a trifle em- Strings, No. 4. phatic here and there, perhaps. but certainly preferable to the turgid work of BACH: Concertos for Organ: No. 1, Krips (in mushy sound) on the older in G, S. 592; No. 2, in A minor, BEETIIOVEN: Concerto for Piano Rubinstein edition. Incidentally, one can S. 593; No. 3, in C, S. 594; No. 5, and Orchestra, No. 4, in G, Op. 58 hear the bassoon very clearly in its in D minor, S. 596 dialogue with the flute and oboe in the Artur Rubinstein, piano; Boston Sym- first movement development at measure Marie -Claire Alain, organ. phony Orchestra, Erich Leinsdorf, cond. 204 et seq.: usually this pertinent detail MUSICAI. HERITAGE SOCIETY MHS 626. RCA VICTOR LM 2848. LP. $4.79. is obscured by the downward triplets in I P. $2.50. RCA VICTOR LSC 2848. SD. $5.79. the strings. MUSICAL HERITAGE SOCIETY MHS RCA deserves a nod for its excellent 626 SD. $2.50. Rubinstein's third recorded edition of annotations. Brief by ordinary standards. Beethoven's No. 4 is by all odds his the pointed, astute comments manage to Bach knew good Vivaldi from bad. and best. His pianism here has a sheen, a convey more in a few lines than the about good Vivaldi he was enthusiastic crystalline translucency, and elegant pro- voluminous ramblings one customarily enough to make a number of arrange- portion. In coloristic treatment he stands encounters. H.G. ments of the older composer's works. at the summit with the Gieseking mono Three of the four pieces on this record I.P (with Karajan) of 1951, although his (Vol. 5 in Marie -Claire Alain's series of approach is somewhat more robust than BEETHOVEN: Symphony No. 5, in Bach organ recitals), those in A minor, that master's. This is not a Beethoven C minor, Op. 67 D minor, and C major, are transcriptions of deep humanity and emotional stress for organ solo of concertos by Vivaldi: such as Schnabel or Fleisher presents, nor Pittsburgh Symphony Orchestra, William respectively, Op. III, No. 6 for two is Rubinstein as angular and ascetic an Steinberg, cond. violins, Op. VII. No. 5 for violin. and interpreter as Serkin in his latest ac- COMMAND CC 3311031. LP. $4.79. Op. Ill, No. 11 for the common concerto count. He molds the phrases with the COMMAND CC 11031SD. SD. $5.79. grosso concertino of two violins and discernment of a connoisseur, imbuing cello. The Concerto in G major is a While a Beethoven Fifth spread onto transcription of a work by Bach's noble two twelve -inch disc sides without so pupil Johann Ernst of Saxe -Weimar. much as a filler seems an extravagance Apart from a single movement tran- these days, it should be noted that Stein- scribed from Vivaldi and an E flat major berg follows the example of Klemperer concerto of unknown origin. these are all in this recording, and takes the exposi- Bach's surviving works of this kind. The NEXT MONTH IN tion repeat in the finale as well as the three Vivaldi concertos are among that more commonly observed one for the composer's finest. and Johann Ernst's first movement. It should also be said concerto, though less ambitious, is an that he conducts a polished, forthright attractive piece with a good first move- high fidelity account of the score and receives smooth, ment characterized by an interplay of massive, and somewhat soft -focus engi- duple and triple rhythms. neering, with a good deal of hall rever- Miss Alain, playing the pleasing Fro - The "In" Composer beration. My own preference among benius organ at Middelfart in Denmark, stereo Beethoven C minors, though, re- gives excellent performances. Her reg- mains the taut, direct. and brilliantly istration. nowhere exotic. nevertheless focused reading by Antal Dorati and the achieves the interpreter's principal task London Symphony Orchestra on a single in these works. which is to make a side of a Mercury release. H.G. between and solo clear distinction tutti by Bernard Jacobson passages. Her rhythm, for the most part, is clean and lively, and her tempos are BELLINI: Arias: Norma: Casta diva. good. with one arguable exception: I Stereo Cartridges in '66 ll Pirata: Col sorriso d' innocenza find her handling of the Largo in the 1 Donizetti: Arias: Roberto Devereux: D minor Concerto more like a nine- by Edward F. McIntyre Vivi, ingrato; A lei d'accanto. Lu- teenth- century largo than an eighteenth - crezia Borgia: Com'è bello! quale century siciliano, which is what the incanto. Maria di Rohan: Havvi movement is, but she could justify her Brief Candles un Dio interpretation on the ground that the music has frequent changes of harmony A tribute to so Montserrat Caballé. soprano: chorus; or- within the beat. brilliant young perf0 chestra, Carlo Felice Cillario. cond. VICTOR The sound is entirely satisfactory, who died before their time. RCA LM 2862. LP. $4.79. and the only complaint I am obliged to RCA VICTOR LSC 2862. SD. $5.79. make about this welcome issue concerns by Harris Goldsmith a degree of confusion on the jacket and Here is the first operatic LP by the latest label, which seem determined to produce comer to the ranks of the big -time so- a nonexistent B major concerto from Trends in Transistors pranos. It discloses the same pure, love- somewhere. Collectors may rest assured ly tone we heard in the Spanish repertory A progress report that the keys of the four works are as on her imported recital (reviewed in given in this review, unless a misprint by the editorial staff HIGH FIDELITY last October), carried creeps in. which of course is unthink- over to the vocally more ambitious chal- able in these columns. B.J. 10 lenge of a program of grand arias.

80 HIGH FIDELITY MAGAZINE

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JANUARY 1966 CIRCLE 22 ON READER -SERVICE CARD 81

www.americanradiohistory.com The over -all impression is certainly BOIELDIEU: Concerto for Harp and izing." I doubt whether many pianists positive, especially on the Donizetti side. Orchestra currently before the public could do In addition to its individual and beauti- tKrumpholz: Concerto for Harp and much more than Katchen does here to ful quality, the voice clearly has size, Orchestra, No. 6 alleviate the inherently opaque texture of flexibility, and a wide range, with au- these sprawling opera. thentic chest strength- sparingly used, I Lily Laskine, harp; Jean -François Pail- The Sonatas are contained on CM am happy to say-at the bottom and lard Orchestra, lean- François Paillard, 9410 and CS 6410, the other pieces on clear, focused, steady Bs and Cs at the cond. the companion disc. London's piano re- top (though it does not seem to be the MUSIC GUILD MG 126. LP. $2.49. production is very bright, with a treble sort of voice that opens out effulgently MUSIC GUILD MS 126. SD. $2.49. sound of glistening crystal and a bass at the top; rather, it points, or peaks, to of pure velvet. H.G. a very compact tone). The tempera- A trimly classical pair of concertos, ment seems genuine and large- scale; one trimly played by Lily Laskine, who can might be reminded of the young Victoria turn off a proper Alberti bass with the BRAHMS: Sonata for Violin and Pi- de los Angeles had the latter had about best of them. Boieldieu is a bit less ano, No. 3, in D minor, Op. 108 her something more of the diva. predictable than Krumpholz -his finale "[Schubert: Fantasy for Violin and About the phrasing and feeling for has romantic leanings, just a touch of Piano, in C, Op. 159 this kind of music there can be no quib- chromaticism, and surprisingly fluid ble-it is genuine, and does not sound rhythmic patterns. (His long opening tutti Denes Zsigmondy, violin; Anneliese Nis- overschooled. Here, at least. there is in the first movement, though, contains sen, piano. nothing terribly personal about the sing- enough fanfares to introduce a regiment LYRICHORD LL 145. LP. $4.98. ing, nothing that seems to stretch out to of Scots Guards; the exceedingly discreet LYRICHORD LLST 7145. SD. $5.95. is a letdown.) communicate. It is a little imperious and harp entrance something of is adequate - distant -but if that is what goes with her Paillard's accompaniment To judge from the way this husband personal presence and her theatrical though not particularly refined; stereo wife team acquits itself in the present is of the hole -in- the -middle variety, with sense, then it is a perfectly valid quality, compositions (two of the most demand- sometimes disconcertingly especially in such repertory. the harp ing in the entire literature), they are a growing ten feet wide. Mono Complaints? Yes, of a provisional solves the duo to rank with Serkin /Busch and problem. S.F. since one never knows what will Goldberg /Kraus of prewar days and nature, /Rubinstein, turn out to be an unforgettable part of with Szeryng Grumiaux/ Haskil, and Morini /Firkusny of more a major artist's make -up and what will Music recent times. Both artists sweep through harden into mannerism. Since I do not BRAHMS: Piano the music in a traditional (but far from enjoy any distortion, however small, that Four Ballades, Op. 10; Rhapsodies, Op. commonplace) manner. Although Zsig- smacks of vocal compromise, I would 79: No. 1, in B minor; No. 2, in G minor; mondy's bow arm and intonation are just as soon not hear consonants trans- Waltzes, Op. 39; Sonatas: No. 1, in C, awesome in their steady accuracy formed for the sake of comfort -this is -even Op. 1; No. 2, in F sharp minor, Op. 2. in the most tenuous of high positions not a " Casta" diva, for example, but a - the nuanced inflection of his tone reacts I also do not care for "GasTa" diva. Julius Katchen, piano. to the expressive stimulus of the writing low phrases in which every other note LONDON CM 9444/CM 9410. Two LP. as an oscillograph would to sound waves. is with a sort of yodel, or gulp, attacked $4.79 each. The violinist's strong impassioned intel- or flip. It is certainly unnecessary and LONDON CS 6444/CS 6410. Two SD. lectualism brings to mind the playing to the continuity of certainly disturbing $5.79 each. of Joseph Szigeti in his best years it has any emotional or the line; and if (though the Szigeti /Egon Petri discs of interpretative significance (what would Katchen's pianism is developing an un- the Brahms from that era preserve a indis- it be ?), it is banished through mistakably coloristic aspect, to judge broader reading than the one heard on criminate and repeated use. And (one from his recent Beethoven concerto re- the new Lyrichord record). While there lets more), Miss Caballé sometimes cordings and from the present pair of are a number of great accounts of sheer tonal effect get in the way of the Brahms discs (his third and fourth the popular Brahms Sonata presently music -in the opening phrases of the volumes in a projected complete survey available, none, it seems to me, is finer " Casta diva," for instance, she is concen- of that composer's piano music). In the than the present one. trating so hard on achieving a suspended Waltzes, a charming, rather old- fashioned The tremendous Schubert Fantasy, one fall piano tone that she lets the bottom approach is in evidence -much to the of that master's last and most inspired out of the line -it forgets to move ahead. advantage of the far from profound creations, has, through the years, been effect. This is not the place for such an music. Katchen's light touch and pastel - rather consistently maligned. A recorded way, Where she uses it in an appropriate shaded tone are aided by mercurial tern - performance of such integrity and ex- as on some of the floated high phrases pos and a rhapsodic "breaking" of the pertise as the current one would be in the big Pirata scena, the results are hands, much in the manner of the key- hard to come by. Although I welcomed stunning. board giants trained at the turn of the the sole other domestic edition presently 1 trust it is clear that these matters de- century. (It is revealing to note how available (a Musical Heritage Society is- tract only in a marginal way from the many of the younger pianists are re- sue by Michel Auclair and Geneviève singer's stature, which, as established turning to once discredited traditions: Joy) with warm enthusiasm, I find the here, is major -league in every respect. our attitude is obviously thawing as the new Lyrichord version is even better. In the cabaletta of the "Casta diva" (in pendulum swings backward!) The four Perhaps Anneliese Nissen, a solid enough general, the least satisfying of these ren- Ballades are similarly played, in a sub- technician in the main, does not ne- ditions), there is some doubt as to her jectively delicate vein with the empha- gotiate those horrendously awkward ability to sing fioriture with any real fire sis on poetry and feathery gradations of chord passages with quite the efficiency or spontaneity; but this is laid to rest in nuance. In the two big Op. 79 Rhap- of Mlle. Joy, but, on the other hand. the Pirata aria and in the Donizetti ex- sodies, Katchen reverts to a more extro- Miss Nissen's playing is warmer, more cerpts. As for the program itself, the verted approach, and I find these the spacious, and altogether deeper. Indeed, unfamiliar items all prove of consider- least successful performances in the set, the fundamental difference between the able interest. This is particularly true of exhibiting dramatic devices which are Auclair /Joy interpretation and the pres- the exceptionally pretty cavatina in the close to clichés. In the Sonatas, however, ent one is that while the former artists Maria di Rohan selection, and of the the high standards are once again review the composition primarily as a developmental passage near the end of sumed. Katchen "interprets" the music virtuoso vehicle, the latter duo probe the big scene from the Lucrezia pro- more than did Walter Klien in his Vox beyond the superficial Paganini -esque logue. The accompaniments suffice. and performances of these early works, but glitter to find more majestic values. the sound is large and clear. C.L.O. the music can stand a bit of "Chopin- Zsigmondy sounds a mite too close

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www.americanradiohistory.com to the microphone (with narrowing ef- CHARPENTIER: Oratorio de Noël recorded with all the violins, violas, and fect on his dynamic range) and the cellos of a symphony orchestra. As is in- piano tone is a shade boxy. Some might Roger Blanchard Choral and Instrumen- variably the case when a quartet move- regard these shortcomings as serious: I tal Ensemble, Roger Blanchard, cond. ment is made familiar in a string orches- do not. In my opinion the cleanly inti- NONESUCH H 1082. LP. $2.50. tra version, the original sounds infinitely mate sonics are basically right for this NONESUCH H 71082. SD. $2.50. finer, more subtle and meaningful, when type of repertoire, and when one plays it is finally unveiled. At least it does back the record at high volume, the This is Marc -Antoine, of course, not when it is played by the Beaux -Arts realism is stunning. H.G. Gustave. The seventeenth -century Char - String Quartet and recorded as well as it pentier was a pupil of the Italian Caris- is here. A.F. simi who was the "inventor" of the ora- BRUCKNER: Symphony No. 9, in D torio-an adaptation of the techniques minor and style of early baroque opera to DONIZETTI: Arias -See Bellini: sacred subjects especially suitable for Arias. Vienna Philharmonic Orchestra, Zubin spectacle -loving Rome where secular (and Mehta, cond. pagan) theatricals were not always in LONDON CM 9462. LP. $4.79. place. Charpentier brought the form back DUFAY: Vocal and Instrumental LONDON CS 6462. SD. $5.79. to France. He was by no means exclu- Music sively a sacred composer and his music In many ways this ambitious recording must have seemed more of an intrusion Hé, compaignons; La belle se riet; Ver - by the young Zubin Mehta is a success, of theatrical style into sacred territory gine bella; Franc cueur gentil; Mal- and its virtues certainly outweigh its de- than we can appreciate nowadays, when heureux cueur; Ce jour de l'an; Quel fects. Using the original version of the the patina of age gives all of this music fronte signorille; Mon chier amy; Adieu score, Mehta quarries out most of the a kind of sanctified sound. Still, the ex- m'amour; O beate Sebastiane; Supremum work's profundities. Few of Bruckner's tensive use of chorus and the meditative est. directions go unheeded -Mehta is, for character of much of the music (the instance, one of those rare conductors French were, in general, less flamboy- Ambrosian Singers and Players, Denis who try to do something positive about ant, more mesuré, than the Italians) Stevens, cond. the indication innig in the second sub- give it a sacred character; and the style, DOVER HCR 5261. LP. $2.00. ject group of the first movement. He is although ltalianate, has an objective ele- not afraid of really slow tempos where gance and a kind of controlled flexibility Dufay was the first great Renaissance he finds warrant for them in the music, that is already distinctively French. But composer, not only the chronological and his judgment of how to phrase a no amount of historical or musical expla- peer of Van Eyck and Masaccio but given passage and where to place its nation can quite convey the sophisticated the master of a grand new style. We weight is excellent. Best of all, he se- charm and simple joy of this music. The react without difficulty today to the cures absolutely stunning playing from edition used for this recording has been great visual art of the quattrocento; we the Vienna Philharmonic. The brass carefully prepared from the manuscript, can see its greatness and its distinctive- tone is warm and round, the woodwind and the performance, although missing ness, and we even tend to prefer it to all phrasing subtle. and the string playing something in the way of ornamental but the finest art of the High Renaissance. quite ravishing. I replayed portions of style, is spirited. The sound is intimate But a century ago, the great painting of Schuricht's recording with the same or- but warm, a little artificially divided on the fifteenth century was considered chestra (a disc not released in this coun- two channels. E.S. quaint and primitive; people were not try) to check how far the credit for the able to see it except through eyes con- superb execution was due to Mehta and ditioned by later values. This is exactly how far it might belong to the orchestra DIAMOND: Quartet for Strings, No. the present situation in relation to Renais- itself: the Vienna Philharmonic plays 4 sance music. We do not scorn it (any- well for Schuricht, but not nearly as well fBarber: Quartet for Strings, Op. 11 thing old is now fashionable) but we do as on the present disc. not really hear it or understand it in its There is only one drawback -but it is Beaux -Arts String Quartet. own context. a big one. Mehta seems to me to con- EPIC LC 3907. LP. $4.79. Dufay is an especially remarkable case centrate too much on sections to the det- EPIC BC 1307. SD. $5.79. since his work is even less easy to cate- riment of the over -all line, and the result gorize than that of the painting masters is a frequent lack of forward movement. David Diamond's fourth quartet, com- of his day. He was equally at home in This becomes all the clearer when his posed in 1951, is one of the masterpieces sacred and secular art, and his style, reading is compared with the classic ver- of modern American chamber music, while basically Flemish (or, perhaps one sion of the Symphony: Furtwängler's comparable in stature, power, and high should say, Franco -Flemish), also re- 1944 recording with the Berlin Philhar- seriousness to the more celebrated quar- flects the many years he spent in Italy. monic. Furtwängler takes appreciably tets of Elliott Carter and Roger Sessions. But then perhaps the very universality faster tempos, and while the darker and It is in a modified 12 -tone idiom which of his work can help make it meaningful more monumental aspects of the music permits Diamond's great melodic gift to to the modern listener. are never neglected, there is a much more flow; its big, grandly scaled, highly Although this disc is titled "Secular cogent sense of progress and inevitability complex structure is clearly beholden to and Sacred Music for Voices and Instru- over the work's hour-long span. Bartók -which simply attests the fact ments," the emphasis is all on the secular. But it is small discredit to Mehta that that Bartók, especially in his quartets, Both of the sacred works are "occasional" he is not yet Furtwängler. No living was one of the most important creative rather than liturgical pieces; the very conductor is. This is a very fine per- influences of our century. The fugal slow grand Supremum est was written for the formance, and among stereo versions it movement here provides one of the most so- called "Peace of Viterbo" in 1433, a is an acceptable alternative to Walter's moving experiences to be found in the pact between the German Emperor and if you feel, as I do, that the sound of whole range of modern American music, the Pope. The beautiful Vergine bella is American brass is not right for this work. but the entire work is an achievement a setting of an Italian text by Petrarch London's recording is one of the best I of the rarest quality. which, in the style of the age, takes the have heard, and accommodates nearly Samuel Barber's Op. 11- apparently form of a love song addressed to the sixty -four minutes of music with no the only string quartet he has ever writ - Virgin. The rest are Italian and French audible difficulty. B.J. ten-is a very early work, composed in love songs, drinking songs, and laments - 1936. It is in that fluent, reserved, clean - all made with the most exquisite musical cut, warmly academic style with which grace, line, and wit. CHABRIER: España -See Falla: El Barber established his reputation. Its Most of these songs have been re- Amor brujo: No. 7, Danza ritual slow movement is the famous Adagio corded before, some more than once del fuego. for Strings which has so often been (there are, at least, four versions of

84 HIGH FIDELITY MAGAZINE

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ACOUSTIC RESEARCH, INC., 24 Thornelike Street, Cambridge, Massachusetts 02141 CIRCLE 2 ON READER-SERVICE CARD JANUARY 1966 85

www.americanradiohistory.com Vergine bella), and it is a shame that, in the context of Handel's flute sonatas, lovely old Schneider readings (available with so much unexplored Dufay material, which present a number of musicological on Haydn Society), these by the Tatrai the same few pieces are the ones always tangles. This recording includes the seven are leaner, more finely etched, beautifully heard. Still, the performances heard here for flute or recorder from the soi- disant coloristic and intense. In their blend of (taped from BBC broadcasts) are most Opus I published in Amsterdam in 1731, refinement and agility, the Tatrai players attractive, carefully and musically pre- and in addition three dating from Han - recall the prewar Budapest Quartet, pared, and it is hard to complain. Mr. del's early days in Halle, and it seems though with a fine -drawn asceticism simi- Stevens performs the Franc cueur gentil likely that this covers everything. Much lar to that shown by the late Fritz Reiner, in a purely instrumental version; else- of the music is fresh and attractive, and Janos Starker, and a few other latter -day where he mixes voices and instruments there are half a dozen movements that Hungarian musicians. The Tatrai and with great skill (the instrumental charac- attain an unusual depth of expression. Schneider approaches both have their ter of some of the parts is indisputable). The ten sonatas are varied in form: own validity, and are too diverse to I have some slight objection to what I several of them include dance move- equate in terms of higher or lower excel- call the English Countertenor Sound ments, and many of the finales are min- lence: I still like the Schneider's delect- which (in spite of the fact that there is uets, fairly standardized in rhythm, but able slides in the Quinten's finale and no countertenor on the record) is af- gracefully melodious. that group's "Donkey" rubato in the same fected by several of the high -voice sing- Assisted by a recording of luminous movement. On the other hand, I find the ers on occasion -it is a whitish kind of clarity and warmth, Rampal and Veyron- Tatrai more dynamic in most of the semiswooping sound apparently consid- Lacroix give dazzling performances. No allegro sections. The Tatrai are generous ered appropriate Olde for Musick. Also, tempo is too fast for their virtuosity, no about repeats, and that, 1 feel, is another occasionally, I would have liked a little line too long for their powers of phras- point in their favor. While no stereo is more bounce in the tempos. Never mind, ing. Rampal's tone is flawlessly smooth, offered, Qualiton's sonics here are well - this is great music, and it has been effec- and Veyron- Lacroix puts the harpsichord nigh ideal for this type of music. The tively and lovingly transmitted to us. to colorful use in his realization of the present set was taped during 1964 in what E.S. continuo parts. In a few of the slower sounds like an absolutely perfect hall. movements, Mario Duschenes and Kelsey The tone is very rosy and atmospheric: Jones, in their Vox recording of eight of live enough to smooth the searing, knife - FALLA: El Amor brujo: No. 7, Dan- the sonatas, achieve an inward quality edged bowing, but intimate enough to za ritual del fuego; El Sombrero de which I find very taking, but there can preserve the appropriate clarity and in- tres picos: Suites Nos. 1 and 2; La be no doubt that in most respects the ternal delicacy. Vida breve: Interlude and Danza new version is unrivaled. Rampal deco- At its low price, the reissue of the Hun- No. 1 rates the melodic line with grace and garian Quartet's coupling of Op. 76, Nos. tChabrier: España style, and its seems almost churlish to 2 and 5 is an attractive proposition. These tRavel: Miroirs: No. 4, Alborado del complain, when he has taken so much are knowing, even brilliant, interpreta- grazioso trouble with this aspect of the music, tions by a deservedly famous foursome. that his trills sound more like nineteenth- Heard immediately after the incandescent New York Philharmonic, Leonard Bern- century ones than is suitable for Handel. playing of the Tatrai, however, the Vox/ stein, cond. B.J. Turnabout artists sound a mite coarse COLUMBIA ML 6186. LP. $4.79. and insensitive. Part of the trouble may COLUMBIA MS 6786. SD. $5.79. stem from the close -to recording, which HAYDN: Quartets for Strings adds raspiness to the musical pitches, but Since almost everything about this pro- some of the crudeness generates from the gram ( "Leonard Bernstein Conducts Op. 76: No. 1, in G; No. 2, in D minor players themselves. Take, for example, Spanish Favorites ") is frankly in sym- ( "Quinten "); No. 3, in C ( "Kaiser "); No. the famous canonical scherzo from the phonic -pops genre, there's not much point 4, in B flat; No. 5, in D; No. 6, in E flat. Quinten: the Hungarian Quartet stomps in complaining that the conductor's Ibe- out its imitations with brash vigor, while rian accent is strictly Berlitzian and that Tatrai Quartet. the Tatrai reading (and also that by the the orchestral readings obviously haven't QUALITON LPX 1205/07. Three LP. Janacek Quartet on London) is sinuous demanded extensive rehearsals. One $17.84. rather than strenuous, much more tapered might more pertinently question the suit- in its fine gradations of texture and ability, in a collection of this kind, of Op. 76: No. 2, in D minor ("Quinten"); accent. augmenting the familiar three dances No. 5, in D. After an absence of several years, the from Part II of Falla's Three- Cornered Netherlands Quartet returns to the do- Hat with four less often heard excerpts Hungarian Quartet [from Vox PL 12610/ mestic catalogue. They are fine, conscien- from Part I. Bereft of the brief vocal STPL 512610, 19641. tious musicians and it is good to welcome solo, crowd shouts, and linking -up pas- TURNABOUT TV 4012. LP. $2.50. them back. Alas, their reentry was un- sages, these aren't enough to satisfy dev- TURNABOUT TV 34012. SD. $2.50. fortunately timed. Again there comes otees of the complete ballet, yet they the inevitable comparison with the spec- probably are rather more than the non - Op. 33, No. 2, in E flat ("Joke"); Op. 76, tacular Tatrai standards. The Nether- Falla specialist will want. Everything is No. 5, in D. landers play with superior intonation and done with infectious enthusiasm and gen- display a seasoned musicality. Further- uinely intoxicating stereo sonics, how- Netherlands Quartet. more, they have been given an altogether ever. I suspect that some of the wood- DECCA DL 10117. LP. $4.79. agreeable recorded sound. I must take wind and most of the percussion solos are DECCA DL 710117. SD. $5.79. issue, however, with such matters as the deftly spotlighted, but not to any exag- Dutch ensemble's near -total avoidance of gerated extent, and the blazing glitter of Each of these performances is on a high vibrato. Haydn Quartets are pure radi- the high end of the frequency spectrum level of accomplishment, and it is rather ance and sunshine; the murky olive - is admirably balanced by the substantial a pity that with over eighty Haydn String greens and dull brown colorations which tonal weight of the low end. R.D.D. Quartets to choose from there has to be result from this vibratoless approach lend so much duplication. Anyone might be a certain deceptive stolidity to the play- happy to have all three of these sets in ing. (I say "deceptive" because the phras- HANDEL: Sonatas for Flute (com- his library, but not every collector can ing is, in reality, quite alert and viva- plete) afford such extravagance. cious.) I also question the rather fast, First honors must go to the Tatrai easygoing tempos chosen for both slow Jean-Pierre Rampal, flute; Robert Vey - Quartet for their rendering of the entire movements here -it seems no coincidence ron- Lacroix, harpsichord. Op. 76 set. The music, of course, is won- that Haydn gave an unusual "Largo" EPIC SC 6053. Two LP. $9.58. derful and, happily, so are the present marking to each of these. EPIC BSC 153. Two SD. $11.58. performances-indeed, they are a pure In summation, the Netherlanders and joy to the ear. In contrast to the expan- Hungarians give very fine performances "Complete" is an awkward word to use sive and mellifluous graciousness of the -the Tatrai, superlative. H.G.

86 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com HAYDN: Symphonies: No. 75, in D; now spinning out aural treacle in the No. 81, in G best tradition of Gounod. Judith, how- A VERY SPECIAL OFFER ever. is all youthful Honegger-an in- Esterhazy Orchestra. David Blum. cond. spired master of polytonality, a remark- VANGUARD VRS 1138. LP. $4.79. able melodist, and a first -rate man of TO READERS OF VANGUARD VSD 71138. SD. $5.79. the musical theatre. As in King David, nothing is labored: everything is brought This is the first appearance of either of off in a series of swift master strokes, HIGH FIDELITY MAGAZINE! these works in the domestic catalogue from the great Wailing Wall of sound and, so far as 1 can tell, the first record- with which the beleaguered Bethulians ing by anyone of Haydn's No. 75. The open the work to the concluding chorus latter is a score from 1780, and Blum of praise to the Lord. Honegger's sense Save $1.20 On The plays it from what is described as "the of Biblical place and time- fresh. un- original Esterházy manuscript." in which spoiled, Purchase Of This Classic... newly created -is as remarkable trumpet and drum parts (which Haydn here as in King David itself. and that. may have added later) are omitted. The perhaps, is the most important quality of Symphony No. 81 is from the period both compositions. 1783 -84. It is followed in the chron- The orchestral and choral performance ology by the six "Paris" symphonies of here is excellent. and the recording 1785 -87. I offer these dates, because it is good. But while the vocal soloists is important to realize that these are are good musicians -they understand works of the full artistic maturity of the Honegger and they understand Abravanel composer, and it is sheer negligence on -they are not singers of the first rank. the part of conductors and record mak- Mme. Milhaud, however, is superb. She ers that we have had to wait until now was a successful actress before her mar- to make their acquaintance. riage to Darius Milhaud, and while her 1 find the Symphony No. 75 a work beautiful voice and magnificent, re- of extraordinary beauty. It opens with a strained declamation are not unknown on slow introduction that would not be out records, this is the biggest recorded as- of place among the "Salomon" sym- signment she has yet had, at least in phonies of the composer's later years, this country. and the introspective mood returns in a The full text, in French and English. slow movement in which reverence and is provided. A.F. THE FABULOUS majesty predominate. Yet Haydn does not neglect his brighter side. The minuet PHONOGRAPH is full of the wit and color of country KRUMPHOLZ: Concerto for Harp From Edison to Stereo dancing, and the finale is a bright Vivace and Orchestra, No. 6-See Boiel- with only a trace of gravity. No. 81 was dieu: Concerto for Harp and Or- by Roland Gelatt, Editor -in- Chief, Haydn's final symphony work for the High Fidelity Magazine chestra. court at Esterháza. It opens with what could well be a sign Roland Gctatt's tahnlotis history of the fabulous of farewell and phonograph is again available in a brand new moves on to an alternation of bold har- MAHLER: Songs -See Mendelssohn: and revised edition which now includes recent monies and dulcet sonorities such as only developments in stereo, recordings and tapes. Songs. he could have provided. What a splendid THE FABULOUS PHONOGRAPH traces prog- milestone for any artist to leave us! ress from the early cylinder recordings to the astounding high fidelity and stereophonic systems Blum's performances are completely MENDELSSOHN: Songs: Die Lieb- of today. The turbulent story of the entrepre- sympathetic to the mood and the style. neurs, the great musicians and singers who ende schreibt; Allnächtlich im transformed the phonograph into to instrument well polished, and expertly recorded. Traume seh' ich dich; Frülingslied: of tremendous cultural importance is told They make the joy of discovery all the with a vast knowledge and an Venetianisches Gondellied; Der engaging more intense. ROBERT C. MARSH style, bringing warmly to life a history which Mond; Italien; Suleika; Das erste in other hands could have been a perfunctory compilation of dates and facts." (Chicago Veilchen; Schilflied: Neue Liebe; Tribune) Bei der Wiege HONEGGER: Judith 1Mahler: Songs: Ich mit Lust " Gelatt has written lucidly and entertainingly ging told the story superbly. His book should durch einen griinen Wald: Liebst become a standard reference work." (Variety) Madeleine Milhaud, narrator; Netania du um Schönheit: Hans ante Davrath, Blanche Christensen, and JoAnn Grethe; Ablösung im Sommer: NOW YOU CAN OWN THIS Ottley, sopranos; Val Stuart, tenor; Mar- Erinnerung; Wer hat dies Liedlein VALUABLE WORK AND SAVE. vin Sorensen, baritone; Salt Lake Sym- erdacht ?; Frülingsmorgen; Scheid- phonic Choir; Utah Symphony Orches- meiden; Wo die schönen By a spes tat at an_entcnt wnil the puts' 'she' en und Appleton -Century, THE FABULOUS PHONO- tra, Maurice Abravanel, cond. Trompeten blasen; Ich atmet' ei- GRAPH is offered to readers of High Fidelity VANGUARD VRS 1139. LP. $4.79. tlen Linden Duft at $5.75. A saving of $1.20 over the regular bookstore price of 56.95. VANGUARD VSD 71139. SD. $5.79. Judith Raskin, soprano; George Schick, MAIL THIS COUPON TODAY In 1921. René Morax and Arthur Honeg- piano. ger made one of the greatest hits in the EPIC LC 3905. LP. $4.79. 166 history of modern music with their "sym- EPIC BC 1305. SD. $5.79. WYETH PRESS PUBLISHING HOUSE phonic psalm" King David. Four years Great Barrington, Mass. 01230 later they traversed somewhat similar I can think of no higher compliment to territory in Judith and produced what is pay Judith Raskin than to say that Gentlemen: Please send me _ _ _ copies in some ways a superior work, although throughout this, her first Lieder re- of THE FABULOUS PHONOGRAPH by Roland it has never been so successful. Judith cording, I was constantly reminded of Gelatt. I enclose payment- $5.75. exists in two forms. as an oratorio with Elisabeth Schumann. I do not think Miss Name narrator and as an opera. The oratorio Raskin has yet acquired all the wiles of version is recorded here. her great predecessor, but many of them Address Judith is superior to King David in its are here. City consistency of style. The earlier piece M me. Schumann's outstanding quality rushes around from manner to manner was her abandon, her willingness to let State & Zip like a terrier let loose, now bursting a song possess her in every fiber and forth with a bit of Handelian polyphony. fling her this way and that. By the

88 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com strictest musical standards she was something of a flirt: one could almost imagine her eyelashes fluttering as she scooped and swooped around a vocal line. But it was all done with taste and imagination.

and she knew when to stop. to recognize I the moment when the simplest approach was also the best. And this is exactly +o what is so exceptional about Miss Raskin's art. She responds to each song t. in in this collection with marvelous free- SPECIAL OFFER dom, unafraid to cut loose with a swoop (or even, in Mahler's Hans uud Gre1'hr, üÁevie,w with a whoop) in order to drive home a TO point. Of all the recent young American singers who have ventured into the singing of Lieder, Miss Raskin exhibits the HIGH FIDELITY finest comprehension of the special stylistic demands of the repertory. The music she sings here is prevailingly light READERS in tone. tending towards the outdoorsy. - and one would have to hear a few more examples of the more serious repertory to judge her fully. Even so. there is soma 16% DISCOUNT variety here, and she is clearly up to every challenge at hand. It remains to comment on the voice itself. It is a lovely instrument. light. floating, always under perfect control. In its flexibility and purity there are Like its nine IN REVIEW 1965 Edition brings you also passing reminders of Schumann. predecessors, RECORDS in one convenient book hundreds of reviews of records (stereo and mono) participation leaves George Schick's which appeared in High Fidelity Magazine in 1964 -classical and semi -classical nothing to he desired. and the recording music exclusively. is properly intimate. This is. then. one of the finest song recitals in a long It will save you many hours in your dealer's listening booth or earphone time. A.R. corner. And it will help you build a library of music YOU enjoy, for it is the most complete and authoritative book of its kind -the standard reference work that gains in value as the years roll by. MOZART: Concertos for Piano and Each reviewer stands high in his field- Nathan Broder, for example.

Orchestra: No. 20, in D minor. K. reviews Bach and Mozart, Alfred Frankenstein the moderns . Paul Affelder 466: No. 23, in A, K. 488 covers the romantics, Robert C. Marsh specializes in Haydn and Beethoven . . Conrad L. Osborne writes on opera recordings. Forthrightly, they discuss the And new Monique de la Bruchollerie. piano: Ca- composition, performance and fidelity. they compare recordings with earlier releases. nlerata Academica of the Salzburg Mozarteum. Bernard Paunlgartner. cond. You'll find the reviews organized alphabetically by composer for quick, NONI[su 'II H 1072. LP. $2.50. easy reference -and in the case of composers frequently recorded, further sub- NoNrsuclt H 71072. SD. $2.50. divided by such categories as Chamber Music, Vocal Music, etc. You'll find, too, a special section on Recitals and Miscellany. And an Artists' Index. Miss de la Bruchollerie plays Mozart Saturday Review comments "Comprehensive coverage of each year's with passion in the D minor Concerto recordings gives a surprisingly well- rounded picture of what's available on and sensitive songfulness in the A major. records, and most reviews describe the work as well as the performance, pro- She has a tendency to slake a slight de- viding each annual with a permanent use." lay at the ends of periods but doesn't overdo it. her performances here are Chicago Tribune states: "The record collector who is bewildered by the sheer number of discs which are issued each year will find this book valuable elegant and. in the great Andante of K. as a means of bringing order out of chaos." 488, eloquent. Unfortunately. not a: much can be said of the orchestra's con- This hardcover book of 482 pages bears a cover price of $8.95. tribution. The violins sound thin. In But as a High Fidelity reader, for the next 60 days you may have a copy an apparent attempt at dramatic contrast for only $7.49. Payment with order but satisfaction guaranteed or money back. Paumgartner muffles the opening of the D minor so that the orchestra is veiled And you may as well order, also, earlier editions still available, as shown and distant rather than present but soft. on the form below. On the other hand. there is no real pianissimo when there is supposed to be one. The first movement of the A WYETH PRESS, major need not be fast. but it ought to THE A Division of HIGH FIDELITY House, Great Barrington, Mass. 01230. give the effect of moving on wings: it doesn't leave the ground here. Except I enclose $ . Send me postpaid the books checked. 166 in the G minor section of the Romance of K. 466, where the principal motif. in the strings, is covered by the piano, Name the sound is good. N.B. Records in Review 1965 Edition Regularly $8.95. Now only. ..$7.49 Address City Records in Review 1964 Edition $6.95 State Zip___ D Records in Review 1963 Edition.$5.95 Foreign orders sent at buyer's risk. Add 25c per book for shipping foreign orders.

JANUARY 1966 89

www.americanradiohistory.com MOZART: Divertimento for String MUSSORGSKY: Songs in the face of adversity and chaos (the Trio, in E flat, K. 563 latter depicted by snarling dissonances in Cradle Song; The Magpie: Night; Where the brass and by cataclysmic percussion Pasquier Trio. Art Thou, Little Star?; The Ragamuffin; effects), and the work's alternation of MUSICAL HERITAGE SOCIETY MHS On the Dnieper (orch. Markevitch); brooding grayness with clear, Northern 623. LP. $2.50. Songs and Dances of Death: Trepak; sunshine is closely akin to Vaughan Wil- MUSICAL HERITAGE SOCIETY MHS Lullaby; Serenade; The Field Marshal. liams' Fourth Symphony, written twenty - 623. SD. $2.50. odd years later. The Inextinguishable is Galina Vishnevskaya, soprano; Mstislav an essay of driving proportions, master- I have to confess to a soft spot for Rostropovich, piano (in Songs and ful organization, and fascinating personal both the work here and the performers. Dances of Death); Russian State Sym- force; to my mind, it is the equal of any It happens that one of the first albums phony Orchestra, Igor Markevitch, cond. symphony composed in the twentieth I acquired when I began to collect rec- PHILIPS PHM 500082. LP. $4.79. century. ords long ago was a Columbia set of this PHILIPS PHS 900082. SD. $5.79. Barbirolli's performance appeared on Divertimento played by the same trio. the British Pye label a year or so ago, It wore out many a thorn needle. In the The most reliable gauge for judging any and now makes its belated domestic ap- present recording the work sounds as performance of an art song is a grasp pearance in honor of the Nielsen cen- fresh as ever, and so do the Pasquiers. of the language in which it has been tennial. Inasmuch as the only other With violin, viola, and cello Mozart sung. Only in this way may one appraise recorded edition, an HMV monophonic attains a texture so satisfying that one, the singer's interpretative depth, her abil- disc by the Danish State Orchestra under doesn't feel the need for any more in- ity to color the tone as an extension of Launy Grondahl, has long been unavail- struments. The is material topnotch, the word. In this respect. I am unequal able, the low- priced Barbirolli has a great the ideas abundant, the workmanship al- to a probing verdict on the new record- deal to recommend it. I must say, how- most miraculous in its perfection. One ing of Mussorgsky songs by the Soviet ever, that Barbirolli is tempted too often would think the Divertimento was written soprano Galina Vishnevskaya. From the to exploit the innate romanticism of the for the delectation of the Emperor. Ac- purely musical standpoint, however, music at the expense of power and logic. tually it was an expression of apprecia- there is much to say about her singing In contrast to Grondahl (who maintained tion to Michael Puchberg, friend and and all of it in warmest praise. Here an admirably terse objectivity), Sir John's fellow Mason, for his helpful ... replies is an artist in the grand mold, with the reading seems to lack a firm pulse. While to Mozart's desperate appeals for loans. dramatic brilliance of a Frida Leider or the more purely sensuous moments have What a thank -you note! Germaine Lubin, the spinto gloss of a a poetic effectiveness, there is an over- The performance has a polished vigor, Price or Crespin this plus a vocal all loss of clarity. At the very opening, where vigor is needed; elsewhere it -all is personality decidedly her own. for example, most of the swirling string elegant and sensitive. There is com- Mme. Vishnevskaya has here and wind figurations which Grondahl so plete unanimity, and a pliancy that recorded never six individual aptly clarified are nearly inaudible in pulls a phrase out of shape. The songs of Mussorgsky, their the sound newer interpretation. Moreover, the of this Erato product is piano accompaniments arranged for or- de- a bit edgy but chestra cided advantage of stereo placement for not enough to constitute distortion. There and conducted by Igor Marke- vitch, in the two sets of percussion in the finale is excellent directionality in the stereo addition to the cycle Songs and Dances of Death, which is nullified by the drums being so badly version. N.B. for her husband, the famous cellist Mstislav Rostropovich, out of tune. presides at the piano. Despite a phrase The new disc is welcome because of its undeniable musicality, MOZART: Overtures: or two which might seem unorthodox by its availability, and Le Nozze di its economy. In the long view. Figaro: Die Entführung aus dem Western vocal standards, the soprano's I am singing is on the whole phenomenal: ex- afraid, it must be judged a stopgap, pend- Serail; Serenade for Strings, No. ing the arrival of 13, pressive and penetrating in her perform- a recording that does in G, K. 525 ( "Eine kleine full justice to the music. Nachtmusik ") ance of Night; tonally ravishing in H.G. tStrauss, Richard: Till Eulenspiegels Where Art Thou, Little Star ?; astonishing lustige Streiche, Op. 28; Don Juan, in its gamut, as in the marvelous chest Op. 20 tones of Cradle Song; absolutely virtu- PROKOFIEV: Symphony No. 6, Op. oso in The Magpie, with a wide, ringing 111 Berlin Philharmonic Orchestra, Wilhelm range up to a high C; ingeniously char- Furtwängler, acterized, as in The Ragamuffin; and Boston Symphony Orchestra, Erich cond. Leinsdorf, cond. DEUTSCHE GRAMMOPHON LPM thrilling in the outpouring of full voice 18960. RCA VICTOR LP. $5.79. which marks On the Dnieper. The LM 2834. LP. $4.79. Markevitch orchestra settings, effective RCA VICTOR LSC 2834. SD. $5.79. Inexhaustible indeed seems the supply of in themselves, are well conducted and radio tapes from Berlin of Furtwängler played. During the Koussevitzky era of the Bos- performances, and each succeeding issue The Songs and Dances of Death pro- ton Symphony, Sergei Prokofiev ap- has a world of musical wisdom to im- vides an emotional experience in which peared with the orchestra on five differ- part. These date from 1943 to 1949, and the artist puts her beautiful voice com- ent occasions. ranging from 1926 to all have been excellently reëngineered pletely at the service of the dramatic 1938, as conductor and as soloist in his to provide sound which ranges from bril- mood, be it human or spectral. What own piano concertos. The popularity of liant to not -at -all -bad. she has achieved is a mighty intensity. his works in Boston has proved, ever Humorous? Pedantic? Slow? Listen to Mr. Rostropovich provides first -class since that time, to have been anything Furtwängler's wonderfully saucy reading piano accompaniments. R.L. but a period fad. Prokofiev's major of Till Eulenspiegel and see whether scores are standard repertoire with this these old catchwords apply. Or listen to ensemble; and the present music director. the tense, ardent, controlled delineation NIELSEN: Symphony No. 4 ( "The Erich Leinsdorf, is planning to record of Don Juan, especially to the almost un- Inextinguishable ") most of them in a new series for RCA bearable gathering of tension before the Victor. The freshly issued Symphony appearance of the big theme for horn. Hallé Orchestra, Sir John Barbirolli, cond. No. 6 stems from the projected list. I would allow a certain heaviness in the VANGUARD EVERYMAN SRV 179. LP. It had been a long time since I heard conductor's reading of the slow move- $1.98. this work; and the Leinsdorf perform- ment of the Nachtmusik, but the mer- VANGUARD EVERYMAN SRV 179SD. ance offers a challenge to the listener. curial pacing and the phenomenal clarity SD. $1.98. Taken by itself -that is, in terms of ab- in the two overtures again give the lie solute value -it is a compelling one, to the concept of Furtwängler as a The underlying motive of this major work the unfolding of the score wonderfully pedant. A.R. is the inextinguishable spirit of mankind spacious; and within the big architec-

90 CIRCLE 40 ON READER -SERVICE CARD

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www.americanradiohistory.com turai contours mapped out by the con- strength, rather than lightness, the well - caution and dynamic constriction (as in ductor may be found impassioned and known Allegretto Scherzando; and daz- the Marche caractéristique, which sounds stirring climaxes. Engineering and proc- zling speed, along with sharply etched a shade sedate when compared with the essing are first -rate, bringing off with articulation, the finale. Compositionally, account by Peggy and Milton Salkind full success Prokofiev's blending of the the Concerto in C minor seems bit for- on a recent disc put out by the Friends extremes in orchestral compass. mal and crabbed, lacking the spontaneity of Four -Hand Music). In the main, On consulting my notes made during of the earlier work. but Entremont, as in though, these are knowing interpretations, a session with the new recording. I find No. 2, comes off extremely well, his worthy of being considered alongside the mention of thoughts relative to Sibelius, percussive tone just right -never offen- excellent editions of the Fantasy by especially in the first movement, with its sively so-for the music. The accom- Badura -Skoda Demus (Music Guild) bleak over -all mood and ominous brass paniments by the Philadelphians under and Brendel Crochet (Vox) and the sonorities. A certain monotony, also Ormandy are magnificent, and the sound Andantino varié by Artur and Karl Ul- native to some of the Sibelius scores. of the recording (especially in its cap- rich Schnabel (Odeon). Clean studio invades the work from time to time, re- turing of piano tone) quite extraordi- sound. H.G. minding one that Prokofiev has appeared nary. more concise. diversified, and effective Of the four other versions of the Con- in his music for the theatre (Romeo and certo No. 2 currently listed in the do- SCHUBERT: Symphonies (8) Juliet and The Flaming Angel are ex- mestic catalogue, I would draw atten- amples that come readily to mind). tion to that by Artur Rubinstein (with Orchestra of Naples, Denis Vaughan, These associations stem. however, from the Symphony of the Air, under Wallen- cond. the present performance rather than stein. for RCA Victor) and to Emil For a feature review of this recording, from the work itself. In the Columbia Gilds' mono -only recording with the see page 73. set by the Philadelphia Orchestra under Paris Conservatoire Orchestra under Ormandy. for instance. the melodic lines André Cluytens for Angel (Gilds' Colos- a there is a finer seum disc be bear clearer profile, can ignored). Rubinstein, SCHUMANN: Liederkreis and Other rhythmical lift. a deeper poignancy - I would say, is in general less steely, Eichendorff Songs and the sensuous music made by the more relaxed and lyric than Entremont, Philadelphians has little to do with the but his orchestral accompaniment lacks In der Fremde; Intermezzo; Waldesge- Sibelian battleship -gray suggested by the incisiveness. Gilds' approach is straight- sprüch; Die Stille; Mondnacht; Schöne Boston reading. forward, and the strength, vitality, and Fremde; Auf einer Burg; In der Fremde; Yet impressive as Ormandy's perform- innate aptness of his performance are Wehmut; Zwielicht; lm Walde: Frühlings- ance is, I suspect that the version by qualities much to be commended. As for nacht; Der frohe Wandersmann; Der Eugene Mravinsky and the Leningrad the Concerto No. 4. the only competitor sprüch; Die Stille: Mondnacht; Schöne Philharmonic may be the most authentic now in Schwann is another Columbia siedler. of those currently available, though its disc. that by Robert Casadesus with the sound ( Artia) is relatively primitive. New York Philharmonic led by Leonard Dietrich Fischer -Dieskau, baritone; Ger- The reading as a whole is a splendid one, Bernstein. Sobriety is the watchword for ald Moore, piano. but I note particularly the closing Vi- Casadesus' performance. stressing the ANGEL 36266. LP. $4.79. vace, with a sturdy peasant swing more architectural and reflective elements of ANGEL S 36266. SD. $5.79. convincingly in character than on either the work yet summoning moments of the Boston or Philadelphia recording. brilliance. My own preference for this Along the lines of the tale about the Note: on the new RCA Victor, the music, however, is a version, once avail- first -time playgoer who did not know lengthy slow movement is interrupted able on Capitol, by Grant Johannesen Hamlet but was startled by all the fa- midway for a flip of the record, a break and the Philharmonia Orchestra under miliar quotations, one may advance the avoided by both the Columbia and Artia George Tzipine -a performance coming parallel experience of the music lover editions. R.L. close to the ideal of French sound and who is conversant with such great Schu- style. R.L. mann songs as Waldesgespriich, Mond - nacht, Früldingsnacht yet who has never RAVEL: ¡Miroirs: No. 4, Alborado heard them performed in the entire del grazioso -See Falla: El Amor SCHUBERT: Fantasy for Violin and cycle of which they are a part: the brujo: No. 7, Danza ritual del Piano, in C, Op. 159-See Brahms: Liederkreis. Unlike Schumann's more fuego. Sonata for Violin and Piano, No. dramatically oriented cycles, Frauenliebe 3, in D minor, Op. 108. and -Leben and the Dichterliebe, this set (based upon the poetry of Eichendorff) SAINT-SAENS: Concertos for Piano does not strive for narrative flow but and Orchestra: No. 2, in G minor, SCHUBERT: Music for Piano, Four for a unity -in- diversity of mood which Op. 22; No. 4, in C minor, Op. 44 Hands it successfully captures. Many of the individual songs rank among the composer's Philippe Entremont, piano; Philadelphia Sonata for Piano, in B flat, Op. 30; finest, bringing that fusion of intimacy Orchestra, Eugene Ormandy, cond. Andantino varié, Op. 84, No. 1; Fan- and rapture indicative of Schumann at COLUMBIA ML 6178. LP. $4.79. tasia in F minor, Op. 103; Marche his creative best; and to hear them in COLUMBIA MS 6778. SD. $5.79. caractéristique, Op. 121, No. 2. sequence as the composer intended, especially in this noble performance by The recent revival of interest in Saint - Caroline Norwood and Eleanor Hancock, Dietrich Fischer -Dieskau, is to experience Saëns, both in the concert hall and opera pianos. Lieder singing at top level. house, has given us a clearer idea of COLLECTORS GUILD CGC 641. LP. There are twelve songs in this cycle. what this composer is and what he isn't. $4.98. The new recording brings us, generously, Certainly, despite the lush sonorities of not only the full Liederkreis of the final the Organ Symphony, the beguiling me- These are splendidly precise, well -inte- edition but also an earlier song (first in lodic lines of Samson, he is no Roman- grated performances. Caroline Norwood the original set) which was later replaced. tic; rather, he is neoclassic, many years and Eleanor Hancock have played to- In addition, it offers three further Schu- ahead of his generation in this respect, gether often and well, and their rapport mann -Eichendorff lyrics: Der Schatz - with the brilliance and hard core of a results in some admirable clarification of griiber, Frühlingsfahrt, and Der Ein- diamond. it is precisely this view of texture. No other team I know of mm.n- siedler. The accompanying album liner Saint -Saëns that the French pianist ages, for example, the central major carries sensitively chosen prints of the Philippe Entremont takes in this new section of the F minor Fantasy with period, reflecting in full pictorial measure recording of the Concertos No. 2 and 4. quite the crisp detail of rhythm and ac- the charm and melancholy of the Schu- Great, vaulting sonorities mark the open- cent heard in the present reading. Some- mann songs. ing of the G minor Concerto; a tensile times the very carefulness verges on It is perhaps the ultimate tribute to

92 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Fischer -Dieskau and his art to realize, STRAVINSKY: Renard; Mavra; Mighty Five. Mavra, composed four after having heard this recording, that Scherzo à la russe years later, finds its sanction in the one has no recollection of vocal category. "Europeanizers" of Russian art and is In performing the Liederkreis, the singer Joan Carlyle, soprano, Helen Watts and dedicated to the memory of Pushkin, ranges through baritone and much of Monica Sinclair, contraltos, Kenneth Glinka, and Tchaikovsky. the tenor compass, distributing colors and MacDonald, tenor (in Mavra); Gerald Renard is the more original of the two tones as willed by the text. With absolute English and John Mitchinson, tenors, scores in its structure and substance. beauty of sound, a mood of introspective Peter Glossop and Joseph Rouleau, Described as a "burlesque to be sung fantasy is established in the opening song basses (in Renard): Orchestre de la and played," it is scored for a small and maintained, with artfully projected Suisse Romande, Ernest Ansermet, cond. chr.mber orchestra and four male singers variations, throughout. There are shifts who sit in the pit with the instrumental- to full -scale lyricism, as in Mondnacht, LONDON OL 5929. LP. $4.79. ists. The action is assigned to four clowns to shuddering apprehension, as in Zwie- LoNDON OS 25929. SD. $5.79. or acrobats, and what they are required licht, but always within the aesthetic to do would warm the heart of Marc framework set up by the performer from The two stage pieces on this record per- Chagall. The plot -insofar as Renard the beginning. The three added Eichen- fectly exemplify Stravinsky's divergent may be said to have one -concerns an dorff songs which follow bring their own attitudes towards his Russian background. inordinately stupid and conceited cock, portion of directness and humanity. Renard. which dates from 1917, is strong- a fox as wily as foxes are in folk tales. Gerald Moore, the skilled accompanist, ly folkloric and looks back to the and a cat and a goat who are friends of does full justice to all of Schumann's evocative piano parts, with the possible exception of Frültlingsnaclit, which 1 have heard played more rapturously. R.L. VANGUARD Recordings for the Connoisseur STRAUSS, JOHANN II: Waltzes: Voices of Spring, Op. 410; Tales of the Vienna Woods, Op. 325; Em- peror, Op. 437 tSuppé: Overtures: Light Cavalry; Morning, Noon, and Night in Vi- enna; Poet und Peasant

Vienna State Opera Orchestra, Hans Swarowsky, cond. Coinciding with the first Ameri- LP. $2.50. can appearance of this greatest AUDIO FIDELITY FCS 30018. of contemporary flamenco art- AUDIO FIDELITY FCS 50018. SD. ists. $2.50. MANITAS DE PLATA Guitarra Flamenco VRS -9203 & VSD -79203 This waltz program in the recently re- Audio Fidelity "First Compo- "I have never heard the VANGUARD activated The Alexander Schneider equal of the man with the nent Series" lives up well enough to the EVERYMAN CLASSICS Chamber Series hands of silver." 51.98 for mono or stereo technical reputation of this company's featuring featuring Vincent Sheean earlier discs for extremely marked stereo - SIR JOHN ism and big, strong, clean sonics. Some PETER SERKIN, piano "A great and savage artist." BARBIROLLI may be blamed ALEXANDER, John Steinbeck coarseness and heaviness SCHNEIDER, violin and the Hallé Orchestra on the orchestra, but the (presumably MICHAEL TREE, viola "A loving expansive perfor- surely respon- mance which builds up to a truly Austrian) engineers are DAVID SOYER, cello noble climax...rare insight and sible for a somewhat echoey acoustical loveliness." and either they or the proces- SCHUBERT: "Trout" Wm. B. Trotter, High Fidelity, ambience on Barbirolli's Sibelius 5th sors for rather more preechoes than one Quintet in A major, Op 114 (with "One of the giants among con- normally expects in disc reproduction. Julius Levine, double bass) temporary conductors." VRS -1145 & VSD-71145 Martin Bookspan, The program itself, of familiar Strauss HiFi /Stereo Review and Suppé warhorses, is obviously aimed MOZART: Piano Quartets Recent Releases BERLIOZ: at a mass audience, but Swarowsky- in G minor, K. 478 & E flat, Symphonie Fantastique perhaps because he was born in Buda- K. 493 SRV -181 & SRV-181SD VRS-1140 & VSD-71140 DVORAK: Symphony No. 5, pest and has lived a good part of his "New World" life in Vienna -provides more idiomatic DVORAK: Piano Quintet SRV -182 & SRV -182SD readings (including the use of a zither in BRAHMS: Symphony No. 4 in A major, Op. 81 SRV -183 & SRV-183SD Tales from the Vienna Woods) than (with Felix Galimir, violin) PETER SCHICKELE MOZART: Symphony No. 41 in many of those the mass public has es- VRS -1148 & VSD -71148 C major, "Jupiter ", & presents the life and works of Symphony No. 29 in A major teemed most highly in the past. His also P.D.Q. BACH (1807- 1742)? SRV -180 & SRV -180SD best qualities here are rhythmic pre- ELGAR: Enigma Variations & with VAUGHAN WILLIAMS: cision, steadiness, and animation. Poetry, BOCCHERINI: Quintet in John Ferrante, countertenor Symphony No. 8 C for Guitar & Strings, "La Leonid Hambro, harpsichord -184 & humor, and grace are unfortunately Ralph Froelich, French horn SRV SRV -184SD less evident and implied above Ritirata di Madrid" & Quin- DEBUSSY: La Mer & RAVEL: -as - Chamber Orchestra Daphnis & Chloe, Suite No. 2 the tet for Strings in E, Op. under the direction of & La crystalline clarity of the recording JORGE MESTER Valse reveals only too the lack 13, No. 5 SRV -177 & SRV -177SD candidly of ( Alirio Diaz. guitar; Program NIELSEN: Symphony No. 4, tonal refinement in the orchestral play- A. Schneider, F. Galimir, CONCERTO FOR HORN "The Inextinguishable" ing. R.D.D. M. Tree, D. Soyer, L. Harrell) AND HARDART, S. 27 3 SRV-179 & SRV -179SD VRS -1147 & VSD-71147 IPHIGENIA IN BROOKLYN also (CANTATA). S. 53162 The great Rumanian pianist, Stereo SINFONIA CONCERTANTE, MINDRU KATZ, with SIR S. 98.6 For Bagpipes. Lute, ADRIAN BOULT conducting Left- handed Sewer Flute and the London Philharmonic Or- STRAUSS, RICHARD: Till Eulen- Double -Reed Slide Music Stand chestra. spiegels lustige Streiche, Op. 28: QUODLIBET KHACHATURIAN: Piano (by PROF. SCHICKELE) Concerto & PROKOFIEV: Don Juan, Op. 20 -See Mozart: Vanguard Recording Society, MC. Piano Concerto No. 1 Overtures. 154 West 14th Street New York, N.Y. VRS -9195 & VSD -79195 SRV -185 & SRV -185SD CIRCLE 76 ON READER -SERVICE CARD JANUARY 1966 93

www.americanradiohistory.com the cock and ultimately save him from conductor has invested it with greater the fox's jaws. The music lies somewhere tonal sheen, Sir John achieves a splen- between Pétrouchka and the Histoire du did feeling of breadth in the slow in- soldai: it has much of the former's tune- troduction; delivers a sensitive, beau- Who Says ful folklorism and much of the latter's tifully played rendition of the El eie: razor -keen irony and deft, small -scaled and achieves a good rhythmical bite in Great Stereo barbedness. It also has qualities of its the finale. Open to question is the own, notably the flamboyance and ex- rather lagging tempo of the first Allegro. Components travagance of its vocal lines, which are Arensky's set of seven variations on extremely well handled by the quartet the Tchaikovsky song The Legend, a re- Aren't of singers involved here. working for stringed orchestra of the Mavra was written shortly after Stra- second movement of a string quartet. is Decorator vinsky had edited the score of Tchaikov- charming music-sounding in the final sky's Sleeping Beauty for Diaghilev and variation a genuine note of poignancy Designed? reawakened the beauties of the "Euro- -and comes off here, from the stand- pean" style. The work is a short opera point of playing, with more tonal allure based on a story by Pushkin. Parasha than the Tchaikovsky Serenade. R.L. introduces her lover, a soldier named Vassili, into her home disguised as a new maidservant, Mavra. But this maid- TCHAIKOVSKY: Symphonies servant finds it necessary to shave, is caught in the act. and runs away. If pos- No. 1, in G minor, Op. 13 ( "Winter Dreams "); Meet the new Empire Royal sible, there is even less plot here than in No. 2, in C minor, Op. 17 ( "Little Russian "); No. 3, Grenadier...first speaker Renard. But there is a marvelous gift in D, Op. 29 for writing vocal melody, a marvelous ("Polish"). system designed and engi- sense of shape and style in the arias and neered in sight and sound ensembles of which the score is corn- London Symphony Orchestra, Antal for stereophonic reproduc- posed, and. as in every period and style Dorati, cond. tion. Lets you sit anywhere of Stravinsky's work, the greatest mas- MERCURY OL 2115. Two LP. $9.58. -hear everything. Its regal tery of rhythmic resource which modern MERCURY SR 29015. Two SD. $11.58. shape projects a majestic music affords. sound unlike any you've The interpretations here of both these works are lively and brilliant, and the On the over -all scale, this album pre- ever heard before. A 15" recording is excellent as regards the or- sents the most lyrical conducting 1 have mass loaded woofer, chestra. The balance between voices and heard from Dorati -still short of ul- world's largest ceramic orchestra is often faulty, especially in timate involvement, but musically satis- though the weaknesses magnet structure and die - Marra. Joan Carlyle, who sings Parasha, fying- of the works themselves, cast full dispersion acous- is seldom more than barely audible, and inherently structural, have not, through any magic of the ha- tic lens allow you to enjoy the other vocalists are frequently covered by the instrumental sound. Both works ton. been minimized. In these three early the highest fidelity of mu- symphonies, Tchaikovsky is his are sung in English, and complete texts at best sic plus phenomenal stereo when dealing with the are provided. short form, for separation from anywhere at this stage of his career he was es- The little Scherzo d la russe is just a in the room. Speaker place- filler. A.F. sentially a composer of suites rather ment non -critical. For a than of symphonies (whether he ever sound demonstration go changed in full, even towards the end, is still an open question). The fussy de- Strauss, Jo- 'round to your dealer or SUPPE: Overtures -See velopment hann II: Waltzes. sections, such as the fugato in write for complete color the finale of Symphony No. 3, come off brochure. with much contrapuntal doodling in the TCHAIKOVSKY: The Oprichnik Dorati performances; and the opening movement of Symphony No. 1, after a poetic start, The Maiden of Or- has its share of discursive- TCHAIKOVSKY: ness for which the conductor makes no leans compensating adjustment. But where Tchaikovsky has written music of vigor TCHAIKOVSKY: Cherivichki and melodic sweep, these qualities are extended into Dorati's readings. Some of TCHAIKOVSKY: Pique Dame the shorter movements are ravishingly played, notably the Adagio of Symphony a feature review of these four re- For No. 1, the Scherzo from the same work with various Russian artists, cordings, (with lovely coloristic glints), and the see page 74. Andante elegiaco of Symphony No. 3. Other high points in the set are the TCHAIKOVSKY: Serenade for Andante marziale of Symphony No. 2, Strings, in C, Op. 48 one of the most convincing and at- j Arensky: Variations on a Theme of tractive movements in early Tchaikovsky, Tchaikovsky, Op. 35a played here with Dorati's balletic flair; and the Scherzo of Symphony No. 3, London Symphony Orchestra, Sir John with a sinister countersubject for brass Barbirolli, cond. that anticipates quite strangely the mo- ANGEL 36269. LP. $4.79. tive of the Countess in Pique Dame. ANGEL S 36269. SD. $5.79. Mr. Dorati's strongest point as a performer continues to be his mastery of The strings of the London Symphony rhythm; and with this weapon he has Orchestra are heard to advantage in both solved most of the interpretative prob- these Tchaikovskyan works under the lems in Symphony No. 2, coming up with direction of Sir John Barbirolli, who of- a performance that is aided by thrilling fers honest, substantial music making. sonic effects. There are a few imper- Although the Serenade is hardly a nov- fections of string attack; but it should elty on discs and more than one other be noted that the microphoning, so CIRCLE 108 ON READER -SERVICE CARD 94 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com exciting in the razorlike edge of its first movement his trills are executed in staccatos, also brings a disadvantageous stylishly measured fashion. buzz which, in concert performance, The accompaniments throughout are never actually leaves the platform. sympathetic, and the combination of On the whole, the First and Second firmness and flexibility in the rhythms Symphonies come off best here. No. 3, gives evidence that a real conductor is though provided with magnificent sound, in charge. The unnamed harpsichordist CINCINNATI is given a less polished performance. In also does a good job. One or two high - comparison with Lorin Maazel's recent lying trumpet passages do not ring out performance (reviewed in these pages by as they should, but otherwise this reward- Harris Goldsmith last October) Dorati's ing disc is satisfactorily recorded. B.J. SYMPHONY is structurally less closely knit and the counterpoint dangles more obviously. Furthermore, Mercury's sound lacks the TELEMANN: Musique de table, Pro- glorious range of the London set. Yet duction III 1 find the sonorities of the Dorati more ORCHESTRA intimate and the tone generally warmer. Concerto Amsterdam, Frans Brüggen, enormous vigor, his cond. In spite of Maazel's Under the direction of sometimes superlative virtuoso flair, and TELEFUNKEN SAWT 9453/54 A. Two his unfailing sense of organization, I LP. $11.96. feel in his work a lack of charm, a TELEFUNKEN SAWT 9453/54 B. MAX relentlessness often at odds with the Two SD. $11.96. music. As between Maazel and Dorati, I should this time choose the latter's Schola Cantorum Basiliensis, August RUDOLF three Tchaikovsky. R.L. Wenzinger, cond. ARCHIVE ARC 3238/39. Two LP. $11.96. TELEMANN: Concertos: for Two ARCHIVE ARC 73238/39. Two SD. Horns, in E flat; for Trumpet, in $11.96. D; for Oboe d'amore, in A; for Violin, in G The final "production" of the remarkable set published by Telemann in 1733 main- Georges Barboteu, Gilbert Coursier, tains the high standard of quality horns; Albert Calvayrac, trumpet; Robert established in the other two. The Suite, Casier, oboe d'amore; Georges Armand, with its lyric Bergerie, its piquant violin; Toulouse Chamber Orchestra, Allegresse, and that charming genre Louis Auriacombe, cond. piece, the Postillions; the Concerto for NONESUCH H 1066. LP. $2.50. Two Horns, with its majestic opening NONESUCH H 71066. SD. $2.50. movement and rousing finale; and the jolly Conclusion -these are some of the A fair number of concertos have already highlights of the present group of works. been exhumed in the current Telemann For the first time there is a marked revival, but many more remain to be ex- qualitative difference between the Ar- plored. With the exception of the Trum- chive and Telefunken performances, pet Concerto, the works on this record although it turns up only in the Suite. seem to have been previously unrecorded Wenzinger, for Archive, plays this very -and a magnificent collection they French music with grace and wit (as in make. The Violin Concerto is in the the chatter of the middle section of the newer three -movement form; the other Allegresse), whereas Brüggen, on Tele- three are in four movements, but even funken, is faster, drier, and quite among these more traditionally shaped unyielding. In the Quartet (for flute, firr works there are constant differences in violin, cello, and continuo), the Con- . procedure and style which will amaze certo, the Trio (for two flutes and . - anyone who thinks of Telemann as a continuo), and Solo (a sonata for oboe routine composer. and continuo), however, Brüggen's SYMPHONIES The Concerto for Two Horns is per- players are more relaxed and perform, NOS. 57 &86 haps the finest of the four pieces here, individually and in ensemble, as beau- richly romantic in expression, spacious tifully as in the other two "productions." and endlessly resourceful in construction. Indeed, I am not sure that I don't prefer 0111111/41P CINCINNATI It receives an admirable performance, Brüggen's tempo for the finale of the SYMPHONY without any of the saxophoney vibrato Trio to Wenzinger's slower pace, and ORCHESTRA often disfiguring French French -horn Telefunken's horns seem even cleaner, playing. The Oboe d'amore Concerto, more pointed, than Archive's excellent MAK RUDOLF which boasts a mellifluous opening Sicil- ones. As in the earlier sets, both groups CONDUCTOR iano and a long, questing Finale full of of performers embellish their parts oc- rhythmic interest, is also well and crisply casionally (the Dutch do this more than "An important addition to the Haydn discog- played, though occasionally I felt the the Swiss) with discretion and good raphy." -N.Y. Times need of a more yielding approach from taste. In both recordings the harpsichord the soloist. is there when it is needed and con- "Exceptional orchestral playing." H Fi 'Sterec Review The other two concertos are shorter, tributes substantially to the music's but hardly less attractive. The Violin effectiveness. Except in Telefunken's Concerto is competently played if not Suite both performances are very fine, with particularly distinguished tone. In and throughout both sets the sound is the Trumpet Concerto, Albert Calvayrac again first -rate. N.B. comes off very well by comparison with Adolf Scherbaum, who plays the work on a Musical Heritage Society disc. TELEMANN: Sonatas and Trios Scherbaum's control in the exhilarating cralrelMeco4irk Finale is a shade firmer, but Calvayrac Sonata for Flute, Oboe, and Continuo, in vold has solider tone, and in the rhapsodic D minor; Trios for Flute, Oboe, and CIRCLE 17 ON READER -SERVICE CARD JANUARY 1966 95

www.americanradiohistory.com Continuo: in E minor; in D: Trio Sonata Denk es, O Seele; Neue Liebe; Wo find for Oboe, Harpsichord, and Continuo, in ich Trost ?; Nimmersatte Liebe; Rat ein- E flat. er Alten; Erstes Liebeslied eines Mäd- chens. Maxence Larrieu Quartet. NONESUCH H 1061. LP. $2.50. Evelyn Lear, soprano; Erik Werba, pi- NONESUCH H 71061. SD. $2.50. ano. DEUTSCHE GRAMMOPHON LPM 18979. Regarded purely as sound, these are rav- LP. $4.79. ishing performances. Maxence Larrieu's DEUTSCHE GRAMMOPHON SLPM flute and Jacques Chambon's oboe pro- 138979. SD. $5.79. duce some beautifully cool tone, Bernard Fonteny is a polished cellist (though I Miss Lear offers us straightforward, no- prefer a viola da gamba in this music), nonsense Wolf, impressively sung and and the harpsichord is played with art- highly musical. She is not the sort of istry and fire by A. -M. Beckensteiner. Lieder singer to go overboard on text- The last -named makes a particularly dis- ual subtleties or little tonal nuances. tinguished contribution to the E flat She is thus a bit of a shelter from the ob- major Trio Sonata, where a complete prevailing Wolf winds, the sort that AMBROSIAN SINGERS AND bligato part for harpsichord was written whistle into each corner and angle of a Music of also PLAYERS: Secular Vocal out by Telemann. The performers song before moving on to the next. the Renaissance display a musicianly sense of style in It is certainly easy to listen to, though of this splendid mu- their interpretation I must admit that she does not always Ambrosian Singers and Players, Denis only regret is that the flutist sic. My get the emotional statement out of a Stevens, cond. and oboist do not show a little more find song that I would like to there. DOVER HCR 5262. LP. $2.00. tenderness in their approach to move- Two examples: 1) Das verlassene Müg- ments marked "Affettuoso" and "Dolce "; with dlein, perfectly well sung, but little A charming record. One side is devoted but I must admit that this reservation emotional variety -the beginning of the to music from a Spanish volume of with repeated hearings. has diminished last verse ( "Triine auf Träne dautn /Stür- works connected with the court of works are up to the best All four let hernieder") is given precisely the Ferdinand and Isabella. There are some standard, and the recording is Telemann same tone and color as the beginning of love songs, an amusing nonsense drink- as and warm as it is clear. But smooth the song, and the whole thing does not ing song, and a carnival canzon that be more sensible, in it would surely seem to have budged, to have made its might have been written with Breugel's trios like these, to stereo recordings of statement, despite the good singing; 2) later Battle Between Carnival the two continuo instruments between somewhat put Wo find ich Trost ?, a great and challeng- and Lent in mind. This last-plus a flute oboe rather than at opposite the and ing song, again well sung and musically charming pastoral in a five meter, a the B.J. ends of ensemble. phrased, but short of its final effect. The delicious little cuckoo song (Husbands terrible questions, twice asked ( "Hüter, take care), and a curiously touching ist die Nacht bald Itin? Und was rettet their approach- Instrumental Works lament of the Moors over VIVALDI: mich von Tod and Sünde?") have ample ing defeat at the hands of the Catholic vocal weight, but not much real inten- minor; Sovereigns -are all by a certain Juan Concertos a quattro; in F, in G sity -one would like them to burn more. Sonatas: for Flute, Oboe, and Continuo, del Encina, a Cervantes -like character And again, they are read the same way a 5, 6: Cello and who was, among other things, poet, in G minor, Op. No. for each time. Oboe and actor, playwright, and priest. Continuo, in E minor; for But there are many lovely things. for Flute, Oboe, The contents of the overside are offi- Continuo, in C minor; Agnes, a relatively unfamiliar song, is and Continuo, in B flat. cially listed as "Italian and French splendid, with a hauntingly misty in- Music," but no French composer appears. at "Als inn Traum verloren"; Maxence Larrieu Quartet. flection There is a chanson by the Italianized the "Ade's" at the end of Lied von; NONESUCH H 1077. LP. $2.50. Netherlander Giaches de Wert and one by Winde beautifully shaded off, and NONESUCH H 71077. SD. $2.50. are the Italian Cipriano de Rore. The rest the whole song successful; the big cli- are Italian madrigals by Wert, Rore, There's a wide cross section of Vivaldi max of Denk es, O Seele! (from Luzzasco Luzzaschi, and Alexandro here, ranging from such run -of- the -mill " Vielleicht, vielleicht," etc.) is very im- Striggio. This is music written a full cen- matter as the decidedly three -squarish pressively built. I also like her sensible tury later than the Spanish examples and Air of the G minor Flute /Oboe Sonata way with songs like Elfenlied and Rat very different. Striggiti s /l gioco de to a grandly minor Largo in the Cello einner Alte,,, which takes the curse off primiera, an amusing and picturesque work and two wonderful movements in what can be hopelessly folksie -cutesie description of a card game, is really the B flat Flute /Oboe Sonata -the first pieces. almost theatrical in character; even more presenting the winds in stately imitation. As for the voice itself, it sounds pure astonishing are Luzzaschi's gorgeous the second generating a good deal of and full, and much more a mezzo than voice -and -cembalo songs in which the electric current between the two in fast a soprano -the Octavian timbre. At keyboard is completely written out and contrapuntal motion. The ensemble is one or two points where she lets it out the vocal parts gorgeously and precisely excellent, the solo work musical. straight- on top, it sounds a bit overweighted ornamented. We are here in the presence forward, and always dependable. The and out of focus, but this may be partly of a tense, linear, highly expressive recorded balance tends to slight the con- due to DGG's wonted close miking, not mannerism which is already close to the tinuo part, which deserves to be heard ideally suited for catching the high, baroque. (especially when the keyboard player hard one. The quality is always lovely, As I have said elsewhere, I do not takes the trouble to create some nice the intonation excellent. like the nasal, slightly swooping sound effects in registration), but stereo is Unfortunately, the piano is recorded some English singers -particularly tenors well handled, with fairly discreet sep- rather unfavorably, with the dry acous- -sometimes make as their idea of what aration of instruments. S.F. tic typical of many DGG recordings, and is appropriate to ancient music. Other- in a rather faint perspective. Nonethe- wise these are excellent performances, less, Werba contributes some fine play- well recorded from BBC broadcasts and WOLF: Mörike Lieder ing -the postlude to An einte Aeolsharfe, stylishly put together by a knowing for instance, is strikingly beautiful, and hand. But why two centuries and three Elfenlied; Das verlassene Mägdlein; Be- his accompaniments always have im- countries on a single disc? The need gegnung; Zitronenfalter im April: Agnes: petus and a sense of dynamic scale. The for sampler records of old music is past; In der Friihe; An eine Aeolsharfe; Lied album, I am glad to say, includes both what we want now are serious concen- vom Winde; Verborgenheit; Gebet; Schla- the original texts of the songs and trans- trated studies of some of the great men fendes Jesuskind; Auf ein altes Bild; lations. C.L.O. and great periods. E.S.

96 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com lAURELS fOR LONtON

ThE YEAR'S 13 ST RECORa1NGS- Chosen by High Fidelity Magazine

W, goer: Bach: Debussy: Britten: ALBERT HERRING GOTTERDAMMERUNG ST. MATTHEW PASSION PELLEAS ET MÉLISANDE Pears - Britten ilsson. Windgassen -Solti Pears, Prey- Miincbiroger Maurane, Spoorenberg -Ansermet Stereo OSA -1378 Mono A -437: tereo OSA -1604 Mono A -4604 Stereo OSA -1431 Mono A -4431 Stereo OSA -1379 Mono A -4379

erdi: MACBETH RENATA TEBALDI MARILYN HORNE Pergolesi: ilsson. Taddei -Schippers OPERATIC RECITAL OPERATIC RECITAL STABAT MATER tereo OSA -1380 Mono A -4381) Stereo OS -25912 Mono 5912 Stereo OS -25910 Mono 5910 Raskin, Lebane Stereo OS -25921 Mono 592

ritten: GREGORIAN Bartok: DANCE SUITE; Beethoven: ANTATA MISERICORDIUM CHANT -HOLY THURSDAY TWO PORTRAITS; PIANO CONCERTO NO. 5 INFONIA DA REQUIEM Solesmes Monks RUMANIAN DANCES Julius Katcben Fiscber- Dieskau, Pears- Britten Stereo OS-25832 Mono 5832 Suisse Romande Orcb.-Ansermet Stereo CS -6397 Mono CM -939, tereo OS -25937 Mono 5937 Stereo CS -6407 Mono CM -9407

ritten: CELLO SYMPHONY Chopin: BALLADES Kodaly: HARY JANOS SUITE Mozart: COMPLETE aydn: CELLO CONCERTO Vladimir Asbkenazy DANCES OF GALANTA DANCES & MARCHES Vol. I ostropovicb- Britten Stereo CS -6422 Mono CM -9422 London Sympbony-Kertesz Vienna Mozart Ensemble- tereo CS -6419 Mono CM -9419 Stereo CS -6417 Mono CM -9417 Boskovsky Stereo CS -6412 Mono CM -941

. chubert: Schumann: Dvorak: Rimsky- Korsakov: ' IANO SONATA NO. 17 ANDANTE & VARIATIONS NEW WORLD SYMPHONY SCHEHERAZADE lifford Curzon Mozart: TWO PIANO SONATA Vienna Pbilbarmonic-Kertesz London Sympbony-Stokowski tereo CS -6416 Mono CM -9416 (K. 448) Stereo CS -6228 Mono CM -9295 Stereo SPC -21005 Vladimir Asbkenazy & Mono PM-5500 Malcolm Frager Stereo CS -6411 Mono CM-9411

TIE E b I S O N AW ARt S- Holland's international record prizes

BEST ORCHESTRAL RECORD BEST COMPLETE OPERA BEST RECORDING OF SPECIAL AWARD RELIGIOUS MUSIC Bartok: THE MIRACULOUS W ggoer: THE MEMOIRS AND MANDARIN GITTERDÄMMERUNG Bach: SPEECHES OF MUSIC FOR STRINGS, Nilsson, Windgauen -Solti ST. MATTHEW PASSION WINSTON S. CHURCHILL PERCUSSION AND CELESTA Stereo OSA -1604 Mono A -4604 Pears, Prey- Miincbinger XL 1/12 Loudon Sympbony-Solti Stereo OSA -1431 Mono A -4431 Stereo CS -6399 Mono CM -9399

PRIZES OF T11E RECORZI CRiTiCS OF GERMANY CONCERTO PRIZE CHORAL PRIZE Britten: CELLO SYMPHONY Bach: ST. MATTHEW PASSION Haydn: CELLO CONCERTO Pears, Prey- Miincbinger Rostropovi cb -Britten Stereo CS -6419 Mono CM -9419 Stereo OSA -1431 Mono A -4431

JANUARY 1966 9 7

www.americanradiohistory.com HANS VON BENDA: "Musk from of Napoleon -spanning his years from the Court of Frederick the Great" Consul to Emperor-deserves a place not PERCUSSION only in the library of the specialist as a Frederick the Great: Sinfonia in D. C. H. demonstration of the type of French band 3 smashing, dashing pieces Graun: Montezuma: Pilpatoe's Aria. music, with by Harold Farberman associated choruses, that was composed - Quantz: Concerto for Flute and Strings, to a percussionist por excellence culminate in the Berlioz Symphonie in E minor. C. P. E. Bach: Concerto for funèbre et triomphale himself - on a new Cambridge but also in the recording, "Classhical Percussion ", Harpsichord and Strings, in D minor. home of the less committed music lover. Conducted by Mr. F., The Boston The opening march is stunning, imperi- Chamber Ensemble scintillates Pilar Lorengar, soprano (in the Graun); ous, evocative of a grand army ... and, through: "Progressions ", with instrumental soloists; Berlin Philharmonic indeed, throughout this record the drums flute (John Perras); "Impressions ", Orchestra, Hans von Benda, cond. are working. filling out with their excit- with oboe (Ralph Gomberg) and ANGEL 36272. LP. $4.79. ing beat the broad -lined tunes. Two corn- "Evolution ", with French horn ANGEL S 36272. SD. $5.79. positions by Méhul are presented, each and voice (Phyllis Curtin). with fine vocal effect (an unnamed tenor Coming upon C. P. E. Bach's D minor makes a splendid contribution here); and Concerto on the second side of this col- the chorus is used impressively in a work lection of items that customarily en- by Gossec, dedicated to the memory of DIGRESSION livened Frederick's evenings at home is the Gironde, which foreshadows the and speaking of Phyllis Curtin ... like stepping out of a hot, candlelit room Beethoven of Fidelio and the Choral into the wild winds We also have large, and fresh smells of Fantasy. There are also morceaux d'occa- gorgeous quantities a summer storm. Some commentators sion by Paër and Paisiello; and a gro- of her talents on have seen in the first and last movements tesque March of the Cripples, said to another new (only of this work foreshadowings of Bee- have been ordered by Napoleon during available) recording: thoven's Fifth and Ninth Symphonies. the retreat from Moscow. All of these Fauré's song cycle While one may lack the musicological numbers are superbly performed by band "La Chanson d'Eve" courage for such a leap, one still can't and chorus, re- creating for the listener an and 6 Verlaine poems, fail to appreciate the adventurousness authentic picture of Bonaparte's sonic a setting each by and craggy strength of these fast move- gloire. Illuminating program notes have Fauré and Debussy. ments -both of which are built on jagged been provided by Edward Tatnall Canby. Piano accompaniment and wide -ranging melodic by Ryan Edwards. lines, and both of which, in the interworking of solo and Availoble in both mono and stereo tutti, create a sense of continual develop- from your dealer or direct. ment. The finale especially is headlong NICOLAI GEDDA: "Favorite En- and impetuous in a way which one sus- cores" pects must have displeased Frederick CAMBRR REDREs mightily, and even the slow movement is Denza: Funiculi, Funiculâ. Tauber: Du in keeping, with a big -stepping tutti mo- bist die Welt für mich. De Curtis: Non 477 Washington St., Wellesley, Mass. 02181 tive insistently interrupting the serene but ti scorciar di me. Lara: Granada. Perez: CIRCLE 9 ON READER- SERVICE CARD never flaccid reflections of the solo harp- Schlaf ein, mein Blondengelein. Meyer- sichord. The unsentimental playing of Helmund : Gute Nacht, mein holdes, soloist Werner Smigelski and the Berlin- süsses Mädchen. Traditional: Tiritomba. ers is admirable. and gives Bach his due Bixio: Mutterlied. May: Ein Stern füllt as a composer to be reckoned with far von Himmel. Rossini : La Danza. beyond the confines of Sans-Souci. Godard: Jocelyn: Berceuse. Rotter: Ich 4O04Ó00044 Pilar Lorengar is also superb in her küsse ihre Hand, Madame. rich, unapologetic delivery of Graun's BRITAIN'S FOREMOST sinuous, highly ornamented, and withal Nicolai Gedda, tenor; chorus; orchestra, quite affecting aria. Angel's sound lives Willy Mattes, Kurt Graunke, conds. up to the performances. ANGEL RECORD S.F. 36314. LP. $4.79. CRITICS ANGEL S 36314. SD. $5.79.

WRITE EVERY MONTH GARDIENS DE LA PAIX DE On this delightful disc Nicolai Gedda rounds his IN PARIS: "Military Fanfares, off own superlative singing Marches, and Choruses from the with suggestions of Tauber and Bjoerling. Time of Napoleon" His is one of the most beautiful voices of today, its appeal heightened by flaw- 0A000'00000 Méhul: Citant du retour de la Grande less musicianship and patrician taste. Armée; Chant du retour de Campo Most effective among the selections here COMPREHENSIVE CLASSICAL REVIEWS Formio. Dal ayrac-Gossec : Veillons au are Du bist die Welt, opulently sung: Salut de l'Empire. Gossec: Aux Mânes Granada, high point of the record, at de la Gironde. Paër: Troisième marche once proud and caressing; Tiritomba. JAZZ AND SWING REVIEWS pour le mariage de Napoléon et Marie - sensationally well done. with matchless Louise. Paisiello: Marche du Premier top tones: the hauntingly projected Consul. Anon: Champ d'Honneur; Marche Berceuse from Jocelyn: and an irresisti- MUSIC FROM STAGE AND SCREEN des Eclopés; Pas accéleré; La Grenadière; ble performance of Ich küss ihre Hand, Salut des Aigles; Pas cadencé des Sans- Madame. Less successful are the Funic- Culottes. uli, Funiculâ and the Rossini La Danza, EQUIPMENT TESTS AND REPORTS which suggest an elegant North Italian 4 Vocal ensemble, Jean Rollin, cond.; Brass risotto rather than the earthier pasta of OOOQneOOOOI and Percussion Ensembles of Gardiens the South. The orchestral accompani- 4 de la Paix de Paris, Désiré Dondeyne, ments are expertly played and deftly cond. idiomatic. R.L. ANNUAL SUBSCRIPTION $5 NONESUCH H 1075. LP. $2.50. NONESUCH H 71075. SD. $2.50. 379 KENTON ROAD, KENTON, HARROW, MIDDLESEX, ENGLAND What on paper might have suggested a routine historical survey turns out to be WRITE FOR FREE SPECIMEN COPY one of the month's thrilling records. This panorama of military music at the time CIRCLE 83 ON READER -SERVICE CARD 98 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com JASCHA HEIFETZ: "Heifetz Plays tenances to a ceremonial spectacular these Gershwin and Music of France" pieces might leave their mark. For recorded enjoyment, they offer stylistically Gershwin: 3 Preludes; Porgy and Bess: too much of a muchness. The perform- Summertime; A Woman Is a Sometime ance is something else again. A German Thing; My Man's Gone Now; It Ain't choir, trained by Russian experts, sings Necessarily So; Bess, You Is My Woman; with extraordinary variety of tone, full Tempo di Blues. Debussy: La Chevelure; rhythmical perception, and an almost Golliwogg's Cake -walk; Beau soir. Ravel: symphonic balance. The soloists are good, Valses nobles et sentimentales: No. 6; although the basso in Epistle to the Ro- No. 7. Poulenc: Mouvements perpetuels. mans- holding forth in a slow, sepulchral Saint -Saëns: The Swan. Ibert: Le petit vibrato an octave below the accustomed âne blanc. vocal rock -bottom -suggests, rather start- lingly, a 78 recording played at 33' Jascha Heifetz, violin; Brooks Smith, speed. R.L. piano. RCA VICTOR LM 2856. LP. $4.79. RCA VICTOR LSC 2856. SD. $5.79. LOEWENGUTH QUARTET: French Chamber Music Strange as it may seem to the younger generation of record buyers, there once Debussy: Quartet for Strings, in G minor, was a time when even the master violin- Op. 10 Fauré: Quartet for Strings, in part of Op. 121. Franck: Quartet for ists had to devote the major E minor, gives you such quality sound and their phonographic repertories to little Strings. in D. Ravel: Quartet for Strings, encore pieces. Heifetz (like Kreisler) in F. Roussel: Quartet for Strings, in weighs so little -at so quiet a price. had some advantage over his colleagues D, Op. 45. in that he was able to provide his own Only OKI 300 sounds so magnificent, and transcriptions of suitable encore music Loewenguth String Quartet [the Debussy costs so little. It's a compact concert hall, which had originally won popularity as and Ravel from Vox PL 12020/STPL lighter than 16 lbs., spectacular solid-state songs, piano pieces, etc. Most of the 512020, 1964]. 4 track stereo. And it dresses up any room were first recorded by Vox VBX 70. Three LP. $9.95. present examples it's in. Hear it today the matchless him back in the 78 -rpm era -some of Vox SVBX 570. Three SD. $9.95. - of OKI 300. Only $219.95 *. them, including the three Gershwin piano sound Preludes and the tunes from Porgy and The venerable Loewenguth foursome is 1 year warranty. ** See and hear it Bess, during the relatively brief period heard to maximum advantage through- at your OKI dealer. when Heifetz deserted RCA Victor for out much of this rather specialized liter- Decca. While the present mélange of ature. For example, the ensemble's lean disarrangements might seem to be ridicu- unsentimental approach gives a decided lously antiquated nowadays, in actual boost to the elegiac, very late Fauré hearing it is tantalizingly sugar- coated -other groups have been prone to letting by Heifetz's ingenuities of transcription the fact that the work was completed and his supreme executant skills. Brooks only three days before the composer's Smith's ringing -toned pianism is a fur- death color their outlook, and it is good ther asset. Audiophiles will relish the to find that the work needn't always be vivid stereoism of the recording, and so melancholic. The mercurial animation particularly the multichannel edition's of the witty little Roussel score is also proof that stereo is advantageous even handled very deftly by its present inter- when only a solo violin with piano ac- preters. For the first two movements companiment is involved. The mono ver- of the Franck, the Messrs. Loewenguth sion does no less justice to the instru- again acquit themselves handsomely, be- ments themselves, but stereo adds the stowing a vibrancy upon the sometimes significant plus of a stage environment, long- winded first movement and display- complete with air above and around the ing just the right phantomlike grace for music itself. R.D.D. the scherzo. Intonation becomes a trifle sour and ensemble slightly ragged in the final movements of this piece, but JOHANNES- DAMASCENUS CHOIR the spirit remains everywhere in evi- "Liturgical Music From the Rus- dence. (Incidentally, there is only one sian Cathedral" competitive edition of the Franck pres- ONLY

Gretchaninov: Exult in the Lord; Credo; Your Only Begotten Son; The Lord's OKI 300 Prayer. Kastalsky: Hymn on Assumption Day. Tchesnokoff: Holy of Holies, Mother of God. Kalinnikov: Macarisms. Kompanejsky: Hymn to Mary. Tradi- tional: Epistle to the Romans.

Marie -Luise Giles, contralto; Bruno Giesen, baritone; Michael Trubetzkoi, bass; Johannes -Damascenus Choir (Es- sen), Karl Linke, cond. Manufacturer's suggested list price. NONESUCH H 1073. LP. $2.50. "1 year parts, 6 mos. labor. NONESUCH H 71073. SD. $2.50.

Musically, the interest of this disc is confined to Russian cathedral music of recent vintage and plush choral layout. Chancellor Electronics, Inc. There can be no question that as appur- 457 Chancellor Avenue, Newark, New Jersey 07112 CIRCLE 49 ON READER -SERVICE CARD JANUARY 1966 99

www.americanradiohistory.com MUSICAL HERITAGE SOCIETY ently available: the Parrenin for West- instrumentalists, who all play agreeably, minster. The Schwann catalogue is in could have managed a few songs. But as Just Released error in indicating that the Quartet is it stands this is a successful record, and coupled with Franck's Piano Quartet on the quality of sound is suitably intimate. Luigi Boccherini Artia S 702 by the Janái:ek players.) B.J. A rehearing of the reissued Debussy STRING QUINTET and Ravel performances has left me with mixed feelings. As I did at the time of IN E MAJOR' THEO MERTENS: Concertos for their original release, I admire greatly Trumpet OPUS 13, NO. 5 the tremendous clarity of the reading, and in general I approve of the com- Haydn: Concerto for Trumpet and Or- *The Quintet with the pletely unsentimental approach taken by chestra. in E flat. Purcell: Sonata for famous the Loewenguth players (in sharp con- Trumpet, Strings. and Continuo. in D. L. "MINUETTO" trast to the spineless bloat sometimes Mozart: Concerto for Trumpet. Horns, encountered in these works). On the brilliantly performed by the Strings, and Continuo, in D. Telemann: other hand, I have, with the passage of Concerto for Trumpet, Strings, and Con- STRADIVARI QUARTET time, become increasingly disturbed by tinuo, in D. the acid the recorded assisted by Harvey Shapiro, Cello proximity of sound, which makes harmonies whistle and pre- Theo Mertens. trumpet: Concerto Am- EXCLUSIVELY RECORDED BY cludes any true realization of the many sterdam, André Rieti, cond. MUSICAL HERITAGE SOCIETY PPP markings liberally sprinkled in TELEFUNKEN LT 43091. LP. $5.79. both works. have foremost publishers of Baroque Music Nor I become more TELEFUNKEN SLT 43091. SD. $5.79. enamored of the Loewenguth's rather Recordings stiff. even literal, treatment of the can- The relatively young (h. 1932) Belgian tabile sections of both slow movements. trumpeter disdains most of the usual Write for complete catalog listing over A look at the scores reveals the con- ways of winning spectacular phono- 150 choicest recordings of Baroque Music scientious and intellectualized viewpoint graphic acclaim. He has chosen starring rarely found elsewhere. espoused by the Loewenguth in their vehicles that no longer command much countrymen's classics, but even a whiff novelty appeal: although all four works of pedantry in these compositions is fatal are drawn from the barococo repertoires, ACCLAIMED BY CRITICS to poetry. My present preferences are for none makes a special feature of the in- & LISTENERS ALIKE the Juilliard Ravel (RCA Victor), for strument's stratospheric register: Mertens' the Budapest Debussy (Columbia). and tonal qualities are pure and bright but for the recent Fine Arts (ConcertDisc) Add r ss DEPT. HF -CI by no means as big and brilliant as those as a coupling that does equal. and con- of the best -known recording trumpet MUSICAL HERITAGE SOCIETY, INC. siderable, justice to both works. soloists: and moreover his playing is Vox's sound is much improved 1991 Broadway, New York, N. Y. 1002;, in the more notable for its restraint and pre- Franck, Fauré, and Roussel: the shrill- cision than for sheer bravura. Yet if CIRCLE 84 ON READER -SERVICE CARD ness is gone. and the wide stereo separa- one first finds this a hit unexciting. it tion enhances the music's effect. H.G. isn't long before one realizes how well everything here has been scaled and shaped to a pure chamber music ap- MEDIEVAL AND RENAISSANCE proach -and then one begins to ap- MUSIC preciate better not only the soloist's beautifully controlled artistry but also Elena Polonska, medieval and Irish harps its equilibrium with the rest of the co- GOT and tambourine: Guy Durand. vièle and operating. rather than merely accom- recorder: Roger Cotte. recorder. panying. ensemble. Indeed it is as much TURNABOUT TV 4019. LP. $2.50. the Concerto Amsterdam's executant TURNABOUT TV 34019S. SD. $2.50. lucidity (under Rieu's sure hand) and the technical lucidity of the luminously NICKEL? Here is a pleasant collection of music transparent stereo recording as it is ranging from the end of the twelfth cen- Mertens' own lyrical grace and fluency tury to the beginning of the seventeenth. which make these performances no less - Perhaps the most beautiful piece is Gentil more than Buy a 5c stamp to put on a and perhaps even -rewarding gallons by the fifteenth- century Burgun- the bravura versions by more celebrated long, self- addressed envelope. dian court composer (and soldier) Hayne virtuosos. van Ghizeghem. There is also an impres- Send the envelope to Incidentally. the Telemann Concerto sive Ricercare by the Netherlands master in D which is played here is the one W. Schwann, Inc., 137 Newbury of the sanie period, Jacob Ohrecht, a fine in four movements. recorded most re- pair of excerpts from the Tahulatura of cently by Calvayrac for Nonesuch and Street, Boston, Mass. for your the sixteenth -century Pierre Attaignant, earlier in a considerably edited arrange- free copy of "A Basic Record and some lively sixteenth -century dances ment by Voisin in Vol. 3 of his Kapp by Claude Gervaise, as well as pieces by series. It should not be confused (as it Library" -- a suggested basic list Heinrich Isaac, Walther von der Vogel- is in the Schwann catalogue listings) with of records you ought to own. weide, several lesser -known men, and the the same composer's three -movement ubiquitous Anon. Concerto (or Sonata) in D recorded In the meantime, pick up the In his notes Roger Cotte rightly says most recently by Scherbaum for DGG latest issue of the Schwann that "it is perfectly legitimate for modern and earlier by Holy for Mercury. R.D.D. musicians to interpret this music either Record Catalog at your record with voices alone, voices with instruments, or instruments alone," since such variety CLAUDE Eighteenth - It's the MONTEUX: dealer's. only of practice accords with the custom of Century Flute Concertos up -to- the -minute guide to over medieval and Renaissance musicians themselves. There is a fair degree of vari- Quantz: Concerto for Flute. Strings, and 35,000 records, including about ety in the instrumentation used on this Continuo, in D. Loeillet: Concerto for 500 new releases each month. record, but it might have been a good Flirte, Strings, and Continuo, in D. idea to bring in a voice for three or four Grétry: Concerto for Flute, Two Horns, of the pieces: I am sure that one of the and Strings, in C. Leclair: Concerto for CIRCLE 85 ON READER- SERVICE CARD

1011 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Acclaimed By Critics ... Flute, Strings, and Continuo, Op. 7, Puccini too . but the "E laceran le No. 3, in C. stelle," for major effect, might have been Enjoyed The W orld Over a bit less lachrymose. The Vienna Festi- Claude Monteux, flute; Academy of St. val Orchestra, under the direction of the Neville Marriner, Franz Allers, plays ably. R.L. MACM Martin -in- -Fields, Division of Scepter Records cond. OISEAU -LYRE OL 279. LP. $5.79. OISEAU -LYRE SOL 279. SD. $5.79. RENAISSANCE CHAMBER PLAY- Music For The Connoisseur ERS: Medieval Dances and Carols Claude Monteux strikes me as one of the most persuasive flutists around. To a Renaissance Chamber Players, Paul Ehr- certain extent he eschews brilliance for lich, cond. mellowness, and he avoids the high - BAROQUE 9000. LP. $4.79. strung rhythmic aggressiveness customary BAROQUE 9006. SD. $5.79. today in favor of a more benevolent and relaxed approach. Only once on this disc This ensemble of twelve instrumentalists -in the extremely jaunty finale of the and nine singers provide, separately or Loeillet -do he and the St. Martin together, a program of much more varied players seem in disagreement, with the content than the title of the disc would latter turning out a tighter version of suggest. True, there are several genuinely the subject than the flute. Elsewhere medieval pieces -the lively Estampie and soloist and ensemble are of one mind, Saltare/lo, the English carols from the J. S. BACH: FLUTE SONATAS - Vol. 1 - B Minor, and provide an attractive, warm, yet Musica Britannica volume, and the Bene- A Major, G Minor, E flat Major. still spirited flutist's -eye view of eight- dicamus trope (not hymn, as given in the M9017 $2.49 Mono or Stereo eenth- century preoccupations. Among notes) beginning "Nato nobis hodie." But Lhd, p iK' nil; Futil L+ltlil:\I d1 the most entertaining of these (and the the greater part of the program is made latest and least typical) is the Grétry. up of dances from the collections of At- Sound is clean and clear. S.F. taignant, Gervaise, and Susato, who (like Mouton and Fructus del Castillo) belong to the Renaissance. JAN PEERCE: "Great Operatic The instrumental playing is especially Arias" to be commended, even though there is some aping of the overelaborate "orches- Mascagni: Cavalleria rusticana: Sicili- trations" indulged in by similar ensem- ana; Brindisi; Addio alla Madre. Bizet: bles; and if the singers could learn to Les Pêcheurs de perles: Je crois entendre relax a little their contribution too would encore. Cilea: L'Artesiana: Lamento di rank highly. Lively and vivid sound Federico. Verdi: Un Ballo in maschera: throughout. D.S. CLASSICS OF THE EARLY 18th CENTURY - Rosetti: Symphony in C Major Hertel: Symphony in D Major Di' tu se fedele; Quando le sere al - - Sachsen -Weimar: Concerto No. 4 in D Minor, Con- placido. Puccini: Tosca: Recondita certo in B Major, Con:erto in C Major. armonia: E laceran le stelle. Leon- VERSAILLES CHAMBER ORCHES- M9021 $2.49 Mono or Stereo cavallo: Pagliacci: O Colombina. Tchai- TRA: "Music of the French Ba- kovsky: Eugene Onegin: Lenski's Aria. roque" Authentic Ethnic Releases Halévy: La Aire: Passover Scene; Rachel, quand du Seigneur. Montéclair: Cantata Le Retour à la Paix. T- R- IO Corrette: Concerto for Flute, in G. Le- HEL.LB1NIßV Laurence Dutoit, soprano; Jan Peerce, clair: Sonata for Strings, in G minor. tenor; Choir and Orchestra of the Vienna Boismortier: Concerto for Bassoon, in D. Festival. Franz Allers. cond. VANGUARD VRS 1129. LP. $4.79. Claudie Saneva, soprano (in the Cantata); VANGUARD VSD 71129. SD. $5.79. Roger Bourdin, flute (in the Corrette); Maurice Allard, bassoon (in the Bois- Jan Peerce has enjoyed a long and dis- mortier); Chamber Orchestra of Ver- tinguished career; and it would be gratui- sailles, Bernard Wahl, cond. tous, within the present frame of refer- NONESUCH H 1080. LP. $2.50. ence, to ask of him the vocal fresh- NONESUCH H 71080. SD. $2.50. ness of a youngster on the way up. What Mr. Peerce still has to offer is a vocal Strictly speaking, this music belongs more TRIO HELLENIQUE - A serenade of the most popular Greek music today. Featuring "Zorba's Dance ". instrument in remarkably fine condition, to the French rococo than to the baroque, M10024 top musicianship, and an affecting aware- but this may be "cutting the hair into ness of style. One might cavil at the title four parts," as they say in Paree. All of the album itself: "Great Operatic four works are superior examples of the Arias." Since when has the two -bit arietta fanciful, ornate, extremely decorative of Beppe from Pagliacci entered that style that forms the musical counterpart class, or the Brindisi from Cavalleria to the paintings of Boucher and Frago- rusticana? The payoff, however, lies in nard. the performance; and for the most part, The Cantata of Montéclair is a special the tenor cuts a good artistic figure. delight, with warlike trumpets and drums Best among the performances are the alternating with more pastoral scenes, arias from Eugene Onegin, Les Pêcheurs and the whole setting a delightfully vacu- de perles, and I.' A rlesiana, all well within ous allegorical text. If you like your the artist's technical command and sung trumpets high, you get 'em here. The with sensitively molded tone. The Pass- Leclair is, by contrast, a beautiful, sad, over Scene from La Juive is well pro- tender piece right out of Watteau. Claudie ARMENIAN SONGS AND DANCES - Exciting music of old Armenia. Performed by the Ethnic Armenian jected but does not succeed in evoking Saneva sings the Cantata with just the Orchestra. the full mystery and awe of the scene; right flutelike quality, and the instrumen- M10015 while "Rachel. quand du Seigneur," from tal soloists are all very much in the style. Send for complete FREE catalog. Write Dept. Il, the same opera, is heartfelt but strained. So is M. Wahl's fine -grained little orches- The Verdi arias come off well, and the tra, well recorded. A.R. MACE Records, 254 W. 54th St., N.Y., N.Y. CIRCLE 43 ON READER- SERVICE CARD JANUARY 1966 101

www.americanradiohistory.com For an Orchestral Treasure -'Prove, A Big Package Bargain- Priced

by Harris Goldsmith

LATECOMERS to the phonograph may scores, I might add -and Antal Dorati's tend to think of the record industry's finely etched performance of the chief main turning points as the advent of sections of Berlioz's Ron,éo et Juliette. microgroove in the late Forties and the (Both the last -named and Dorati's swag- coming of stereo in the late Fifties. For gering, broadly detailed account of an older generation, however, there are Salomes Tanz recall much of Toscanini's two earlier milestones: the debut of approach to this music, by the way.) electrical recording in 1925, and the Sir John Barbirolli's cool, lyrical. and drastic price reduction of classical discs atmospheric account of the Sibelius in 1940. The latter was prompted in Second Symphony supplants his two old- large part by the wide distribution, in er versions of that score, and Rudolf the late Thirties. of a series of inexpen- Kempe -whom I had always considered sive albums originally offered by a New more a Eusebius than a Florestan -sur- York City newspaper as part of an un- prises with powerful, large- boned, dra- precedented circulation drive and later matic performances of Strauss's Don made available in other cities as well. Juan and Respighi's Pini di Roma. Anonymously rendered (by leading The above are perhaps the highlights American conductors and orchestras), of this Reader's Digest program, but they these sets brought fine music into homes are far from being the only worthwhile that otherwise might not have been able offerings. Though Jascha Horenstein's to afford such luxuries. They influenced, Tannhauser "Venusberg Music" is a FM station directory ...covers it is fair to assume, an entire genera- trifle antiseptic, his Fliegende Hollander tion of this country's FM stations in U. S. and music lovers. Overture and Siegfried Idyll are magnifi- Now a set Canada. Factual equipment of records with a similar cent; and if Oscar Danon's Pétrouchku is potential is at hand: the Reader's Digest, a bit featureless, it is also lyrical and test reports. Test reports on which has put out a few recordings in highly poetic. While Georges Prêtre's tuners, preamps, poweramp/ the past, has recently surpassed itself accounts of Frank's Psyché et Eros. preamps. Find out what the with a beautifully packaged twelve -disc Debussy's Nuages and Fêtes, and Ravel's experts think. A complete set, priced at $16.95 in mono and $19.95 Daphnis et Chloe (Suite No. 2) may bes 36 page catalog tells about in stereo, titled "A Treasury of Great rather tame, they share too an admirable tuners, power amplifiers, Music," and featuring the Royal Phil- lucidity. In fact the only real disap- preamplifiers, preamp power harmonic Orchestra in a varied selection pointment among these works is Fritz from the amp combinations, and tuner standard symphonic and con- Reiner's Brahms Fourth; although his certo repertoire. The series represents conception is intelligent and imbued with preamp. a dozen conductors, all of them renowned, a vein of elegant poetry, the rhythm is and offers as soloists Earl Wild, piano, surprisingly loose for this usually im- ALL FREE and Hyman Bress, violin. perious drillmaster and the attacks are Needless to say, with so many dif- wan and tentative. JUST WRITE TO: ferent musicians involved in the enter- As for the soloists heard here, Earl prise, a variation in quality is inevitable. Wild sounds hard -toned and ill at ease

Yet, when all the chips have fallen, not in the Tchaikovsky Concerto No. 1 (with a single performance in this set is less Anatole Fistoulari conducting); he ap- than highly competent. Top honors, I pears to better advantage with Rene ifitInt think, should go to Charles Munch. who Leibowitz in the Grieg A minor and with ash directs thoroughbred virtuoso readings Sir Malcolm Sargent in the Chopin E McIntosh Laboratory Inc. of Tchaikovsky's Francesca da Rimini minor and Liszt E flat Concertos. Hy- 4 Chambers Street and Bizet's Symphony in C. Along with man Bress's sensitivity in the Mendels- Binghamton, N. Y. 13903 the late Sir Thomas Beecham, Munch sohn Violin Concerto is patently evident i virtually "owns" the latter work, and it but not always audible in a poorly bal- is perhaps ironical that his two com- anced recording that favors the orchestra

Yes, I would like your mercial recordings of it utilize Beecham's unduly. 36 page catalog. two greatest orchestras while Sir Thomas' In general, however. the sonics- own account was delivered by the some- presided over by RCA's Charles Ger- what inferior French Orchestre National. hardt -are splendid: spacious and finely NAME With its immaculate precision, Munch's etched in mono, vivid and directional in version here is the finest I have ever stereophony. In suns, "A Treasury of STREET heard of this bubbling little masterpiece. Great Music" is a minor landmark in CITY I also particularly admire Josef Krips's the domain of music appreciation. It will quicksilver readings of Mozart's Haffner reach thousands of listeners who might STATE and Haydn's London Symphonies -they otherwise never be exposed to this music. far surpass his previous editions of these They could not get a better introduction.

CIRCLE 47 ON READER -SERVICE CARD Ilia HIGH FIDELITY MAGAZINE

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"On a Clear Day You Can See Forever." Barbara and the title was changed to On a Clear Day Harris, lohn Cullum, Original Cast. RCA Victor You Can See Forever, but months went by and LOCD 2006. $5.79 (LP): LSOD 2006, $6.79 (SD). the show seemed no nearer to production. When it finally opened in Boston last summer, further difficulties arose when Louis Jourdan, who was FOR THE PAST decade or so hardly anyone has ex- costarred with Barbara Harris, asked to be released pected a Broadway musical to be actually musical, from his assignment. and so it comes as something of a shock -a very One can understand Jourdan's concern as an pleasant shock -to listen to the succession of attrac- actor because the role is a one -dimensional sketch. tive tunes that Burton Lane has written for On a In fact, Miss Harris is given the only grateful role Clear Day You See Perhaps Can Forever. one rea- in Lerner's rambling jumble of a book. She plays a son the musical theatre of the Fifties and Sixties girl who not only possesses extrasensory perception. has not produced a more imposing list of memorable but is also able to hypnotize herself: and while in songs (as compared with the Twenties, Thirties, and this state she wanders back and forth between the Forties) is that Lane has written nothing for the present and a previous existence in eighteenth - theatre since 1947, when he collaborated with E. Y. century England. Jourdan's successor, John Cullum. Harburg on Finian's Rainbow. He returns with a is primarily a singer -a fortunate choice because show that has had an unusually harried background. only when A Clear Day is being musical does it Three years ago the team of Alan Jay Lerner shake off the moribund qualities that frequently and Rodgers was Richard formed. Both men were close in. And on the recording. of course, it is taking on new collaborators for the first time since completely musical. terminating two the of most successful partnerships Lane has written a remarkably varied score, in- the musical theatre has known- Lerner and Freder- voking many different popular musical styles ick Loewe, who - parted by mutual agreement. and echoes of Straussian Vienna in a gorgeous waltz. Rodgers and Oscar Hammerstein II. an association Melinda: a turn -of- the -century beer garden flavor which ended with Hammerstein's death. The Lerner - for On the S. S. Bernard Cohn: a full -blown torch Rodgers project was I Picked a Daisy, a musical song, What Did I Have That I Don't Have: a com- dealing with extrasensory perception, and scheduled bination of witty lyrics (Lerner earns full credits for production early in 1963. It was not produced for his lyrics if not for his book) and a catchy tune as planned and the following July, amid reports of (recalling the Cole Porter or Rodgers and Hart of dissension. Rodgers withdrew from the project. Dur- the Twenties and Thirties) for Wait 'Til We're ing 1964, Lane took Rodgers' as over role composer Sixty -Fire; a hit of Greek color. an eighteenth - century hallad. and even a title song that can support all the essential reprises. In addition to the fine music and lyrics. Lane and Lerner have another rarity in current musicals- a cast of singers. Miss Harris. an astonishingly talented girl who switches back and forth in her characterization from slouchy New Yorkese to crisply enunciated English, is a gently lyrical eighteenth- century minstrel on Tosy and Cosh. a smoky torch singer of the Twenties on What Did I Have That I Don't Have, a proper music hall charmer on the S. S. Bernard Cohn: and she carries them all off in captivating style. Cullum has the forthright, full- bodied tenor to project the lovely Melinda. Barbara Harris: New Yorkese to the King's English. while William Daniels brings a dry comic style to

JANUARY 1966 105

www.americanradiohistory.com Wait 'Til We're Sixty -Five. Titos Vandis, records before, frequently in relatively the only nonsinger in the cast, grapples strongly swinging situations, retains his engagingly with a Greek -accented When swinging instincts in these pieces, but Sit in your own I'm Born Again; so much of his perform- adopts a subdued over -all attack that ance is visual, however, that the record- is very suitable to the occasion and the Supere( cer Hall! ing can only convey a suggestion of its material. Miss de Sah has also been full effect. recorded before. Like her fellow Bra- rie As a show, On a Clear Day is ex- zilian, Astrud Gilberto, she holds to a 1'. tremely uneven, but it has many saving cool monotone that produces a vocal graces -and almost all of them are con- deadpan effect. However, there is a slight centrated on the disc. J.S.W. huskiness in her voice that conveys a bit more warmth than Mrs. Gilberto, while holding the promise of something more, Claus Ogerman and His Orchestra: "Wa- like a banked fire. The disc, as a whole, tusi Trumpets." RCA Victor LPM is calm and low -keyed and maintains 3455, $3.79 (LP); LSP 3455, $4.79 interest despite the small musical area (SD). in which it works. The program steers Peter Matz: "The Hullabaloo Show." clear of the more familiar bossa novas Columbia CL 2410, $3.79 (LP); CS except for a highly effective medley 9210, $4.79 (SD). from Black Orpheus, in which all mem- The big -band styles now emerging from bers of the troupe take part. rock 'n' roll via the twist, the watusi, the frug, and other gyrations are taking Marty Gold: "Classic Bossa Nova," on distinctive colorations in the hands RCA Victor LPM $3.79 of such arranger- conductors as Ogerman 3456, (LP); LSP and Matz. Ogerman's American reputa- 3456, $4.79 (SD). It takes real ingenuity to tion derives from his arrangements for create some- SHARPE HEADPHONES thing that is both new worth rock 'n' roll recordings and he is, con- and doing in that broad give dynamic new sequently, thoroughly at home in the and usually unadventurous field generally identified as "mood idiom. His big -band arrangements carry music." range to stereo listening full- bodied wallop Marty Gold has not only found a a tremendous, -not fresh because they are loud or shrill (basically, approach to mood music, but has Only Sharpe Headphones have the given several well -worn they are neither), but because his spark- classical themes patented noise- one more go in the process. combination attenu- lingly effective use of bright, bristling -round On ation cup and cavity divider with riffs, deep, deep trombones, the surface, a bossa nova setting for the trumpet Meditation from Thais, for three harmonic dampers to produce the versatility of an organ, and drivingly Chopin's Etude in E. Rubinstein's Kammenoi- the unequaled flat frequency re- propulsive rhythms allows each element Ostrow, or Ravel's Pavane might seem sponse. Sharpe Headphones `shut to contribute with glittering forcefulness. rather pointless. But, in arrange- Matz, on the other hand, has been one Gold's out" random noise that masks the ments, it not only works, but proves of the most imaginative arrangers and very highs, the very lows. Sharpe to be one of the most attractive and for more urbane brand Headphones reproduce the audio conductors the appropriate pop treatments these themes singer (he is Barbra Streisand's ar- frequency ranges smoothly and of have yet received. Gold's bossa novas and lately he has ranger and conductor), give the themes an unobtrusive but bright distortion -free, outperforming the beat as conductor for moved into the big rhythmic lift, which does not overpower finest loud -speakers. Professional in Hullabaloo on television. The opening the melody as outright swing arrange- every detail, from comfortable, dual - selections on this disc suggest that he ments often do and, by the same token, slide headband to liquid -filled, noise - does not have this medium completely avoids the suffocation that is apt to attenuating but it soon becomes ap- ear seals. under control, occur when the tune is played as a problems are a Complete with strain relief cord parent that his main romantic ballad. Gold's predominantly of erratic singers and a fuzzy Dynamic driver Inner and outer group string orchestra is supplemented by a is to match frequency dampers Acoustic seal - string section, which unable smooth and subtle percussion section as ing ring Full spectrum frequency the sunny that shines out of the clarity well as by Lois Winter, whose soprano dampers and resonance attenuator. Ogerman performances. Matz's imagi- voice is used instrumentally, and some Life time guarantee on performance, a his work with sing- nation, hallmark of excellent solo spots by Phil Bodner on workmanship, material. ers, is to the fore in these still distinctly tenor saxophone and Dick Hyman on Frequency response: flat from 20-20,000 arrangements. When the singers and cps ± 3 db. Impedance: 8 ohms per phone, piano. Gold's one miscue is the use of strings are on a tight leash, his disc has the forthrightly raucous side of Clark used with 4, 8, 16 ohm outputs. Power out- a rollicking gaiety (the Beatles' Help! put: 2 watts per phone. Noise attenuation: Terry's skillful trumpet playing as a is a brilliant romp), but Matz is most 40 dh at 1000 cps. contrasting color on a couple of selec- effective in the more balladlike atmos- tions. It's a contrast, all right, but such MODEL What the World HA- 660/PRO: $60.00 phere of Needs and an extreme one that it ruptures the MODEL HA -10; $43.50 I'm Telling You Now. plotted MODEL HA- 8; $24.50 fabric of Gold's carefully structure. Sergio Mendes and Brasil '65: "In Per- took for colorful Sharpe Headphone-, son at El Matador!" Atlantic 8112, Andre Previn and His Orchestra: "Misty." demonstration $4.98 (LP); S 8112, $5.98 (SD). Harmony 7348, $1.98 (LP); 11148, display at leading Hi. Fi The three main vehicles of bossa nova $2.98 (SD). stores For specifica- presentation piano, and voice One of the dangers of being as multi- tions and the name -guitar, - of your nearest Sharpe have been brought together in the mod- talented as Andre Previn (who plays dealer write est night club production called Brasil piano, composes, and conducts in al- '65. Mendes, a pianist, leads a quartet most every conceivable music style from which backs guitarist Rosinha de Valen- classical through pop to jazz) is a ten- ca and vocalist Wanda de Sah. Miss de dency to confuse or dilute one type of Valenca is in the finest tradition of performance with aspects of another. SHARPE bossa nova guitarists-sensitively lyrical On this disc we have Previn's piano dri. Instruments, Inc. and gently and persuasively rhythmic. with a predominantly string orchestra DEPT. A She is also, so far as I know, the first (occasionally a French horn rises from 955 MARVVALE DRIVE woman who has appeared in a field the stringy mists to emit a gentle bel- BUFFALO, NEW YORK 14225 that, in the United States, has been all low), a format that by its very nature Sharps of Canada, 79 Mortin Ross Ave .,Toronto, Ont. male. Mendes, who has been heard on is calculated to produce routine mood CIRCLE 59 ON READER -SERVICE CARD HIGH FIDELITY MAGAZINE

www.americanradiohistory.com music. And some of these pieces are just under Ray McKinley's leadership, plays that (although it should be noted that with a polish that would undoubtedly the tunes are above average-five are have pleased Miller. What one misses by Harold Arlen). Fortunately, for every in these performances is the vitality of bit of lush stringing there is a balancing a band that plays with creative energy which Previn has injected a ground rules for a Miller-styled FREE piece on -the strong rhythmic impetus and punchy performance are so well understood piano passages that actually result in that everyone feels impelled to follow send today for your money- saving swinging mood music. It's not too hard them to the letter. Similarly, Williams' to achieve this with an essentially torchy arrangements suffer from a narrowness tune such as I've Got the World on a of scope which was never evident in String, but Previn also manages it with the actual Miller band because Williams /.ILL /ED the lissome lines of Gone with the Wind, has to (or feels it necessary to) use a making this ballad flow smoothly even very small number of characteristic de- while his piano is probing its rhythmic vices over and over again. 1966 CATALOG innards. Chiles and Pettiford: "Live at Jilly's." Trio Los Panchos: "The Music of Ernesto Atlantic 8111, $4.98 (LP); S 8111, Lecuona." Columbia EX 5145, $3.79 $5.98 (SD). (LP); ES 1845, $4.79 (SD). Walter Chiles, a pianist and singer, and There is a straightforward honesty about Clarence Pettiford, who plays bass and the presentation of Lecuona's lovely and sings, have been holding forth for more supple melodies by this trio of guitarists than a year at Jilly's, a small New York and singers. They let the songs speak City club known primarily as Frank for themselves. There is no needless Sinatrá s East Coast headquarters. The dressing up of such tunes as Canto Kara - team, backed by Al Harewood on drums, bili, La Comparsa, Malagueña, or Maria has a loose and easy delivery as they la O; they are played skillfully with a develop their songs in an insistently strong sense of beauty and rhythm, and rhythmic manner. Their most effective sung in the original Spanish, again vocal duet is an unusual juxtaposition without frills. Even such overly familiar of Blue Skies and Happy Days Are Here pieces as Siboney and You Are Always Again, sung simultaneously at a slow in My Heart become fresh when stripped tempo that brings Happy Days into the to basic essentials by this polished trio. Barbra Streisand vein. Chiles is the The disc also provides an opportunity more distinctive singer of the two and to hear other, less celebrated Lecuona there are occasions, as on The Longest songs- Juventud, Aquella tarde, and Walk, when his solo performance is SAVE MOST ON Como presiente. diluted by a transition to a duet with Pettiford. The performances flow, how- Frank Sinatra, Jr.: "Young Love for ever, with a free and easy naturalness stereo hi -fi Sale." Reprise 6178, $3.98 (LP); S as they pass unobtrusively from one 6178, $4.98 (SD). number to the next. And the two mu- The young Sinatra voice heard on this sicians build up a rollicking bit of and tape recording disc has much of the same ingratiating, merriment and momentum with a ven- fuzzy- cheeked quality that his father ture into hip Mother Goose -ism, School 508 Value- Packed Pages: See the displayed with Tommy Dorsey twenty - Days, which derives from the lightest world's largest hi -fi selection, including five years ago. It is a light voice and sides of Dizzy Gillespie and Louis special buys available only from ALLIED. there is relatively little body or range Jordan. to it, but young Frank stays away from Save on complete stereo systems, famous -make components, everything the traps of pretentious excess and Steele: "Everything's Coming Tommy in tape recording. Extra savings on ex- comes out quite creditably. There are a Up Broadway." Liberty 3426, $3.79 Pied Pipers clusive KNIGHT) quality couple of selections with the (LP); 7426, $4.79 (SD). components. which are stylistic carbon copies of Because a performer has been hailed for For everything in hi -fi, for everything some Pied Piper- Frank, Sr. arrangements his work in the lead of a Broadway in Electronics, send for your FREE 1966 of the old days and they come off ex- musical, it does not follow that a pro- Allied Catalog! tremely well. The most interesting aspect gram of songs from a variety of Broad- the disc, however, is the power and of way musicals will be suitable for him. SAVE MOST WITH BUILD- YOUR -OWN drive shown by Sam Donahue's orches- In the case of Tommy Steele, whose tra on the infrequent occasions when it Cockney charm and music hall zest have knight-kits has an opportunity to take off -on made Half a Sixpence a hit, his Broad- Select from dozens of great easy -to- Love Sale, 'S Wonderful, In the for and way role was tailor -made for his talents. build kits: Hi- Fi,CB, Hobby, Short -Wave, of the (the latter includes a Amateur, Intercom, Automotive, Test Still Night When those talents coincide with the tremendous tenor saxophone solo by Equipment -all at substantial savings. right show tune-I Wish 1 Were in Love Donahue). The Donahue band has been Again, Hey Look Me Over, and There EASY TERMS: Use the so buried for the past couple of years Allied Credit Fund Plan Once Was a Man (an inexplicably neg- in the repetitious performances of old lected song from The Pajama Game) Tommy Dorsey arrangements, that it are cases in point on this disc -Steele comes as a welcome surprise to find FREE Send coupon today carries things off with confidence and tor the 1966 Allied Catalog. I the band with a vital voice of its own. zest. But when he is required to be a -= E routine balladeer, singing Something's ALLIED RADIO. Dept. Glenn Miller Orchestra: "Great Songs 9 -A Conning, They Say It's Wonderful, or 100 N. Western Ave., Chicago, Ill. 60680 I of the '60s." Epic 24157, $3.79 (LP); If I Were a Bell, he is reduced to a Send FREE 1966 Allied 26157, $4.79 (SD). I Catalog. faded, Cockney- tinged copy of Johnny The distinctive and seemingly unquench- Mathis. JOHN S. WILSON I Name able Miller sound is applied to contem- .LC/3[ PRINT porary songs (People, Wives and Lovers, Mr. Lonely) in this collection. George I Address Williams' arrangements make use of the

Miller hallmarks -the clarinet -led reeds ICty State Zip I and the oo -wah brass-and the band, J CIRCLE 4 ON READER -SERVICE CARD JANUARY 1966 107

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www.americanradiohistory.com The Paul Butterfield Blues Band. Elektra Stan Getz: "Mickey One." N1-G -M 4312, as vibraphonist, vocalist, and drummer. 294, $4.79 (LP); 7294, $5.79 (SD). $3.79 (LP): S 4312, $4.79 (SD). One may tire of Gene Krupa's heavy - To anyone familiar with either country Stan Getz and Eddie Sauter pulled off an handed (for small -group purposes) drum- or urban blues as sung and played by the interesting tour de force on "Focus" ming, but the lean, sinuous brush work Negroes who create them. the attempts (Verve 8412) when Sauter wrote a series of Dave Tough is also heard and Hamp- of white performers to copy them are apt of pieces for string quartet, which he ton takes a dazzling turn at the drums to seem thin, gutless. and even wistfully subsequently expanded and rearranged (I Know That You Know). Two novel- inept. Butterfield. a singer and harmonica for sixteen string players (i.e., four ties are included: Bei mir bist du schön player, is the first white performer I have quartets); then, while recording, Getz with Ziggy Elman on trumpet and Martha heard who sounds completely at home, at improvised in, through, and around the Tilton doing the vocal, and a trio, All My ease. and natural in the blues (in his case strings' performances. Now Getz and Life, on which Helen Ward sings. All urban blues). The six -piece band he leads Sauter have transferred some of this things considered, these Goodman small on this disc roars with the neon -lit excite- method to the film score for Mickey groups become increasingly impressive ment of the city streets. Butterfield sings One. In addition to improvising through as the years go by. with conviction and force, depending Sauter's prepared score, Getz also im- more on astute phrasing than vocal provised to the action of the film as he Al Grey: "Shades of Grey." Tangerine power. His harmonica, however, has not watched it. As film accompaniment, it 1504. $3.98 (LP); S 1504, $4.98 (SD). only soaring power, but the full. searing may work out well (I have not seen the Record production has become such a cry of the blues, particularly when it is film. but some reviews suggest that the matter of spotlighting (a disc bearing backed up by the driving vitality of his music is a very effective contributing Al Grey's name can be expected to be band. The third lead voice is Mike Bloom - element). As a disc on its own, however, primarily a showcase for his trombone field's slide guitar, through which the the score has no distinctive substance. performances) that it comes as a very presently fashionable twangy sound is Getz. as a jazz musician, has scarcely welcome surprise to find that this Al projected with rocking validity. There any opportunity to show his mettle, and Grey disc is as full of diverse goodies as are a few selections on the disc that are the nature of the film -its honky -tonk a Christmas pudding. Not that Grey him- geared to the moody aspect of the blues, background, its emphasis on various self is neglected. He plays a highly per- but most of them swing with tremen- cheap entertainments-calls for great sonalized treatment of Bewitched that dously propulsive ferocity. This is a won- quantities of music that is either delib- ought to stand for quite a few years as derful example of jazz being refreshed erately had or blandly sentimental, neith- a major jazz trombone creation. and he and renewed at the roots. er of which is of more than passing in- is vigorously present on other selections. terest. But Eddie "Lockjaw" Davis, the tenor Art Farmer Quartet: "Sing Me Softly of saxophonist, is also present and in splen- the Blues." Atlantic 1442. $4.98 (LP); Benny Goodman: "B.G., The Small did form, playing with sinuously soft S 1442, $5.98 (SD). Groups." RCA Victor LPV 521, $4.79 strength in Bewitched, and swaggering Farmer's skillful explorations of the subtle (LP). with overt power through Dinnertime. uses of the flugelhorn continue on this Of the steadily growing list of thought- Vi Redd, the alto saxophonist, plays with disc. And he has found a surprisingly fully prepared jazz reissues produced by an aptly blueslike cry on Put It on Mel- effective accomplice in composer Carla Brad McCuen for RCA Victor's Vintage low and Dinah. while Kirk Stuart. a Bley- surprising because Mrs. Bley is series. this disc must rank as one of the relatively unheralded pianist and organ- closely associated with the jazz avant - very best. In a way, the over -all excel- ist. is everywhere at once, filling, backing, garde. On this disc. however. she has lence of the disc is something of a sur- and playing magnificent solo passages. provided Farmer with two pieces based prise because the work of the Goodman Furthermore. Roger Spotts has provided on themes that are not only very attrac- Trio and Quartet is so familiar that one arrangements that make striking use of a tive and inviting. but which manage to might expect this familiarity to breed at trombone trio in ensemble passages. Jazz avoid the usual without resorting to the least a touch of ennui. But this is not true discs with as many merits as this do not weird. One, Sing Me Softly of the Blues, at all. McCuen has put together a gen- come along very often. is a beautifully disciplined performance erous array of recordings (the running by the quartet in which both Farmer and time of one side of the disc is more than Ahmad Jamal: "Extensions." Argo 758, pianist Steve Kuhn build solos that are twenty -seven minutes) and, of the sixteen $4.98 (LP); S 758. $4.98 (SD). astutely conceived and skillfully executed. selections included. only six have previ- On this disc Jamal is moving away from Farmer is equally impressive on Mrs. ously appeared on LP. For the most part, the slickly stylized performances of Bley's Ad Infinitum, but Kuhn's piano they are superb samples of the swinging standard tunes on which much of his solo seems needlessly fussy and busy. The chamber style that Goodman introduced. popular reputation is based. Here he remainder of the disc is given over to less The depth and vigor of his clarinet work is going for distance (there are only provocative material and, while Farmer in those days can be a revelation to those four selections in the set -one is a has moments of lyricism on these other who may have forgotten how well he shade over thirteen minutes, the shortest selections, none of them rises to the level could play in a small group then. Teddy is almost six minutes). The strong rhyth- of the group's treatments of Mrs. Bley's Wilson's elegant piano is heard on every mic force that has always been prom- compositions. selection and Lionel Hampton is present inent in Jamal's concepts still plays a

JANUARY 1966 109

www.americanradiohistory.com valid role in these pieces (bassist Jamil force, but the group's conceptions have S. Nasser proves a worthy successor to a precious quality that drains a good deal the late Israel Crosby), but the trio does of the potential vitality from the per- not have enough to say with material formances. that is spread too thinly and stretched out too far. The best of the four selec- Morris Nanton: "Something We've Got." tions is the shortest, John Handy's Prestige 7409, $4.79 (LP). Dance to the Lady, a lovely, rather old - Nanton's recordings over the past few fashioned waltz theme which ripples years portray a pianist who, at first seem- along under Jamal's fingers in a delight- ingly mired in the routinely anonymous fully graceful and melodic fashion. ideas of the jazz -tinged cocktail pianist, has been gradually shaping a positive Elvin Jones: "And Then Again." Atlantic personality of his own. The real Nanton FREE: 1443, $4.98 (LP); SD 1443, $5.98 (SD). -or at least an identifiably individual Experience has proved that a disc pre- Nanton -emerges from this disc, pri- senting a drummer as leader is immedi- marily in his extended treatments of i ately suspect. Inevitably that drummer Something We're Got and Mood Indigo. must drum and the drumming session is There is a lot of Erroll Garner in Nan - apt to be long and tedious. Elvin Jones ton's work, a considerable appreciation has his rightful solo on this disc but of Ahmad lamal. and even some trills it is mercifully short and relatively pro- that derive from Earl Hines. This mix- vocative. The rest of the time he takes ture could lead him to a slightly different his proper supporting position in a variant of the same anonymity that he group of pieces arranged by Melba Lis- had earlier -into the gleaming, fat ton for a pair of sextets, both of which chorded glossiness that has lured a num- include Charles Davis on baritone saxo- ber of pianists recently. The difference phone and Hunt Peters on trombone, in Nanton's case is that, although he plus a rhythm section. The differences lie shows many of the mannerisms and some in the presence of Frank Wess on flute of the glitter of this approach, he uses and tenor saxophone with one group and them only as a foundation for playing Now BETTER THAN EVER Thad Jones on cornet in the other. Davis that vibrates with his own personal emo- We've is a Featuring Everything in Electronics for is the most consistently effective element, tions. Something Got sort of for he provides a strong core around After Hours in extenso that builds from HOME INDUSTRY LABORATORY which the rest of the group can cluster. a lazily reflective mood to a torrential from the Peters and Wess have interesting solos, climax. Nanton very deftly removes while Thad Jones is at his best in the Mood Indigo from the Ellington atmos- "World's Hi -Fi & Electronics Center" easy atmosphere of a slow ballad and phere, first by imbuing it with a gospel Stereo HI -FI Citizens Band Ham in providing an introductory setting for feeling and later reaching out for a lot Gear Tape Recorders Test Equip ment TV and Radio Tubes and Parts brother Elvin's drum showcase. of swinging excitement. Nanton has not Cameras Auto Accessories Musi- fully succeeded in getting away from cal Instruments Tools Books The Modern Jazz Quartet: "Plays for routine styling -there are other selec- LAFAYETTE Lovers." Prestige 7421, $4.79 (LP). tions, competent but impersonal, that CRITERION 10008 is his way. though. if 1-TRACK STEREO The Modern Jazz Quartet: "Porgy and show this. He on RECORDER IN Bess." Atlantic 1440, $4.79 (LP); SD he can develop on the good points he TEAK CABINET 1440, $5.98 (SD). reveals here. The Prestige disc is made up of some of the earliest recordings made by the The Night Pastor and Seven Friends: 18995 Modern Jazz Quartet between 1952 and "Chicago Jazz." Claremont 7098/99 1955. They are divided between the (available from The Night Pastor, 30 original quartet, in which Kenny Clarke East Oak St., Chicago, Ill. 60611). played drums, and the present quartet If there has to be a tie -in between jazz which came into being in 1955 when and religion, this is the way to do it. Connie Kay replaced Clarke. The differ- The Night Pastor is the Rev. Robert H. ence in drummers is made immediately Owen who ministers to the night people evident in the first two selections on of Chicago. A group of them, brought LAFAYETTE MODEL LA -248 the disc -Clarke's drumming on All the together by trombonist Dave Remington, 50 -WATT SOLID STATE STEREO AMPLIFIER Things You Are is direct, positive, and has made this disc as a fund -raising 11995 forthright, while Kay, on Softly As in project for the pastor's work. The only a Morning Sunrise, introduces cat's - overtly religious aspect of the perform- LAFAYETTE "PR O,50" SOLID foot brush work, which enables the ances occurs, fittingly, on The Saints STATE STEREO group to achieve the combination of when Father Owen brings on the instru- SYSTEM delicacy and swinging strength that is mentalists in Biblical fashion -and The one of its distinctive characteristics. Kay, Saints has never made more sense nor 12995 in these pieces, appears to give vibra- have I ever heard it played with more phonist Milt Jackson more freedom than rewarding joy. Joy is spread all through the Coupon Today for Your _MoilFREE 1966 Lafayette Catalog 660 Clarké s heavier drumming does. In the disc: by Remington, a relatively un- any event, and with either drummer, obtrusive trombonist. who, when he LAFAYETTE Radio ELECTRONICS this was a very openly swinging group in deigns to take the spotlight, has a glor- Dept. W A -6 , P.O. Boe 10 those early days-loose and swinging iously broad Teagarden sound; by Nor- Syosset, L.I., N.Y. 11791 in the very first pieces and stylized man Murphy, a consistently compelling r but still swinging in the 1955 selections. trumpeter, who solos, leads, and accom- Send ire the Free 1966 Lafayette Catalog 660 The quartet of ten years later, heard panies with imagination, wit, skill, and here in music from Porgy and Bess, (to repeat) joy; and by Jerry Fuller. Name has become so self -consciously stylized Fuller reveals himself to be a clarinetist Address 1 that a good deal of its work grows of previously unsuspected scope (his

City tedious, even though the performances normal habitat is the Dukes of Dixie- are broken up by the magnificently land) in a startling showcase presenta- State Zip ...... 1. (Please C.< Your Zoe Code No.) propulsive bounce of pianist John Lewis' tion of Black and Blue and in his L solos. Jackson continues to be a lifting debut on tenor saxophone with In a CIRCLE 41 ON READER -SERVICE CARD 110 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Little Spanish Town -a performance a pastiche of movie backgrounds and show a raw -boned dourness in other that bristles with excitement and happi- jazz) to a discordant nonjazz-Hall surroundings, is spurred to soaring ness as he pours out a strong, driving Overton's Sonorities for Orchestra (a heights in this company, while Kellaway version of the warm Eddie Miller tenor series of startled cries and halloos builds a series of charging, rip- 'em -up sound. The Pastor takes a couple of surrounding Richard Davis' plucked solos. encouraging one to believe that turns at the piano and doesn't cause any bass) and pieces by Jimmy Giuffre there is still plenty of vitality left harm (Andy Johnson, a fine pianist, is (starts and flurries) and Teo Macero in jazz. Terry is an ineffable performer, at the keyboard most of the time), but (high, sustained strings, groaning saxo- always distinctively vibrant on his numer- his introductory remarks, read stiffly phones, birdcalls, and moans). It would ous free -lance assignments, but never over Beale Street Blues, might better require a person with a very broad range more free and easy than when he is have been preserved on the liner where of tolerance to find interest in all the playing with his own group. they would not interfere with an other- aspects of this program. wise lusty version of the old Handy tune. Fats Waller: "'34/'35." RCA Victor LPV Clark Terry -Bob Brookmeyer Quintet: 516, $4.79 (LP). Orchestra U.S.A.: "Sonorities." Colum- "The Power of Positive Swinging." The most remarkable thing about Fats bia CL 2395, $3.79 (LP); CS 9195, Mainstream 56054, $3.98 (LP); S 6054, Waller and His Rhythm, that brilliant $4.79 (SD). $4.98 (SD). sextet that began a nine -year recording Orchestra U.S.A., John Lewis' personifi- The buoyant team of Clark Terry on career in 1934, was its infallibility. No cation of the third -stream idea -an flugelhorn and Bob Brookmeyer on matter how dull the material, Waller ensemble that plays jazz, nonjazz, and valve trombone, along with their equally could kid it, swing it, or tear it apart, anything in between -continues its split rambunctious running mate, pianist ultimately producing a delightful little was the whole personality on this disc. Miljenko Pro - Roger Kellaway (not to overlook their cameo. And Waller not was Autrey's haska, a Yugoslav who is the bassist in invaluable rhythmic support, bassist Bill story. There also Herman the Zagreb Jazz Quartet and whose Crow and drummer Dave Bailey), has biting trumpet, Al Casey's marvelously 'mima was one of the more strongly produced a more than adequate follow - rhythmic chorded guitar, and Gene jazz -oriented selections on an earlier up to their excellent debut disc, "Tonight" Sedric or Rudy Powell doing provoca- Orchestra U.S.A. disc (Jazz Journey, (Mainstream 56043/S 6043). Most of the tive things on clarinet. This disc is made Columbia CL 2247/CS 9047), again selections are originals by the two lead- up of Waller recordings of 1934 -35, provides the most valid jazz material ers: but whether they are playing one every one loaded with sterling Waller for this new program. His Concerto No. of their own creations (Brookmeyer's piano. tart Waller vocalizing, and strong 2 allows the orchestra to swing on a Dancing on the Grave or Terry's Ode to supporting solos and ensembles- partic- billowing theme and offers Jerome a Flugelltorn or his decidedly unsimple ularly a glorious 12th Street Rag, a Richardson, on alto saxophone. and Simple Waltz, for instance) or such out- wonderfully airy 1 Ain't Got Nobody. Dick Katz, on piano, opportunities to side works as Count Basic's torrential and the bright abandon of Mandy and engage in solos that have spirit. The The King or the delightful riff by Don Dust Off That Old Pianna. There are remainder of the disc ranges from the Redman called Just an Old Manuscript, also three early Waller piano solos (1927 warmed -over conventionalism of John the whole troupe plays with a joy and and 1929) which demonstrate his strong, Lewis' arrangement of Swing Low Sweet verve that are practically unique in con- forthright, and always rhythmic two - Chariot (here entitled The Spiritual- temporary jazz. Brookmeyer, who can handed attack. JOHN S. WILSON

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CIRCLE 68 ON READER -SERVICE CARD 112 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com works in which a twenty- nine -year- Unless specifically noted otherwise, the is interpretatively, of course- pianisti- ishing demonstrated his skills to following reviews are of standard open - cally Rubinstein is never less than au- old Haydn his new employer, Prince Paul Anton reel 4 -track 7.5 -ips stereo tapes. thoritative. Esterházy, and to his fellow musicians, Nouvelles HAYDN: Symphonies: No. 6, in D for whom he supplied delectable solo CHOPIN: Ballades (4); for violin, cello, études (3) ("Morning"); No. 7, in C ("Noon"); passages (particularly No. 8, in G ("Evening") and flute) throughout these little sym- Vladimir Ashkenazy, piano. phonies. introduces to tape a LONDON LCL 80154. 42 min. $7.95. Chamber Orchestra of the Sarre, Karl The other reel Ristenpart. cond. promising young British conductor who (4); Polon- NONESUCH TH 71015. 47 min. $6.95. leads a larger -but here not too large - CHOPIN: Impromptus little two- movement aises (8) ensemble in the lusty HAYDN: Symphonies: No. 19, in D; Symphony No. 19; the dashingly roman- No. 31, with its prominent Artur Rubinstein, piano. No. 31, in D ( "Hornsignal "); No. tic Symphony concertante parts; and RCA VICTOR FTC 7009 (double - 45, in F sharp minor ( "Farewell ") horn and other the gracious Farewell Symphony No. 45. play). 92 min. $14.95. Little Orchestra of London, Leslie Jones, I've never heard Dorati's Mercury taping of this work, but the Scherchen /West- These two reels. each proffering a major cond. minster version of October 1960 differs and a minor Chopin series in first tape NONESUCH TH 71031. 54 min. $6.95. the present one in its inclusion of editions. are alike only in their excel- from spoken Wiederseh'ns" in its lence. Otherwise, they are fascinatingly The appearance of the first tape re- softly "Au! the musicians fea- different. temperamentally, technically, leases from the relatively low- priced coda -departure of -a ture Haydn didn't specifically call for and -perhaps most piquantly -sonically. Nonesuch label (processed and distrib- but which I've always found quite ap- Ashkenazy is as quintessentially a roman- uted by Musictapes of Chicago) is an oc- propriate. In any case. the Scherchen tic lyric poet as Rubinstein is a romantic casion for wholehearted rejoicing. The performance is somewhat heavier, more epic one. The younger pianist is exqui- present reels, with six mostly unfamiliar apparently more closely sitely restrained, yet hauntingly evocative Haydn Symphonies (only one of which emphatic, and miked; Jones's more distantly recorded and always liquid- smooth digitally; and has been taped in stereo before). are performance has perhaps a shade more his warm loveliness of tonal nuance is characteristic of this company's off -the- and charm. captured to perfection in London's beaten -path programming, and I am par- zest stereoism and the Ampex tape processing. ticularly pleased that one of the disc, In sharp contrast is the dazzling bril- series' most valuable attractions -Ed- JANACEK: Missy Glagolitica (Sla- liance of Rubinstein's Steinway, snared ward Tatnall Canby's notably illuminat- vonic Mass) by the RCA Victor engineers in a large - ing annotations -is being made available hall ambience and immaculately proc- in full for the reel editions. Evelyn Lear. soprano: Hilde Rössl -Maj- essed. Rubinstein's grand manner and There is one technical catch, however, dan, mezzo; Ernst Häfliger, tenor; Franz rhythmic vigor in the Polonaises are of where the very early Morning, Noon, Crass, bass; Bedfich JanUek, organ; course well known from his earlier and Night Symphonies are concerned: Bavarian Radio Chorus and Symphony recordings, but these latest readings are a decidedly unpleasant top -edginess to Orchestra, Rafael Kubelik. cond. varied in many details and in most cases the violins in the suitably small -sized DEUTSCHE GRAMMOPHON DGC are even more impressive. I am particu- chamber orchestra. Possibly this is a 8954. 38 min. $7.95. larly thrilled by his eloquent Op. 40, result of some accidental high- frequency No. 2. a superbly martial Op. 53 (the peaking in the tape processing. since no "Glagolitic" is one of those clarion words well -named Heroic Polonaise), and a reviewer of the disc edition mentions it; that evoke a powerful magic altogether superbly poetic Fantaisie- polonaise, Op. but, whatever its source, it necessitates apart from their literal meaning. Actually 61. The Rubinstein Impromptus never adjusting the playback response for con- the term is the name of a distinctive have been as celebrated, although he siderable treble cut. Otherwise, the re- script -alphabet devised in the Middle recorded the last two in the 78 -rpm era cording is admirably transparent; the tape Ages for the Old Slavonic language and and the complete set in a 1959 LP, and processing satisfactorily quiet and pre - used particularly for the Catholic liturgy perhaps this popular verdict -by- default echo -free; and the performances zestful (by a special dispensation of the Pope) is not unjust: while there are many fine and buoyant. In any case, though, the in Moravia. It was its supposed inventor, moments here, the treatments over -all reel is an obligatory purchase for the are perhaps a shade too expansive. That music itself: a trio of absolutely aston- Continued on next page

JANUARY 1966 113

www.americanradiohistory.com THE TAPE DECK tory. In any case one must accept or laboratory standard refuse the present set as a unitary whole I Continued from preceding page -and in it the best of the Klemperer illuminations surely compensate for his St. Cyril, whose memory Janáéek relatively minor interpretative failings wanted to celebrate in the present festi- in some works, as well as for the dis- val Mass, composed in 1926 for the advantage of recording which seems just commemorations of the Czech Repub- a bit "thick" for all its sonic strength lic's tenth anniversary in 1928 -which and honesty. turned out to be the year of Janácxek's own death. Strange as the word "Glago- litic" may be, JanáCek's work is no less TCHAIKOVSKY: Symphonies strange or powerfully magical. There is nothing at all elsewhere in music No. 1, in G minor, Op 13 (" Winter closely akin to this extraordinary master- Dreams"); No. 2, in C minor, Op. 17 piece; and while I don't dare claim that ( "Little Russian "): No. 3, in D, Op. 29 all listeners are sure to like it, I do not ( "Polish "): No. 4, in F minor. Op. 36: VEGA hesitate to guarantee that it will not only No. 5, in E minor, Op. 64; No. 6, in B fascinate everyone who takes the trouble minor, Op. 74 ( "Pathétique "). Capacitor Microphone to study it but will prove to be immensely complete sound You capture the every rewarding. (It is not, by the way, par- Vienna Philharmonic Orchestra, Lorin time. Whether it's a big symphony or- ticularly dissonant in Maazel. cond. chestra, a mighty pipe organ or a combo. or far -out its LONDON LCK 80166 1 Ultra low distortion. Exciting fidelity, actual idioms: its difficulties are more (Nos. & 2); LCK 80161 3 transparency and clarity. 10- 20,000 hz of thought than of tonal language.) The (Nos. & 4): LCK 80163 linear response guaranteed. Switchablc broadspread stereo recording here is per- (Nos. 5 & 6). Three double -play reels: low or high impedance output. Switch - haps a bit opaque and distant -but these 75, 84, and 88 min. resp. $11.95 each. able low frequency filter. Superior sta- very qualities contribute to the atmos- bility. Why accept less? pheric effectiveness of the vigorous, My holding back comment on this series Single microphone, power supply $185 earnestly eloquent performance by Ra- until its completion (in retrograde se- Two microphones and dual fael Kubelik, his soloists and chorus quence) is perhaps justified by the fact power supply for econom- (singing the text in Old Slavonic), and that the last reel to be released, contain- ical stereo arrangement $315 orchestra. ing the unfamiliar First and Second Write for free brochure. Vega Electronics Symphonies, can be recommended whole- Corp. (creator of the world- famous heartedly even to listeners bored by the only too famous Vega-Mike® wireless microphone), MOZART: Symphonies last three. Nos. 1 and 2 1161 Richard Ave., Santa Clara, have been taped before, but the Swarow- Calif. 95050. (Ask any franchised sky /Urania 2 -track versions have long No. 35, in D, K. 385 ("Haffner"); No. V Vega dealer for a demonstration.) been out -of-print and the 4 -track London 36, in C, K. 425 ("Linz"): No. 38, in D, taping of No. 2 by Solti has never been K. 504 ("Prague"); No. 39, in E flat, K. CIRCLE 77 at all satisfactory. And Maazel's is the ON READER -SERVICE CARD 543; No. 40, in G minor, K. 550; No. first tape representation of any kind of 41, in C, K. 551 ("Jupiter"). No. 3 (misleadingly nicknamed Polish, as James Lyons' admirably perceptive Philharmonia Orchestra, Otto Klemperer, notes explain), which also warrants my cond. warmest commendation. What delightful ANGEL Y3S 3662, 33/4 -ips triple - works these three are: naïve at times, play. 154 min. $17.98. NOTICE and perhaps occasionally lacking in refinement, but always exuberantly vital, For sheer quantity TO STEREO of musical genius brimful of bright musical ideas and scor- per cubic inch of recording medium, ing felicities! Happily. Maazel's perform- & HI -FI BUYERS what can beat this reel? Slow -speed tape ances seem to have just the right, appro- technology may not be ideal in all ways, priately youthful. enthusiasm and verve. BEFORE YOU BUY GET A RABSONS but it can do extraordinary things - What reservations I have about this QUOTE...YOU'LL BE GLAD YOU DID! like this technically acceptable, artisti- conductor's readings are almost entirely At Rabsons Competitive Prices, a ia- cally immensely rewarding integral set of applicable to the better -known sym- bili:y and Personal ServicTve een Mozart's last six symphonies. phonies, where the tape bywords for over 60 years repertory affords This Klemperer set (assembled from varied and often strong competition. In It's so EASY and SAFE to deal with Rabsons recordings originally released in Eng- brief. I feel that Maazel's Fourth is some- land some three years ago except Up to 36 months to pay on Easy Pay Plan for what lacking in excitement and that his Cen -'ally located -as close as your telephone the last two symphonies, which date Fifth is perhaps just a bit feminine in -as near as your mail box Free Mail Order - farther back) is the first integral set of Hi Fs Clinic Service Fast Air Mail Response its rich lyricism as well as, again, failing on EiJotation Requests Franchised Distribu- the six in tape format. Bruno Walter's in supreme dramatic excitement. On the tor tor Hi Fi Lines 60 Years of business No. 36 and No. 39 from his "Krs:w How" to serve you better Ship- complete other hand, it seems to me that his Sixth, merits DOUBLE PACKED and FULLY INSURED disc series are still missing on reels; while perhaps missing the emotionalism "kttractive" Prices Warehouse on prem- from Jochum there are four (Nos. ises Fast Delivery-Large inventory permits 35, some listeners demand (and many find processing and shipment promptly All 36, 28, and 41) on Philips; from Kertesz in the best -selling Ormandy /Columbia merhandise brand new in Factory sealed two (Nos. 36 and 39) on London; from cartons Save even more on complete sys- taping of the Pathétique). is extraor- Von tem quotes Export Packing-220 Volts 50 Karajan two (Nos. 40 and 41) on dinarily lucid. taut. and eloquent. I am Cyc e merchandise a specialty Free list RCA Victor and London respectively; of ronthly specials. aware, of course, that critical estimates and there are, of course. a number of of Maazel's Tchaikovsky have varied con- BALL POINT PEN with every quote other conductors' tape editions of single siderably. but as far as technological frei works. First choices are as much a mat- qualities are concerned. there can be no OVFR 6 YFARS O ter of personal predilections as of ob- room for argument. London's engineers jective merits, but I'm sure that at least have surpassed themselves throughout Dr. Klemperer's Nos. 36, 38, and 39 this series in exploiting the stereo poten- must be near if not at the top of any- tial for enchantingly lovely, air -borne one's listings; his Nos. 35 and 41 are sonics and a superbly re- created concert RABSONS57 ST. INC. highly distinctive if not completely suc- hall ambience. 111 West 57th Street, New York, N Y. 10019 his No. 40 is Tel. Area Code 212 -247 -0070 cessful; and only not likely to be considered, generally, satisfac- Continued on page 116 CIRCLE 53 ON READER- SERVICE CARD 114 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com THE TAPE DECK throughout. The recording is notably big and substantial, yet bright, with markedly Continued from page 114 differentiated channel antiphonies.

INTERNATIONAL VLADIMIR HOROWITZ: "Carnegie "The Genius of Jankowski!" Horst - First Choice of those Hall Recital, May 9, 1965" Jankowski. piano: Chorus and Or- chestra. Mercury STC 60993, 35 min., who demand the Best! Bach -Busoni: Toccata, Adagio, and Fugue $7.95. in C. Schumann: Fantasia in C, Op. 17; The "genius" apparently is a knack for Kinderszenen, Op. 15: No. 7, Triitunerei. devising such catchy songs as Ein Scriabin: Sonata for Piano, No. 9, in F, Schwarzwaldfahrt. Simpel- Gimpel, Bald Op. 68; Poem in F sharp, Op. 32, No. I; klopft das Glück, etc., which have been Etude in C sharp minor, Op. 2, No. I. enormously successful "singles" hits in Chopin: Mazurka in C .sharp minor, Op. Europe. The Jankowski talents are 30. No. 4; Etude in F, Op. 10, No. 8; stretched thinner in such more synthetic Ballade in G minor, Op. 23, No. I. De- pieces as When the Girls Come Marching bussy: Children's Corner: No. 3. Sere- In, a too clattery Caroline- Denise, and nade for the Doll. Moszkowski: Etude in overfancy arrangements of Debussy's A flat, Op. 72, No. I1. Clair de lune, Toselli's Serenade, and Friml's Donkey Serenade. And he tends Vladimir Horowitz, piano. to overexploit the limited sound poten- COLUMBIA M2Q 745. 92 min. tials of his basic setup: solo piano with Model SS822 From $11.95. rhythm section in the center, chorus well 2 Track Stereo $1440 back on the left. orchestra with a second So much has been written about Horo- piano back on the right. But at his best Unsurpassed Performance witz's return to the concert stage last Jankowski is decidedly enjoyable and he ips db cps s/n spring and the recorded documentation has been given markedly stereoistic. bril- of that event that I will here confine liantly effective recording throughout. 15 ± 2 50 20,000 57 - myself to the expression of my purely 7 -1/2 ± 2 30- 20,000 55 personal reaction -less an unreserved "Great Themes from Great Foreign 3-3/4 ±2 30- 10,000 51 paean of praise than a special recom- Films." Mr. Acker Bilk, clarinet; Leon mendation of the program as a vividly Young String Chorale. Atco AOC International illuminating study in the psychology of 1406. 32 min.. $7.95. Box 1000, Dept. HF -1. interpretative genius. Actually, I am sure I doubt if any other clarinetist (including Elkhart, Indiana 46517 that Horowitz played more consistently Reginald Kell at his ripest) ever has better in his earlier studio tapings (re- boasted a wider, richer vibrato or ever viewed here March and September 1963 exploited the chalumeau register more Put a in Your Future! and July 1964), but the present live romantically than does "Mr." Bilk. He CIRCLE 32 ON READER -SERVICE CARD recording reveals a fascinating progres- doesn't sound particularly effective in the sion from the nervous tension and some- upper register of his instrument -but then what hard tone of the opening Bach - he wisely seldom ventures outside the TAPE Busoni work to the perfect ease, elasticity. lowest one. where his throbbing expres- and tonal warmth of his delectable siveness certainly squeezes every drop of encores -the Debussy Serenade for the sentiment out of such tunes as More, Doll. Scriabin and Moszkowski Etudes, Canto d'Amore, l'irestur, La Strada, etc. RECORDING and Schumann Träunzerei. These last are The Leon Young strings and rhythm sec- all pieces which every piano student plays tion provide suitably schmaltzy support; at one time or another, but surely no one the recording is appropriately luscious; IN EUROPE else can endow them with Horowiti s and everything adds up to an exception- unique present blend of tenderness and ally evocative mood music reel. Some of the most interesting de- consummate skill. Fine as the big -work velopments in tape recording are performances are, it is these "little" "Neapolitan Songs." Giuseppe di Stefano, taking place in old- established fac- encores and the steely /velvety Chopin tenor; New Symphony Orchestra. Iller tories and laboratories in Europe. Mazurka which I find most moving. But Pattacini. cond. London LOL 90106, The fullest information about them these remarks are all perhaps beside the 42 min.. $7 95. appears regularly in TAPE Record- main point: which is that a memorably The traditional art of singing Neapolitan ing Magazine, published in London, historic musical event has been well -nigh folk and popular songs has long become England, since February, 1957. ideally preserved. so formalized in its expressive intensity that it constantly risks lapsing into sheer TAPE Recording Magazine was the emotionalism. But. happily. Di Stefano first and is today the foremost pub- is one of those rare Italian tenors who lication in Europe devoted EXCLU- " Basie Picks the Winners." Count Basie not only has thoroughly mastered the SIVELY to tape recording. and His Orchestra. Verve VSTC 330, orthodox style but is always careful to 33 min., $7.95. preserve a genuine beauty of vocal tone Regular features include Test Bench If you have a hard time finding good and at least a reasonable restraint. Back Reports on tape recorders, tape rec- swinging (but non -teen -age -beating) dance in April 1962 we had a first -rate reel ord Reviews, Club news, travel music, you'll share my relish of the jaunty program. "Voce d'ltulie," from him: the exclusives, new products, and a performances here. Oh Lonesome Me. present recital is. if anything. even better World -wide Tape Exchange column My Kind of Toter. That's All. Volare. sung. and just as cleanly and sweetly re- for readers. and I'm Walkin' are perhaps outstanding. corded. It will have perhaps even greater but all the Billy Byers arrangements are public appeal for its inclusion of three For yearly postal sub. (12 issues) effective; there are rhapsodic solos by De Curtis songs (topped by a fine nos- send $3.75 to:- Eric Dixon (on both flute and sax), talgic Smut chitarra!). a vivacious Pu.sil- Eddie Davis on sax, Al Aarons on ieco, and an expressive Catar',, Catar',. TAPE trumpet, et al.; a delightfully casual My only complaint is that the properly RECORDING MAGAZINE talking -blues vocal by Leon Thomas in light accompanying ensemble, with its Nobody Knows You When You're Dozen mandolin section obligatory in Neapol- 7 Tudor St., London, EC4, England. and Out; and of course there are gleam- itan music, is misnamed a "symphony" ing bits of Basic's own pianism scattered orchestra. CIRCLE 81 ON RENDER- SERVICE CARD

I I 6 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com TRADEMARK Some plain talk from Kodak about tape:

The meat of the matter.. and some boxing news

Undistorted output from a tape -as the 400 -cycle signal level. This spells cent tells us a lot about a tape even if, from any other link in the chain of uncle!" We use 400 cycles for con- on the average, you never exceed the audio components -is at the very heart venience, but insist upon a reasonably 0.5% level. of high fidelity enjoyment. Distortion long wavelength because we want to Because undistorted output helps to (or the lack of it) is in theory simple affect the entire oxide depth. define the upper limit of the dynamic enough to evaluate. You start out with The more output level we can get range, it has a further effect on the something measurable, or worth listen- (holding the reproduce gain constant, realism of the recording. The higher ing to, and you reproduce it. Every- of course) before reaching "uncle," the undistorted output, the easier it is thing added, subtracted or modified the higher the undistorted output po- to reproduce the massed timpani and by the reproduction, that can be meas- tential of the tape. the solo triangle each at its own con- ured or heard, is distortion. Since most Simple, what? cert hall level. And this is just another increase as area where Kodak tapes excel our kinds of distortion you "Wadayamean -undistorted ... push any component of your system general-purpose /low -print tape (Type at two percent ?" closer to its maximum power capabil- output 31A) gives you up to 3 decibels more ity, you have to label your distortion That's what makes a Miss America crisp, clean output range than con- value to tell whether you (lid this while Contest. Two percent third harmonic ventional tapes. coasting or at a hard pant. is a reference point that we like to con- Cry "uncle" template for a picture of oxide per - formance. Since distortion changes the To make the distortions contributed by original sound, it becomes a matter of the tape itself big enough to measure acumen and definition how little a and control, we simply drive the tape change is recognizable. If you're listen- it and use that ing, two percent is a compromise be- n- until hollers "uncle" 2% Third an ear. 0. power reference as our benchmark. tween a trained and untrained harmonic Here's the procedure. Record a 400 - If you're measuring, it conies at a con- cycle signal (37.5 -mil wavelength at venient point on the meter. It's like a 15 ips) and increase its level until in a manufacturer testing all sports cars at is 150 mph, even though sonic cars are playback, which itself pristine, you INPUT db can measure enough 1200 -cycle signal driven by connoisseurs and some by (third harmonic) to represent 2% of cowboys. Same goes for tape. Two per- 2% third harmonic distortion represents the practical limit to linear recording. The great unvei ing- Kodak's new library box with removable sleeve! Kodak tapes -in the five- and seven - inch sizes -now look as good as they sound. We've put package identifica- = 1211hap^NIM0.1w ® tion on a removable sleeve and designed a tape library box with a smart new look. This box features durable one - KODAK piece construction, full index space, plus detailed tape use instructions on

Sound Recording Tope the inside. Kodak Sound Recording r SOUND Tapes are available at most electronic, camera, and department stores. RECORDING New 24 -page, comprehensive "Plain Talk" booklet covers all the important TAPE ---- aspects of tape performance, and is free on request. Write: Department 8, Eastman Kodak Company, Rochester, N. Y. 14650.

EASTMAN KODAK COMPANY, Rochester, N.Y. CIRCLE 23 ON READER -SERVICE CARD JANUARY 1966 117

www.americanradiohistory.com Index of Equipment Reports, 1965

AMPLIFIERS (Basic) Crown SS824 July, p. 49 Laboratories C/M 35D Aug., p. 62 Magnecord 1024 Feb., p. 61 Harvard /Futterman H -3 Apr., p. 63 Roberts 1630 Sept., p. 67 THE Pure Sonics 402 -C Mar., p. 75 Wollensak 1280 Oct., p. 73 HI - =I AMPLIFIERS (Integrated) TUNERS TUNE Fisher TX -200 Dec.. p. 67 Dynatuner FM -3 Mar., p. 78 KLH -16 Nov., p. 75 OF KLH -I8 July, p. 52 Knight KN -999 Jan., p. 64 SAVINGS Marantz 10B Nov., p. 79 H. H. Scott 260 June, p. 51 AT McIntosh MR71 Aug., p. 60 Sherwood S -9000 May, p. 49

TUNER /AMPLIFIERS (Receivers) DIXIE ARM Fisher 600 -T Feb., p. Scope /Castagna Model A Jan., p. 63 63 Harman -Kardon SR -900 Apr., p. 64 Lafayette LR -800 CARTRIDGES Sept., p. 71 Largest discount High Fidelity H. H. Scott 344 Oct., p. 69 component distributors in the Dynaco B &O Stereodyne III Nov., p. 81 South. Wholesale prices on Empire 888P and 888PE Sept., p. 69 package or individual compo- Euphonics Miniconic Dec., p. 70 TURNTABLES nents. Latest models in factory Grado Model A Oct., p. 71 Acoustic Research AR -XA Aug., p. 61 seabed cartons shipped imme- Pickering V- 15 /AME -1 June, p. 54 Bogen B62 May, p. 52 from diately our warehouse. Sonotone Mark IV May, p. 51 Dual 1010 June, p. 53 Special attention given to Elpa PE -34 Sept., p. 74 Audlio Clubs, Churches and Garrard AT-60 Nov., p. 80 Schools. MODULAR SYSTEM Lab 80 For Special Price Quote -Write Benjamin 200 Nov., p. 77 Garrard Apr., p. 67 Knight KN -990A July. p. 54 SPEAKER SYSTEMS Thorens TD -224 Mar., p. 79 Acoustech X Oct., p. 72 Acoustic Research AR -4 Jan., p. 66 MISCELLANEOUS Altec Lansing 843A June, p. 55 CBS STR -101 Test Record Jan., p. 37 Audio Dynamics ADC Mar., p. 77 CBS 360 System Mar., p. 49 DIXIE 325, 303A Electrovert Wiring System Sept., p. 45 HI FIDELITY WHOLESALERS Benjamin 208 Nov., p. 77 Heath GD -983 Electronic 703 HORTON DRIVE Bozak B -4000 Dec., p. 71 Organ Kit Apr., p. 68 SILVER SPRING, MD. Empire 9000 July, p. 53 Hoffman Solar Battery June, p. 29 KLH -17 Aug., p. 59 McIntosh MI -3 Indicator Dec., p. 69 KSC -3 Sept., p. 73 Norelco 150 Carry- Corder Nov., p. 46 CIRCLE 18 ON READER- SERVICE CARD James B. Lansing Shure Solo- Phone, SA -1 Energizer- Reproducer May, p. 53 Amp Sept., p. 45 UTC Maximus 1, 2, 3 Feb., p. 66 Tandberg Portable Radio July, p. 29 3M Scotchflex Wiring TAPE RECORDERS System Feb., p. 37 Ampex 2070 Jan., p. 61 Zuckermann Harpsichord Concord R -2000 Dec., p. 72 Kit July, p. 35

HIGH FIDELITY NEWSFRONTS Continued front page 37

and lessening it at the outer portion. low- friction arm: ironically, in poorer What's more. skating causes the stylus equipment -especially arms that have pressure to vary against the opposite high -friction bearings- skating is unim- side -walls of the groove anywhere along portant and there is very little need to the record. For instance, an arm set for compensate for it. As for styli. the ellip- 2 -gram tracking force. if uncompensated tical tip is said to intensify skating and to for skating, may exert-at the outer por- need compensation more than the conical tion of the groove -1.8 grams against tip. The longer the arm. the less the the left -channel wall and only 0.8 grams skating force exerted. and, according to against the right -channel wall. These the Dual people. "a tone arm of infinite variations can cause distortion and ac- length would have no skating force." celerated wear on discs played with to- Tone arms are, however, of finite Fill in coupon for a FREE One Year Sub - day's high compliance cartridges in a length, and Zimmermann's studies of this scripti n to OLSON ELECTRONICS' Fantas- tic Value Packed Catalog - Unheard of problem have prompted the calibrated LOW, LOW PRICES on Brand Name adjustment found on the new Dual. The Spec kers, Changers, Tubes, Tools, Stereo Amps, Tuners, CB, Hi -Fi's, and thousands detailed summary of these studies has not of cther Electronic Values. Credit plan been completely translated (most of this available. was conveyed to us viva voce by Zim- NAM E mermann, with Gorski serving as inter- ADDRESS preter), although part of it appears in CITY_ ___ZONE -STATE the instruction manual furnished with the Dual 1019, and the remainder prob- If you have a friend interested in electronics ably will be offered in English at a later send his name and address for a FREE subscription also. date. The Skate-O -Meter itself, developed as a research tool in designing the new OLSON ELECTRONICS, INC. Dual, will at first be available only to dealers: eventually it may be offered 445 S. Forge Street Akron, Ohio 44308 generally, inasmuch as it can be used l)n,,l's ,alt tr. Skate -O- Meter. for checking any make of tone arm. CIRCLE 50 ON READER -SERVICE CARD LI8 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com THE POSTHUMOUS CAREER OF J. S. BACII

Continued from page 58 contains an awe -inspiring Einfall to the B minor Mass. (Not the later stereo WRITE FOR which the sensitive listener inevi- one -I could hardly believe it was by tably responds, "How did he ever the same conductor.) I would also hope think of that?" There are the themes to be able to sneak in the old Branden- themselves, each so different from the burg No. 6 recorded by Karl Haas (again QUOTATION others; there are the unexpected turns of a Westminster disc, of about the same FACTORY SEALED CARTONS entrance. vintage) and the London harmony, of phrase, of thematic early- Fifties FRANCHISED DISTRIBUTOR Play the Well -Tempered Clavier or the Baroque Ensemble. Art of Fugue, and they fly from your With all the lip service paid by per- QUICK SHIPMENT fingers until the air is saturated. One ex- forming musicians to Bach, it is not very ample -again from the B minor Mass - easy to get to hear his music "live." In should suffice. After the Dionysian orgy the larger metropolises the situation has WE GIVE that is the Gloria, the orchestra (sup- been improving during recent years. But ported at first by the chorus) continues in the smaller cities the few Bach per- to play a series of sequences that for all formances are relegated, along with the DISCOUNTS the world sounds like transitional, or avant -garde, to special "off- the -beaten- "filler," material. Suddenly voices are track" concerts -if they are given at all. ON HI -FI heard floating along with the sequences Visiting virtuosos, of course, leave Bach and, before you can believe it, this "non - home. Which of them would withhold theme" has become the subject of a his Brahms, Tchaikovsky, or Beethoven COMPONENTS choral fugue. Such moments are present concerto to offer one by Bach? Regu- in the music of all the great masters, but lar orchestral concerts all but ignore -although Mozart is a close second - him. There are few opportunities to nowhere do they pile up on each other so hear even the Brandenburg Concertos, SOUND thickly as in the works of Bach. not to mention the powerful Cantata No. 50, the Well - Tempered Clavier, the REPRODUCTION Musical Offering, or the Art of Fugue, ICAN STILL REMEMBER my own first all among the most thrilling experiences INC. contact with Bach's music. It was as a available to a music lover. I remember high- school freshman, and I played violin being shocked by one very famous con- 34 New Street, Newark, N. J. (01102) in the school orchestra. Once we were ductor when I asked him why he never (201) Mitchell 2 -6816 given the Third Brandenburg Concerto to played anything by Bach at his concerts. read, and the pleasure we all felt as we "Oh," he replied, "once you've heard one scraped away made it for us the mem- Bach fugue, you've heard them all." orable musical event of the semester. On You might as well say it of conductors. subsequent days we switched parts (the CIRCLE 64 ON READER -SERVICE CARD Third Brandenburg is written only for strings), and I ended by playing each of the three violin and three viola parts. ELLING HI-FI Every new part was as thrilling to play as the previous one. The independent, Why? self -sufficient voices, combining to form ORLD WIDE the whole, was such a revelation to us DO THOUSANDS OF HI -FI that we would call "Brandenburg" each time the teacher entered to begin the NCE 1948 ENTHUSIASTS BUY FROM class. How we all despised those piano RECORDERS students in the school who had to struggle COMPONENTS AUDIO UNLIMITED with their Bach and became bored by KITS SPEAKER SYSTEMS TAPE him. To them he connoted little more than dutiful exercises, to prepare for the LOWEST PRICES It's Obvious! music yet to come. We string players SAME DAY REPLY knew better. He was for us our joy and TO YOUR INQUIRY LOWEST PRICES our emotional release. One looks at a Bach Gesellschaft MFRS. SEALED CARTONS FAST SERVICE monopolizing a library shelf and wonders DOUBLE BOXED FACTORY SEALED UNITS in a could how one man single lifetime WHEN POSSIBLE possibly have written down all those FULLY INSURED SHIPMENTS notes. Considering that there is hardly FAST, INSURED SHIPMENTS MANUFACTURERS' a less than first -rate thought in the whole DEALS WARRANTIES canon, the books take on a mesmerizing PACKAGE SAVE YOU MORE capability. If somebody were to ask me PACKAGE DEALS -SAVE MORE the cliché- ridden question as to what FRANCHISED DISTRIBUTORS FRANCHISED DISTRIBUTORS single published work I would take with FOR OVER 50 MFRS. me to a desert island, I would not hesi- Write for FREE Listing today tate before specifying the Gesellschaft. If PARKING METERS I had to be stranded with a single re- AT PREMISES SEND US YOUR LIST cording, it would be Scherchen's pre - !'ereo performance for Westminster of SPECIAL STEREODYNE II DIAMOND FOR OUR AIR MAIL STEREO CARTRIDGE - $7.25 ppd. QUOTE TODAY Send for FREE "MONTHLY SPECIALS" on other Cartridges, Topes, and Components. Visit Our Showroom and Warehouse WRITE FOR MONTHLY SPECIALS /4f0 C) AUDIO unlimited, inc. £ARSTON Ave. 715 F Second (Nr. 38) N. Y. 16, N. Y. 1686 -F Second Ave. (N r. 871, N.Y. 10028 I 3 blocks from the U.N.

CIRCLE 10 ON READER -SERVICE CARD JANUARY 1966 119

www.americanradiohistory.com SAVE MONEY on ADVERTISING INDEX NATIONALLY ADVERTISED BRANDS Key No. Page No. Key No. Page No. 111-F1 1 Acoustic Research, Inc 5 43 ... Mace Records 101 2 Acoustic Research, Inc. 85 44... Magnecord Sales Dept. 115 COMPONENTS Acoustical Manufacturing 45 .... Marantz 63 Co., Ltd., The 14 47 McIntosh Laboratory, TAPE 4 Allied Radio 107 Inc. 102 6.. Ampex Corporation .. 39 48 Mosley Electronics, Inc 22 RECORDERS Audio Unlimited, Inc. 119 84 Musical Heritage Society, Inc., The 100 7 Benjamin Electronic Sound Corp. 83 49 .. OKI- Chancellor 8 Bogen Communications Electronics, Inc. 99 TAPES, Division 41 50 ... Olson Electronics, Inc. 118 ACCESSORIES Bozak, R. T., Mfg. Co. 103 SLEEP LEARN KITS 103 British Industries Corp. 44 M ERITAPE 51 .. Pickering & Co., Inc. .. 2 Top Quality Recording Tape 9 .... Cambridge Records .... 98 Franchised Distributors 10 .. Carston Studios ... 119 53 .. . Rabsons-57 St. Inc. 1 14 Factory Sealed Cartons 52 11 .... Citadel Record Club ... 11 .... RCA Electronic Lowest Prices Components & Devices 26 12 . Integrity -Service .. Columbia Record Club 6, 7 54 . RCA Record Club .. 9 13 .... Columbia Records ..78, 79 Write for our 55 RCA 14 Columbia ... Victor Records 72 VERY LOW QUOTATIONS .... Stereo Tape Club 17 -19 56....Rek -O -Kut 28 57 .... Rheem- Roberts 10 FREE CATALOG 15... Command Records ....104 82 .... Crown International ... 116 85 .... Schwann Record DRESSNER 17. . Decca Records 95 Catalog 100 1523 Jericho Tpkc., New Hyde Park 32, N.Y. 18 .. . Dixie Hi -Fi 118 58 .... Scope Electronics Corp 23 Visit Our Showroom 19.... Dressner 120 100. Scott, H. H., Inc. 35, 36 CIRCLE 19 ON READER -SERVICE CARD 20 ...Dual 15 59 . Sharpe, E. J., Instruments 21 .. . Duotone Co., Inc. 40 ... 106

60.. . Sherwood Electronic E over 40 % 22 . Dynaco Inc. 81 S AV hi fi Laboratories, Inc. Cover IV 23.. Eastman Kodak Co. 117 COMPONENTS & TAPE RECORDERS 61 Shure Brothers, Inc. 16 26 ... Electro- Voice, Inc. 27 ...... Easy-Pay-Plan-Up to 24 roos. to pay 62 . .Shure Brothers, Inc. .. 64 25 .. Electro- Voice, Inc. Cover III 15 day money-back guarantee. 64 . Sound 27 ... Elpa Marketing Reproduction, Franchised all lines, assuring you up to 5 Inc. 119 yr. Mfr. Warranty. Industries, Inc. 30 Most items shipped promptly from our 65 . . Stanton Magnetics, Inc. 34 58 . EMI, see Scope Electronics $250,000 inventory. Stereo 1966 Edition 20 108 Empire Scientific Corp. 94 Trade -Ins- Highest allow. -Send your list. 66.... Superscope, Inc. 29 Shipments double packed 8 fully insured. 67... Superscope, Inc. 31 Our Specialty -Export ii APO inquiries. 30 Finney Company, The 108 21st yr. dependable service -World Wide. 29 Fisher Radio 68 .... Superscope, Inc. 112 Corp. Cover 11, 1, 25 69... Sylvania Electric Write for Our Price First. You'll Be Glad You Didl Products 87

we own the sharpest pencils 103 Garrard . 44 In the U.S.A. 83 Gramophone, The .. 98 70 Tandberg of America, Inc. 111 PREMIUM RECORDING TAPE 34 Harman- Kardon, Inc. 12, 13 81 . Tape Recording GUARANTEED TOP QUALITY Magazine 116 Typo Brand 3.11 12+ 33 Harmony House, Inc. 14 27 166 3M 7" 1200' Acetate Ea. 1.19 1.09 35 Heath Company 32, 33 ... Thorens 30 167 3M 7 "1600' A Ea. 1.39 1.29 36 Hi- Fidelity Center 120 72 . Toujay Designs 28 941.15 Ampex 7" 1600' Mylar Ea. 2.69 2.59 911.15 Ampex 7" 1200' Acetate Ea. 1.59 1.49 951-15 Ampex 7" 2400' Mylar Ea. 4.39 4.09 37 Inter -Mark Corp. 22 20 .. United Audio 15

Minimum Order $10.00. All prices include ship - 75 .. University Sound 21 ping USA, APO. Any assortment permitted 38 Jensen Mfg. 43 for best price. 100+ reels deduct additional 5 %. Please write for types not listed. 76 .. Vanguard Records 93 39 Kenwood Electronics, 77 Vega Electronics Corp. 114 Inc. 8

HI- FIDELITY 78.. . Verve Folkways 42 40 . KLH Research and CENTER Development Corp. 91 79 ... Viking of Minneapolis, "The House e1 Low Low Prices" Inc. 4 239 -H East 149th St., 41 Lafayette Radio New York, N.Y. 10451 Electronics 110 80. Winegard Co. 24 London Records 97 Wyeth Press 88, 89 CIRCLE 36 ON READER -SERVICE CARD 120 HIGH FIDE! i'l'l' MAGAZINE

www.americanradiohistory.com In this age of extravagance we set out to build the sensible receiver !

We assume your first interest And that's why our performance We also offer a Stereo FM receiver (E -V 1177) realistically priced at $280.00. Separate tuners is in the music, not the ma- standards meet the most critical and amplifier::, too. A postcard will bring our chine -with no zest for unneeded musical taste, not some theoretical color brochure. It makes good sense. bulk, excess cost, or useless gew- ultimate of perfection in printed ELECTRO- VOICE. INC. gaws in your equipment. specifications. The sound is just ex- Dept 164H, 619 Cecil Street Buchanan. Michigan 49107 That's why controls are uncom- ceedingly good. plicated on the E -V 1178 receiver, The crisp decorator look of the despite its versatility. E -V receiver is your extra bonus. That's why it is one of the smallest Just $315.00 with integral walnut - all solid state receivers you can find, paneled enclosure. Guaranteed for SI"Lerir its 50 watt amplifier power two years the new Model E-V Yeler, despite - SETTING NE "v STANDARDS IN SOUND and full AM ±Stereo FM capabilities. 1178. CIRCLE 25 ON READER -SERVICE CARD

www.americanradiohistory.com Compare these Sherwood features and specs! ALL SILICON reliability. Noise -threshold -gated .utomatic FM Stereo /mono switching, FM stereo light, zero -renter tuning meter, FM interchannel hush adjustment, front -panel stereo headphone jack, rocker - cion switches for tape monitor, mono /stereo, noise filter, speaker discornett and loudness contour. 100 watts music power (8 ohms) ® 0.3% harm distortion. let distortion 0.1% ® 10 watts or less. Power bandwidth 12- 35,00E cps. Phon sens. 1.8 mv. Hum and noise (phono) FM sens. 1.6 -70 db. UHF) µv for 30 db quieting. FM signal -to- noise: 70 db. Capture ratio: 2.4 db. Drift ±01 %p. 40 sileon transistors plus 14 silicon diodes and rectifiers. Size 161 x 41 x 14 in. dp.

FM Sensiti riy Dollars/ Watt MicrovsIG

Sherwood S-8800 S 100 0.10%

Altec 711 S 100 0.15% 378.00

Bogen RT 8000 T 70 (4U) 0.3% 319.95

Dyna FM 3, PAS -3, & S -70 V 90 0.1% 394.85

Fisher 600 T V&1 120 1.6 %*

Harman Kardon SR-900 T

88 748.00

V 75' 0.5% Scott 348 V&T 100

Refmnto "T' (shoes) may inclues soma s,l,con transistors noves oboes an manufacturers' published specifications =heel (e) which ara publ N1 r.r .....

SHERWOOD SPECS SPEAK FOR THEMSELVES

eI11x\1,I11)1) NNINI \ll

96 100 102 104 106 106 % C .98 L.. L.

S-8330 103 -watt FM ALL- SILICON Receiver 6359.50 for custom mounting 6368.50 in walnut leatherette case 6387.50 in hand -rubbed walnut cabinet

Sherwood Electronic Laboratories, Inc., 4300 North California Avenue, Chicago, Illinois 60618 Write Dept. Hi

CIRCLE 60 ON READER -SERVICE CARD