The Magazine for Music Listeners

THE MAGAZINE FOR MUSIC LISTENERS

a discography by ALFRED FRANKENSTEIN

Original painting In Dr. Leon Kolb collection

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www.americanradiohistory.com High áiidcliiq

T HE M A G A Z I N E FOR MUSIC LISTENERS

Volume 6 Number io October 1956

The Cover. For more information about Robert Bereny's portrait of Béla Bartók at AUTHORitatively Speaking 4 twenty-two, and about how it was made accessible to us, see this month's "Music Noted With Interest 6 Makers." On The Counter 29 This Issue. The semanticist Alfred Korzyb- ski used the phrase "time- binding" to de- Letters 38 scribe a faculty unique to the human species, a sort of consciousness of continu- Books in Review 52 ity. And that is what we seem to be doing this issue - time -binding. The medium is As The Editors See It 63 modern, or contemporary, music. Carl Orff is a contemporary who has certainly Composing With Electrons In Cologne, by Allen Forte 64 arrived. Béla Bartók is a contemporary (if the word be assessed in a time -binding Some of the future's music, apparently, will be performed sense) who has arrived and gone. The without performers. electronic composers of Cologne are con- The Orff Hypothesis, by Henry Pleasants 68 temporaries who have not arrived and are proud of it (to them, it is we who have An interview with the most talked -about of modern composers. not yet arrived). These latter are building, The Art of Baffling, Antony they hope, a bridge into the future. Orff, by Doschek 7o as he makes clear to Henry Pleasants, is in Some thoughts on loudspeaker systems as musical devices. a fashion building a bridge into the past Living With - Europe's past, at least. Béla Bartók, far Music, by Ashley Montagu 73 more important (to our present reckon- A noted anthropologist's contribution to this essay series. ing), built his bridges through various dimensions. He tried to overpass the for- The Major, by Lawrence Lessing 74 malism of music as he found it, to link the Adventurers in Sound: the late Edwin H Armstrong. spontaneity of the earthborn folk melody with a new freely inventive style, to end Ultrasound, by John J. Stern 77 the divorce, much deplored by viewers of There are some high frequencies you wouldn't want around the modern scene, between artists and their the house. civilization. Music Makers, by Roland Gelatt 81 CHARLES FOWLER, Publisher Record Section 85 -13o JOHN M. CONLY, Editor Records in Review; Dialing Your Disks; Bartók on Micro- ROLAND GELATI, New York Editor groove, by Alfred V. Frankenstein. J. GORDON HOLT, Technical Editor ROY LINDSTROM, Art Director The Tape Deck, by R. D. Darrell 133 Assistant Editors Tested in the Home MIRIAM D. MANNING; JOAN GRIFFITHS 143 Manager, Book Division Viking Tape System; GSS Stylus Microscopes; Scott 330 Tuner; Marantz Power Amplifier; Dictograph Music System; Workman FRANCES A. NEWBURY No- Solder Phono Plugs. Contributing Editors C. G. BURKE High Fidelity Lexiconfusion, by Donald Shirer 15o R. D. DARRELL JAMES HINTON, JR. Audio Forum 172 ROBERT CHARLES MARSH Professional WARREN B. SYER, Business Manager Directory 18o ARTHUR J. GRIFFIN, Circulation Trader's Marketplace Manager r8o Advertising Index 185 Advertising Main Office - Claire Eddings, The Publish- High Fidelity Magazine is published monthly by Audiocom, Inc., at Great Barrington, Mass. ing House, Great Barrington, Mass. Tele- Telephone: Great Barrington 1300. Editorial, publication, and circulation offices at: The Publish- phone: Great Barrington 1300. ing House, Great Barrington, Mass. Subscriptions: $6:00 per year in the United States and New York - Fred C. Michalove, Room 600, Canada. Single copies: 60 cents each. Editorial contributions will be welcomed by the editor. 6 East 39th St. Telephone: MUrray Hill 5 -6332. Payment for articles accepted will be arranged prior to publication. Unsolicited manuscripts should be accompanied by return postage. Entered as second -class matter April 27, 1951 at the Chicago -John R. Rutherford & Associates, post office under 3, 1879. Inc., 230 East Ohio St. Telephone: at Great Barrington, Mass., the act of March Additional entry at the Whitehall post office, Pittsfield, Mass. Member Audit Bureau of Circulation. Printed in the U. S. A. by 4 -6715. the Ben Franklin Press, Pittsfield, Mass. Copyright 1956 by Audiocom, Inc. The cover design Los Angeles - Brand & Brand, Inc., 6314 and contents of High Fidelity magazine are fully protected by copyrights and must not be repro- San Vicente Blvd. Telephone: Webster 8 -3971. duced in any manner.

OCTOBER 1956 3

www.americanradiohistory.com Why buy hi -fi AUTHORitatively Speaking Allen Forte, who reports in this issue on from an audio specialist? the electronic composers of Cologne, says his initial involvement with music began when he was seven and hasn't ended yet. Good question. . . So their recomendations are based on Currently he is an instructor in music at One that Boston people are answer- qualitative judgment of musical per- Teachers College, Columbia University, ing for themselves by investigating formance, backed by engineering anal- which institution conferred on him his The Listening Post as a source of ysis of the components. Their selec- doctorate and, through its Bureau of Pub- home music systems. Here are some tions are not influenced by pressure to lications, also published his book Contem- of the reasons why they're doing it. "push" certain lines. porary Tone Structures last year. from an audio spe- When you buy The products shown below are typi- cialist, you get individual attention Antony Doschek, master of the art of radio parts cal of the quality components Listen- baffling (see page 7o), is precisely the that can't be matched by kind of man one likes to find in high jobbers or all- around retailers. ing Post engineers recommend without hesitation. If you'd like more in- fidelity manufacturing, where he certainly For example, the Listening Post is, being vice president of Pro -Plane Sound people who serve you know good formation about any of them, just clip Systems, Inc., of Pittsburgh. He is both equipment and they know good music. the coupon - we'll do the rest. musician and engineer. He studied violin, flute, and theory, played with the Pittsburgh Symphony Orchestra (four years under You, too, can take advantage of these extra Listening Post services. Reiner), made his recital debut at Town Send us an outline of your requirements in a music system, the type Hall, New York, with his wife, a concert of music you prefer, a sketch of your listening room, give us a rough pianist, and still plays publicly on occasion to work. idea of your overall hi -fi budget, and we'll put our engineers in Pittsburgh. As engineer he served with the Crucible Steel Company of America, the development laboratory of the Fisher Scientific Company, the Unertl Optical The Listening Post Enthusiastically Company, S. P. Kinney Engineers, Inc., Recommends These Components and his own company, Metals Research Apparatus, which developed several important quality- control devices. H. H. Scott 310B Broadcast Monitor FM Tuner - Newest model of an outstanding FM in- If Ashley Montagu, who contributes the strument designed for those who want October essay on Living with Music (page absolute perfection in FM reception. Fea- 73), used his first and last names, like tures wide -band limiter design which ren- most of us, he would be known as Mon- ders tuning non -critical. tague Montagu (in toto, Montague Francis Net Price $159.95 Ashley Montagu), which may explain why he doesn't. London -born, he studied at The Connoisseur Turntable -Dynamically bal- the Universities of London and Florence, anced hysterisis motor and positive speed and received his Ph. D. at Columbia. He finest adjustment combine to give you the has been chairman of the anthropology de- 3 -speed turntable at any price. Absolutely 1949, and a quiet operation. partment at Rutgers since Net Price $110.00 widely consulted expert on race problems since 193o; UNESCO's statement on race, for instance, is largely his product. En- 30C Control Preamplifier Flexi- Brociner Mark - was the 1946 documen- bility plus neat, attractive styling. Inputs tirely his product None. His books include 2 magnetic, tape, TV, Radio. 24 tary film, One World Or equalization combinations. Self- powered. include How to Find Happiness and Keep Loudness control and rumble filter. It; Man's Most Dangerous Myth: the Fal- Net Price $88.50 lacy of Race; Darwin, Competition and Co- operation; The Natural Superiority of Dynakit Mark II 50 -watt Power Amplifier -A Women; The Direction of Human Develop- fabulous buy in kit form or assembled and ment, and The Biosocial Nature of Man, tested. Easier to assemble than any other just published (Grove Press, Evergreen kit. Full 5o watts power at flat response Books, New York, S 1) . measured working into a speaker load! IMMEDIATE DELIVERY! Lawrence Lessing, who writes of the late Net Price $69.75 in kit form Major E. H. Armstrong on page 74, first $99.50 assembled and tested met the Major in 1939. One result was an article in Fortune, the first in a general - circulation magazine on the subject of FM. Another result was the beginning of d THE' LISTENING POST, INC. work on an Armstrong biography, to be published this month by Lippincott. Lessing, a long -time member of the Board 161 Newbury Street, Boston 16, Mass. of Editors of Fortune and then of Scientific American, lives on a farm in Bucks County, Boxer Please send information Please ship ( Check for $ enclosed) Pennsylvania, with his wife and a named Diamond Jim. Scott 31oB FM Tuner Connoisseur Turntable Dr. John J. Stern (see "Ultrasound," page Brociner Mk 3oC Dynakit ( assembled) 77) is a Utica eye- specialist with a musical family. He plays the cello, his wife sings Name soprano and plays the piano, his son plays flute, his the clarinet. Street or P. O. Address violin and daughter Since the doctor is an expert amateur re- City Zone ( ) State cordist, none of this is wasted.

4 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com THE FIRST CHARLES EAMES DESIGNS FOR STEPHENS

Shown here, the first of the Charles Eames designs for Stephens Tru -Sonic 7 speaker enclosures. Essentially, they are a combination of Eames' design talent and Stephens' pioneer audio engineering. Mr. Eames has already designed the most important group of furniture ever developed in this country. His achievements in this and other fields indicate both technical inventiveness and aesthetic brilliance. There are more Eames designed enclosures to come ...fresh, exciting concepts in form and audio structure. STEPHENB TRIS- SCOLA =C I Warner Drive, Culver City, California

OCTOBER r956 5

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KARLSON TRANSDUCER KARLSON 8 KARLSON 12 KARLSON 15 At Home Abroad

SPEAKER 8" Utah G81 12" Axiom 22 15" University 315 And all that means is: if you want to find out what is going on at home, Covers complete PRESSURE 40.12000 30 -15000 20 -15000 range of sound ask somebody in Europe. For example, ±2db FREQUENCY cps ±4db cps cps ±2db on records if you want to find out what broad- RESPONSE (high end limited by speaker performance only) today! casting stations are operating in the Provides maximum state of Kansas, U.S.A., you do not SPEAKER 20% above 30% above 33% above sock for given ask anybody in Washington but you EFFICIENCY 40 cps 30 cps 20 cps and speaker. amplifier write to Geneva, Switzerland, where with- Tele- TRANSIENT -35db from -40db from -35db from Clean sound the Bureau of the International 40 -1000 cps 30 -1000 cps 20 -1000 cps out blurring or communication Union may be able to RESPONSE hangover. No other after 10 miliseconds (attenuation rate on system meets these tell you. interrupted steady performance ratings! At least that is what the United state signal) -45db from -50db from -45db from 40 -1000 cps 30 -1000 cps 20 -1000 cps States Government recommends. after 20 miliseconds We have come upon this bit of Attenuation rates above 1000 cps are in excess of these values. information by a round -about and Sound is uniform in somewhat coincidental way. There is DISPERSION Minimum of 120° for all speakers regardless all parts of room. no particular reason why we should of tweeter design. Rids strident effect. go into all the details; they have little HARMONIC Less than 10% Less than 5% Less than 5% Provides clean bearing on the subject. But neverthe- 40 at 30 cps at 20 cps fundamental bass. DISTORTION at cps less .. . Some months ago we received the customary circulars from the U.S. Government Printing Offices listing result of research These Karlson Ratings are the their latest releases. We always read on comparative performance of speaker systems. these circulars with considerable fas- They are not equalled by perform- cination because of the wide variety ances of any other enclosures tested of topics covered. One of the circulars - nor do they represent the fullest contained some information about ra- capabilities of Karlson dio broadcasting and telecasting sta- enclosures with still tions. Based on this information, we for this finer speakers. prepared the following item column: If you are interested in broadcasting stations of the world, the U. S. Government Printing Office recently *new and basic enclosure issued a four -part catalogue which invention for improved lists all known radio broadcasting and conversion of mechanical television stations except those in the vibrations into sound. continental U. S. A. The USGPO KARLSON catalogue number is Pr 34.659:955. TRANSDUCERS Part i ($1.25 ) is arranged according to country and city; part 2 ($1.25), $18.60 to $114 net according to frequency; part 3 AT YOUR DEALER OR (Si.00), according to station name; WRITE and part 4 ( 6o6 covers FM and TV stations. Send your order and remittance to U. S. Govt. Printing Office, Washington 25, D. C. KARLSON ASSOCIATES INC. The item didn't appear in NWI Dept. HF, 1610 Neck Road, Brooklyn 29, N. Y. Continued on page 8

6 HIGH FIDELITY MAGAZINE

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Rose, Paris -12 more! the widest possible choice of recorded entertainment Please send me as my FREE gift the 3 records I Jazz: Or you may tell us to send you NO record in any month. indicated here: 7 Red Not S. Cool (Select the 3 records you want from the list on this page, and Dave Brubeck Quar. Your only obligation is to accept as few as 4 selections circle the corresponding numbers here) tet In The Duke, Love from the almost 100 that will be offered during the next Walked In -5 more. 12 months, and you may cancel membership at any time I 2 3 4 5 6 7 8 9 10 11 12 I B Levant Plays Gershwin thereafter. The records you want are mailed and billed and enroll me in the following Division of the Club. r (check one 3 works- Rhapsody to you at only $3.98 plus a small mailing charge. box only) In Blue; Concerto in Classical Listening and Dancing I F; American in Paris. 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OCTOBER 1956 7

www.americanradiohistory.com NOTED WITH INTEREST Continued from page 6

because some other piece of world - shaking information came along subsequently which we thought was more important. About the same time, a HIGH FI- DELITY subscriber in Schenectady, New York, decided he wanted some information about FM and TV stations in this country. He wrote the Govern- ment Printing Office and received in return a form letter saying that they were forwarding his inquiry to the Federal Communications Commission. Time passed and eventually the FCC sent along to our Schenectady man their information Bulletin No. 4, January 1956. This bulletin gives the story on the four publications mentioned in our previously prepared NWI piece and concludes with this bit of advice: "The GPO has no publication listing broadcast stations in the continental United States ... . The Bureau of the International Tele- communication Union, Geneva, Swit- zerland, issues various international radio lists. These are not obtainable DEDIC.TED to those discriminating States may pur- listcne s who demand REproduction in the United but be from the direct. Prices of original music, the KLIPSCHORN chased Union system offers the ultimate in fidelity. fluctuate." pertinent Kl]lSCiORN and Our subscriber made some SHORTAORN eOld- remarks at this point and went on to speEker systems say that the information Bulletin No. KLIPSCH AND ASSOCIATES are narufa_1.lred 4 does magazines which only by theii die. mention trade HOPE, ARKANSAS signer, Paul W. publish lists but none of these is Klipsch_ 1.11 Hie fir commonly accessible to the general our Fate,t fiterture. public. SIIFIIORTMORN o It is conceivable that HIGH FIDEL- ITY is included among the "trade" COR =R HORN LOUDSPE &.KER SYSTEM magazines since once upon a time we did publish a list of FM stations. It OEERATELY sized moderately priced, he - was on latest information from SHORTHORN system approaches the KLIPSCHORN based system in fidelity of music REproduction. the Federal Communications Commis- sion - and we spent the next three ir or four issues printing letters from readers making corrections to the list! A similar list has since appeared elsewhere - with similar inaccuracies. We certainly wish there were adequate and accurate lists. Readers write in with surprising consistency asking for such information and we always have to tell them that it is not available and that the best thing to do is to sit down at the FM tuner and go down the dial. This is a laborious process but seems to be the only sure way, at present, of finding out what FM stations are operating within a given listening area. Continued on page ro

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OCTOBER 1956

www.americanradiohistory.com NOTED WITH INTEREST

Continued from page 8

Aside from these practical aspects of the situation, we must say that we find it extraordinary that a government which provides so much information about so many different topics is unable to tell us what radio and television stations are on the air. In this country, we mean. When we first started collecting our thoughts, before dictating this report, * Listening Quality we thought we would wind up with a suggestion that a Congressional Committee be constructed immedi- opens new frontiers in ately to investigate this sad situation. GRAY SOUND with On second thought, we have decided to withdraw this suggestion. It might The DYNAMIC RANGE AMPLIFIER be that a Congressional Committee would be constructed, but it would be designed to find out why the town of Here is an Ampli- Great Barrington, Massachusetts, har- bored certain radical elements which fier that REALLY came up with silly suggestions about passes the LO' TEST what the government should and should not do. *LISTENING QUALITY On the other hand, Sherman Adams Like the American cars is a high fidelity enthusiast. Perhaps of 1956 the Gray Dy- he can find out what stations are on namic Range Amplifi- the air, when and where. In this er has reserve power country. when you need it. Make sure your Sys- Thank You! tem has "AUDORAM- IC SOUND ". We had an item in our May issue concerning The Cinema - Theatre Organ Digest. On June 27, Alden Miller, Editor and Publisher of the 1. 50 Watts of Power with less than 1% I.M. distortion. Digest, wrote us that the little item 2. Exceptional Stability for both High and Low frequency "has done wonders ... inquiries are operation is assured through use of a newly created still pouring in." circuit and a Dynaco output transformer. Thank you, Mr. Miller, and the 3. Transients controlled through critical damping prevent best of continued success to you. In oscillatory surges from pulse type signals. case any readers missed the May item, 4. Full frequency fidelity from 6 to 100,000 cycles, response we'll repeat the address: P.O. Box outside audio band is smooth and controlled. 5035, Minnehaha Station, Minneapolis 6, Minn. 5. Circuitry has extremely wide band -pass characteristics to prevent square wave distortion. Is Apathy the Word? 6. With 100 Watts of Peak Power, distortion due to over. loading is Dynamically prevented. There is just no doubt about it --we should not ask questions! About a Gray also manufactures the famous viscous damped month ago we had a nice letter from s',, Tone Arm and Turntable, available at your local one of our readers with a clipping of Gray high fidelity dealer -or write direct for com- a newspaper account of the gift to a plete descriptive literature. nearby university of a complete FM broadcasting station. RAAAVr RESEARCH and Development Co., Inc. It was all very wonderful because Manchester, Conn. the university had wanted FM facili- o ties but had been unable to afford EXPORT DIVISION: Rode International Corp., 13 E. 40th St., New York 16, N. Y. Cables: ARLAB them. Now, through this generous gift, they could put fine programs on SUBSIDIARY OF THE GRAY MANUFACTURING COMPANY Continued on page 12

1.0 HIGH FIDELITY MAGAZINE

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Some extra advantages for Field Engineers include:

Training at full salary for 3 months before assignment.

Generous moving and travel allowance between present loca- . an exciting and rewarding tion and Southern California career awaits the E.E. or Physics (Culver City). graduate who joins tins highly respected Engineering team. Additional compensation plus complete travel and moving on assignments away from Culver City. As a Field Engineer at Hughes, through cess of the Field Service and Support Ideal living conditions in the un- training and assignment you will become Division are the Technical Manuals familiar with the entire systems involved, Engineer, Training School Engineers, surpassed climate of Southern including the most advanced electronic Technical Liaison Engineers, and Field California. computers. With this knowledge you Modification Engineers. will be ideally situated to broaden your This Hughes activity is a highly trained Reimbursement for after -hours experience and learning for future appli- organization of expert engineers, giving courses at UCLA, USC, or other cation in either the military or commer- support to the armed services and air- local universities. cial field. frame manufacturers using the company's The national respect which Hughes equipment. Locations are in Southern Employee group and health in- in the field of advanced elec- California, continental U.S., overseas. commands surance paid by company, retire- tronics is in no small part due to the We invite you to join this team. For technical support provided by the Field further information write us at the ment plan, sick leave, and paid Engineers. Other contributors to the suc- address below. vacations. HUGHES L

Scientyic Staff Relations RESEARCH AND DEVELOPMENT LABORATORIES HUGHES AIRCRAFT COMPANY Culver City, Calfòrnia

OCTOBER 1956 II

www.americanradiohistory.com NOTED WITH INTEREST no other Quality Speaker Continued from page ro

the air, with plenty of good music, offers so much for so little' plenty of power to broadcast it with, and a fine transmitting tower to radi- ate it all around the countryside. It was a heart -warming article and we thought the world was wonderful indeed. We set the newspaper account aside so that we could have most of it typed up for last month's NWI OlUEIS column. Just before publishing the item, we began to wonder, for some reason, World Famous for where the FM equipment had come from and how it happened that the gift should be made. It would be just consistent good too good to be true to discover that sound the FM station ( the commerical one) had been so successful that they were ...unequalled Quality features and LOW COST! expanding their facilities and were able to donate their old equipment to the local university. LORENZ LORENZ LP 312 TB -1 and TB -2 It was - much too good to be true. 12" WIDE -RANGE TWEETER COMBINATIONS LOUDSPEAKER For all 12" speakers. We wrote to find out, and here is the A quality, dual purpose Completely assembled and story, told by the manager of the sta- speaker. Can be used as ready for installation. Fits wide - range reproducer or across 12" speakers with tion. We have deliberately deleted woofer unit in expanding out projecting beyond system. FEATURES: front references which would permit iden- EXTRA of speaker mounting heavy magnet, long mag- battle. netic path, small air gap, Specially designed steel tification. long voice coil, non-reso- bracket supports tweeter(s) "Here's the which nant frame, perfect gap coaxially. Rigid metal con- exact situation alignment and multi -para- struction discourages reso- brought about our unhappy decision meter, tropicalized cone. o nance in speaker or tweeter. SPECIFICATIONS: Impedance 16 to discontinue - TB -1 (bracket with single our FM station, more ohms at 800 cps; Response - below 20 to tweeter) net 11.85 above 14,000 cps; Output - 25 w average, than a year ago. 35 w peak; Magnet Wgt. - 61.5 ozs; Voice TB -2 (bracket and two tweeters) net 21.69 "As you know, our AM is Coil Diam. - 11/2"; Baffle Opening - 105rá ": operation Depth- 63/a "; Frame -heavy duty cast alu- carried on completely from our down- minum girder construction. net 39.50 town location and the FM operation LORENZ LP 208 was completely separate and at a point 8" WIDE -RANGE some distance away. Since we did not LOUDSPEAKER duplicate our AM programing, it Versatile, 3 - purpose reproducer. Designed as wide -range meant that we had to have a com- speaker alone or in groups, as high or low end of 2 -way sys- pletely separate staff of engineers to tem, or as mid -range unit in handle the FM broadcasting, and we 3 -way system. FEATURES: ex- LORENZ LP 312 -1 and LP 312 -2 tra heavy Ali magnet, perfect operated at an expenditure of approxi- gap alignment, tropicalized 12" COAXIAL AND DIAXIAL SPEAKERS cone, oversized voice coil, Extended response coaxial or diaxial mately $35,000 a year without any in- small gap, non- speakers air resonant are obtained by adding Lorenz or frame. TB -1 TB -2 SPECIFICATIONS: Im- Tweeters to Lorenz 12" wide -range reproducers. come to mention. pedance -8 ohms at 800 cps; Response - SPECIFICATIONS "Labor 35 to 14,000 cps; Output - 15 w average, LP 312 -1 LP 312-2 costs, among other things, 21 w peak; Magnet Wgt. 26.5 ozs; Voice coil Impedance (at 800 cps); 16 ohms 16 ohms and a change in our work week would Diam. - 1 "; Overall Diam. - 81/2 "; Baffle Response: 20-17,000 20-17,000 Opening - 71/4 "; Depth -4 "; Frame -heavy Output: 27 w 27 w have made it necessary to add to this duty cast aluminum girder construction. Overall Diam.: 121/4" 12'/4" Baffle Opening: 105/e" 105/e" deficit figure by a rather sizable net 19.95 Depth: 63/4" 71/e" Price:. net 49.50 net amount, and while the owners were LORENZ LP 65 59.50 (includes HP -1 Hi Pass Filter) willing to absorb $35,000 to $40,000 HORN -TYPE TWEETER Fits any enclosure or speaker LORENZ HP -1 a year, they did not feel they should without the usual interaction. FEATURES L ADVANTAGES: HIGH PASS FILTER go deeper in the red. solid back permits wide application; round For use with any tweeter. Intro- cone design assures even sound dispersion; duces highs at rate of 3 db per "This was coupled with the fact soft plastic construction prevents metallic octave starting at 2,000 cps, that most of our mail response carne overtones. SPECIFICATIONS: Impedance - with nominal crossover at 5.000 5.5 ohms at 800 cps; Response (with High cps. Effect increases smoothly to limit of from people outside of the city area, Pass Filter HP -1) -2,000 to 17,000 cps; audibility. Installed within speaker enclosure. Sound Dispersion -120° (in all directions); DIMENSIONS: Overall height 23/4 "; Mounting and despite appeals broadcast over a Output-2 w; Outside Diam.-21 "; Cone Diam. 21/4 "; Baffle Mounting Hole (square base) - 11/2" - -21 " net 4.95 period of many weeks, we could not flared to 21/2" or more, between hole centers. net 8.50 even get a sizable number of people to let us know they even wanted the Ex cI us ive and Hear Them At Your Hi -Fi Dealer Now! FM broadcasting continued. U S. therefore, Distributors PRODUCTS, Ltd. "We, reluctantly discon- 12, N. 6-0800 514 Broadway, Now York Y. WOrth Continued on page 16

I2 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com it's stereophonic... it's a complete tape recorder.. it's an Ampex

Now the best begins at $379.50... yet with this surprisingly low price comes the superlative quality you'd expect from an Ampex.

The new Ampex A series offers the startling realism of Stereophonic Sound on tape ... music with such depth and clarity that it seems to have actual presence right in your living room. It also achieves vivid reproduction of single channel, half- and full -track tapes; and records half -track with true professional quality ... like the famous Ampex studio consoles used by recording companies and broadcast engineers everywhere.

The A series recorders and their matching amplifier- speakers are available in elegantly designed table -top cabinets or handsome portable cases, and offer completely integrated stereophonic or monaural systems. Features include: tape position indicator, simple tape Ampex A121 is a stereophonic sound system in table top cabinets. The two amplifier-speaker units are placed for best stereophonic effect. Tape recorder.

speed selector for 33/4 and 71/2 ips. speeds, reproducer may be located wherever desired. r and recording volume indicator.

Table -top or portable, Stereophonic or Monaural - the new Ampex A series brings you up -to -date in high fidelity ... adds a wonderful touch of perfection to your listening enjoyment. See them today at your Ampex Dealer's.

For full specifications write Dept. F -2853

AMPEX CORPURAfiOV 934 CHARTER STREET REDWOOD CITY. CALIFORNIA

Ampex Console Music System magnificently styled for your living room. Contains stereophonic player and tape recorder, _A \I -FM tuner, and 3 speed record changer. Two speakers each with a separate amplifier are mounted at the correct angle for realistic projection of stereophonic and monaural sound.

OCTOBER 1956 15

www.americanradiohistory.com NOTED WITH INTEREST BEST BUY IN HI -FI Continued from page 12 tinued the operation, and I am sure you will be as keenly disappointed as I was when I tell you that after ceasing the operation we received fewer than two dozen complaints. "P. S. At least we have the feeling now the equipment itself is doing 10PG 10 Watt High Fidelity Amplifier some good in its new location; the does a Here is new styling with a full set of college, as you know, program controls providing exceptional flexibility great deal of good music and may in a moderately priced amplifier. A simple pick up where we left off." efficient flat compact design features modern feedback circuitry, record compensator, For readers' information, we might loudness control, wide range bass and say that the station under discussion )1iii010111) 1!ill!! 11 treble controls, rumble and scratch filters, was in an area of quite dense popula- and six inputs, including one for tape head. Frequency Response: 0.5 DB. 20 to tion and is primarily industrial. IllllTrllll 20,000 CPS. Distortion: 2% harmonic and 3% intermodulation at 10 watts. Net Price to user 57.50 Jackets and Covers, Continued Speaking of inquiries pouring in, we continue to get responses to our pleas 15PG 12 Watt High Fidelity Amplifier for help in connection with record A deluxe amplifier with new styling and jackets and dust covers for changers exceptional performance, the best buy in the medium priced field. The all new 15PG and turntables. has greater flexibility of controls and the You can add the Jesse Jones Box most advanced circuitry built around the Box 5120, Philadelphia highest quality components. It features Corporation, feedback throughout, separate turnover 41, Pa., to the list. They make cases and roll -off record compensators, new i111 LIIIIIU111 .. which hold about 20 records each. loudness control, wide range bass and and treble controls, rumble and scratch filters, Cost is $2.98 for 12 -in. cases and six inputs including tape head. Fre- $2.49 for io -in. cases. III III quency Response: ± 0.5 DB. 20 to 30,000 Our good friend Jules Rubin of CPS. Distortion: 1% harmonic and 2% in !=Nr =Ds termodulation at 12 watts. Net Price to Allied Radio wrote us under date of user 69.50 August 7 and said that they would have available in about two weeks "as a direct result of the request in 20PG 20 Watt High Fidelity Amplifier your column" a turntable cover Model An all new amplifier featuring new #102, catalogue #95 R 649. Dimen- `~= <:ì styling, advanced circuitry and greater sions: 22 by 161/2 by 9 in.; price control flexibility. The 20PG incorpor- =----: $ 1.25. ates feedback throughout and has all o the new features of the deluxe 15PG ®j 'Illlllillllilllll ;1III!lili11i plus higher power in the output stage. Unfinished Symphonies Response: ± DB. 15 1It' Frequency 0.5 to Ilfl 111 30,000 CPS. Distortion: 1% harmonic Reader Robert F. Schiffmann of 149 and 2% intermodulation at 20 watts. 88th St., New York 24, N.Y., m-® .4=) IM-171 Net Price to user 89.50 West has an "unfinished" Symphony No. 3 by Gustav Mahler. He wants to know if GRT -3 High Fidelity FM -AM Tuner anyone could possibly finish it for him. We quote from his letter of April A matching FM -AM Tuner for Grommes amplifiers and pre -amplifiers. Tuning is simplified At best, is slow by flywheel drive, tuning meter and AFC on FM. Circuit consists of tuned RF stage 19 (Wow! NWI - on FM and AM, dual limiters, wide band IF coils with high sensitivity and cathode but this is about the worst delay we've follower audio stage. Net Price to user 129.50 seen in a long time! Our sincere See the Grommes Hi -Fi Dealer in your area or write apologies to Mr. Schiffmann.) "On Sunday, April 15, the New York Philharmonic presented a radio Grommes A Division of Precision Electronics, Inc. broadcast performance of the Sym- Ask your dealer to show phony No. 3 by Gustav Mahler. Since you the Grommes High Dept. H -10, 9101 King Avenue, Franklin Park, Illinois Fidelity Equipment Group, I am an avid Mahlerite I was on hand including the Webcor Im- perial Changer, Equip- Send Complete Specifications on the 10PG, 015PG, (at my radio, that is) to tape record ment and Speaker Con- 20PG, DGRT-3, Send Free Hi -Fi Equipment Brochure. soles. If your Dealer can- this masterpiece for my collection. As not help you, write for it, complete information and Name fate would have an unsteady hand where to buy. in a quick reel change ruined sections Street

City Zone State Continued on page 25

16 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com NOTED WITH INTEREST

Cowin/fed Iron/ pig(' 76

of the second, third, and sixth move-

ments. Since this was an almost once - in -a- lifetime type of performance, you can imagine how n)iserable I feel .ENEWCOMB about the whole thing. "Therefore my request: if at all possible could you put a short note in your Magaz:ne asking if any of your other readers were lucky enough to have taped this beautiful performance, and if he or she would be kind enough Royal to lend nie their tapes so I may re- 712 record these sections. I will be only too happy to pay for mailing costs and A CRIWNING ACHIEVEMENT IN THE DISTINGUISHED COMPACT SERIES what have you."

Cabinet Maker Wanted Combining unbelievable tonal realism with Back in the early days of HIGH FIDEL- beautiful decorator styling, this newest in the ITY Magazine, a lot of readers seemed Newcomb Compact series brings together to have difficulty finding cabinet in one single unit a balanced- design makers. Therefore we kept running audio amplifier and a fine FM -AM tuner ... little items asking for readers' recom- plus complete preamplifier and controls. mendations and listing then) as they With the Newcomb Royal 712 Compact, came in to us. your system is assured the correct matching Apparently the Cabinet Makers of the three most important parts of a Union, or something, jumped into the hi -fi system, for they are factory- designed breach with vigor because it was not into one assembly. All of this crowning too long before we received neither achievement comes from the laboratories of inquiries nor recommendations from Newcomb ... the sound of quality since 1937. readers. So we have been unable to help Dr. Allan Roos, 17 West 54th Sr., New York 19, N.Y. who has written us, ''Can you send nee the names of a few reliable, high- quality builders of custom cabinets-to my needs and specifications -in the greater New York area. Unfortunately

I see none advertised in HIGH FIDEL- ITY.,, Would readers be good enough to write direct to Dr. Roos with their recommendations. And custom cabinet builders might note that the cost of what we call a "Professional Directory" card in HIGH FIDELITY Magazine is very inexpensive.

Sound Insulation Newcomb Royal 712:

The problem of reducing the trans- Combining advanced electronics into a single high fidelity unit. mission of sound through walls, par- Extremely sensitive FM and AM tuner. Special multiplex output titions, floors, ceilings, and so forth jack for easy adaptation to stereophonic or binaural broadcasts. Temperature-controlled oscillators and A.F.C. on FM. Amplifier is one which faces many a high fidelity has inputs for every type of pickup, for tape, and for auxiliary enthusiast as well as a good many equipment such as TV sound and microphone. Crystal -clear, others who simply, want to ( a ) sit in distortion -free 12 watt amplifier matched to the tuner and pre - a quiet room or ( b ) make a lot of amp. Controls for level and loudness, and 6- position record noise of some kind or other without response control. having it spread all over the neighbor- hood.

Cntttil?tieil on next page FOR COMPLETE DETAILS ADDRESS: NEWCOMB AUDIO PRODUCTS CO., 6824 LEXINGTON AVENUE, HOLLYWOOD 38, CALIF.

O(.TO ßlîlt 1956 25

www.americanradiohistory.com NOTED WITH INTEREST Continued front preceding page

For the large sum of 45 cents you can obtain a surprising amount of useful information from the Superin- tendent of Documents, U.S. Govern- ment Printing Office, Washington 25, D.C. The reports are "Building Ma- terials and Structures Report 144" - which costs 40 cents - and the sup- plement to this report, which costs one nickel. Since quiet is a nice thing to have in these rather hectic days, be you a high fidelity person or not, readers having house -building or remodeling THE FISHER ideas might find these pamphlets use- FM Tuner Model FM-40 ful and helpful. A beautifully designed FISHER FM Tuner - with all that the name implies - and only $99.50! Stable circuitry and simplified controls. Record Storage Meter for micro- accurate tuning. Sensitivity -3 microvolts for 20 db of quieting. Uniform response ±I db, 20 to 20,000 cycles. 72 and Quite a long time ago, as high fidelity 300 -ohm antenna facilities. Three outputs: Detector /Multiplex, plus time is measured, Leslie Creations in- cathode follower main output, permitting leads up to 200 feet. Self - powered. Beautiful, brushed -brass front panel. TUBE COMPLEMENT: troduced a record storage rack. I- 6l3Q7A, 1 -6U8, 3 -6BH6, 1 -6AL5, 1- 12AU7A, 1 -6X4. SIZE: 123,4" Readers will remember that we had a wide x deep x 4" high. WEIGHT: 15 pounds. 71" $99.50 pleasant time doing a TITH report on the rack in our March 1955 issue. World Leader in During the past year, the rack has Quality been a great success (due entirely, of course, to the TITH report!) and now Leslie is branching out. They have THE FISHER two new record racks and naturally MODEL FM -40 MODEL AM-80 we are going to do a TITH report on them. With this in mind we are carefully interviewing neighbors and THE FISHER friends to find out which ones have AM Tuner - Model AM-80 the most destructive infants, so that -lab- Combines the pulling power of a professional communications receiver we can use their homes for test with the broad tuning necessary for high fidelity reception. Features oratory purposes. a tuning meter for micro -accurate station selection. Adjustable band- Leslie Creations does a bit more width (three -position.) Remarkable sensitivity -less than one microvolt produces maximum output! Elusive and distant stations are brought in than produce record storage racks, with ease. Built -in 10 Kc whistle filter. Dual antenna inputs. Three although we are not sure how many high -impedance inputs. Cathode follower output permits leads up to of our readers are familiar with this 200 feet. Self- powered. Brushed -brass front panel. TUBE COMPLEMENT: fact. Christmas shoppers would do 3 -6BJ6, 1 -6BE6, 1 -6AL5, 2 -6C4, 1 -6X4, SIZE: 123/4" wide x 71,4" deep x 4" high. WEIGHT: 15 pounds. $119.50 well to send to Leslie Creations, Lafay- Cabinets Available for FM -40 and AM -80, Blonde or Mahog., $17.95 ette Hill, Pa. for their new 32 -page VVR!IF TODAY FOR COMPLETE SPFCIFICATIONS catalogue. John Leslie tells us quite FISHER RADIO CORP. 21-25 44th DRIVE L. I. C. 1, N. Y. frankly that the catalogue is exclusive and the items on the expensive side... "indoor and outdoor home entertainment accessories."

New in Holyoke, Mass. Tel -O -Wire Sound Co., Inc. has an- t E t nounced the opening of new offices Ar.w: 1 0 1 7+- .. e.sw and showrooms at 37 Railroad St. in 11V tl ;OII () 111 Holyoke, Mass. Telephone is JEffer- 65 5,5 60 ' son 4-5627.

Altec Service In a bulletin some months ago, Altec Lansing announced the opening of high fidelity repair stations to speed

HIGH FIDELITY MAGAZINE

www.americanradiohistory.com up service to customers. Customers 11111 nnnnunnnnln111111111 east of the Mississippi River should send Altec equipment for repair to: Altec Service Corp. \ 161 Sixth Ave. \\ll U.I,1ppH1I71I1I1IUU1I( New York 13, N. Y. q 111í Customers west of the Mississippi should send their equipment to: 90 ,,llUI11ppp111111111ti Altec Lansing Corp. iÌ1ii4111t00, ÌÚÏiiiÌli 9356 Santa Monica Blvd. 1! t1Ìlti WATTS Beverly Hills, Calif. New in Troy, New York York Sight -Sound Recording Corn- s229.50 pany has announced the opening of their new recording studio at 346 THE FISHER Fulton St. They are prepared to make Lab Standard Amplifier 90 -A sound recordings on disk or tape, on At d our command- 90 watts of audio power, with less than 11/2% location, in the studio, or via remote distortion at full output. Two power supplies assure optimum amplifier pickup. If you have sound recording operation. Exclusive PERFORMANCE MONITOR meter indicates correct adjustments of tube bias, screen balance. It also work to be done, for your personal voltage and output shows average power output. FEATURES: Less than 1% IM distortion pleasure or for business, you wculd at 75 watts! Frequency response ±0.1 db, 20 to 20,000 cycles. Hum do well to contact York. and noise better than 92 db below full output. 8 and 16 -ohm speaker output impedances. Power socket supplies all necessary voltages for Tape operation of unpowered auxiliary components. CONTROLS: Input Level, Timing Chart Speaker Impedance Switch, Meter Switch, Bias, Screen Voltage, Output Balance, Driver Balance, Z- MATIC. 1- 12AU7A, A handy accessory for tape recordists TUBE COMI'LENIIiNT: 1- 12AX7, 4 -EL34 (6CA7), 1 -6Y6, 1 -6AU6, 2- 5R4GY, plus 2 -NE16 is a Tape Timing Chart, available regulators. SIZE: 14" wide x 111/2" deep x 81/4" high. from Reeves Soundcraft Corp., io East 52nd St., New York 22, N. Y., for $1.20. It translates feet of tape into New! And Unequalled! minutes (and hours) of playing time, both single and double track, at 15. 71/2, 33/ , and 1 7/8 ips. THE FISHER Where It Starts AUDIO AMPLIFIERS In mid -July, we wandered the cor- ridors of the Hotel New Yorker and THE FISHER the New York Trade Show building for hours on end, surrounded on all Lab Standard Amplifier 55-A Plenty of power for your present sides by the only genuine high fidelity -and any possible future needs. THE FISHER Model 55 -A is a laboratory instrument designed for in the world. For here, at the Nation- home use. Delivers 55 watts at less than 1% distortion. Drives even al Music Trade Show, manufacturers the lowest efficiency speaker system to full output. Exclusive FISHER POWER MONITOR meter shows of musical instruments display their correct adjustment of output tube bias, and indicates average power output. IM distortion below 2% at 50 wares. And if you think there are a watts, 0.8% at 45 watts, 0.4% at 10 watts. Harmonic distortion less multitude of equipment manufacturers thun 0.08% at 10 watts, 0.05% at 5 watts. Frequency response within 0.1 db, 20 to 20,000 cycles. Hum and noise that is, sound reproducing equip- better than 92 db below - full output! 8 and 16 -ohm speaker outputs. Octal socket supplies all ment- you will be astonished to voltages for operating unpowered components. CONTROLS: Input Level. Bias, Speaker Impedance learn that there are even more man- Switch, Z- M.ATIC. TUBE COMP! I '.0 NT: 3- I2AU7A, 2 -6CL6, 2 -6550, 2 of musical -5AW4. SIZE: 141/4" wide x 9' . deep ufacturers instruments. For x 8A." high. WEIGHT: 50 pounds. example, the catalogue lists 26 exhibiting manufacturers of pianos. Also 26 exhibiting manufacturers of accordi- ons. And so on. Very obviously, we had reached the beginning of the line. Here, where real live musical instru- 55 ments were being displayed to dealers. was where the trouble started. WATTS Habitués of audio shows will be pleased to know that the Music Trade Show kept its sound intensity levels '169.50 very low. We walked into several Write For FULL Details- rooms where musical instruments were FISHER RADIO CORP. being demonstrated and enjoyed a 21 -25 44th DRIVE Long Island City 1, N. Y. Continued on next page 11111 Ulluuuunutuun ununnl

OCTOBER 1956

www.americanradiohistory.com NOTED WITH INTEREST

Continued front preceding page

pleasant few minutes listening to the sound. We are fairly certain that had the same music been demonstrated at an audio show, the chances are strongly in favor of the sound intensity being unbearable! We brought this fact to the attention of several manufacturers of musical instruments and they were keenly interested in our discussion of the trends of public fancy. Several said that they would turn their design engineers loose immediately to determine if it was possible to produce musical instruments which would produce sound intensities more in line with what the public, as judged by audio show attendance, apparently is growing to like. Well, anyway the show certainly MODEL 80 -T MOST ADVANCED PROFESSIONAL TUNER WITH COMPLETE AUDIO CONTROLS - was interesting. There were a few ex- hibits of sound reproducing equip- Outperforms Them All! ment. We paused to look at the new Ampex console which contained an FM -AM tuner, the new model Ampex THE FISHER Stereophonic playback unit, two speaker- and -amplifier systems, and so MODEL 80 -T MODEL 80 -R forth. Fisher had a somewhat similar unit, and also several other console type radio phonograph combinations. FM -AM TUNERS Bell & Howell was there with their HERE ARE AMERICA'S only FM -AM Tuners with TWO meters for micro - interesting line of complete units. accurate tuning - just one of their many unique features. THE FISHER Stromberg- Carlson deserved special Series 80 FM -AM Tuners enjoy an unparalleled reputation as the leaders in high fidelity. The roster of professionals using THE FISHER tuners include attention for the completeness of their the names of some of the most outstanding organizations in the research, coverage of the sound reproduction broadcasting, and educational fields. In every case, THE FISHER was chosen market. They had everything from because, unquestionably, it provides a level of performance that exceeds even the most critical requirements. "Performance, flexibility, and all- around small radio phonographs to a com- `usefulness' are excellent!" -High Fidelity Magazine. plete line of high fidelity components. They also had several consoles which Outstanding Features of THE FISHER Series 80 incorporated the hi -fi components. The Model 80 -T features extreme FM sensitivity - 1.5 microvolts for 20 db of quieting. Full limiting on signals as low as one microvolt. Separate FM and AM Thus if you don't want to connect up front ends, completely shielded and shock- mounted. Separate tuning meters for FM and AM. 72 -ohm, plus exclusive balanced, 300 -ohm antenna inputs for increased your own, you can get them in a signal -to -noise ratio. Supplied with AM loop and FM dipole antennas. Adjustable AM selectivity. AM sensitivity better than one microvolt for full output. Inherent console ready -to- plug -into- the -wall - hum non -measurable. Distortion below 0.04% for 1 volt output. Four inputs. Separate tape -head playback preamplifier (with NARTB equalization.) Preampli- and yet have the same fine quality. fier- equalizer has sufficient gain to operate lowest level magnetic cartridges. Six choices of record equalization. Multiplex and cathode follower outputs. Frequency response, on FM, within 0.5 db, 20 to 20,000 cycles. Super- smooth flywheel tuning mechanism. 16 tubes. (Model 80 -R: 13 tubes.) EIGHT CONTROLS: Selector, Vari- able AFC /Line Switch, Station Selector, Bass, Treble, Equalization, Volume, More 4- Position Loudness Contour. Self powered. DC on all audio filaments, Audio Shows Beautiful brushed -brass front panel. SIZE: 12%" wide x 83/4" deep x 6" high. In addition to the forthcoming (Model 80 -R: 4" high.) WEIGHT: 21 pounds. (Model 80-11: 16 pounds.) NOTE: Model 80 -R is identical to the above, but is designed for use with an external audio audio show in Chicago, the follow- control, such as THE FISHER Series 80 -C Master Audio Control. ing cities are scheduled for three - MODEL 80 -R FOR USE WITH EXTERNAL AUDIO CONTROL MODEL 80 -T day shows as noted: $19950 Miami: Oct. 12, 13 and 14 New Orleans: Oct. 25, 26 and 27 MODEL 80 -R Dallas: Nov. 16, 17 and 18 $16950 St. Louis: Nov. 23, 24 and 25 HIGH FIDELITY Magazine will have MAHOGANY OR BLONDE CABINET: $' 795 exhibit space at each of these shows, Prices Slightly \ ,,rc as it has had in New York, Cincin- In The Far \Cr,vl Write For FULL Details nati, Atlanta and will have in at least Boston and Chicago. FISHER RADIO CORP. 21-25 44th Dr., L.I.C. 1, N.Y.

HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Herewith a new column for HIGH FIDELITY. "On the Counter" will appear from time to time, depending on the height of the pile of publicity releases on our desk. No regular publication schedule is contemplated but you will probably find this column in existence for the next few months while manufacturers are busy an- nouncing new products. This is that THE FISHER 25 -WATT time of year - and none is more exciting. Master Control -Amplifier CA -40 We have used the "Noted With Complete in every respect - and it's by FISHER! A new 25 -watt Interest" column from time to time amplifier with complete Audio Controls. Less than I` distortion at 25 watts! Six inputs. Six equalization positions. Exclusive FISHER TONE - to carry announcements of new prod- SCOPE provides graph -form indication of Tone Control settings. Direct, ucts, and will continue to do so. But tape -head playback and microphone preamplifier. Uniform frequency we feel an arrangement more useful response within 0.5 db, 10 to 90,000 cycles. Less than 1% IM distortion at 15 watts. Hum and noise level better than 90 db below full output. to readers would be the one we'll try Cathode -follower tape recorder output. Speaker output impedances: out below. 4, 8 and 16 -ohms. Nine controls. TUBE COMPLEMENT: 1- 12AU7A, Comments will be sincerely appre- 3- 12AX7, 4 -EL84, 2 -6BW4. SIZE: 123/4" wide x 1034" deep x 5" high. WEIGHT: 24 pounds. $139.50 ciated - send them to HIGH FIDEL- ITY Magazine, The Publishing House, Great Barrington, Mass., marked "At- Two Great Audio Units! tention CF." We're going to list the product in boldface type but no particular se- THE FISHER. quence of products or events is contemplated. And probably it would be MODEL CA-40 MODEL 80 -C advisable for us to state clearly that HIGH FIDELITY cannot accept any re- THE FISHER sponsibility for the accuracy of the statements contained herein. That is Master Audio Control 80-C one reason for a separate column. "Breathtaking! " -Edward Tatnall Canby. The Master Audio Control can be used with any amplifier. Provides professional phono and tape - head equalization, plus full mixing and fading facilities for from two Recently redesigned is the Staticmas- to five channels. Seven inputs. Two cathode -follower outputs. Uniform ter record brush. Selling for $14.95, response within 0.25 db, 20 to 20,000 cycles. IM distortion and hum the brush insures removal of static virtually non -measurable. DC on all filaments. Separate equalization and preamplification directly from tape playback head. Eight controls. electricity and static - attracted dust TUBE COMPLEMENT: 3- 12AX7, 1- 12AU7A. SIZE: 123/4" wide x 73/4" and lint. Available at dealers; litera- deep x 41/4" high. WEIGHT: 10 pounds. $99.50 ture from the manufacturer: Nuclear Prices Slightly Higher In The Far West Mahogany or Blonde Cabinet $9.95 Products Company, 10173 E. Rush WRITE TODAY FOR COMPLETE SPECIFICATIONS St., El Monte 1, Calif. FISHER RADIO CORP. 21 -25 44th DRIVE L. I. CITY 1, N. Y. Audio Devices, 444 Madison Ave., New York 22, N. Y., now has five different types of magnetic sound recording tape. Super -thin Audio - tape is on I/í -mil Mylar and gives twice as much recording and playback time per reel as standard tape; it is suitable for extended -play applications where tape tension is not excessive. Another Audiotape is on low - cost 1 -mil acetate; provides 50Ç," more time per reel and affords maximum economy for applications where high strength is not required. Still another Audiotape, this time on i -mil Continued on next page

OCTOBER i956 29

www.americanradiohistory.com ON THE COUNTER Quality Leader For Twenty Years! Continued from preceding page

Mylar, provides the same 5oce more THE FISHER time per reel but has exceptional strength and longer storage life. WORLD'S FINEST CUSTOM AUDIO Normal playing time is available from standard Audiotape on T1/2 -mil acetate and also on it/ -mil Mylar. The All- Transistor 12 -Ounce Mylar base is said to withstand ex- Preamplifier -Equalizer - TR -1 treme temperatures and to be virtually immune to humidity. A new Here is another great FISHER achievement the first all -transistor - is product in the high fidelity field! The Model TR -1 provides the voltage five -color folder ( #250) available gain necesscary for the operation of even the lowest -level magnetic free from the manufacturer. cartridges and microphones. As a result of its all- transistor design, the Speaking of mils brings us neatly TR -1 overcomes the inherent difficulties often associated with vacuum Pickering tube type preamplifiers, such as hum, noise and microphonism. $27.50 to the announcement by of a half -mil stylus. This is available Battery Power Supply, BA -1 $1.95 AC Power Supply, PS-1 $4.95 for the "Fluxvalve" cartridge and is of Operates from self -contained battery said to reproduce the top sheen or FISHER auxiliary AC power supply, new recordings which carry frequen- Model PS -1. Features absolutely zero hum and zero microphonism. Handles lowest cies as high as 15,000 cycles. level magnetic cartridges without a transformer. Built -in RIAA equalization for A tiny -OA by CA by 55/8 in. phono. Flat response when used as voltmeter has been announced by microphone preamplifier. Choice of four - inputs. Frequency response within 0.5 db, Telematic Industries, Inc., 16 Howard 20 to 20,000 cycles. Maximum gain 48 db. Less than 0.3% distortion, 20 to 20,000 Ave., Brooklyn 21, N. Y. The Mini - cycles. Noise level 65 db below 10 milli- volts input for high impedance cartridges. test will check unknown voltages Power consumption is only 0.0217 watt. from 65 to 800, either AC or DC. Transistor design permits output leads up to 200 feet. Three transistors, printed Price is $2.49. (For readers' informa- circuit wiring, fully shielded construction. coNraors: Power /Volume, Hi -Lo Level tion, the photograph submitted with -- Selector, Phono /Nicrophone Selector. the release shows that the instrument SIZE: 2" x 4t/8" x 41/2z' WEIGHT: 12 ounces. ALL -TRANSISTOR PREAMPL I FIER- EGUALI ZER is apparently a neon tube type of device with a single knob. It would appear that you attach the clips to the FINE ACCESSORIES voltage source and then turn the knob around until the little neon light MIXER -FADER Model 50 -M begins to glow. The voltage is then Unique, electronic mixing or fading of any two signal read on the scale surrounding the sources (such as microphone, phono, radio, etc.) No knob.) High insertion loss. Extremely low hum and noise level. Sherwood Electronic Laboratories impedance input ; cathode follower output.I2AN7 tube. Self- powered. Beautiful plastic cabinet. $19.95 Inc., 2802 West Cullom Ave., Chicago 18, Ill. has available 6 element divid- PREAMPLIFIER -EQUALIZER 50 -PR -C ing networks for 300/5,000 and WITH VOLUME CONTROL 500 5,000 cycle crossovers. Also avail- Professional phono equalization. Separate switches for able are four -element networks for -over; 16 combinations of HF roll -off and LF turn zoo, boo, 800, and 3,500 cycle cross- phono equalization. Handles any magnetic cartridge. Extremely low hum. Uniform response, 20 to 20,000 overs. Attenuation is 12 db per oc- cycles. Two triode stages. Self- powered. $19.95 tave; all units are for i6-ohm speakers. HI -LO FILTER SYSTEM Model 50 -F Pictures and specifications on the Electronic, sharp cut -off filter system for suppression of new Magnecord P- 6o -ACX tape re- turntable rumble, record scratch and high frequency corder make our mouths water. We distortion - with absolute minimum loss of tonal range. Independent switches for high and low frequency haven't room for complete specs but cut -off. Use with any highfidelity system. $24.95 speeds are 71/2 and 15 ips; NARTB recording and playback characteris- PREAMPLIFIER Model PR -6 tics; timing accuracy of =I- three sec- A self -powered unit of excellent quality, yet moderate onds in thirty minutes; distortion cost. Can be used with any low -level magnetic car- down to o.6% with a plus 6 dbm or for tape playback. Two triode tridge, microphone, cycles; stages. High gain. Exclusive feedback circuit permits output at 400 4 -in. VU meter long output leads. Fully shielded. Uniform response, and so forth. Price in a carrying case 20 to 20,000 cycles. The best unit of its type available. is $765.00. $10.95 We would like to suggest to Har- Priers Slightly Higher In The Far West man-Kardon that they let us do a WRITE TODAY FOR COMPLETE SPECIFICATIONS TITH report on their "Control" in- FISHER RADIO CORP. 21 -25 44th DRIVE L. I. CITY 1, N. Y. tercommunication and radio system. This is a small AM tuner de-

30 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com signed to be built into an interior Ille 11111 111 11111111111111111111 wall of the house. This unit is then interconnected with four or more other speaker units which can be placed anywhere in the house. The remote units also serve as microphones to relay the sound back to the main control unit. Thus you can 0 talk between main control and any or all of the remotes, or pipe music to WATTS the remotes, or listen to what is going on in one or more remote locations. Outdoor or weather- resistant remote :995e stations are also available so that conversations can be carried on with people outside the front or back door. THE FISHER Sounds like quite a setup. Basic price is $135.00 for master and 4 remotes. Lab Standard Amplifier 80-AZ Ampex has modified their famous Here is the incomparable FISHER 80 -AZ Amplifier with PowerScope, a visual Peak Power Indicator. More Model 600 to produce the Model clean watts per dollar than any 6o1 amplifier in its class. 60 watts peak! Three separate feedback loops. tape recorder. New features are low Less than 0.5% distortion at 30 watts, 0.05`/o at 10 watts. IM distortion impedance output and input, faster less than 0.5% at 25 watts. Frequency response uniform within 0.1 db, 20 to 20,000 cycles; 1 starting, and illuminated record but- within db, 10 to 50,000 cycles. Hum and noise virtually nonmeasurable - 96 db below full output! coNTRot.s: ton and a new case. Z- MATIC, POWERSCOPE, Input Level. TUBE COMPLEMENT: 1- 12AT7, Components Corp. of Denville, 1- I2AU7A, 2 -EL37, 1 -5V4G, 1- PowerScope Indicator, 1- Regulator. SIZE: 15', ;" wide s 41/4" deep x 67/s" high. WEIGHT: 22 pounds. N. J. has a new turntable base available for their junior turntable, measuring 15 by 15 by 3 in. This will accommodate longer tone arms and Tino Great Audio Amplifiers sells for $io.00. The photograph of Newcomb's new amplifier -tuner shows some very THE FISHER smart styling and a complete array of MODEL 80 -AZ MODEL 20 -A features including separate level and loudness controls, defeatable AFC, a rumble filter position for the phono- E THE FISHER graph separate from a 6- position equalization switch and, of course, Lab Standard Amplifier 20-A Low in cost, terrific in quality! The Model 20 -A is the 15 -watt ampli- separate bass and treble tone controls. fier thousands of hi -fi enthusiasts have requested. Traditional FISHER Sensitivity of the FM tuner is stated workmanship, handsome appearance. Compact, advanced design throughout. Frequency to be better than 5 my for 3o db of response within 0.1 db, 20 to 20,000 cycles. Less than 0.7% distortion at full output, 0.4% at 10 watts. IM distortion quieting. Further details available less than 1.5% at 10 watts, 0.75% at 5 watts. Hum and noise better from the manufacturer at 6824 Lex- than 90 db below full output! Internal impedance 1 ohm for 16 -ohm ington Ave., Hollywood, Calif. operation, gives damping factor of 16. Excellent transient response. One volt drives amplifier to full output. Octal socket provides all RCA Victor has announced a long necessary AC and DC voltages for operating unpowered auxiliary list of new products including a components. Completely enclosed in a protective metal cage. Speaker stereophonic tape player having a output impedances: 4, 8, and 16 ohms. Input Level Control. TUBE COMPLEMENT: I- 12AX7, 2 -EL84, 1 -EZ80. SIZE: 13" wide x 41/4" price for the portable unit of $295.00 deep x 63/4" high. SHIPPING WEIGHT: 13 pounds. and of $350.00 for the consolette. Two cases hold the equipment: one, the tape player plus two 5 -watt ampli- C THE FISHER LABORATORY STANDARD AMPLIFIER MODEL 20 -A fiers and a pair of speakers (31/2 and 61/2 in.) ; the second case contains an -s,'- identical speaker system plus storage s111'\l 15 space for the tapes. 11111 11\l}iljlt+mn 111'Iililill111i11ti Everybody know about the small WATTS Gibson Girl tape splicer? Called ., ,1111111111D11iUN111,,1 , :t rlllL 11, the Semi -Pro it has a tape guide and X595° a hand -held cutter and splicer. Price not stated in release; write Robins In- Prices Slightly Higher dustries, Corp., 214 -26 41st Ave., In the Par west Bayside 61, N. Y. Write For Full Details Anyone want a rotary lawn FISHER RADIO CORP. mower? Yep, we get releases on 21 -25 44th DRIVE them too. Long Island City 1, N. Y.

OCTOBER 1956

www.americanradiohistory.com TUNERS

ALTEC TUNERS are truly exceptional in design -as evidenced by their minimum performance specifications and their purely professional circuitry which assures absolute stability and freedom from drift even after hundreds of hours of continuous broadcast monitoring. Like all ALTEC products, the specifications on these tuners represent minimum acceptable manufacturing performance. ALTE[ 306A AM -FM TUNER features accurate tuning meter; sensitivity better than 2.5 my for 20 db quieting; both FM and FM- LANSING CORPORATION AFC; one volt cathode following output; well lit tuning dial. Price, less cabinet, $183.00. Blond or mahogany hardwood cabinet $15.00. 305 AM TUNER-Ideal for areas where FM broadcasting is not available. Provides highest possible reception quality from AM broadcasting; matched built -in antenna for simplified installation. Price, less cabinet, $93.00. Blond 9356 Santa Monica Blvd. B,orly Hilly, Calif, mahogany cabinet $15.00. or . 5.1 5cth A: . I. 13, N.Y. ONLY ALTEC MANUFACTURES COMPLETE HIGH FIDELITY SYSTEMS TO PROFESSIONAL STANDARDS

ALABAMA HENRY RADIO PACIFIC INSTALLATION CO. 11240 West Olympic Blvd. 1225 West San Carlos St. TANNER COMMUNICATIONS CO. Los Angeles 64 San Jose 304 No. 26th Street Birmingham 3 RALKE COMPANY, INC. BOWER'S MUSIC MERPACO ELECTRONICS 829 South Flower Street 810 So. Gaffey Street Division of Mercantile Paper Co. Los Angeles 17 San Pedro 138 -144 Commerce Street MONICA SOUND LOWENSTEIN'S Montgomery 2 SANTA 12436 Santa Monica Blvd. 1508 South Main Street Santa Ana ARIZONA West Los Angeles 25 D'ERRICO FIDELITY RADIO ELCO ELECTRICAL COMMUNICATIONS CO, CUSTOM AUDIO 2650 Avon Street 3018 Wilshire Blvd. 202 E. Fillmore Santa Monica Phoenix Newport Beach DOW RADIO, INC. CALIFORNIA 1759 E. Colorado Street COLORADO BAKERSFIELD AUDIO & ALARM DEVICES Pasadena 4 LOU MORGAN MUSIC 2531 F Street (Westchester) 326 Holly Street Bakersfield HI -FI SHOP Denver 20 3768 Orange THOS. TENNEY, MUSIC ON RECORDS Riverside 2984 College Avenue CONNECTICUT Berkeley 5 TOWER RECORD MART WATT & DECIBEL 16th and Broadway 8 Church Street CRAWFORD'S OF BEVERLY HILLS Sacramento 456 North Rodeo Drive Middletown Beverly Hills HOLLYWOOD HI -FI SHOP RADIO SHACK CORP. OF CONNECTICUT GENE HIGH FIDELITY 1839 "E" Street 230 Crown Street TAPIE MART San 120 Broadway Bernardino New Haven Chico DAVID ARDEN ENTERPRISES AUDIO WORKSHOP, INC. MEDICO ELECTRIC LABORATORIES 4337 Fairmount 1 South Main 1111 E. Chevy Chase Dr. San Diego 5 West Hartford Glendale 5 COMMUNICATIONS COMPANY THE A. T. ANDERSON CO. 650 6th Avenue DELAWARE 541 Elm Avenue San Diego 1 GEORGE W. BUMPAS Inglewood 1007 Tatnall Street CALIFORNIA SOUND PRODUCTS, INC. HAL COX COMPANY Wilmington 7264 Melrose Avenue 2598 Lombard Street Los Angeles 46 San Francisco D.C. CRENSHAW HI -FI CENTER SAN FRANCISCO RADIO A SUPPLY CO. CUSTOM ELECTRONICS, INC. 107 Santa Barbara Plaza 1284 Market Street 1642 Connecticut Ave., N.W. Los Angeles 8 San Francisco 2 Washington

32 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ` SYSTEMS

These completely engineered ALTEC speaker systems using the finest ALTEC speakers mounted in carefully computed and tested bass reflex enclosures provide the ultimate in smoothness and faithfulness of reproduction. They vary in size from the compact 700B, which is small enough to fit a book shelf, to a large 820C, with enough capacity to fill a moderate -sized theatre. speaker. range 70 to 22,000 ALTE[ 700B SYSTEM -has 8" bass speaker, 3,000 cycle network and 3000A high frequency Guaranteed cycles. Price in blond or mahogany $111.00. 710A SPEAKER -has single 8" speaker, guaranteed range 60 to 10,000 cycles. LANSING CORPORATION Y Price in blond or mahogany $62.00. 824A ICONIC SYSTEM -contains 412A bass speaker, 3,000 cycle network and 3000A frequency speaker. Guaranteed range 50 to 22,000 cycles. Price in blond or mahogany $198.00 A -7 SPEAKER SYSTEM high Monica 800D network and 802C driver with 811 B (056 Sang Blvd. -Small theatrical system for custom installation. Uses 15" 803A bass speaker and Be +.rly Hills. Calif. horn. Guaranteed range 35 to 22,000 cycles. Price (gray paint finish) $282.00. 826A ICONIC SYSTEM -has 15" 803A bass 151 Sixth Avenui2, New York 13, N.Y. speaker, 800D network and 802C high frequency driver with 811B horn. Guaranteed range 35 to 22,000 cycles. Price in blond or mahogany $324.00. 820C ICONIC SYSTEM -Corner system using 215 "803A bass speakers, 800D network and 802C high frequency driver with 811B horn. Guaranteed range 30 to 22,000 cycles. Price in mahogany $555.00.

ONLY ALTEC SPECIFICATIONS ARE GUARANTEED MINIMUM PERFORMANCE

TEXAS (Continued) PHOTOART VISUAL SERVICE JAPAN 840 N. Plankinton Avenue SEKT A SILVEY MUSIC COMPANY Milwaukee 3 COMPANY 1009 Donaldson Ave. Kanal Bldg, No, 1 San Antonio EDWARD'S SOUND ENGINEERING Kanda Higashi- Fukudacho 1117 Avenue Chiyoda -Ku SOUTHWEST RADIO & SOUND EQUIPMENT CO. Arthur Tokyo 1518 N. St. Mary's Street Racine San Antonio 2 VIRGINIA HAWAII MEXICO HIGH FIDELITY CENTER EQUIPOS RADIO CINEMATOGRAFICOS, S.A. CARVER FURNITURE COMPANY 1311 Kinau Street Mississippi, 59 Blacksburg Honolulu 14 (Colonia Cuauhtemoc) ELECTRONIC ENGINEERING CO., INC. Mexico, D.F. 316 West Olney Road CANADA Norfolk 7 CANADIAN ALGOR LIMITED PHILIPPINES CURTIS ELECTRONICS P. O. Boo 683 F. H. STEVENS A COMPANY, INC. P. O. Box 92 London, Ontario Hermitage Road P. O. Box 1598 Manila Waynesboro KYMA ELECTRONICS CO., LTD. 1005 Sherbrooke Street West WASHINGTON Montreal, Quebec PUERTO RICO AMERICAN THEATRE SUPPLY CO. INC. ENGINEERED SOUND SYSTEMS, LTD. LISTER BELAVAL 2300 1st Avenue at Bell Street P. O. Box d027 Seattle 1 167 Kipling Avenue South Toronto 18, Ontario San Juan WEST VIRGINIA GALPERIN MUSIC COMPANY FRANCE SWITZERLAND 17 Capitol Street TRACO TRADING COMPANY Charleston BROCKLISS- SIMPLEX Jenatschstr. 1 6, Rue Guillaume -Tell Zurich WISCONSIN Paris 17 THE HI -FI CORNER State at Gorham VENEZUELA Madison ITALY SONORAMA Avenida Leonardo da Vinci TIP -TOP RADIO A TV WINDSOR ELECTRONIC CORP. Via P. da Cannobio, 9 Edif. Century -Bellow Monte 1t3 Main Street Caracas a Menasha Milano

OCTOBER 1956 37

www.americanradiohistory.com New PENTRON TAPE RECORDER

SIR: Your August issue containing Leland famous Emperor recorder in Windreich's worthy article "Album a stunning hand- rubbed wood , Antics" caught me with my typewriter down. I have beside me a pencil draft cabinet of striking design. of a similar broadside directed at Select either genuine those who prepare record jackets, who- My mahogany or blonde ever and wherever they may be. position is only t 16th inch removed rift oak wood. from that taken by Mr. Windreich; that is, my big wheeze is against the current trend to fill the back of the jacket with pedantry, misguided enthusiasm, and advertisement. In developing the matter in a pure gem of expository writing, I arrived at some observations on the front cover situation that are very similar to those 3 SPEAKER HI -FI SYSTEM you just published. Indeed, I very with separate roving tweeter unjustifiably feel robbed... . A vote of thanks to Angel Records, Surrounds you with brilliant, superb sound. Two who give us the plain jacket for a matched speakers in recorder a speaker in its cabinet plus third dollar less. Or you can just wrap mine own separate matching baffle. Creates an amazing dimensional effect. High fidelity at its fabulous best! in an old newspaper, like a fish. Capt. R. L. Hillman Only PENTRON gives you all Fenton, Mich. these professional features! SIR: 10 watt push -pull amplifier As you can no doubt ascertain from my shaky hand, I am a man who is VU recording meter no stranger to frustration, and if I die Automatic index counter of it, David Sarnoff and George Marek Response: 40 -12000 cps will surely deserve to be brought to Instant automatic braking the bar of justice. However, I thought LC crossover network you good men and true might come at 1000 cycles to my rescue with a calming word. Dual speed -Dual track Perhaps you recall Dr. Anthony's oft - repeated warning, "no names please." IN My problem is just the opposite; what I want, what I need, are names. PORTABLE CASE The diabolical schemers who run Choose the Emperor in this handsome, RCA have for some time been putting Highest Quality; sturdy portable case. out an attractively priced, well -re- Low Cost! corded series of operatic highlights on Complete line from $139.95 list. the Camden label. Aida, Pagliacci, 777 SOUTH TRIPP AVENUE Faust, Carmen, Le Nozze di Figaro CHICAGO 24, ILL. are anong the operas released in this fashio.. Much of the singing is of Please send literature on tape recorders an extraordinary level, ringing high Cs, pianissimos soft as cream, first - Name Find V. rate works all around. But gentlemen, H.e...I Del.. In TI. Address who are the singers? 'Yellow Pages' At first I thought it might a City & State be rather charming game to guess a bit, Canada: Atlas Radio, Ltd., Toronto Contniued on page 40

3 8 HIGH FIDELITY MAGAZIÑE

www.americanradiohistory.com "I'm no whiz with the wires -like you"

Wistful William is going through his usual response to an evening of Hi -Fi listening at your house. Much as he wants good music, he tells you -he just doesn't have the know -how to line up components, select and balance, until he has a system like yours. For the hundredth time he says - "Isn't there any 'ready -made Hi -Fi for guys like me ?" Now you can give him more than a pitying smile Here's the answer that will help him find his dream. You can tell him Stromberg- Carlson has just introduced its re- nowned "Custom Four Hundred"® components . . . laboratory- balanced ... in exceptionally beautiful console instruments ready to The new CHORAL high fidelity com- plug in and play. bination. Contemporary louvered cab - inet with lift -lid over changer to pre- First, of course, you'll want to hear the instruments for yourself. vent jar or needle scratch. 4 -Speed They are at your Stromberg-Carlson dealer's studio. changer-4 -pole motor, free of hum or You'll get an expert's kick out of discovering the ingenious features rumble; intermixes 7 ", 10 ", 12" records. Automatic shut -off; live rubber and skilled design that achieve such performance perfection. Multi- turntable cover. 10 -Tube AM-FM ple speakers in special acoustic chambers project a flood of pure, radio with push- button control, pre- undistorted sound to every listener in the room. Powerful amplifiers cise fly -wheel tuning. AM band 550 to produce the finest possible full range of 1)600 kc, FM, 88 to 108 mc. Built -in tonal quality through the FM antenna, drift -free components. audible sound. Four-speed changers, easy -to -reach controls -and 15 -Watt amplifier with Stromberg- stunning cabinet beauty are here too. And when you come to the price Carlson compensated volume control, tags, you'll realize what a favor you can do for Friend William- input jack and front -panel switching for easy connection of tape recorder, these superb Stromberg- Carlson instruments start at a low $149.95! second changer, TV audio signals and other program material. Multiple speaker system in frequency- dividing Yw /6.dd NI- antun This electric clock sign identifies S,Z; ,..,.m....w, network: 12" woofer -type bass speak- STROMBERG-1' YOUR dealer for the new Stromberg- er, 8" wide range, mid -range and 3" $$ CARLSON Carlson radio -phonograph series. $299.95. EouIwIQ l high fidelity tweeter. Walnut, 6 Auoio Blonde Mahogany, $325.00. STROMBERG-CARLSON COMPANY' Complete catalog on request.

A D I V I S I O N O F G E N E R A L D Y N A M I C S C O R P O R A T I O N 1719 UNIVERSITY AVE. ROCHESTER 3, N.Y.

OCTOBER 1956 39

www.americanradiohistory.com LETTERS Continued from page 38 but now, with trembling hands and greying hair, I surrender. Oh, I can hear Steber as Cio -Cio -San and Violetta, Warren as Germont, Rigo- letto, Tonio, etc., Cordon as Mephis- topheles; but who is Radames, Canio, Duke of Mantua, Rodolfo, Faust? ... . Aside from affecting my sanity, the "who" business is a gratuitous insult to the participating singers. Many of them sing quite well, some of them brilliantly. Surely they have some right to go down in recorded literature more gloriously than in anonym- ity.... Eric M. Bishop Milwaukee, Wis.

Our reviewer replies: The excerpts issued now by Camden as The Heart of the Opera were originally cut as 78s, in 5939 and 194o, at sessions planned high fidelity held in the Academy of Music, Phila- Only delphia, and Town Hall, New York, with casts drawn from young and not - can give you true high fidelity! yet-so- famous Metropolitan singers and from the national pool of competent free lancers. The orchestra and chorus are of the Metropolitan. The recordings Putting together a hi -fi system for your limitless. We're happy to help you were first made available as subscription the home can be simple -and it probably choose what will best suit your home bonuses in a circulation drive by New York Sun . . . . All sorts of will cost a lot less than you think! and your budget. You can start small guesses, variably related to facts, were and add as you wish. Here at MusiCraft we offer the kind made at the time, but, so far as I know, or of information and guidance that will Stop in at MusiCraft soon write the only written evidence with then - help you get started right and avoid us for further information. Let us help and -there authority are some incomplete mistakes. you plan the kind of high fidelity and in some regards misleading notes engineers. know, possible combi- system that will give you true high made by one of the recording As you may schemers fidelity. So Mr. Bishop's "diabolical nations of components are practically who run RCA" are only somewhat less confused than anybody else as to precise identities. However, by making use of the remembering ear and collating scraps Send your name and address if you would like to be on our mailing list for our of other information, it is possible for have only a announcements. Would you like a free copy of "Understanding High Fidelity "? one to arrive at casts that few question marks. But it ought to be emphasized that some of the names given below are backed by no more than ( hopefully ) intelligent guessing, If you want to "build -it- yourself" and save -MusiCraft and correction of mistakes is invited. has a complete line of component parts in stock. The Conductors: For all the French and step -by -step directions are easy to Italian works, Wilfred Pelletier; for the follow -and you can feel free to call Mozart and Wagner, William Steinberg. on us for any technical assistance Aida: Rose Bampton, Aida; Lydia Sum- you may need. mer, Amneris; Arthur Carron, Radames; 1 Leonard Warren, Amonasro; Norman Cordon, Ramfis; Lorenzo Alvary, King. La Bohème: Eleanor Steber, Mimi; Annamary Dickey, Musetta; Armand Tokatyan, Rodolfo; George Cehanovsky, Marcello; Arthur Kent, Schaunard; Alvary, Colline. Carmen: Brownie Peebles, Carmen; Thelma Votipka, Fras- quita; Helen Oelheim, Mercedes; To- katyan, and Raoul Jobin, Don José; 48 East Oak Street Chicago 11, Illinois DElaware 7 -4150 Warren, Escamillo; Cehanovsky, Dan - cairo; P. Bontempi ( chorus member at Metropolitan? ) , Remendado. Faust: Marguerite; Tokatyan and Jobin, Selections Complete Custom Installation Service Steber, Lowest Prices Largest Component Faust; Cehanovsky, Valentin and Wag-

Continued on page 47

40 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com LETTERS Continued from page 40 Mullard ner; Cordon, Mephistopheles. Rigoletto: Jean Dickenson, Gilda; Lucielle Brown- ing, Musetta; Tokatyan, Duke; Warren, AUDIO POWER TUBES Rigoletto; Cordon, Monterone; Bon - tempi, Borsa. Madama Butterfly: Steber, Cio -Cio -San; Browning, Suzuki; Tokat- DESIGNED FOR yan, Pinkerton; Cehanovsky, Sharpless; Bontempi, Goro. La Traviata: Steber, Violetta; Tokatyan, Alfredo; Warren, HIGH FIDELITY Germont; Alvary, D'Obigny. Pagliacci: Steber, Nedda; Carron, Canio; Bon - Many years of research and tempi, Peppe; Warren, Tonio; Cehanov- development have been spent sky, Silvio. Le Nozze di Figaro: Vivian in producing a range of della Chiesa, Contessa Dickey ( ?) , Su- sanna; Browning, Cherubino; Cordon, Audio Tubes to meet the made foI' r722CSic Cehanovsky, Conte. Lohengrin: Figaro; requirements of High Fidelity sound Bampton, Elsa; Summer, Ortrud; Car- ron, Lohengrin; Mack Harrell, Telra- reproduction in all respects. This is why NULLARD Audio Tubes are mund; Cordon, Heinrich. Tannhauser: accepted in Great Britain as a standard by which others are judged, and Bampton, Elisabeth; Carron, Tannhau- why leading High Fidelity ser; Harrell, Wolfram. (This leaves the manufacturers in the United States also Venus unnamed; various names have use MULLARD tubes in their equipment, been adduced, including Beal Hober and Ljuba Senderowna, but not with very solid conviction. Senderowna seems a logical candidate. Is anyone sure ?) James Hinton, Jr. New York, N. Y. EL -34- Recognized as the finest high power output pentode, up to 100 watts in push -pull. Exceptionally SIR: linear, requires low input voltage. I read your editorial in the April issue of HIGH FIDELITY Magazine with interest. The question broached at the end of the article, 'What are we going to do about the millions of American and Canadian consumers who are unaware of the luxury of high fidelity home listening," caused me to feel inspired to let you know what my husband is doing in spite of the great handicaps he must work EL-37-The specialized manufacture of MULLARD high with. These handicaps are caused by fidelity inflexible merchandising on the part tubes, particularly the EL37, assures balanced of his suppliers. Because over half audio power output. Replaces the 6L6, 5881, KT66 with- of them are American, I thought you out circuit changes. might be interested. Winnipeg is a medium size city (by Canadian standards) with a popu- EL -84 - 9 -pin miniature AF power lation of a little over 300,000. A pentode, combining high gain and healthy share of her citizenry are pros- linearity. Up to 18 watts in push -pull. perous middle -class people. These citizens will purchase a gross of $100,000.00 worth of high fidelity components from my husband's employers this year, and this year is the Other MULLARD recommended types for equipment and replacement: company's first at hi -fi merchandising. ECC81 /12AT1 ECC83/12AX7 EZ80/61/4 GZ30 /5Z. We tentatively expect at least double ECC82/12AU7 EF86/6267 GZ34/5U4GA /B audio distributors throughout gross in the company's second MULLARD TUBES are available at leading that the United States. For detailed technical data and application informa- year. tion, write to: There is competition here too. A INTERNATIONAL ELECTRONICS CORP. few radio and electronic wholesalers 81 Spring Street New York 12, N. Y. sell high fidelity components regularly, TRADE MARK MULLARD, LTD., LONDON Mullard and another major high fidelity studio here was designed and set up by my husband. The present studio at his new employment is the second hi -fi Continued on page So DEVELOPED FOR HIGH FIDELITY

OCTOBER r956 47

www.americanradiohistory.com ENJOY THE DIFFERENCE SOON!

gieerefei HIGH FIDELITY EQUIPMENT IS AVAILABLE AT: ALABAMA DISTRICT OF Iowa City: ELECTRONIC CENTER INC. HUDSON RADIO & TV OREGON El Paso: Anniston: WOODBURN SOUND SER- 1(17 3rd Ave. N. 48 West 48th St. Portland: EL PASO AUDIO CENTER COLUMBIA HUDSON RADIO & RADIO Dis. 8, SUPPLY CO. Washington: VICE HI -FI SOUND TV L. D. HEATER CO. 103 E. Main St. E. College St. 69 S. 12th St. 212 Fulton St. N. 125 -27 W. 10th St. ELECTRON IC WHOLESAL- 218 1001 S.W. Morrison Fort Worth: PAUL A. SCHMITT MUSIC LEONARD RADIO INC. Salem: ASSOCIATES Birmingham: ERS. INC. KENTUCKY AUDIO TANNER COMM. CO. Avenue, Co. 69 Cortlandt St. CECIL FARNES CO. 2804 Race St. 2345 Sherman Louisv illc: 88 S. 10th St. 304 N. 26th St. N.W. MIDWAY RADIO & TV 440 N. Church St. RAE GANTT SOUND Tuscaloosa: GOLDEN EAR Rochester: CORP. EQUIPMENT CO. 610 S. Third SI. SOUND 611 SCOTT RECORDING LAI. FLORIDA HIGH FIDELITY West 45th St. PENNSYLVANIA 1300 Throckmorton St. UNIVERSAL RADIO SUP- STUDIOS M ILO RADIO & ELECTRIC Municipal Airport Fort Lauderdale: A Ilen town : Houston: ELECTRONIC PLY Co. 115 4th St. S.E. CORP. CERTIFIED 533 S. 71h St. FEDERATED PURCHASER, AUDIO CENTER INC. ARKANSAS DISTRIBUTORS INC. 2(11) Greenwich St. INC. 1633 Westheimer Little Rock: 26(16 5. Fed. Highway MISSISSIPPI RADIO WIRE TV INC. 1115 Hamilton St. WRYE CO., LTD. SHOP LOUISIANA Pass Christian: 1(10 Ave. MOSES MELODY Gainesville: Orleans: 6th RADIO ELECTRIC SERVICE 2410 W. Alabama 311 Main St. New THE MUSIC Box SUN RADIO & ELECTRON- Go DDA RD- GAINES- HI FI, INC. Co. of PA. Port Arthur VILLE, INC. 121 Davis Ave. ICS CO. INC. 1042 Hamilton St. CALIFORNIA 1600 Baronne St. 65(1 6th Ave. HIGH FIDELITY SOUND Bakersfield: 1031 S. Main St. THE MUSIC SHOP INC. Chester: STUDIO Melbourne: MISSOURI TERMINAL RADIO Co. A.C. RADIO SUPPLY BAKERSFIELD AUDIO & 4215 S. Claiborne Ave. Kansas City: 85 St. 2122 -7th St. MCHOSE ELECTRONICS Shreveport: Cortlandt CO. ALARM DEVICES Ave. DAVID BEATTY CUSTOM Red (look: San Antonio: 2531 F St. 64(1 New Haven HIGH FIDELITY CENTER Easton: THE HIGH FIDELITY HI FI & TV HARTER. INC. SERVICE Burbank: Miami: 2530 Linwood Ave. W. 43rd RADIO ELECTRIC HOUSE, VANDERGRIFT FLAGLER RADIO CO.. INC. 1616 111 S. Broadway CO. OF PA. INC. VALLEY ELECTRONIC St. (Westport Rd.) AUDIO Co. CO. 1(168 W. Flagler MAINE Rochester 916 Northampton St. 4106 Pedro SUPPLY FIDELITY ASSOCI- St. Louis: RADIO SUP- San 1302 W. Magnolia HIGH Bangor: RADIO CO. ROCHESTER Erie: ATES ANDREWS MUSIC HOUSE NAPPER PLY CO. WARREN RADIO. INC. Hollywood: 3117 Washington Ave. UTAH ELECTRON- 3888 Biscayne Blvd. 118 Main St. 6110 E. Main St. 1315 Peach St. Salt Lake HOLLYWOOD Orlando: Lewiston: VAN SICKLE RADIO CO. Johnstown: City: ICS 1113 Pine St. Schenectady: DESERET BOOK Co. Ave. GODDARD- ORLANDO DEORSEY'S RECORD SHOP OF HARMONY TELEVISION & RADIO 7460 Melrose Ave. HOUSE 44 E. So. Temple St. WESTERN STATES ELEC- 631 W. Central 23 Lisbon St. 11134 Eastern Ave. PARTS CO. Tampa: Portland: NEBRASKA 226 Main St. TRONICS Inc. Omaha: Syracuse: VERMONT 1509 N. Western Ave. GODDARD-TAMPA H. D. BURRAGE & CO. ELECTRONICS Lancaster: St. St. HOUSE OE HI FI CAMBRIDGE Rutland: 601 S. Morgan 92 Exchange St. GEORGE D. BARBEY Co. FLEETWOOD SOUND STU. Inglewood: West Palm Beach: FLEXIFONE CO. 4628 W. Dodge 530 Wescott INGLEWOOD ELECTRONIC CANFIELD APPLIANCE CO. HI FI MUSIC SHOP 622 Columbia Ave. DID GODDARD DISTRIBUTORS, 57 Portland St. OMAHA SUPPLY 18th and St. Mary's 582 S. Salina St. Lebenon: 285 S. Main St. S. LaBrae Ave. INC. GEORGE D. BARBEY CO. 1136 N. Dixie MARYLAND W. G. BROWN SOUND Road OAKMAN ELECTRIC SUP NEWARK ELECTRIC CO. 1309 NEW HAMPSHIRE EQUIPMENT CORP. 821 Quentin PLY HOUSE OF HIGH FI- Baltimore: 4736 W. Century Blvd. THE Concord: 349 E. St. Lewiston: 12 Wales St. HI Ft SHOP Onondaga - Lodi: DELITY EVANS RADIO INC. Troy: ALVO ELECTRONICS DIS HI El 205 Datura St. 2 N. Howard St. 3A, Bow Jet. TRIBUTORS, INC. GUPTILL'S PARK RADIO & T.V. Co. Route TROJAN ELECTRONIC VIRGINIA S. School St. Meadville: 22 GEORGIA CUSTOMCRAFT SOUND SUPPLY CO. INC. RADIO, INC. Bristol: Los Angeles: NEW JERSEY WARREN BRISTOL RADIO SUPPLY Atlanta: STUDIOS 15 Middleburgh St. 11157 S. Main CRENSHAW HI -FI CENTER Eatontown: CORP. Barbara Pl. BAKER FIDELITY CORP. IOC, W. Fayette St. Utica: New Kensington: 107 Santa N. E. HIGH FIDELITY SOUND & SUP- 31,Moore St. RADIO 1140 Peachtree, SIRKIS MUSIC ELECTRONIC LABS RPC ELECTRONICS CO. HENRY HIGH FIDELITY S. S. S. 4010 Glengyle Ave. CENTER PLY CO. Ave. Charlottesville: 1124(1 W. Olympic Route No. 35 1102 -11(16 2nd 608 -610 Peachtree St. Salisbury: 1415 Oriskany St., W. Philadelphia: CHARLOTTESVILLE MUSIC Menlo Park: Mountainside: CENTER UNLIM- Augusta: RADIO ELECTRIC SERVICE PURCHASER, White Plains: ALMO RADIO CO. HIGH FIDELITY SOUND CENTER DELAWARE FEDERATED 105 E. Main St. ITED TIRE CO. OF INC. HIGH FIDELITY CENTER 509 Arch St. 1824 Wallon Way 367 Mamaroneck Ave. A. C. RADIO SUPPLY CO. Norfolk: 935 El Camino Real MASSACHUSETTS 1021 U.S. Highway 22 Oakland: ILLINOIS Montclair: Woodside. L.1.: 1539 Passyunk Ave. ELECTRONIC ENGINEER. Boston: ELECTRONICS INC. FRIEND'S WHOLESALE ING CO. COAST ELECTRONICS Bloomington: ELECTRONICS PERDUE RADIO CO., INC. BORO 4166 Broadway CRAMER 69 -I8 Roosevelt Ave. DISTRIBUTORS 316 W. Olney Road MILLER MUSIC CO. a I I Boylston St. 8 S. Park St. Pasadena: 614 Arch St. 417 N. Main St. DEMAMBRO RADIO SUP- Newark: Yonkers: RADIO ELECTRIC SERVICE WASHINGTON Dow RADIO INC. CO. ARGUS SERVICE CO. W ESTL AR St. MOULIC SPECIALTIES PLY CO. CO. OF PENNA.. INC. HIGH Seattle: 1759 E. Colorado 1005 Wash. 235 Lyons Ave. 2475 Central Ave. HOUSE -1007 W. 1095 Commonw. Ave. FIDELITY AND COMMER- OLYMPIC ENGINEERING HIGH -FIDELITY Broadview: LAFAYETTE RADIO FEDERATED PURCHASER. 536 S. Fair Oaks CIAL SOUND STUDIO Co. HI-FI UNLIMITED 1111 Federal St. INC'. NORTH CAROLINA St. 2008 Westlake Ave. San Bernardino: Rd. 114 Hudson St. 709 Arch 1305 Roosevelt RADIO SHACK CORP. Charlotte: RADIO ELECTRIC SERVICE Spokane: HOLLYWOOD HI -FI SHOP Champaign: St. HUDSON RADIO & TV DIXIE RADIO SUPPLY CO. St. 167 Washington CO. OF PENNA., INC. HOUSE OF HIGH FIDELITY. 1839 E RADIO DOCTORS YANKEE ELECTRONICS 35 Williams St. INDUSTRIAL ELECTRONIC Av. San Francisco: RADIO WIRE T. V. INC. 3412 Germantown ' 20TH CENTURY SALES INC. 811 W. Springfield 257 Huntington Ave. DIVISION RADIO ELECTRIC SERVICE THE LISTENING POST 24 Central St. Bryant St. 1021 W. First Ave. St. Chicago: Cambridge: 1431 CO. OF PENNA., INC. 2291) Filmore ALLIED RADIO CORP. HI FI LABS Plainfield: SHAW DISTRIBUTING CO. SAN FRANCISCO RADIO T.V., INC. 5930 Market St. WEST VIRGINIA 1011 N. Western Ave. 1077 Mass. Ave. RADIO WIRE 205 W. First St. Pittsburgh: SUPPLY NAGLE INC. 139 W. Second St. Charleston: Market St. ARTHUR Holyoke: Hendersonville: M. V. MANSFIELD CO. ELECTRONIC SPECIALTY 1284 913 E. 55th St. TEL -O -WIRE SOUND CO. Springfield: BRADLEY ENTERPRISES TELEVISION RADIO SUP- CREATIVE AUDIO 937 Liberty Ave. Co. ATRONIC CORP. INC. Haywood Rd. (4 miles RADIO PARTS CO., INC. Virginia St. W. at Park PLY 6566 Sheridan Rd. 37 Railroad St. 40 Briar Hills Circle of Henderson- 1321 Mission St. N.W. 929 Liberty Ave. ELECTRONIC EXPEDITERS, Lawrence: NEW MEXICO ville) RADIO PARTS CO., INC. WISCONSIN San Rafael: INC. The Hi -Fi Center YOUNG & YOUNG OF CATANIA SOUND Albuquerque: Rocky Mount: 6339 Penn Ave. Janesville: 29(P) W. Devon Ave. LAWRENCE INC. REID & Co. 1607 Fourth St. CO. HI -FI EQUIPMENT INC. W. C. Pottstown: THE AUDIO SHACK NEWARK ELECTRIC 198 Broadway S.E. 143 S. Main St. GEORGE D. BARBEY CO. 1208 Milwaukee Ave. Santa Ana: W. Madison St. 816 San Mateo 223 Pittsfield: THE HI -FI HOUSE Winston -Salem: 205 N. York St. LO W ENSTEINS PREMIER RADIO SAMMY VINCENT'S INC. - Madison: 1508 S. Main St. North Ave. SOUND ENGRG. & EQUIP. DALTON -HEGE RADIO Reading: THE HI FI CORNER 3239 W. 23 North St. CO., INC. GEORGE D. BARBEY CO., Santa Monica: SCHSVARTZ. BROS. HI -FI Co. SUPPLY State at Gorham TELEVISION Springfield: 3011 Monte Vista 912 W. Fourth St. INC. CLEF STUDIOS SOUND('O ELECTRONICS Milwaukee: 1642 Ocean Park Blvd. Blvd. N.E. 2nd & Penn Sts. INC. 1215 E. 63rd St. 147 Dwight St. NORTH DAKOTA THE HI -FI CENTER, Van Nuys: State College: 4236 Capitol Drive VOICE & VISION, INC. Wellesley: NEW YORK WOLTER ELECTRONIC CO. ALVO ELECTRONICS DIS- W. VALLEY ELECTRONIC N. Rush SL. PHOTOART VISUAL SERV Co. 927 THE MUSIC Box Albany: 402 N. P. Ave. TRIBUTORS INC. SUPPLY Riverdale: 58 Central St. ICE, 17647 Sherman Way HI- FIDELITY CENTER, 103 S. Pugh St. Plankinton AUDIO DISTRIBUTORS Worcester: INC. OHIO Wynnewood: 840 N. COLORADO 14218 S. Indiana Ave. FRED G. WALTERS CO., 324 Central Ave. Akron: SHRYOCK HI-FIDELITY Colorado Springs: Rockford: INC. Brooklyn: OLSON RADIO WARE- RADIO & TV Co. DEITS BROS. H & H ELECTRONIC SUP- 1308 Grafton St. BENRAY ELECTRONICS HOUSE, INC. Bonwit- Teller Bldg. CANADA 119 E. Pikes Peak PLY. INC. CORP. 73 E. Mill St. Williamsport: -5111 Kishwaukee MICHIGAN Denver: 506 485 Coney Island Av. Ashtabula: ALVO ELECTRONIC DIS- New Brunswick: ALLEGRO MUSIC SHOP Ann Arbor: -FI CENTER MORRISON'S RADIO SUP- CO. INDIANA FI STUDIO BROOKLYN HI TRIBUTING St. John: INC. HI 836 Flatbush Ave. PLY 240 Pine St. St. Elkhart: 1317 S. University Av. 321 Center St. THE NEW BRUNSWICK 262 Fillmore FRICK ELECTRIC & TV, Creek: Buffalo: York: RADIO Co. THE CHAS. E. WELLS Battle BUFFALO AUDIO CENTER ELECTRIC SERVICE INC. ELECTRONIC SUPPLY Canton: RADIO 7 -11 Germain St. MUSIC Co. 520 S. Main St. 161 Genesee St. GEORGE F. EBEL CO. CO. OF DELAWARE 1629 California St. CORPORATION FRONTIER ELECTRONICS, 3017 Cleveland Ave. FI CENTERS Ft. Wayne 94 Hamblin Nova Scotia: C. V. A. HI VAN SICKLE RADIO SUP- INC. N.W. RHODE ISLAND 1624 Broadway Birmingham: St. Halifax: PLY Co. MCCALLUM & DEAN 1505 Main Cincinnati: Providence: CONSOLIDATED SUPPLY C. V. A. HI FI CENTERS AUDIONICS CO. NEW ENG- 1320 S. Calhoun St. 4(19 -11 E. Maple Ave. Hempstead: CUSTOMCRAFTERS AUDIO CO. LTD. 434 16th St. Gary: L. I. ISLAND RADIO DIST. INC. LAND'S HI -FI CENTER LLOYD'S HI -FI RECORD Detroit: INC. St. VILLAGE HOME APPLI- AUDIO HOUSE INC. CO. 2259 Gilbert St. 790 N. Main Ontario: SHOP ANCE CO., INC. 412 Fulton Ave. U. S. Route No. 1 6110 E. Colfax 19771 Conant & LEWIS Cleveland: Kitchener: 3592 Village Court HACO DISTRIBUTING CO. NEWARK AUDIO CRAFT CO. PEFFER SOUND EQUIP 43 Main St. SOUTH CAROLINA CONNECTICUT Hammond: 9730 Burnette St. at 2915 Prospect Ave. MENT CO. HALL'S TELEVISION SER- River Ave. Jamaica: PROGRESS RADIO SUPPLY Columbia: Hartford: Grand AUDIO EXCHANGE DIXIE RADIO SUPPLY CO. Ottawa: RECORD SHOP VICE STUDIOS CO. ELECTRICAL BELMONT HI-FI 159 -19 Hillside Ave. INDUSTRIAL ELECTRONIC CANADIAN 163 Washington St. 7430 Calumet Ave. 83(R1 Fenkell 413 -415 Huron Road SUPPLY Co.. LTD. FIDEL- Indianapolis: K. L. A. LABORATORIES Jamestown: DIVISION MARGOLIS HIGH WARREN RADIO INC. Columbus: 1628 Laurel St. 836 Somerset W. ITY STUDIO GOLDEN EAR 7375 Woodward Ave. ELECTRONIC SUPPLY St. 31 Forest Ave. Toronto: 28 High St. 15 E. 16th PECAR ELECTRONICS CORP. BAY -BLOOR RADIO GRAHAM ELECTRONICS 10729 Morane Mineola, L.I.: TENNESSEE Litchfield: ARROW ELECTRONICS. 134 E. Long St. Kingsport: 1206 Bay St. THE MUSIC SHED INC. SUPPLY SIHLER'S RADIO SHOP SHAFFER MUSIC CO. CANADIAN ELECTRICAL 102 S. Pennsylvania INC. RADIO ELECTRIC SUPPLY Trader Lane INC. 525 Jericho Turnpike 849 N. High St. 245 E. Market St. SUPPLY CO , LTD. New Haven: South Bend: 15822 Grand River & New York: Knoxville: 522 Yonge St. DAVID DEAN SMITH FRICK ELECTRIC TV. Manistee: Dayton: ENGINEERED SOUND SYS- INC. ELECTRONIC ARROW ELECTRONICS, MCCLUNG APPLIANCES 262 Elm St. GARDNER CUSTOM ELECTRONICS 310 Georgia St., N.E. TEMS LTD. 1001 Main St. SUPPLY INC. RADIO SHACK CORP. 65 Cortlandt St. INC. Memphis: 169 Kipling Ave.. S. 230 Crown St. West Lafayette: 258 River St. 1000 S. Main St. GOLDEN EAR ASCO SOUND CORP. FERGUSON'S RECORD New London: Saginaw: 45th St. THE STOTTS -FRIEDMAN SHOP Quebec: 108 Northwestern Av. AUDIO COMM. CO. 115 West DOUGLAS AUDIOTRONICS CONSOLIDATED RADIO CO. 2837 Poplar Ave. Montreal: 15 Terrace 1511 Janes St. 135 E. Second St. Maple IOWA SALES CANADIAN ELECTRICAL West Hartford: St. Joseph: 768 Amsterdam Ave. Toledo: TEXAS SUPPLY CO., LTD. AUDIO WORKSHOP INC. Burlington: R. A. HOWARD -CUSTOM ELECTRONIC ENGRG. AND FEDERATED PURCHASER. JAMIESONS' HI- FIDELITY Austin: 275 Craig St. W. 1 South Main St. HI FI SUPPLY Co. INC. 841) W. Central HIGH FIDELITY INC. EXCEL DISTRIBUTING INC. 2938 Niles Ave. 690 St. James St. W. DELAWARE F. & M. Bank Bldg. Ste. Marie: 66 Dey St. Youngstown: 3004 Guadalupe St. Sault GRAND CENTRAL RADIO RADIO & TV PARTS INC. Beaumont: PAYETTE RADIO LIMITED Wilmington: Cedar Rapids: JOHN P. LEBLANC W. RADIO ELECTRIC SERVICE IOWA RADIO SUPPLY CO. INC. 230 E. Boardman St. THOMPSON AUDIO CTR. 730 St. James St. 321 E. Spruce St. RADIO CENTRE CO. OF DELAWARE 719 Center Point Rd., 124 E. 44th St. 1090 Alma at Park THE 3rd & Tatnall N.E. MINNESOTA HARVEY RADIO Co., INC. OKLAHOMA Dallas: Craig at St. Urbain WILMINGTON ELECTRIC Des Moines: Minneapolis: 103 W. 43rd St. Oklahoma City: CRABTREE'S WHOLESALE Quebec: SPECIALTY CO., INC. IOWA SOUND SERVICE AUDIO KING CO. HEINS & BOLET RADIO & SOUND CLINIC RADIO MAURICE ST. -CYR 403-405 Delaware Av. 1210 Grand Ave. 1827 E. Lake St. 68 Cortlandt St. 1239 W. Main 2608 Ross Ave. 706 Blvd. Charest East

48 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com THERE A DIFFERENCE IN HIGH -FIDELITY EQUIPMENT! HEAR IT! SEE IT! IT'S ipze,,,,- 0.k.,0 Hear whole octaves others miss! Look at the clean, functional lines which are the outward indication of inner quality. That's the result of "Listeneering" engineering by Electro- Voice. All authentic highfidelity equipment reproduces sound pleas. antly. But to recreate living "presence," choose Electro -Voice as experts do. In the Aristocrat folded-horn corner enclosure and related equipment shown, you have an integrated three -way system which gives you amazingly wide tonal range without distortion. The enclosure with 12TRXB triaxial speaker, the Circlotron amplifier with controls and the 80 Series Ultra - Linear Ceramic cartridge in the record player of your choice combine to thrill you with concert hall realism in your home,

Twenty -six years of single - minded devotion to making only the finest is built into all Electro -Voice products . . . units designed to perform together as complete systems ... units which, when added individually to any high fidelity system, make it sound better. New Catalog -Guide gives quick facts on Speaker Sys- tems for true high-fidelity music reproduction. Send 25c to cover postage and handling. Specify Catalog No. 117 -F610

Electro-Voice, world's largest manufacturer of high -fidelity products, offers you the mte.e.rarerk L® world's most complete line-speakers, speaker enclosures, systems, amplifiers, pre- ELECTRO- VOICE, INC. BUCHANAN MICHIGAN amps, tuners, phono cartridges, Power -Point higher in thy West. Export: 13 East 40th Street, New York 16, U. S. A. cartridges, Do- It- Yourself en6osure kits 'Slightly Cables: ARLAB and microphones. Available everywhere.

THE ARISTOCRAT Folded Horn Corner LOW -BOY CIR- 12 -INCH TRIAXIAL ULTRA- Enclosure augments bass reproduction CLOTRON AMPLI- REPRODUCER gives you LINEAR without "boom" or distortion, provides FIER WITH CONTROLS, easy to phenomenal bass response, CERAMIC balanced bass and treble, adds to operate, designed for music lovers fJil- bodied mid range and silky- PHONO CARTRIDGE, for dis- finest reproduction of 45, speaker power -handling capacity. You who want a compact, moderately - smooth upper octaves without 331/3 and 162/3 rpm rec- enjoy purity of extended tone never priced high quality amplifier. Five tortion. Used in the Aristocrat en- ords with true high fidel- before achieved in a cabinet of this position playing selector for radio closure, this integrated three -way ity. 1 -mil sapphire tip. size, 29%" x 19" x 165/,6'. Mahogany, tuner, tape recorder, TV and 2 posi- system has a response of 35- 15,000 84S, Net $9.60. Net $69. Korina Blonde, Net $76. tion phono. Model A15CL, $99.50 cps. Model 12TRXB, Net $64.00. Model

OCTOBER 1956 49

www.americanradiohistory.com LETTERS Continued from page 47 outlet with successful sales volume he has helped create.... It has [however] been an uphill battle all the way. His American and British suppliers have shown little knowledge of Canadian hi -fi markets. Importing has been a problem over and over again and, I may add, has frozen some of my husband's sales promotion schemes featuring American equipment for days and weeks on end. The problem lies in the fact that American suppliers are inadequately in the "know" about the problems of the dealers. Many of these problems could be solved without financial obligation at all. Sales representatives are few and far between, and they are kept busy creating new selling markers. They don't have time to

1 isten to the complaints and headaches of their dealers, and they don't have time to inform their employers of them. Hence, infrequent shipments, stalled orders, errors in MA forms, and inadequate sales representation for the dealer. What I'm trying to get at is that these discrepancies could be avoided; and if they were, American manufacturers would find their Cana-

dian dealers . . . rolling out a vaster

market for hi -fi parts... . There is a vast high fidelity market in Canada that has not even been Truly a Masterpiece among systems! touched. The dealer is the only one who can touch it. My husband knows it. His experience and knowledge What's in a name? Though most products have little rela- tell him so. He knows what will sell, tion to their names, the only name we could possibly have and how it must be sold. It's up to given this system is the MASTER. It is truly a masterpiece ... a Work of Art that can be seen and should be heard! his suppliers to look ahead too, and to co- operate more fully and under- The finest principles of acoustic engineering and the most tasteful elements of styling have been lavished on the standably with him. You mentioned MASTER speaker system. in your editorial that a few prosperous Each component of the MASTER is a gem which contributes manufacturers could now afford Cadil- to its overall magnificence. Just listen to the sonorous "big lacs and airplanes. If those manu- theatre" 15" woofer, the rich full- bodied middles produced facturers would look at their new by the exclusive "reciprocating flare" horn with heavy duty market potential and give greater aid compression driver and the crystal natural clear, highs ema- to those they already have, they could nating from the supertweeter -all kept in perfect balance by the N -3 ACOUSTIC BATON 3 -way crossover network. afford to buy a Cadillac for every member of their family. The MASTER employs the best features of rear -horn loading, phase inversion and direct radiation, integrated to achieve The aid that is necessary is co- a highly efficient extended range enclosure. This results in operation. Adequate co- operation unusual power handling capacity and transient response. means that a common liaison must be This versatile enclosure can be used in a corner or flat Power Capacity: 50 Watts established between manufacturer and against a wall, since it is a true cornerless- corner enclosure. Integrated Program Dimensions: his American and Canadian dealer. For an exciting thrill in highfidelity, listen to the MASTER 37 "H x28 "W x 19'/4 "D Adequate sales supervision and guid- Hi -Fi at your favorite center ... soon. Shipping Weight: 120 lbs. ance should be installed in each major Price: Mahogany $285.00 sales center in both countries - by the UNIVERSITY LOUDSPEAKERS, Inc., 80 So. Kensico Ave., White Plains, N. Y. 290.50 Blond manufacturer. How else can they protect their markets, nurture them, and cause them to expand? Such schemes LISTEN LG lily sowufs 6e7. as co- operative advertising, and other measures should be thoughtfully in-

HIGH FIDELITY MAGAZINE

www.americanradiohistory.com vestigated by the manufacturers. Their representatives could help them. Phil- ...OR lips and Electrohome, to name only two high fidelity distributors in Cana- Have fun - da, have worked out such schemes at a profit to all concerned. save You mentioned in your editorial that the industry is expanding. Yes, we have no doubt that it is. However, money! an industry that has as much to offer as ours could double its efforts and catapult to success. I do not specifically mean a hi -fi "boom." I don't like "booms" - they don't last. I do mean a greater market for high fidelity parts could be reached more quickly and decisively if suppliers and dealers were re- educated. Let us start re -edu- cating ourselves now - before the radio phonographers beat us to it! (Mrs.) Esther H. Bartow Winnipeg, Man. Canada SIR: I should like to propose a campaign among music lovers, and music jour- nals, to induce the record manufacturers to produce recordings of major works on one side only, of two or more disks as required. I have be- lieved for a long time that the proper way to enjoy good music is in the supine position, rather than one of BUILD THIS MAGNIFICENT the various modifications of the erect posture. For years, my enjoyment of SPEAKER SYSTEM It's so simple! the first two movements of a symphony has been marred by the knowl- "DO -IT- YOURSELF" KWIKITS - You can build your THE PSE STORY own version of the fabulous MASTER with a KwiKit, edge that at the end of the second PSE- Progressive Speaker University's "do -it- yourself" enclosure kit. With this movement, I've got to get up and turn Expansion plan (a concept truly amazing kit, you don't end up with a "cheesebox "! first introduced by University) the record over. My investment in a You do end up with an enclosure as good as the finest is the most revolutionary de- quality record changer has profited me factory -assembled enclosure, in construction and design. velopment in speaker history. nothing... . The KEN -IS Kw kCit is similar in every respect to the University speaker compo- I would like to emphasize further MASTER, except that the Kwikit employs a simplified nents, enclosures and networks front frame design. It's have been so uniquely designed that the back sides should be left so easy to assemble ... almost all you need is a screwdriver. 3/4" cabinet plywood used that it is possible to start an blank. Otherwise the cost of a given throughout. Finest 3/4" Birch hardwood used for all fin- excellent basic system at low cost, and add to it symphony would be doubled, and we ishing surfaces. Kit contains: all later -while pre -machined and pre - enjoying immediate listening would get for a dividend a work that shaped wood sections; glue; hardware; plastic wood; satisfaction. sandpaper; easy -to- follow instructions. If you like to we didn't want, or else already had. PSE makes it possible to build build your own and save money then the KwiKit is made There is no use in paying for duplica- up to the MASTER (or any other to order for you. KEN -15 KwiKit $49.75 net. tions in our libraries. Also, in passing, fine system) in successive, in- THE EN -15 ENCLOSURE is the exact enclosure used in expensive steps, using the KEN - I would like to deplore the practice 15 KwiKit and EN -I5. the MASTER system; minus the speaker components. Uni- of inserting "fillers" on the record versity makes this enclosure available for those who For the complete, when the work in question doesn't either have speakers or intend to build toward the fascinating story of PSE please send completely fill the last side. Such MASTER in successive stages, via P.S.E. for FREE illus- fillers are often inappropriate to the Mahogany $125.00 net. Blond $130.50 net. Unfinished $102.00 net. trated brochure. evening's concert as planned, and University offers the largest selection of speakers and components to meet every size and budget requirement again require getting up to trip the changer to eliminate the filler from the program. . . This plan has been on my mind for a long time, and I hope that it WOOFERS TWEETERS OI FFAEIALS METWORks COAXIALS WEATHERPROOF will gain some momentum through UNIVERSITY LOUDSPEAKERS, INC., so SOUTH KENSICO AVENUE, WHITE PLAINS. N. Y. your publication. A. Erskine Sproul, M. D. LISTE N souxás Staunton, Va. ó

OCTOBER i956 57

www.americanradiohistory.com Jgoolks ,K Í2evíéw

WHILE I was bracing myself to his readers to Evelyn Rothwell's ( Lady scholarly studies, yet at the same time cope with the wave of audio Barbirolli) Oboe Technique (Oxford, free from the misleading popular sim- books scheduled to break around Fair London, 1953). Otherwise, he an- plifications of so many publications of time, I experienced a curious meta- swers almost every conceivable question directed to the general reader. Two morphosis of both my choice and you might have about this instrument, the best of these I know set a model manner of reading. Along with a and many more the nonspecialist well worth emulating: Lyndesay G. decided, but definitely momentary dis- would never think to ask until he was Langwill's The Bassoon and Double interest in current publications on provided with the proper background Bassoon (Hinrichsen, 1948) and Léon music and audio, I discovered an avid for a truly searching curiosity. Kochnitzkÿ s Adolphe Sax and his preoccupation with standard ( and off- Saxophone ( Belgian Government In- New York, 1949), beat) reference works. Happily, this "Proliferating" Reading formation Center, dualism seemed to have the wholly neither of which is more than a book- salutary effect of throwing new light One of the unexpected rewards of let in format, but each of which con- on some of my most familiar fact- delving into a specialized study is the centrates in a small space a fantastic source shelves and promoting a better potent stimulus it provides for making amount of absorbing information. understanding of some of the difficul- further discoveries of the same general And the last-named is sure to set ties faced by nonprofessional audio- kind. A book like Philip Bate's, for any reader on at least two "proliferat- philes in utilizing such text and ref- instance, is likely to set one on the ing" tracks: one leading to the military erence books. As a result, this month's track of kindred studies of other wood- band and its repertory (say Richard column will expand its usual scope wind instruments: F. Geoffrey Ren- Franko Goldmans The Concert Band, to cover a number of older ( and dall's The Clarinet, for example, in Rinehart, 1946) and The Band's in some cases even out -of- print) pub- the same Philosophical Library series, Music (Pitman, 1938) ; the other to lications, as well as a couple of current or De Lorenzo's Complete Story of books by and about Sax's greatest releases, and will deal with them rather the Flute (Citadel, 1951) . Latter trails "mouthpiece," Hector Berlioz - not more enthusiastically than might ordi- might lead to books on instruments only the Memoirs (Knopf, 1938) and narily be the case. of other family types, or to the wind, Evenings with the Orchestra ( Knopf; And when the book is Philip Bate's stringed, or keyboard groups as discussed in this column last July) , The Oboe: An Outline of its His- wholes: say Adam Carse's Musical but also to the great Barzun biography tory and Development (Philosophi- Wind Instruments ( Macmillan, Lon- (Little, Brown, 195o) and its paper - 1956), cal Library, $6.00) , the enthusiasm is don, 1939), Frederick Fennell's Time backed abridgment (Meridian- considerable. This study proved to be and the Winds (Leblanc, Kenosha, and eventually to the incomparable a real pleasure to read (as distinct Wis., 1954), J. W. Giltay's Bow In- Treatise on Instrumentation in the from straining for specific data) - struments (Reeves, (London, 1923) , Richard Strauss revision (Kalmus re- something all- too -seldom encountered Max Kenyon's Harpsichord Music print, 1948) . with most specialized books of its (Cassell, 1949) , Ernest Closson's His- Any aspiring composer or arranger kind, usually written by some "expert" tory of the Piano (Elek, London, of course will have to work mainly who, like the Sousaphone player, is 1943) , or Arthur Loesser's more re- with the most up -to -date guides to the "all wrapped up in his work" to such cent Men, Women and Pianos (Simon instruments of the orchestra and the an extent that he quite forgets it is not & Schuster, 1954) . (Or, for a true techniques of using them idiomati- necessarily inherently interesting to hi -fi fan, to G. A. Briggs's Pianos, cally and effectively: Walter Piston's his readers, but must be made so. Pianists and Sonia,' via British In- Orchestration (Norton, 1955) and Mr. Bate apparently is a more -or- dustries Corp., 1951) . And all such Gardner Read's monumental The- less amateur British oboe fan and paths eventually will surely lead to saurus of Orchestral Devices ( Pitman, collector of old instruments who has Curt Sachs's superb History of Musical 1953), for example. But the best - immersed himself for years in the fas- Instruments ( Norton, 1940) . known earlier works of this kind - cinating saga of double -reed instru- While some of these may not be Cecil Forsyth's Orchestration (Mac- mental design, manufacture, and musi- in print or easily purchasable, every millan, 2nd ed. 1935) and Rimsky- cal exploitation. He takes unabashed good musical library in the larger Korsakov's Principles of Orchestration delight in sharing his painstakingly cities is likely to have them, and their (Kalmus reprint, 193o) remain inex- gathered wealth of information and bibliographies will serve as a guide to haustible sources of pertinent informa- does so with a logical organization of still further explorations. tion and sage advice, much of it un- his material and a lucid, easy -going One regrettable weakness of the expectedly enlightening even to the prose style. The only regrettable omis- literature is the comparative lack of reader -listener who never expects to sion (from the point of view of many less extensive (and expensive) spe- do any scoring of his own. listeners, at least) is that of a survey cialized books which provide most of Yet nowhere can he - or, for that of the musical literature for the oboe the essential information, without all family - for which he merely refers the additional weighty detail of the Continued on page 56 52 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com 9LEEIwood' TELEVISION contrast, volume, and picture definition are controlled at your chairside. Sound may be played through your high fidelity system. The picture looks better, too. Fleetwood gets it better - brilliant, sparkling, clear as a professional photographic enlargement* Fleetwood's exclusive definition control lets you adjust the picture to your tastes - soft and diffused or clear and hard. Ask your dealer for a demonstration of this remarkable control. No matter how you consider it- decor, convenience, picture quality- everything looks better. with Fleetwood Television. 'See tested in the Home Report, October 1955 High Fidelity

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www.americanradiohistory.com BOOKS IN REVIEW types of instruments, and the distinc- April) Lionel Salter's admirable be- tions between objective and subjective ginner's booklet, Going to a Concert Continued from page 52 factors ( frequency vs. pitch, for ex- ( Phoenix House, London, 1950) . An- matter, the student composer - learn ample) in thorough -going fashion. other, more adult short study is Adam more about the essential nature of The current edition adds a helpful Carse's Orchestra in the handsomely instrumental voices and their expres- pair of preliminary chapters on basic printed and illustrated "World of sive exploitation than from Berlioz's physical concepts and the nature of Music" series ( Chanticleer, 1949) . study. A large part of his text may be simple harmonic motion, but unfor- And the latter surely will be an ir- concerned with instruments no longer tunately the chapter on the recording resistible incentive to go on to Carse's in general use; Strauss's own com- and reproduction of sound still em- major historical studies of The Or- ments on their successors may be bodies notions which any present -day chestra in the Eighteenth Century and sadly lacking in zest; and many pages aficionado of hi -fi will spot instanter The Orchestra from Beethoven to Ber- may be devoted to lengthy score ex- as sadly old -hat. lioz ( Helfer, London, 1940 -8; Broude, amples that are wasted on those who Most recent books on high fidelity 195o), each of which throws extra- cannot read, or at least "follow," or- audio do better than this as far as re- ordinary illumination on the develop- chestral notation. Nevertheless, the cording media and advanced repro- ment of the symphony orchestra, the work is still invaluable for its Ber- ducing means are concerned, but few music written for it, and the increas- liozian gems alone. Some of his most of them are wholly satisfactory, or ingly rich exploitation of expressive violent attacks on the deficiencies of sufficiently detailed, on general acousti- sonic potentialities by the composers the traditional instruments of his time cal theory, the operating principles of we know and love best. - serpents, ophicleides, and the like all kinds of musical instruments, and - perhaps must be discounted in the above all on room acoustics. For the General Musical Reference Sources of Berlioz's fanatical urge to first of these sub -subjects, Leo L. Bera- light Those who lack eagerness (or time or modernize the orchestra; but unfair as nek's Acoustics (McGraw -Hill, 1954) energy) to seek out such works can, these may they are an unalloyed is the latest and probably best all - be, of course, always look under the ap- for example, could round study since the great Helmholtz joy to read. What, propriate subject headings in standard more pleasure than his On the Sensations of Tone (currently offer sheer musical dictionaries and encyclopedias. vivid pronouncements, of which I available again in a Dover reprint, But in choosing one or more of these quote my own special favorite, on 1954 ) . For the second, material in for your own home bookshelves, it is occasion gratefully borrowed to ex- Culver and Lloyd can be profitably ex- well to be wary of the latest publica- press my personal feelings about cer- panded this time from a strictly - tions. They may be and often are tain types of "tuned" loudspeaker engineering point of view by Dr. - first -rate, but it's impossible to judge enclosures: the succinct and as Harry F. Olson's Musical Engineering - accurately by the reviews. The only Forsyth comments, "ominous" re- (McGraw -Hill, 1952). Except for the - searching test is constant use, which mark on the Russian bassoon, that its last, no really practicable full -length in time reveals every inevitable error "best tones are D and E flat" guide to the behavior of sound waves ...... and shortcoming, as well as their over- and loudspeakers in a home living all practicability and dependability. All Roads Lead to Acoustics room seems to be available (I haven't On this reference -use basis, my own yet seen the British translation of Per In another direction, almost any book current research labors have given me Vilhelm Brüel's Sound Insulation and on instruments themselves is likely to a new appreciation of many of my old, Room Acoustics imported by Anglo- arouse its reader's awareness of the long -since well- thumbed favorites. Un- books, 1952) although a related value of solid grounding in the science - fortunately, I haven't yet had a chance domain is excellently treated in the of acoustics. This will be especially to make intensive use of the new Knudsen and Harris Acoustical De- true if you already share the typical Grove's (St. Martin's Press, 5th ed., signing in Architecture (Wiley, audiophile's concern with the nature 1954), whose size and cost, in any 195o) and the Burris -Meyer and Cole and qualities of sound in general. case, puts it beyond the home -reach Theaters and Auditoriums ( Reinhold, Here again I have opportunely re- of most music lovers. But of those I ceived a current representative: the 1949) do own and consult regularly, I find latest ( fourth) revised edition of new delights every time I open the -Stage the Charles A. Culver's popular college On with Orchestra pages of Willi Apel's Harvard Dic- textbook, Musical Acoustics (Mc- Perhaps I have an exaggerated notion tionary of Music ( Harvard, 1944) and Graw -Hill, $6.00) . The best work of the lengths to which nonprofes- Percy Scholes's wholly unique Oxford I know on this subject, one written sional audiophiles' reading interests Companion to Music (Oxford, orig. from the point of view of a musician will carry them. But even if they 1938; now in the second printing of

rather than that of a physicist alone, have no innate urge to study instru- its 9th rev. ed.) . is Llewellyn S. Lloyd's Music and ments and acoustics in any detail, at The former contains no biographical Sound (Oxford, 2nd ed. 1951). But least they should sense the extent to data at all, but is invaluably authorita- a present thorough reading of Culver which their enjoyment of symphonic tive (if perhaps too often from a commands a great deal of respect for music might be enhanced and deep- German -Austrian point of view rather the usefulness of his study and for ened by a closer knowledge of the than those of France and England) on the clarity of his perhaps prosaic but orchestra itself, and should want of general musical subjects. And while always illuminating (and never un- their own accord to learn more about the latter's biographical entries are duly technical) explanations. common orchestral constitutions, char- often too brief to be as useful as those He covers the nature of sound and acteristics, and techniques. hearing, the characteristics of various I think I've already mentioned (last Continued on page 6o

56 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Heathkit Model FM -3A High Fidelity FM Tuner Kit HEATHKIT SPEAKER SYSTEM KITS Features A.G.C., and stabilized, temperature- compensated oscillator. Ten uy sensitivity for 20 DB of quieting. Covers standard FM These speaker systems are a very vocal demonstration band from 88 to 108 mc. Ratio detector for efficient hi -fi $2695* of what can be done with high -quality speakers in en- performance. Power supply built in. Illuminated slide rule (With Cabinet) closures that are designed especially to receive them. dial. Pre -aligned coils and front end tuning unit. Shpg. Wt. 7 Lbs. Notice, too, that these two enclosures are designed to Heathkit Model BC -1 Broadband AM Tuner Kit work together, as your highfidelity system expands. Special AM tuner circuit features broad band width, high Heathkit Model SS -1 High Fidelity sensitivity and good selectivity. Employs special detector $2695* Speaker System Kit for mintmum signal 1600 kc. distortion. Covers 550 to RF (With Cabinet) Employing two Jensen speakers, and IF coils pre -aligned. Power supply is built in. Shpg. Wt. 8 Lbs. the Model SS -1 covers 50 to Heathkit Model WA -P2 High Fidelity Preamplifier Kit 12,000 CPS within t 5 DB. It Provides 5 inputs, each with individual level controls. Tone controls pro- can fulfill your present needs, vide 18 DB boost and 12 DB cut at 50 CPS and 15 DB boost and 20 DB and still provide for future ex- cut at 15,000 CPS. Features four- position turnover and $2175* pansion through use of the SS- roll -off controls. Derives operating power from the main 1B. Cross -over frequency is 1600 CPS and the system is rated amplifier, requiring only 6.3 VAC at 1 a. and 300 VDC (With Cabinet) at 25 watts. Impedance is 16 ohms. Cabinet is a ducted -port at 10 ma. Shpg. Wt. 7 Lbs. bass -reflex type, and is most attractively styled. Kit includes all components, pre -cut Héathkit Model W -5M Advanced- Design High Fidelity Amplifier Kit 3995 and..pre- drilled, for assembly. This 25 -watt unit is our finest highfidelity amplifier. Employs KT -66 out- Shpg. Wt. 30 Lbs. put tubes and a Peerless output transformer. Frequency response t I DB Heathkit Model SS -1B Range Extending from 5 to 160,000 CPS at one watt. Harmonic distortion $5975 Speaker System Kit less than 1% at 25 watts, and IM distortion less than This range extending unit uses 1% at 20 watts. Hum and noise are 99 DB below 25 watts. Shpg. Wt. 31 Lbs. a 15" woofer and a super - Output impedance is 4, 8 or 16 ohms. Must be heard to Express Only tweeter to cover 35 to 600 CPS be fully appreciated. and 4000 to 16,000 CPS. Used MODEL W -5: Consists of Model W -5M above plus Model Shpg. Wt. 38 Lbs. with the Model SS -1, it com- WA -P2 preamplifier. $81.50* Express only pletes the audio spectrum for combined coverage of 35 to Heathkit Model W -3M Dual- Chassis High Fidelity Amplifier Kit 16,000 CPS within t 5 DB. This 20 -watt Williamson Type amplifier employs the famous Acrosound Made of top -quality furniture - Model TO -300 "ultra linear" output transformer and uses 5881 output grade plywood. All parts are tubes. Two- chassis construction provides additional flexi- pre -cut and pre -drilled, ready bility in mounting. Frequency response is t 1 DB from for assembly and the finish of 6 CPS to 150 kc at 1 watt. Harmonic distortion only I 54975 your choice. Components for 21 only 1.3% Out- at watts, and IM distortion at 20 watts. Shpg. Wt. 29 Lbs. cross -over circuit included with 8 16 Hum noise are 88 Express only put impedance is 4, or ohms. and kit. Power ra- DB below 20 watts. ting is 35 watts, 59995 MODEL W -3: Consists of Model W -3M above plus Model Shpg. Wt. 37 Lbs. impedance is 16 WA -P2 preamplifier. $71.50* Express only ohms. Shpg. Wt. 80 Lbs.

Heathkit Model W -4AM Single-Chassis High Fidelity Amplifier Kit Price includes 10% Fed. Excise tax where applicable. The 20 -watt Model W -4AM Williamson type amplifier combines high performance with economy. Employs special- design output transformer HOW TO ORDER: by Chicago Standard, and 5881 output tubes. Frequency 1 It's simple by response is t DB from 10 CPS to 100 kc at 1 watt. Har- S -just identify the kit you desire its model monic distortion only 1.5 %, and IM distortion only 2.7% $397 number and send your order to the address listed below. at this same level. Output impedance 4, 8 or 16 ohms. Shpg. Wt. 28 Lbs. Or, if you would rather budget your purchase, send for Hum and noise 95 DB below 20 watts. details of the HEATH TIME -PAYMENT PLAN! MODEL W -4A: Consists of Model W -4AM above plus Model Shpg. Wt. 35 Lbs. WA -P2 preamplifier. $61.50* Express only Heathkit Model A -9B 20 -Watt High Fidelity Amplifier Kit Features full 20 watt output using push -pull 6L6 tubes. Built -in pre- HEATH COMPANY amplifier provides four separate inputs. Separate bass and treble tone A Subsidiary of Daystrom, /nc. controls provided, and output transformer is tapped at 4, 8, 16 and 500 ohms. Designed for home use, but also fine for public BENTON HARBOR íB, MICHIGAN address work. Response is t 1 DB from 20 to 20,000 CPS. Harmonic distortion less than 1% at 3 DB below Shpg. Wt. rated output. 23 Lbs. Write for Free Catalog Heathkit Model A -7D 7 -Watt High Fidelity Amplifier Kit Qualifies for highfidelity even though more limited in power than other Heathkit models. Frequency response is $865*v x 11/2 DB from 20 to 20,000 CPS. Push -pull output, and Shpg. Wt. 10 Lbs. separate bass and treble tone controls. HEATH COMPANY A Subsidiary w' Daystrow, Inc. BENTON MODEL A -7E: Same, except that a 12517 permits preampli- $20.35* HARBOR B, MICHIGAN fication, two inputs, RIAA compensation, and extra gain. Shpg. Wt. 10 Lbs. Please send Free HEATHKIT catalog. Heathkit Model XO -1 Electronic Cross -Over Kit Separates high and low frequencies electronically, so they may be fed to separate amplifiers and separate speakers. Selectable cross -over frequencies Name are 100, 200, 400, 700, 1200, 2000, and 35,000 CPS. Separate level control for high and low frequency channels.C Minimizesinimizes in t er- Address modulation distortion. Attenuation is 12 DB per octave. 51895 City & Zone State Handles unlimited power. Shpg. WI. 6 Lbs. OBE

OCTOBER 1956 59

www.americanradiohistory.com BOOKS IN REVIEW Continued from page 56 in Thompson's International Cyclo- pedia of Music and Musicians ( Dodd Mead, 5th rev. ed. 1949) and other standard sources, it not only brims Sound over with other needed and odd information, much of it unavailable in Stereophonic any other easily accessible work, but presents all of its materials with a piquancy which is a blessed relief from WITH NEW.etQ, 3 -SPEED the solemn ponderousness of most encyclopedists. For the average record TAPE RECORDER collector, seeking a single, generally convenient musical reference volume, I can't recommend another he is likely to find as inexhaustibly helpful - and ...YOU NEED NOTHING ELSE stimulating as this Companion. EXCEPT YOUR RADIO, TV AMPLIFIER OR GRACE NOTES Bell, famous name in Hi- Fidelity, offers plenty that's new and The Art of Melody. Some years ago, STEREO too, in this inexpensive, easy -to- operate Tape Recorder. in Schirmer's Guide to Books on Music and Musicians, I expressed my TRUE FIDELITY surprise that no English publication ... 30- 12,000 cycles in print was solely devoted to what is THREE SPEEDS undoubtedly the most significant ele- ... 71/2, 334, 178 ips ment in all music. Since then we have had Réti's provocative The Thematic DUAL TRACK RECORDING Process in Music (Macmillan, 1951) .. Monaural only and now the present treatise by Arthur PLUS STEREO PLAYBACK C. Edwards. But I'm afraid the latter ... staggered (offset) heads is more apt to scare and confuse earn- RECORDED STEREO TAPE est searchers into the nature of melody ... with each recorder than it is to enlighten them. At least ALL FOR ONLY $189.95 I find it practically unreadable. This ... slightly more in West ponderously written expansion of lecture notes, complete with incessant Bell's new BT-76 Tape Recorder is equalized, pre -amplified signals from blasts of quotation and excessively de- masterfully engineered, ruggedly Head built #1 into Recorder Amplifier, tailed analyses, fails to stimulate any and handsomely cased, with outstand- from Head #2 into any Radio, TV, ing features usually found only on ex- or other amplifier system equipped genuine interest in what should be - pensive professional equipment. As with phono input (connecting cable but here most emphatically is not -a a recorder, or when used for either furnished), guaranteeing true Stereo- deeply fascinating subject (Philoso- Monaural or Stereophonic playback, it phonic Sound. Now being demonstrat- phical Library, $4.75) is a magnificent instrument. ed at leading Department Stores and Its staggered (offset) heads feed Hi- Fidelity Dealers. Now hear it now! The Pianist's Problems. One of the best of the instruction, inspiration, and OTHER BELL TAPE RECORDERS AS LOW AS $139.95 guidance books for piano students and teachers was the earlier (195o) edi- MODEL BTK -1- Conversion Kit-To add Stereophonic Playback to any RT -75 tion of the present work by William when desired. Includes second head, pre -amp, hardware, simple instructions, $16.95 S. Newman, legitimately subtitled "A MODEL RT -75 -Tape Recorder -Same as BT -76, above, identical appearance Modern Approach to Efficient Practice and operation but without Stereophonic playback $174.95 and Musicianly Performance." So it MODEL RT -88 -Tape Recorder -Two speeds, Piano -Key controls, three sepa- is a renewed pleasure to find it reap- rate motors, True Fidelity, Dual Track Recording, Lightweight $139.95 pearing in a revised version, with all Prices shown subject to change; are slightly higher West of the Rockies. its original sound sense intact and with the added attractions of two new chapters: nine basic steps to learning BELL SOUND SYSTEMS, Inc. new pieces, and discussions of the A SUBSIDIARY OF THOMPSON PRODUCTS, INC. sight- reading approach and learning 557 MARION ROAD COLUMBUS 7, OHIO by facts vs. intuition (Harper, $3.00). Bell Tape Recorders are sold by leading Department Stores and High Fidelity Sound Dealers everywhere. Write ... well send you complete literature and your nearest dealers' name. &U &,*.l &U wIu.

6o HIGH FIDELITY MAGAZINE

www.americanradiohistory.com AS THE EDITORS SEE IT

Of Discordant Critics, and of a Book

IN DAYS past, when I was a newsman in Washington it confusing and distasteful. The editor who put forward and had to pay for my phonograph records like anyone this thesis based it on the experience of the Saturday Re- else, the guidance I followed most sedulously was that view, which at one time had offered weekly the capsule furnished in the writings of one C. G. Burke. Now that reviews of Edward Tatnall Canby and monthly a full record I am editor of HIGH FIDELITY and record reviewer for section written largely by Irving Kolodin. The two men Atlantic Monthly, I seldom have to buy records and have, were not always (to put it mildly) in complete accord on God knows, no problem of selection, so I need no longer the merits of the same record, and apparently readers did rely on Mr. Burke in that respect. Neither may I consider find themselves frustrated by this. At any rate, some of him my favorite reviewer, since an editor is not allowed them wrote letters about it. favorites among the people who write for him regularly. A counterargument, not brought up then but perhaps However, it has been a source of very considerable gratifi- apposite now, is that the Saturday Review naturally heard cation to me that, in the course of some years, only one from the people who were disturbed by this incongruity, single record's merits have been seriously disagreed upon and not from those who weren't, since the latter would not by The Atlantic's reviewer and the reviewer for HIGH feel impelled to write letters. There are, after all, a good FIDELITY who signs himself C.G.B. many people who buy more than one review -medium for The disagreement -a quite recent one - has had in- the very purpose of reading varied reactions to the same teresting consequences and implications, as we shall see, recordings. What we would like to hear from readers - and introduces an interesting question. Mr. Burke had since we disagree among ourselves on the question - is lavished a lambasting on a recording of a certain concerto, whether they would take kindly or ill to an occasional saying ( among other things) that the soloists drowned out dissent in print. ( Let me interject here, to preclude some the orchestra, and that one of them seemed to be playing suggestions I should otherwise almost certainly receive, that through a barrel, and, in conclusion, that probably no one no responsible editor ever employs his pencil to reverse ever would know the merits of the actual performance. the verdict of a critic who writes for him. He may be The Atlantic reviewer, contrariwise, called the version the tempted, but he doesn't do it.) most satisfactory he had heard in the microgroove era. Such dissents, if they were adopted in practice, would Shortly afterward the latter reviewer, in his alternate have to be ( to serve any useful purpose) informative rather guise as editor, received some support for his opinion in than merely contradictory. Reviewer No. 2 would not be a letter from a record collector and HIGH FIDELITY reader, allowed to make his point by claiming that Reviewer No. one Frank E. Butler, Jr., of Birmingham, Alabama. Mr. I seemed to be equipped with a tin ear, a lame brain, or Butler had bought the controversial record before reading even a defective preamplifier. Further, they would not the C.G.B. review. When he did read the review ( being, appear often, if only because neither the Editor nor the like many another, something of a C.G.B. enthusiast ) , he Records Editor has occasion to hear all the records that are could not, he said, believe that C.G.B. was talking about dispatched to the reviewers. But sometimes, perhaps, they the same record. In further evidence, he submitted a review might serve a purpose. Imagine that you are an editor, from the British magazine The Gramophone, whose writer and in your hands you hold a document ( ahem ) wherein it also thought well of the record. ( Meanwhile, the Atlantic is asserted, irascibly, that Beecham obviously has lost his reviewer, after reading the C.G.B. review, listened once understanding of Mozart. Or that Gieseking's claim to be again to the disk and modified his own opinion, coming a Debussy interpreter must now be disallowed. Just what to rest somewhere in the middle ground: the faults Mr. do you do next? they not A Burke pointed out certainly did exist, but seemed so extreme to J.M.C. as they had to C.G.B.) THERE IS A MAN, and he is not far from where this What Mr. Butler went on to suggest was that when a is being written, who almost certainly has received more critic submitted to HIGH FIDELITY a review incorporating letters than anyone else in the world asking for information so severe and unexpected a condemnation, another reviewer on aspects of high fidelity. He answered them all, which and or one of the editors also be given opportunity to hear required ( he is a conscientious man, of inquiring mind) the record and then register either agreement or dissent. impressive quantities of research, experiment, and in- Mr. Butler's implication was that if the second reviewer genuity. Inevitably, it finally occurred to him that he might disagreed with the first one, the dissent should be printed ease his burden by writing a book, and systematically in- along with the original review. corporating therein all the answers he knew, together with This, as a matter of fact, was done a number of times in the reasoning and facts behind them. So he did. If this HIGH FIDELITY'S earlier years. It was discontinued in some excites your curiosity, you can satisfy it quite easily by part because of apprehension that the readers might find turning to page 57. J.M.C.

OCTOBER 1956 63

www.americanradiohistory.com by Allen Forte

Composing with Electrons

in Cologne

ELECTRONIC music shares somewhat the same condi- lead us down to it, explaining on the way that the studio tion as Mark Twain's weather: everybody talks about has been in operation since early 1953, when it was it, but hardly anyone has heard any of it. My wife, who equipped by the station's technical department, and that knows even less about electronic music than the prover- all current operating expenses ( including the building of bial man in the street, and I are, however, among the new equipment) are met by the station. fortunate few who have had an opportunity actually to Koenig ushered us into what appeared to be the control see the electronic music studio of the WDR ( West Ger- room of a recording studio, and I was taken aback to man Radio) at Cologne and to sample by ear some of its learn that this was the complete "studio," forgetting that artistic yield. Our visit took place one morning when, no space was required for large groups of instrumentalists having fortified ourselves for this contact with the music or singers. I am always conscious of German thoroughness of the future by an ample Rhenish breakfast, we set forth and efficiency, but confronted with all the forbidding for the radio station -a large building of typical postwar apparatus I was particularly grateful when Koenig outlined German modernistic design. ( One of its more unusual a systematic plan of attack. He proposed first to explain features, I subsequently learned, is a floating foundation something about the equipment and then to let us hear similar to the one designed by Frank Lloyd Wright for the some electronic compositions made in the studio. The

Imperial Hotel in Tokyo.) It stands on Walrafplatz, one equipment, he pointed out, was of three types: (r ) elec- of the few rebuilt squares in Cologne, in the shadow of tronic sound producing sources, (2 ) electro- acoustical de- the magnificent old cathedral, which surrounded by ruins - Studio director Herbert Eimert watches composer Karlheinz - now dominates the city much as it must have done in Stockhausen assemble a composition from the control board. the Middle Ages. We were told by the receptionist that we would find Herr Gottfried Michael Koenig, to whom we had an introduction, on the fifth floor. After several false starts, we finally managed to board one of the small, doorless corn- partments that move up and down in a continuous flow, like an endless succession of dumbwaiters, and which serve in many German buildings as a combination escalator and elevator ( dubbed the "paternoster" by the building's inhab- itants). We discovered Herr Koenig, a pale, thin young man with sand -colored hair, hunched over a maze of equipment in a room marked Studio 8. His formal, old- fashioned manner as he greeted us offered a curious contrast to the surroundings. We shook hands all around and then came the inevitable question: "Do you speak English ?" Herr Koenig's reply, ' Leider nicht," only momentarily stopped the proceedings, for my wife speaks fluent Viennese

( understood by most Germans ) and I speak a fumbling but adequate Schaldeutsch. We were, surprised, however, when Herr Koenig informed us that we were not yet in the electronic music studio. He proceeded forthwith to

www.americanradiohistory.com vices for manipulating the sound produced, and ( 3) sound composition for conventional instruments by Karlheinz recording means. Stockhausen called Kontra -punkte, to be followed by an He then showed us the main instruments (or "sound electronic composition of the same composer. The first

sources" as the group prefers to call them ) . Most re- composition, he felt, would provide us with a basis of assuringly familiar- looking was the Bode -Melochord, an comparison for the second and thus help to orient us to

electronic instrument of rich tone quality operated by the new sounds. Although 1 had not expected Victor means of two organlike keyboards. Koenig next intro- Herbert, I was not quite prepared for Kontra -punkte, which duced us to the Monochord, invented by Friedrich Traut- turned out to be a twelve-tone composition for chamber wein, an instrument which strongly resembles a common orchestra written in a style similar to that of Anton household clothes wringer. lt, like the Melochord, can Webern, the avant -garde Austrian who has had considerable produce two tones at once, but it has additional special influence on experimentally inclined contemporary corn - devices which permit the continuous variation of frequency posers. Stockhausen's electronic work that followed, Studie and also provide a wide range of tone color. Both the I, was of approximately nine minutes duration and shared Melochord and the Monochord are fully electronic; that many of the characteristics of the "conventional" work, is, they use only electronic corn- ponents for the production of oscillations. This distinguishes them from instruments which use such mechanical parts as strings, tongues, membranes, or rotating elements in conjunction with electronic components. An example of this latter type of instrument is the well - known electric organ, familiar to aging movie -goers and to habitués

of cut -rate night clubs. ( I quickly learned that any reference to this instrument is considered a major social indiscretion at Cologne.) Both the Melochord and the prede- cessor of the Monochord, the Trautonium, were used to provide background music for productions of the German Radio in the late Thirties. The other sound sources are less picturesque. They include the

Rauschgenerator ( noise generator) , the Schwebungssummer ( buzzer) , and the Tongenerator (frequency generator ), all electronic devices operated from a control panel. Technician. reading score above oscilloscope, mixes and tapes his sonic ingredients. Judging from Koenig's remarks, I think that these are favored by the Cologne composers Kontra -punkte. Mass effects were sparingly employed, in over the more elaborate instruments. These simpler de- favor of the opposition and juxtaposition of single tone vices are not "played" like conventional instruments or qualities. Both works were rhythmically complex and even electronic instruments such as the Martenot or "unsquare "; neither had any singable tunes. Studie 1, the Theremin, but are used to produce simple sounds which electronic composition, had, however, a flexibility which are used as musical building blocks. A composition is would have been impossible to obtain with human per- assembled gradually, sound by sound, and simultaneously formers, and this flexibility - which involved rapid stored on magnetic tape. changes in amplitude, frequency, and speed - also pro- At this point we were joined by Heinz Schütz, one of vided the work with a certain intensity not heard in the the technicians responsible for the building of the studio conventional composition. I confess to having had con- and the official studio technician at present. Herr Schütz siderable difficulty hearing the composition as a unity, began to discourse volubly in my wife's direction upon despite such unifying elements as the recurrent motive the intricacies and virtues of electronic equipment (she of a descending minor third. Nonetheless, I found it to is utterly innocent of technical knowledge ), leaving me be extremely vital and compelling. to reflect upon the simple beauty and clarity of the The second electronic composition we heard was by English language. Koenig finally came to the rescue by Koenig, Klangfiguren 1955, described by the composer suggesting that we hear some tapes, beginning with a as "a constellation of amplitudes and intensities." This

OCTOBER 1956 65

www.americanradiohistory.com also owed much to the style of Webern. Like the like, where they are especially perceptible in phases of Stockhausen work it was polyphonic and contained ex- attack and decay. The difference between these latter semi - tremes of tonal and rhythmic activity which resulted in accidental events and the tone- mixtures used by the Cologne great variation in tension. But again I found it difficult group is that with the equipment in their studio the to hear the composition as a continuum. To a certain Cologne composers can produce tone -mixtures with ab- extent this may have been due to the quality of sound, solutely stable characteristics, thus making them available which, frankly, I found distracting. There was often that to the composer as predictable sound material. Tones peculiar flatness which, associated with abruptness of attack ( sine -tones ) and tone -mixtures are the unique contribu- and unexpected stability, is the identifying characteristic tions of the Cologne group to composers working in of electrically produced sound. I did not find the sounds electronic music. ludicrous or thin, although I must admit that some of the 3. Sonorities ( Klang ) . These are the traditional tones effects were occasionally funny. For instance, a certain of yesteryear, sounds which are actually combinations of rapid succession of high frequencies kept reminding me a fundamental tone and its harmonics, and are not discrete, of the sound made by running the thumb rapidly across indivisible entities as the old term - tone - implied. In- the teeth of a comb. cluded in the concept of sonority are the notions of both But probably the main reason the sound quality is some- pitch and timbre, in contradistinction to the sine -tone, what disturbing is that the new electronic sound elements which is without timbre, relatively speaking. A tremendous differ radically from sounds produced by conventional range of sonorities is now at the disposal of the composer. instruments. There is even a new terminology and a He is no longer restricted to the limited number of tone new scheme of classification for the different sound events. qualities and pitches afforded by traditional instruments,

1 shall attempt to describe these: but can construct sonorities as he desires. 4. Aggregates (Zusammenklang) . Two or more different sonorities sounded simultaneously constitute an aggre- gate. These are subject to the same accurate determination as sonorities.

5. Noises ( Gerüusche ) . In this category are sounds of unpredictable character and of irregular and unstable structure. All of these sound elements can be further varied by means of the sound manipulating devices, the second type of equipment in the Cologne studio. These devices carry the original sounds through processes which modify their characteristics. At the present the most important of these processes are: modulation, expansion and contraction of the frequency band, cutting of the band, rhythmicization,

adjustment of dynamics ( relative amplitude ), and various applications of reverberation. The third type of equipment and the easiest to describe is the sound storage equipment. It consists simply of two tape recorders with synchronized drive motors. These permit the superposition and integration of sounds and have led to the development of fairly complicated editing techniques. This, then, is the technical equipment used by the Cologne composers. It is complex, and to become familiar with it is difficult. Does this mean that the electronic Paçe of a score, ready for taping from electronic sources. composer must be a trained technician? Emphatically no.

I. Sine -tones (Sinustöne) . These are known in classical Certainly he must be conversant with basic technical acoustic theory as "simple harmonic tones" or "sinusoidal notions, but his problems are musical, not technical. As oscillations," that is, pure, indivisible tones which cannot Herbert Eimert, musical director of the West German be analyzed out as composites of fundamentals and har- Radio has said, "... electronic music has more to do with monics. To the Cologne group the sine -tone is the tone. counterpoint than with electricity." What we have in the past called a tone falls into another It is in the working out of a composition that this category (No. 3 below) . musical -technical dualism is most evident, because here the

2. Tone -mixtures ( Tongemisch ) . These are combina- co- operation of both composer and technician is required. tions of sine -tones which result in sounds containing non - The Cologne group seems to have avoided any difficulties harmonic elements. Tone -mixtures are not chords, by the in this situation, perhaps because the composer is accorded traditional definition, but are more akin to sororities ( see the superior position in the so- called realization procedure.

No. 3 below) , or what we conventionally call tones. Tone - Both Koenig and Schütz explained at some length this mixtures occur in conventional bells, cymbals, and the notion of "realization," the term used at Cologne to in-

66 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com dicate the bringing to life of a musical composition and media also have composed works in the twelve -tone system. its step -by -step storage on tape. Implicit in the term is Another prominent aspect of the Cologne group's at- the hard fact that no performers are required for the titude is their awareness of their historical position. They projection of electronic music. The composer, working feel strongly that they are doing the most important work with technicians, simply guides his musical idea from its being done today for the future's music. This is not to genesis in his own brain, through the production of the say that they are arrogant or that they disparage other individual sounds and the manipulation of those sounds departures from traditional means and media. They do to the completed version on tape. In exchange for fallible try, however, to keep the record straight with regard to performers the composer gains predictability, a goal that what constitutes "electronic" and what constitutes "music" has attracted many composers, including Haydn, Mozart, - not an easy job. There is, for example, some disagree- and Beethoven, who all wrote for the mechanical instrument as to whether "la musique concrète" (of Pierre ments of their time. Schaeffer and his associates at the Paris Radio ) is genuinely By the time we had absorbed all this information, mental electronic. Werner Meyer -Eppler and Herbert Eimert have exhaustion had set in and lunchtime had conveniently ar- both been quite explicit about " konkreten musik," as they rived. We agreed to continue our examination of elec- call it. According to them, electronic music is built of tronic music over some good Kölnisch food, whereupon electronically generated sound, electronically manipulated, we repaired to a nearby outdoor restaurant overlooking the electronically stored. Therefore, in their view, both the Cathedral square. A bottle of superb Moselle provided the French group and its American counterpart, the so- called perfect background for a discussion of certain difficult "music for tape" group ( of which Vladimir Ussachevsky aesthetic points and also gave me an opportunity to find and Otto Luening are the most prominent members), are out more about the people connected with the studio. not turning out genuinely electronic music since they use First of all, there are two persons who were instrumental natural or "concrete" sounds ( from brake drums and drops in getting the studio under way: Herbert Eimert and Werner Meyer -Eppler. Eimert, a music critic and writer as well as a composer, made the first experiments with electronic music in late 1952 and early /953 at the instiga- tion of Werner Meyer -Eppler, to whom the Cologne group is greatly indebted for its intellectual basis. Meyer -Eppler not only knows music, but is also Director of the Institute for Phonetics and Research in Communication at Bonn University, where he has been doing original work of considerable interest. Most of the composers who have at one time or another composed at the studio are in their late twenties or early thirties. I include in this group Paul Gredinger, who is also an architect and now teaches at the Industrial Arts School in Zurich; Henri Pousseur, teacher of music at the Gymnasium in Eupen, Belgium; Karel Goeyvaerts, teacher of music history in Antwerp; Bengt Hambraeus, who is associated with the Institute for Music History at Upsala

University ( Sweden ) , and Giselher Klebe, of Berlin. The two composers retained by the studio ( in addition to Eimert, of course) are Gottfried Michael Koenig, who has k been a regular employee since 1954 in the capacity of Assist- ant, and his colleague, Karlheinz Stockhausen, both still in their twenties. Stockhausen studied music in Cologne and in Paris, working in the latter city with Olivier Messiaen and at the same time was involved with the musique concrète Staff -composer Stockhausen, pioneer of the sine -tone poem. studio there. Stockhausen enjoys the distinction of having composed of water, for example) as well as electronically originated the first work for sine -tones, his Kornposition /953. Nr. 2. sound and sounds made by conventional instruments. But The overtone -free sine -tone, in fact, aptly symbolizes the the situation here is further complicated by the fact that philosophic attitude of the Cologne group, for they are one cannot lump all the tape composers together. They purists, intolerant of extraneous or unpredictable elements have different procedures and different compositional aims. in music. The group sees the sine -tone as a microcosmic For instance, Luening's Theater Piece No. 2, a relatively

pattern for compositional procedures of which order and conventional and serious work, is a far cry ( no pun in- predictability are the watchwords. Therefore, is it not sur- tended ) from certain of the early "concrete" sound effects - prising that mathematics has a definite place in the musical and they were only sound effects, not music. The Luening thinking of a group. Nor is it surprising that most composition, which received its first performance at the of these young composers who are interested in the new juilliard School of Music Continued on page 156

OCTOBER 1956 67

www.americanradiohistory.com DURING a recent visit to London, where he assisted figure of unmistakable and inimitable distinction. His in the recording of his opera, Die Kluge, Carl Orff large -boned physical structure gives him the appearance was prevailed upon by the Cultural Division of the German of being rather larger than he is. This is particularly true Embassy to give readings of his Astutuli and Die Ber- of his high domed forehead and his strong, prominent nauerin librettos to an invited audience. facial features. He walks with a slight stoop, and with He approached the occasion with misgivings. Eighty knees slightly bent, as is characteristic of so many European per cent of the audience spoke no German, and the reading intellectuals of his generation. ( It is almost as if they was to be unassisted by any music. This seemed to offer a wished to avoid giving offense by too erect a posture or problem of communication for even so dynamic a reader too assertive a stride.) He is careless in his clothing, which, as Orff. except for evening dress, is likely to be baggy and of oddly He need not have worried. The occasion was a great matched shades. Indeed, he is careless of most things other success. Afterwards he asked one of the English ladies of than music. the audience how much she had understood. Not a single About his own music he is endlessly particular. (He word," she said, "but I had the feeling that I understood has withdrawn from publication or circulation everything everything." written prior to Carmina Burana, which dates from 1935- It is odd that Orff should have been worried, for his 36.) Of music generally, particularly its history, its ele- entire fame rests on a series of stage works written in ments, its functions, and its styles, he is prepared to talk languages that few people understand. Carmina Burana, at any length. This he does with great intensity and with the work by which he is best known in the United States, uninhibited animation. Of himself, apart from music, he is in medieval Latin and medieval South German. Catulli will not talk at all, and is resentful of such references to Carmina and Trionfo di Afrodite, which with Carmina his private life as may turn up from time to time in print. Burana complete the triptych known collectively as Trionfi, "Music born of language," he was saying as we took are written in Latin and Greek. Astutuli and Die Ber- coffee in the shade of the loggia, looking southward toward nauerin are written in a stylized old Bavarian that is largely the Bavarian Alps, "will convey the meaning of language. Orff's own invention. Antigone, his most imposing work We express ourselves in song in order to make language to date, is a setting of Hoelderlin's anything but vernacular more communicative, to extend what is accomplished in an translation of Sophocles. The same is true of Oedipus, elementary melodic and rhythmic fashion by the inflections upon which Orff has been at work for the past two years. and cadences of speech. Thus derived, it has a communica-

Antique tongues and a modern beat . . . The Orff Hypothesis by HENRY PLEASANTS

FAYER-W IISON One would be tempted to deduce from this that Orff's Live faculty over, above, and rather independent of the pre- concern is for music rather than words. But the opposite cise meaning of words. is true. He has produced almost no absolute music, and he "Take such a tune as Voi the sapete," he continued. believes passionately that all music originates in speech. "It springs fresh and apparently inevitably from Da Ponte's Why, then, the predilection for obsolete and otherwise in- Italian and from the emotional situation that Da Ponte had accessible languages? in mind. Put other words to it, or take words away alto- I discussed this with Orff a few weeks ago at his country gether, and it remains communicative. The musical life home on the Ammersee, an hour by automobile from that has been drawn from the language cannot be taken Munich, where he lives with his third wife, the famous away. Much beautiful music has, of course, been written German novelist, Luise Rinser, in a unique establishment without reference to a text, but its melodic character de- consisting of two houses joined by a loggia. ( Some married rives from song and is determined by the kind of song couples have "his" and "her" towels. The Orffs have "his" indigenous to a given people at a given time. and "her" houses.) "When a music loses touch with its linguistic roots, when Moving back and forth between the houses, he is a purely instrumental concepts supersede vocal concepts,

68 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com when the identity of music and song, of song and language, ceptive, acute, and inspired, he is certainly a contemporary is forgotten, it begins to decay, as has happened with European - at least for his generation. European music. Music born of language can be com- Orff is sixty -one. Of a noble Bavarian family, son of municative independently of text; but music born outside the colonel commanding the Royal Grenadiers of the of language cannot be made communicative, even by Wittelsbach Court, he grew up in Munich in the shadow adding a text to it." of Richard Strauss and Hans Pfitzner. He seems to have This still did not answer the question, "why the pre- sensed, even before he could have worked it out for himself dilection for old languages ?," and I put it to him again. intellectually, that these men were exploiting the last pos- "It is not just a question of old languages," he said. "It sibilities of their kind of music; it would be sterile there- is a question of old times. We Europeans represent an after. In 1912, when he was seventeen, he completed a aging culture, and it is a characteristic of old age to want choral work, Also Sprach Zarathustra, of which the score, to look back, to reminisce, to think of old times as better with its emphasis on percussion instruments, its break with times, even to return physically and spiritually to the the traditional treatment of the symphonic orchestra, its birthplace of one's ancestors and to the scenes of one's disregard of chromatic harmony, and its concentration youth. A culture in the prime of its life has little time upon elemental rhythm and elemental melody, much or concern for retrospection. It is preoccupied with its own resembles an Orff score of today. He has remained ever production, and is pleased with it. It lives in the present since outside the so- called mainstreams of contemporary and in the future. But towards the end, like an old man, music, and considerably apart from the center of the in- it looks back. ternational musical community. "Obviously, the old scenes and the old circumstances can Neither twelve -tonist nor neoclassicist, he has been never be seen or relived exactly as they were, nor can they identified with no school and has been sponsored by none. be restored. The old man, reviewing the past, does not On the contrary, his view that a thousand -year cycle of see the past. He evokes for himself a conception of the European music has completed its course, and his sharp past, a vision as seen from a distance measured in time break with tradition in favor of a return to the basic and colored by intervening events and circumstances. elements of song and dance and theater, have made him "That is why my work of retrospection is not anti- more enemies than friends among the proponents of con- quarian. I do not reproduce Greek or Latin or medieval temporary music. They still do. You will find Carmina music, any more than I reproduce Greek or Latin or Burana, Die Bernaurerin, Die Kluge, Der Mond, and Antigone being played in some theaters throughout Ger- many today, but you will rarely find anything by Orff in the festivals of the International Society for Contemporary Music. Is his music an end, or is it a bridge to something new? He doesn't claim to know. I remarked that the new Ameri- can music seems to represent a similar return to the elements of melody and rhythm, rooted in language, and is a more spontaneous demonstration than Orff's own works of the validity of his insights. "Yes," he said, "it has, thanks to the Negro, the essential naïveté, the fresh, vital, infallible instincts of the primitive, that European music has lacked these many years. The last primitve injection in European music came from what Stravinsky and Bartók could contribute from the Slav and the Magyar. There are probably no further European resources." Scene from Antigone as presented in the Essen Opera House. Orff is fascinated by jazz, and has been so ever since medieval theater. I offer only a concept, an attitude. Even American troops held an impromptu jam session in his the Bavarian dialect I use in Die Bernaurein and Astutuli, home during the occupation of Munich in 1945. But he is for instance, is largely my own. Nothing is restored or not intimately acquainted with it. Although he respects -4.1 reproduced. Everything is stylized." its vitality, its originality and invention, it is not his music, r How well Orff has succeeded in this program is indicated and never will be. He is a European who looks back to the by the number of people, including some professionals, roots of European culture rather than forward to its Ameri- who have assumed that the tunes of Carmina Burana, for can extensions. But he is sensitive enough to its essential example, are traditional. They are not. Every last note is elements to have been disturbed by the synthetic character original Orff. What he has achieved is a conception or of Porgy and Bess. He found the work, in the recent projection of the medieval spirit which rings true to the Munich performances by the traveling American company, majority of his listeners. too European. He prefers the real thing. In thus reflecting so accurately a contemporary view of ( Die Kluge, incidentally, was first performed in the the past he is, indeed, a contemporary composer. And in United States by the Negro company of the Koramus Lyric his commitment to retrospection, however intelligent, per- Theater in Cleveland in Continued on page 162

A OCTOBER r956 69

www.americanradiohistory.com The Art of Baffling by Antony Doschek

The author is not only an audio engineer, and vice president of Pro -Plane Sound Systems, of Pittsburgh, but a seasoned professional violinist also, which lends special interest to his views on loudspeakers' musicalities.

THE popular and technical literature of high fidelity ance - as indicated by the manufacturer's representation shows an amazing amount of design and engineering of its response curve. We therefore choose the true "in- information for the construction of loudspeaker enclosures. finite baffle" wall mounting, being careful to i) exhaust While many of the described methods are oversimplified, the rear of the cone into the outdoors, 2 ) reinforce the some are overelaborated and misleadingly mathematical. studding with masonry to insure a minimal vibration of I use "misleadingly" in the sense that we are led to believe the section of wall framing the speaker, 3) fair -off the that rigorous mathematical research will infallibly produce mounting ring to minimize edge effects, and 4 ) close the a good speaker enclosure. There is no doubt that an ex- windows and doors to keep out interfering sounds. Then haustive mathematical survey would help our understand- we listen - at first with pure joy, then with stirrings of ing of the behavior of a given loudspeaker in a given doubt, finally with disenchantment. The duration of the cabinet, and therefore would enable us to build a second aforementioned three phases of emotion depends entirely enclosure with some assurance that a similar speaker would upon the experience and critical competence of the lis- sound well in it. But no such "exhaustive" survey has yet tener: indeed, the second or third phase may never develop been made, so far as I know, and if it were to be, its for some favored innocents. optimal application would always be restricted to the limits What has happened? We re- examine the speaker re- of the normal and wholly acceptable variations and toler- sponse curve -using proper techniques and instruments ances of engineering materials. - and find that the manufacturer has not misrepresented Although Stradivarius had no oscilloscope nor audio his data and that, furthermore, the deviations from the generator at hand, he adapted, nevertheless, design prin- norm are well within the limits of perceptibility for the ciples of indisputable if inexplicable scientific validity to "standard observer." Therefore we rule out response vari- the construction of his violins - arriving at his refinements ation and distortion at our level of listening. The driving through experiment and listening. It took this master components check our well, the room furnishings are acous- builder nearly one thousand tries before he came close tically favorable, we are in a state of good physical and to finalizing his designs. Yet we are given to believe mental health, and we have reserved this time for nothing that a well -oiled slide rule and sufficient "screwing and but critical listening: yet the reproduction does not "live." gluing" will spawn a reproducer capable of bringing any Actually nothing has happened that was not predictable Strad right into the living room, with "full tonal realism," - especially through hindsight. We have precisely what of course. Further, this marvel also will be able to sound we started out to contrive: a practically perfect reproducer like any and every voice of the orchestra and chorus, or of what went into the microphone. By definition, it is a a speaking voice, or any one or several of an infinite variety device to recreate the sounds of musical instruments, and and combination of random noises. Frankly, the degree to it has been painstakingly tailored to avoid the very proper- which this actually has been accomplished is impressive - ties that all musical instruments have, e.g., resonance and but the end, or the end result, is not yet. characteristic timbre. Our demand has been met: the Assuming that we start with a virtually distortionless speaker does not impart any coloration of its own to tape or disk and an aggregation of first -rate, compatible what is being reproduced. Therefore the trouble must lie components leading up to the loudspeaker itself, we can elsewhere, perhaps with the logic informing our demand, feel that our problem has been consolidated to one of which may have been too narrow. Perhaps we were too simply utilizing the speaker to its best advantage in an ready to assume that we knew exactly what happens among acoustically good listening room. Therefore we decide to the enormously complex, interlocked functions of creating, mount the loudspeaker in such a way that no enclosure re- creating, and perceiving musical sounds. In the matter coloration will interfere with the perfection of its perform- of pitch, alone, there is the factor that the loudness of a note will vary its pitch even though its frequency remains the same. For example, frequencies above i,000 cps will rise in pitch as loudness increases, while those below about 1,000 cps will lower in pitch. We also know that the human ear has its own characteristic distortions, and that these are affected by its listening environment. Therefore there is every likelihood that the Philharmonic-in -Carnegie- Hall will sound quite different to us from the Phil-

70 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com harmonic-at-home tics. One thing superrimposed then, CarneCarnegie factor we Hall we obvious) acoug_ we may ignored might be decide that Y call dimensions in out curves to enlarge one sons be randomize the step in of listening. appears the area the right the musical of direction st in exponent/ sources sound field the sound the low to are ie out room, so An frequencyue Install a truly as to acoustical re directtional. since almost horn of its has p told system several We do no among throatoar a ve phase that the ear lo udspeakers, acteristic mouth n distortions is ` not g since trans and its Cn ably more reacly disturbed e have governing length ° 5. realistic thi d no, gets indeed, s gives by minor design its . reproduction. relationships cross-sec be almost duction, us at nships managed pretty -As once notice- horn gd keep good; matter will exhibit we still our especially of fact, °osureonab]e colorations have transients it than arm' 5 idea! clean, if we almost st- ginning to turn reproducer on have is apt instrument our listening but, the ire is tonproduce. anYw c ning room in fact, paper, then, action Th, in into we are of ° c cone own right. a kind be_ exponential) full room Alt of a Y ra. resonances (or hough musical upon area any its scraighr' -' cause thesemouth) speaker handent throat . of the , resonances, capable q .. air aces, of of square and fixed volume whick exciting 9uare square feet area ? -D : its vibratile co exist over by several es, simply wavee 21 boundaries,ndarres, ration of be_ with a horn become are the enclosed herent will r more s operating excited co/orations coupling e audible, more strongly here efficie efficiency because) e ly rigid if the of of hrb,c and material the radiated ncy of many and they therefore no reactance acoustically sound, in-phase greater cone nonabso, extent, too co -to -air audible s of the nos. spectrum its own high ran The direction for level d sounds been dom1zed The Popular higher than any f. depend quality to rostrum r6 e 'manissr ve a great enc. abbreviated psi the the at medium Whe N.B. sensitivities p,anissi and come out horn, --IfIf the !ties mos,ho "tro n its abbreviation therefore, to infinite author of sharp banish'" in seems too the ind reactance quality, is extreme possess, baffle grudging frequency peaks this is mountings g about speakers. clean tares only because according pliesf and troughs, use the vi rtues the spectrum. especiallyciallY therefore electrical components author's they horns in e cocorn shortest Admittedly, has nothing nts and even of 11y except or manufac_ practice, ° here rl. free to sell ds it is the short advice. ers ' as such partially s 1n the infinite yet, and rear radiating fo, g horns he baffle inc compensated attitude and circumlocutions adherents somewhat s stems usually is box part for enclosures to follow, from improved and the of It is one con- such front said that less will not modifications mounting. rlthou sound they improbito e that glamorous d by this he Boor transducer acoustical ry. the and of Although usually ficred impressive, the and is the y in ressive nrn principle this the exception it, theree theoryr opinion mire d and ishoa themay sound anddix,dhe mathematics is of most Perfect down many tonal strong be however, certainly the "ideal subtleties flavor of the Y ear_ aforesaid is accorded device. said are with because by formance applies completely we SomeSo of Y the chief] producing need this iron modified Y howevnich not its efficiency, and horns to the syste be overly low-frequency directional concernedncy, a property eiiexamine of the property mouth Btely per_per- efficiency charmsacteristiche On side in ndthe folded negative home re-re_ of o t Y is composed of have the in the afore going horn unless the its strong and on !t posed and stuff corner one myth high to this we is a true d the fact which hornn of more -frequency !Wean acoustical that a of its h that the horn case. must be horn, is namely, This is acts as dissected: reproduction desirability no t e t .. e(ro1 an extensi d: it us p ductio of a definition. a if we y) true in all of tests hornn By place of c,E s the designn entire) for high one on the tre tical horn: c factors the g l quality radiating several die horn-loaded !Y one Ps namely, which embodiment aded S ecetve e° on Cs mouth constitute 5o total cones, sate pd areas and y' the correct in inches alo as abOUtra sating w or o a binationmouton relationships true acous-acous_ converted the etas pro` it of nshi normal Care feet, binat individual flare; of of our listening axis o f weffective ;E and and throat and stiffness longitudinalual sections the effective of 3o cps turn °f stages; com-n- nverta frequency.room intohanoexp ial have critical material m nearly the configuration cross always volume of the - will To be sure, horn driver geometrycanstmccio augment the coupling n, and acoustical bass corner rating of the the highly and increase of Slighting sound Y its the of cell and a hornlike above named an its and instrument design the rigid 's, furthermore factors re_ tone which is will }pee e. in apt to adulterate not result tse eaan vicious ;n°. oF i t Although way, the le horn abre oa°t Spa o gii anya beauty musical tie ape of the e psstap sc 1 z9apa itt is `0?" e° tearv OCTOBER et`1 Ooot x956 mathematical t asta t cace ts t9 t; a`SStap paps pot a ;o ata \.o c ,.tab. opts colt` ." s an ;on etotp, oQc sca°o a trac ia cse ?,,,,e teeen .O,° L°tp Ber'i` ßSe' 4t° ;S Gate oE oF ap ó of tpb et te op e oNt000s ceat ,tats eso Sh. NO aao, t eokbeoaat aPt 71 >` s ep on o opsS S O t t cè ca ;p r°`se tap oras ° so`' 41(0' i,o'' s, oF 1 rLgS a bee ;;a e` tp S`°`'e O o`j SL1 tre eep ar° ;ap° as VS' epl eStates i ( N. os s. ao é a b tc;o ;`1 e`] tre tbe t t `" 4a too tse t ao Up'tea oE s troobb d` at p, eea .a sc t° bed `1a ° 9 ot ts o`è biaper Se>t°U Sb° b E b Eo F b e o ° s 2.s t° dc t e ts e ap -st` t c t e t at,e, °cr e°ate e ea as e tètts ceptp$a atee tapo. c bav to e tr e" stp be stc ea4t to d` e `s op Seeeetpe sestet bt°o$b ptpY' od.e c oE tpb ottop sts oèasatea4e a tt` ep a t e e a O oot t. tb tto tst oo s 'b tic ep s s c oe tt b bp ta ettpe ptea. tept 4 ,A.0-è' atot 41' cite' ot trep eta` stp eoepce aseps h a oRoscc a Oa sea aperatS o St S '3' tt,9 b° ae d.epaae p ap aeè et' a Fetepa tt e cr e a tare ea a ` a9 ano as apa t`se`1 estrar, creso tici6 www.americanradiohistory.com sep- can be ealea off Actually, s) the types. box themselves:radiation °r little various in back the categcategories theth contrute prises it sus- ento which absorb that Bake: solid angle aratedcrated t e o large are infinite baffles"air volumes the loudspeaker which of enclosures system doethe in stiffness muffle high this speaker a to the ..infinite acoustical high reinforce- nothing corner-, or smaller wide -band -while off° room of 2) inverters pension, radiation phase gpod other throng tear cone categories, b pad as shapes of tear t absorb an two they ic, and to tuned The first that reproductiono4 the and 3 in enCenae t to Si to intended onators a ency portion Uehe Hance, colorationcolor do ápplicati frite sohool,ike true "infinite to or o art their timbreb catigcategory hehighet cut-off hase ot modified own third is .- the hmu best,besr> sound of their folded beingand at their nothing es of n4 the -- not Box of thest own Helmholtzegory cell tribute tetial. of the reputation Fje straight area without sou na f thety mouth of its ail con tOgram tone character th d the p definite this very p opens of °n perfection factors which It in cometsuch the pet4ec tw i them er, only ality earned bas systemstact direction arous- being t has theinki1g> the ts thattha t and rcomm n e listening byness of nor tors pots ra since scico 1 good being way ° l ighesr of isr the seriously, rasa on TO the exest5 vertex very ante Use ersy inverter ecf ,facturera controversyc onto a p °ten is design. mid - the ?has of this bas for the a violent varier/ with considering were possibledeswith -hould m it is I y. means that experimentationexperience, it ve enclosures tthe achieved and inverter cane hasp precisely Guided' construct p , ,uilaer output res::: desig' -, s desired z resonatorUirdesiK, y t tegthe ° installed. _ tof ?o its theoretical of the '-hat pass of the character to the phase human and theth girt? °f quintet wood ends, `P 2y¿ e,

OCTOBER i956 71

www.americanradiohistory.com loudness by limiting sound radiation to the solid angle prises the various box types. Actually, these can be sep- equivalent to one -eighth sphere, but this does not make a arated into three categories in themselves: T) sealed off true acoustical horn out of a room corner; the reinforce- "infinite baffles" which absorb the back radiation of the me-it is haphazard, as often bad as good. speaker in an air volume so large that it contributes little "Fhe exponential, the hyperbolic, and other shapes of or nothing to the stiffness of the loudspeaker cone sus- horn have important application to the reproduction of pension, 2 ) smaller "infinite baffle" enclosures which are the mid -range and the high- frequency portion of the rear vented through a wide -band acoustical muffler system spectrum. Because of the much higher cut -off frequency intended to absorb rear cone radiation while affording high here, the horn can be straight - not folded - and have air compliance, and 3) tuned and untuned phase inverters its full value of required mouth area without being im- or modified Helmholtz resonators. The first two categories, practically large. Assuming the perfection of its sound cell at their best, sound like true "infinite baffles" in that they design, and quality of its driver, only two factors remain contribute nothing of their own timbre or coloration to to qualify its performance: T) its directionality - which the program material. Boxes of the third category do can be successfully overcome for home listening by acous- impart a definite tone character of their own to what is tical lenses or diffractors, and 2 ) the acoustical stiffness of being reproduced. It is this very property of the Helmholtz its construction. This latter requirement for really good resonators that has earned them variously the reputation reproduction has been ignored by many manufacturers on of being both the worst and the best systems in common the theory that so little energy is expended in the mid- use. To the author's way of thinking, the fact that such range spectrum that almost any practical material should a violent controversy exists is the highest recommendation contain and propagate the wave envelope successfully. for considering the phase inverter very seriously, since Nothing could be more wrong. To a musically trained it means that a very wide variety of performance results ear, the differences in the sound of identically designed can be achieved by experimentation with this basic design. horns driven by identical drivers but made of dissimilar Guided by knowledge and experience, it is possible for materials is immediately and strikingly apparent. If the the builder to construct phase inverter enclosures with material out of which the horn body is cast or fabricated almost any desired output response, with precisely the can be made to vibrate, it will impart a distinct coloration right speaker installed. of its own to the sound: if it is rigid and has the property Almost any variation of the Helmholtz resonator design, of high internal damping as well - glass is rigid but within the broad compass of its theoretical requirements, shows low internal damping, ceramic is rigid but shows contributes some change to the character of the repro- very high internal damping - it will impart no coloration duction, and it is this property of the phase inverter that to the sound of the horn. Also, the quality of all the small makes it a first cousin to the string quintet and the human metal or phenolic drivers that I have listened to has seemed voice, and a close relative to the organ pipe, the wood winds, edgy or brittle: my personal preference being the six- or and the brass winds; since, although it is not perhaps gener- eight -inch paper cone driver loaded by a ceramic or cast ally recognized, resonances developed in the mouth, throat, cement horn. Compression loaded horn tweeters, which and chest cavities of the wood wind and brass wind players are useful and even necessary in high -level industrial sys- contribute greatly to the tones of their instruments. Further tems, are usually "steely" and not so svelte as high quality more, any auditorium or listening room shows its own cones or electrostatics for listening in relatively small resonances. Any of these can be, to some extent, imitated rooms. by phase inverter enclosures, and therefore it is a poorly To summarize the horn situation, then, the ideal, pure thought out opinion that condemns phase inverters on the horn is the perfect reproducer -a statement I make con- basis of the fact that they introduce "artificial" resonance fidently, since it cannot be disproved until someone in the recorded program. As a matter of fact, a well - builds such a horn. All horns designed in compromise with designed and damped phase inverter is much smoother, this ideal have individual tone character or coloration, to and lends itself to the satisfactory reproduction of a wider a degree probably in keeping with the musical sensitivities range of tone colors and combinations than many a of their design engineers. The over -all general character "stripped down" horn. And its own coloration very often of good horn reproduction is one adds a lifelike musical quality miss- of authority: a pungent, incisive ing in infinite baffles or truncated tone that may be exactly right for horns. Call it distortion if you will: the brass winds and cymbals, slight- it is distortion purposefully calcu- ly too forward for the strings and lated to compensate for the short- wood winds, and almost never comings of living rooms, point - exactly right for bass drums and source reproduction, and ears. -effect of co) The complaint of many who pipe organs. The presence ir good horns is always striking, and have built or bought phase inverter this makes them particularly effec- cee enclosures is that they produce a tive in the reproduction of both ® "boominess," or "ringing" or "boxy" singing and speaking voices. QZ:"). QtE:)®(ez. quality. This can happen. It is A third general classification of altogether a matter of designing DRAWINGS BY J. GORDON HOLT loudspeaker enclosure systems corn- and Continued on page 159

72 HIGH FIDELITY MAGAZINE ti

www.americanradiohistory.com ASHLEY MONTAGU

UV1W wire Music

Ashley Montagu, the distinguished anthropologist who followed his best seller, The Natural Superiority of Women with The Direction of Human Development and (last month) with The Biosocial Nature of Man (Grote Press, New York), reveals in his contribution to this series that he is not an authority on science and society only. A less publicized role is that of composer. If you want to know who really wrote Purcell-and is still writing him-read on.

ISUPPOSE my first adventure in home music listening Wood provided my basic introduction to the world's great began when I was about three years old ( which would music. But it would be doing less than justice to the make ) . it circa 1908 At that time a number of Russian hand -cranked gramophone if I failed to acknowledge my friends of ( my mother who was Russian ) appeared at debt to it, for on that remarkable instrument I heard the various intervals at our house in London. Many of them memorable voices of such singers as Alma Gluck, Tetraz- played the balalaika, and my memory of those days is zini, and Caruso. It also was on records that I first heard laden with nostalgic recollections of vigorous singing to Heifetz, Elman, Zimbalist, Kreisler, Piatigorsky, and Se- the accompaniment of that instrument in an atmosphere govia. And it is on records that I have since mainly relied redolent with the bouquet of Macedonian tobacco produced for my adventures in home music listening. from innumerable " papyrassi" - cigarettes. To this day The music of which I am passionately fond, that of I have only to detect the faint whiff of a Russian cigarette, Purcell, Byrd, and Arne, I first heard in tantalizing snatches and I will determinedly walk behind the smoker, breathing on records. It seems to me that these seventeenth- and in the sweet odor as long as I am able. I am not myself eighteenth- century English musicians are still altogether a cigarette smoker, and this fondness for the fragrance of too little appreciated. Having first heard them in my Russian cigarettes may be construed as slightly subversive. middle teens in the rooms of a fellow student, I sought I can't help it. I deplore Communism but I like the odor at once more of the music of these fascinating composers, of Russian tobacco! But what I like even better is Russian but without much success. Even in England Purcell, Byrd, music. I suppose this, too, could be regarded as very bad. and Arne are not frequently played, and to this day not In extenuation I can plead that most of the Russian music one of them is anywhere nearly completely available on I enjoy - almost anything Gregorian, Borodin, Tchaikov- records. Since there was not enough Purcell, Byrd, and sky, Rimsky -Korsakov, Stravinsky - is pre -Communist, Arne to go round, I decided to write Purcell, Byrd, and though I must confess to a sinful admiration of Prokofiev Arne myself. In a matter of two days I wrote four songs, and Shostakovich too. complete with words, which I have ever since been passing My mother used to sing Russian folk songs. I remember off as the work of these composers. When the auditor the melodies of them all, and the words of some. Down is fully convinced that the songs are by one or other of through the years they have all been a source of great these musicians, I then grandly announce their true owner- pleasure to me, as well as to my family, who would often ship, and am never so delighted as when I am disbelieved! encourage me to sing them to my atrocious piano accom- I have been repeatedly urged to publish them, but in the paniment. Home music listening for my family has been thirty years which have elapsed since I wrote them, I have in great part that of a captive audience forced to listen to somehow failed to muster up the necessary energy to do my singing and strumming on the piano. This is largely so. When, some sixteen years or so ago, Leonard Bernstein a consequence of my listening to music in other people's arrived in Philadephia to study at the Curtis Institute, he homes when I was a boy. came to our house and had dinner with us. I showed him In my early teens I had the good fortune to have as a one of the songs, about which he was so genuinely warm friend an accomplished young violinst. He seemed to and kind that, even though he was a youth at the time, take the whole world of music for his range. His sister I was enormously pleased by his judgment. And, of course, played the piano delightfully, and several times a week I have been enormously pleased by his spectacular success they would play together, as I listened enchanted. I think since. these friends and the Promenade Concerts of Sir Henry One of the most fetching Continued on page 163

OCTOBER 1956 73

www.americanradiohistory.com Adventurers in Sound

The Major by Lawrence Lessing This brief appreciation of one of America's greatest inventors has been condensed by the author from his newly completed biography, Man of High Fidelity - Edwin Howard Armstrong, which is scheduled for publication this month by J. B. Lippincott Company, Philadelphia.

The late Edwin Howard Armstrong.

ONE DAY in June 1934, a new type of radio wave bers, including Howard's mother before her marriage, went out from RCA's experimental station at the having served as school teachers and principals in the top of the Empire State Building in New York to be picked New York public school system. In 1902 the Armstrongs over- up by a special receiver in a beach house at Westhampton moved up the Hudson River to a big gabled house Beach, Long Island. This was the first historic field test looking the river at 1032 Warburton Avenue, Yonkers, of wide -band frequency modulation broadcasting, or FM mainly to get Howard out into the healthful suburbs to for short. Beside the transmitter in New York stood the recover from a childhood attack of St. Vitus Dance. It was inventor of the new system, a big, bald, soft -spoken man in an attic room of this famous house, only ten years later, in his shirt sleeves, widely and affectionately known in that Howard Armstrong was to make one of the decisive radio engineering circles as Major Armstrong, the inventor inventions of modern times. of some of the most basic circuits in all radio. As a boy he had read and found his imagination fired As the first crystal -clear tones of the new radio system by a book of inventions, given to him by his father on were received on that morning twenty -two years ago, the returning from a business trip to England. Around him operator, George Burghard, an old friend and associate of were such famous models as Thomas Edison, the Wright the inventor and a veteran radio amateur in his own right, brothers, who were just then making man's first flights in felt himself part of a historic event. Into the logbook a heavier -than- air -machine, and the great Italian experi- of that date he inscribed the words: "An era as new and menter Guglielmo Marconi, who only a few years before distinct in the radio art as that of regeneration {the first had discovered how to make wireless waves carry messages of Armstrong's radio -circuit inventions in 1912} is now over the earth. At the age of fourteen the young Armstrong upon us." The words were prophetic, for this new system decided that he too would become an inventor -and, for of almost static -free, high fidelity FM broadcasting was some reason, which he could not later recollect, he chose destined over the next two decades to set loose a revolution the wireless field. in communications and the auditory arts that is not yet fully The attic room in Yonkers soon was filled, in the best realized and not yet ended. tradition of American invention, with homemade wireless The date of 1934 may occasion some surprise. It was apparatus and the questing, crackling sound of the tele- not until 1940 that people generally began to hear much graph key. Dozens of boys in that period were gripped by about FM, and, in part due to the hiatus of World War the wireless "bug," but young Armstrong was pressing II, not until 1947 that any considerable number of FM to explore the unknown. All through his years at Yonkers stations and FM receivers were available for listening. High School, where, incidentally, he became captain of the Behind that long interval between date of invention and tennis team, he was seeking to go beyond the unreliable date of general use lies the record of one of the most spark -gap transmitters and weak magnetic or crystal re- tumultuous of recent adventures in sound and the story of ceivers of that day, capable only of transmitting Morse one of the great and tragic personalities of our time. code at a staccato whisper over any distances. In the fall of 1909 he began to commute (on an Indian motor- Edwin Howard Armstrong was born in 1890 in a brown- cycle given him by his father as a graduation gift) to the stone house on West 29th Street in New York City, Columbia University School of Electrical Engineering, the first child of Emily and John Armstrong, for many years where he plunged in earnest into wireless studies and came United States representative in charge of the American under the influence of a series of great teachers, including branch of the Oxford University Press. The family was the noted Serbian inventor and scientist Michael Pupin. large, religious, and academically bent, many of its mem- While still a junior at Columbia, Armstrong made the

74 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com first of his inventions radically ad- circuit before the war for $50,000. vancing the science of electronics. In He could find no takers. After the 1912, while studying the three- element war, however, he concluded a series vacuum tube - invented six years be- of sales of his first three inventions fore by Lee De Forest, but little used which altogether, in cash and stock because no one could explain its action in the newly organized Radio Cor- - Armstrong conceived the circuit poration of America, netted him that was to release the power of elec- close to ten million. He was sud- tronics upon the world. By continu- denly famous, interviewed by the ously feeding back part of the tube's press, the subject of excited magazine output current in a tuned circuit to its articles. However, except for some input current, he achieved a thousand- kicking up of his heels in the spirit fold amplification of the incoming of the Twenties and of his sudden signal, the first such amplification good fortune, Armstrong remained the achieved in wireless. When he pressed sober researcher, more interested in amplification beyond this point, the listening to a tuning fork than to the tube suddenly began to oscillate or send deafening blare of radio broadcasting. out radio waves of its own, becoming a He made a short trip to Europe in transmitter rather than a receiver of 1922, delivered a scientific paper be- radio signals. This was the regenerative fore the Paris savants whose govern- or feedback circuit, on which Arm- ment had decorated him for his war- strong was issued a historic patent in time invention of the superheterodyne, October 1914. It provided the instru- returned to the States with a long, ment which is still the basis of all radio lean, Hispano -Suiza motor car, and transmitters as well as the basic fore- courted and married Miss Marion Mc- runner of all radio -frequency amplifiers. Innes, the pretty secretary of RCA's Four years later in 1918, while President David Sarnoff. Still in his serving in the Army Signal Corps early thirties, he seemed to bestride in Paris in World War I, Major Arm- the new world of electronics. strong invented the superheterodyne Yet bad luck and malicious de- circuit, which allowed many thousand- traction dogged the progress of fold amplification of weak shortwave nearly all his inventions, long after they signals and became the basis of nearly seemed securely established. In 1924, all modern radio and radar receivers, ten years after Armstrong had secured even down to the present. And four his patent on regeneration, De Forest years later, in 1922, he invented the and A.T. & T., which by then owned superregenerative circuit, the simplest all the De Forest triode patents, began and most powerful amplifier so far a court attack on his controlling inven- conceived, but limited in use. Follow- tion which became a classic of patent ing the war, Armstrong, already pre- litigation. The case went through ten maturely bald at thirty, was easily the years, eight courts, cost the defendant most brilliant figure in the rising no less than a million dollars, and was world of radio. He returned to Colum- twice brought up to the Supreme bia University, where he had been a Court, where it was finally and ir- prewar instructor and research assis- revocably lost for Armstrong in 1934. tant at a salary of $Goo a year, to The Institute of Radio Engineers begin a lifetime association, even- promptly refused to accept the court tually taking over Pupin's laboratories decision and in a historic action rein the basement of Philosophy Hall affirmed Armstrong as the true in- and continuing there the basic re- ventor of radio regeneration. Later searches that were to pace radio other top engineering and scientific development for over a quarter of a bodies awarded him their highest century. honors for this and subsequent in- And all at once, with the frenzied ventions, and in 1949 he was elected boom of radio broadcasting in the a fellow of England's Royal Society early Twenties, the quiet young as- in recognition of his basic contribu- sociate professor of electrical engi- tions to electronics, beginning with neering at Columbia University was High above the Palisades on the W2XMN regeneration. But Armstrong was to 400-foot touer, Major Armstrong, from a millionaire. Armstrong had tried un- be attacked in commercial circles as a bosun's chair, adjusts a turnstile - successfully to sell his regenerative antenna. Beyond him is seen Manhattan. that "discredited inventor," and his

OCTOBER 196 75

www.americanradiohistory.com brilliant career suffered a wounding blow from which need for a second aural broadcasting system, that the public he never fully recovered. was not really interested in high fidelity. The public, it Armstrong launched into the long, hard development of was said, had a "tin ear." FM as much to prove that he was indeed an inventor as This last canard, which persisted even into the 195os, to prove anything else. There were, to be sure, other never failed to arouse Armstrong's ire. Always a vigorous impelling factors. Static had been a basic, nagging prob- writer of letters -to -the- editor, the Major as late as 1951 lem in wireless communications from the beginning, and was writing a typical letter to one hapless editor who had it had been the first problem on which Armstrong began printed an article which stated that the public "actually to work with Pupin after he graduated from Columbia. preferred low- fidelity radios." He had reached then no fruitful conclusion, but he could "What he says, in effect." wrote the Major, "is that the never drop such problems. Moreover, with the true engi- renditions of Stokowski, for example, as heard in the con- neer's discontent with things as they are and a pair cert hall are, in some mysterious way, improved by bring- of remarkably sensitive ears, he had become more and ing them to the ear of the listener through the imperfec- more dissatisfied with "a radio that sounded like a radio." tions of a radio set that leaves out half the notes the Nearly all his intensive work on FM, however, was done musicians play, and that this 'low fidelity' is really what in the years when he was losing title to his first invention the public wants. Carrying this to its logical conclusion, before the Supreme Court. From 1928 through 1933 his it follows that our concert halls are not properly set up. Columbia laboratories were going every day in the week, Acoustic filters should be introduced between the orchestra often far into the night, and on all holidays except Christ- and the audience to perform the same function that the mas. When the Supreme Court handed down its final low -fidelity radio set performs, so that there will be decision against him in 1934, he had in his pocket four screened off from the audience that part of the rendition patents issued simultaneously to him on the day after which 'shouldn't be there.' How did this folklore 'that the Christmas 1933, covering the basic FM system. public disliked natural reproduction' come into being? It The key to that system, as nearly everyone now knows, is one of the most amusing jokes on the 'engineering' pro- was the use of a radio wave never before successfully em- fession in decades." ployed in radio. In FM the carrier wave's frequency is Unable to interest the big radio industry in FM in 1934 varied or modulated over a wide band of frequencies to Armstrong set out to build his own full -scale FM station carry the sound pattern, instead of modulating its amplitude high atop the Palisades overlooking the Hudson River at or power, as in, the older AM radio. Since most static is an Alpine, New Jersey, so that FM might be heard. Four amplitude- varying phenomenon, this provided a wave not years later, after many vicissitudes and an expenditure of easy for static to break into. To receive the new wave, close to S 300,000, the great 400 -foot steel antenna tower Armstrong devised a special receiver, based on his super- of pioneer FM Station W2XMN went on the air, blowing heterodyne, which rejected all amplitude variations ( static ) sky high the gossip that FM would not work. With the and then converted the pure FM signal to amplitude call letters W2XMN, on a full 5o kilowatts of power in modulation for the loudspeaker. Armstrong's feat was to 1939, a great new pioneering signal in radio communica- take a form of modulation which up to then had been tions went out on the airwaves. pronounced unusable for carrying intelligence, and, by The historic significance of Station W2XMN has never devising precise apparatus and conceiving the idea of trans- been adequately recognized. The Major lavished on it mitting over a wide band of frequencies, convert it into an all the care and attention to detail of which he was prodi- instrument of great beauty and utility. Not only did his giously capable. He went to great lengths to make it a new system eliminate most static, operating quietly through new standard in sound broadcasting. Aside from develop- thunderstorms, a thing unheard of, but it also transmitted ing the antennae and tubes needed to operate in that new the full frequency range of sound imposed on it with a region of the spectrum, he tested dozens of microphones fidelity, clarity, and lack of distortion unknown in AM to find and adapt the one most capable of transmitting the broadcasting. full tonal range. He sought out the best professional The FM system, however, was a revolutionary one, re- record -playing apparatus. He studied loudspeakers, en- quiring entirely new transmitters and special receivers. closures and acoustics, and had a speaker enclosure built Operating in the very short waves, it made possible many to his specifications, tall and slim as a grandfather's clock. more radio stations and networks than the old AM system. The quality of these components was critical in demon- By employing high -powered mountaintop stations and FM strating the high fidelity sound that FM was capable of relay, developed early, FM required no telephone lines for transmitting. Some of these components had been around network operations. Eventually it looked to the overthrow for years, played with and advanced by engineers and a of the large investment and tight network pattern in AM few amateur enthusiasts, but almost unknown to the public. radio. Almost from the start, in quietly demonstrating The components were not only expensive but quite useless his new system to the radio industry, Armstrong saw that in association with an AM radio system and popular re- FM was not going to be as avidly taken up as his earlier cordings in which all the overtones of sound above 5,000 inventions. There was nothing strange about this in view or 8,000 cycles were cut off. Historically, FM provided of the economics of radio manufacturing and broadcasting. the missing link to bind all this advanced sound apparatus Wherever he went in the industry in these early years. he together. In the full -throated 15,000 cycles of the W2XMN found talk that FM would not work, that there was no transmissions that, in a small Continued on page 166

A 76 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ULTRASOUND

by JOHN J. STERN

ULTRASOUND is the first cousin to sound, the containers, and these are then suspended in the oil. medium of audiophiles, who may be interested in The result of the exposure of matter to ultrasound is learning something about the immediate family of their a rapid acceleration of particles, up to i oo,000 g (g being favorite pet. Ultrasound has no musical properties because, the force of gravity). Viruses and bacteria can be killed as the name implies, the range of its frequencies lies be- by ultrasound, protozoa can be torn apart, even small yond the limits of hearing of the human ear. It embraces animals like tadpoles, frogs, and fish are paralyzed or killed frequencies from i 5,000 up to i,000,000 cps. No realistic if they are exposed to certain types of ultrasound. While hi -fi fan will claim these frequencies as his own. Nor will ultrasonic vibrations can produce heat in living matter, the he even feel desirous toward them, when he has read a usual deleterious effect on tissue is caused by cavitation, little further. Indeed, he may find himself edging away from the formation of microscopical hollows or cavities in fluid. his own supertweeter, if he is inclined to hypochrondria. Like many other potentially destructive physical forces, The superfrequencies are produced either by magneto - ultrasound can be used in proper dosage for physico- striction or piezo -electricity - two physical phenomena medical treatment of certain diseases. It has been shown which employ principles quite different from those used in to be effective in neuralgia, sprains, some types of arthritis loudspeakers. and sciatica. If the power is increased, ultrasound becomes Magnetostriction relies for its effect on the fact that, dangerous, like chemicals which are medicine in small if a rod or a tube of ferromagnetic metal (nickel, monel amounts and poison in bigger ones. Ultrasound of 800,000 metal, etc. ) is exposed to a magnetic field, it changes its cps at 20 watts power destroys bone tissue. Fifteen to length. This phenomenon is reversible. If the magnetic 20,000 cps at 5o watts per cm', focused with polysterene fields alternate, the rod contracts and expands with the lenses and conducted by salt water, can destroy brain tissue. frequency of the alternation. A maximum vibration is It is thought that a refinement of this method may become obtained when the frequency of the field is in resonance useful in the treatment of brain tumors. with the natural period of the rod. The end of the rod However, uncontrolled ultrasound has been observed to then acts as a piston and sound waves or ultrasound waves have undesirable effects on the human body. A case has are emitted from it. been published of a young woman, a rapid and accurate Higher frequencies than those obtained by magneto - mathematician, who was unable to solve simple arithmetical striction can be generated with a piezo -electric crystal. problems after being exposed to a i6,000 cps ultrasonic This method utilizes the well -known phenomenon, used in source for an hour. A chemist was reported to have lost the construction of crystal cartridges and microphones, that his sense of balance so that he could not ride his bicycle

the crystals of ' certain substances develop electric charges after working with a 500,000 cps piezo -electric source. on their surface when they are subjected to mechanical I hasten to point out that high energy is required to strain. The reciprocal piezo- electric effect causes mechani- make ultrasound biologically effective. High fidelity en- cal strain, and hence dimensional distortion, when electrical thusiasts can feel perfectly safe, even if they play with charges are applied to the surface of a crystal. In crystal ultrasonic frequencies, since a tweeter emits only a fraction cartridges the crystal employed is that of Rochelle salt. of the energy necessary to do damage, and most of this In ultrasound generators it is usually a quartz crystal. If is lost in air conduction. But, faced by the clamor of some such a crystal is exposed to alternating electric fields, the hi -fi addicts for higher frequencies and more powerful result is mechanical vibration which has the frequency of amplifiers, I sometimes wonder when ultrasound damage the field applied. Magnetostriction is capable of enormous will enter the ken of medicine as an occupational disease. power output at frequencies from io,000 to 50,000 cps. I know a hi -fi bug with a 3,000- 3o,000 -cps supertweeter Quartz is more effective at higher frequencies, up to and a 5o -watt power amplifier who does seem to have 1 ,000,000 cps. lost, figuratively speaking, his sense of balance. His wife In biophysical application the quartz crystal or the thinks it is mostly the bank balance which is affected, but end of the magnetic rod is immersed in oil. Substances I am waiting for better weather to take him out on a to be exposed to ultrasound are placed in thin -bottomed bike and see whether he can ride it straight.

OCTOBER 1956 77

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7 HIGH Fmt:l.rrY _MAGAZINE

www.americanradiohistory.com usiby Iris. Roland Gelatt aa.k.es

THE PORTRAIT of Béla Bartók thority on Hungarian art history demand for non -hi -fi recordings of his- shown on this month's cover has had among HIGH FIDELITY'S readers, we toric significance. RCA Victor may a strange history in the forty -odd years would like to hear from him. have found the way to make them it has been in this country. We first readily available and commercially learned of its existence a year ago July AS Alfred Frankenstein points out feasible at the same time. from the violinist Joseph Szigeti, who in his discography, Bartók's great This month Victor is introducing a told us of a virtually unknown paint- posthumous popularity is owing in "Vault Treasures" label, on which ing of Béla Bartók as a young man large measure to the LP record and deleted Red Seal recordings are to be which was in the possession of a highfidelity reproduction. Without revived. There is nothing new in a San Francisco doctor, Leon Kolb. Al- doubt this composer's brilliant and series of reissues, of course. The novel fred Frankenstein subsequently visited exotic orchestral scoring makes a won- twist in this case has to do with the Dr. Kolb, saw the portrait, and learned derfully impressive effect on modern method of supply. These Vault that it had been painted by Robert audio equipment. I find it sad, Treasures records will not be stocked Bereny in Hungary in 1913 and had though, that some distinctly low - by dealers. Instead the dealer merely been sent across the Atlantic two years fidelity Bartók recordings are no longer takes an order for them ( and accepts later to be exhibited in the art show available: the ones he made himself. the customer's money ) ; the records of the Panama -Pacific Exposition in Only two LPs of Bartók's own piano themselves are sent directly to the San Francisco. It had been hung with playing remain in the catalogue. This buyer from RCA's nearest warehouse. about twenty other paintings by is better than nothing, but surely Average time for delivery, according Bereny in the International Section, everything that Bartók recorded to RCA, will be three days. This plan which was a kind of catchall division should be available - no matter how frees the dealers' shelves for more for countries whose artistic represen- dated the sound. The 1936 edition easily salable material and at the same tation was too small for separate ex- of The Gramophone Shop Encyclo- time assures customers of receiving hibits. pedia lists eight now -forgotten records factory -fresh pressings. In 1915 Bartók was thirty -four, on which Bartók plays, both solo and The first Vault Treasures catalogue ridiculed in his own country and quite as accompanist to Joseph Szigeti and contains fifty -four records, all drawn unknown here. Yet the painting was two Hungarian sopranos. They ought from fairly recent deletions in the listed in the Panama -Pacific catalogue all to be revived on LP - as should LCT and LM series. Anyone who as "Portrait of the Famous Composer, his circa -194o recordings for Colum- missed out on the Lotte Lehmann Béla Bartók." The pictures compris- bia. Rosenkavalier or Walküre recordings ing the International Section were all need not despair; they are back in personally selected by J. Nilsen Laur- ANTIQUATED RECORDINGS such Victor's catalogue. So are Fritz Kreis- vik, who later served as director of the as those made by Bartók are not ex- ler's Mendelssohn Concerto, the San Francisco Art Association and still actly fast -moving items in today's Rubinstein- Beecham Beethoven No. later settled in New York, where he market ( where the newest version of 4, Horowitz's Pictures At an Exhibi- died in 1953. His estate was put up a work is almost always the best seller, tion, and Maggie Teyte's collection of for auction in San Francisco two years regardless of interpretative values), French songs. Additions to the series ago, at which time the Bartók por- and record companies are understand- will be made twice yearly. Provided trait was purchased by Dr. Kolb. ably loath to fill their catalogues and that Victor has masters in playable Laurvik had acquired the painting in burden their dealers with disks that condition, the voice of the customer 1915, at the close of the Panama- Pacif- find comparatively few buyers in the will be heeded when new titles are ic Exposition, and it seems to have course of a year. But there is a certain chosen. Send reissue requests to Vault remained in storage - along with Treasures, RCA Victor Records, 155 other possessions of his - for almost East 24th Street, New York Io, N. Y. forty years. Its existence had been completely forgotten. This is un- ONE OF THE chief attractions of doubtedly the first time the portrait G. A. Briggs's second Carnegie Hall has been reproduced. Our thanks go demonstration is sure to be the piano to Joseph Szigeti for drawing it to playing, live and recorded, of Arthur our attention and to Leon Kolb for Ferrante and Louis Teicher. These allowing us to photograph it. duo -pianists have a zany, hi- finatical What still eludes us is any precise approach to pop music that somehow information about the man who manages to be both audacious and painted the portrait, Robert Bereny. tasteful. Their particular gambit in The standard art reference books do not mention him. If there is an au- Unorthodoxy by Ferrante and Teicher. Continued on page 83

OCTOBER r956 81

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www.americanradiohistory.com year. And just to prove that Ferrante cordings made for the opposition by and Teicher really are good boys, well Claudia Muzio or Bruno Walter, but brought up and educated (at the he does tell us about playing in the Juilliard School of Music), Westmin- Opéra- Comique orchestra for an 1894 ster also has forthcoming recordings production of Manon when Massenet by them of the Rachmaninoff Suites was in attendance, and again the link and the Debussy -Ravel four -hand with the past has its own peculiar ex- literature. No rubber wedges or metal citement. Otherwise the short verbal bars in these. introductions are not memorable. Sir Thomas Beecham tells an unamusing CONTRARY to the once widely anecdote about King George V and held impression that musicians are his reason for preferring La Bohème unlettered, narrow -visioned, and to other operas, Rubinstein says nothing in particular about the tongue -tied, I have found the great Grieg, majority of first -rank performers to be Liszt, and Rachmaninoff concertos, extraordinarily well informed and and Reiner confines himself to highly articulate. This fall the record praising the acoustics of Orchestra Octogenarian Walter is articulate . . . industry seems suddenly to have dis- Hall and the skill of RCA's engineers. But they can all be fascinating talkers, the current search for new and excit- covered that musicians can talk as well and perhaps RCA will let us hear ing sounds is to play the piano in an as make music. RCA Victor's Show- them some day at greater length. unorthodox way and then to corn - case in Sound, a Red Seal "sampler" The most original introduction was pound the unorthodoxy with elec- record, embodies spoken introductory one by Vladimir Horowitz that did tronic tricks. The modern piano," remarks by ten artists-among them not find its way onto the Showcase, according to Ferrante, "is not only a Beecham, Horowitz, Monteux, and though dubbings of it were sent to a collection of eighty -eight notes pro- Rubinstein. Columbia is making few Victor distributors. In this ir- duced by hammers on strings. It is available to its dealers a twelve -inch reverent preamble Horowitz begins by also a complex resonating mass of LP entitled Bruno Walter in Conver- telling the customer that if the sound wood and metal which can be stimu- sation with Arnold Michaelis, which is unpleasing he should Jack lated in various ways. The strings can will be given away to favored custo- blame Pfeiffer and the engineers, if the be plucked, tapped, or strummed. The mers. Doubtless other companies will music by Scriabin sounds faded he sounding board can be made to re- follow along. should blame the composer, if the spond like a sensitive drum. If one The Bruno Walter recorded inter- performance is unconvincing he wants to exploit all the colors of view, in celebration of his eightieth should blame the pianist. "But which the instrument is capable, one birthday on September 15, is a reveal- please," he concludes in rich Rus- must do more than just play on the ing and agreeable bouquet of reminis- his sian accent, keys." cence and opinion. Although it "please buy the record, because we all are in great need of Messrs. F & T do a good deal of sounds an impromptu, unrehearsed plucking, tapping, and strumming. note, Dr. Walter responds expansively money." This gem, I fear, like the explosive rehearsal tapings They also transform their pianos by to the questions put to him and speaks of Mr. muting certain notes with rubber with a fine command of English. The Horowitz's father -in -law, will soon become one of those wedges and jangling others with metal remembrances of things past his bootlegged items - that everybody who knows bars, so that even music played on the thrill as a schoolboy watching the anybody keys sounds weirdly unconventional. trains bound for Vienna, the impres- possesses-and plays for you on the slightest encouragement. To make their recordings as sound - sions made upon him by Mahler - filled as possible, they play duets with are especially evocative. His opinions themselves by donning earphones and on music are valuable too; but here, superimposing fresh musical figura- I believe, the conversations might tions on an already note -jammed mag- have profited from an interviewer less netic tape. Then the engineers add retiring than Mr. Michaelis, who some electronic effects: tape played seems a bit too deferential, too dis- backwards, pitch alterations, and the inclined to pursue a dialectical ap- like. All of these shenanigans are proach to Dr. Walter's musical views. scrupulously planned in advance and I should not like to suggest that vener- notated on paper. In the studio Fer- able musicians be required to submit rante and Teicher are soberly profes- to vigorous questioning of the Meet sional; it is hard and exacting work the Press variety, but something tend- to bring off this kind of musical acro- ing in that direction might make very batics without mishap. It is also, one good listening. In sum, however, this suspects, a lot of fun. Bruno Walter interview is instructive Westminster has already released its and entertaining. And I was delighted first twelve -inch gimmick record by to note that Columbia did not delete Ferrante and Teicher, entitled Sound- his endorsement of recordings by proof. A second, which has been re- Caruso, Ferrier, and Toscanini. corded in stereo and is even more On the RCA Victor Showcase, ALEXANDER BENDER new -soundish, will be issued later this Pierre Monteux does not extol the re- ...Pianist Horowitz approves of money.

OCTOBER 1956 83

www.americanradiohistory.com PIANISTS "MOONLIGHT" AND MOZART (ITURBI) Beethoven: "Moonlight" Sonata Mozart: Sonatas No. 11 in A major, K.331 (with the Rondo alla Turca) and No. 12 in F major, K.332 Music -lovers have been saving their pennies and pesetas for Angel's first Iturbi recording! One 12" record Angel 35378 MALCUZYNSKI ENCORES Music of Chopin, Debussy, Paderewski, Prokofiev, OPERA ... NEW AND OLD Rachmaninoff, Scriabin, Szymanowski. 12" Angel 35348 CARL ORFF: "DIE KLUGE" One record in (35171) "THE STORY OF THE KING AND THE WISE WOMAN" Reminder: Witold Malcuzynski Chopin Recital "If you are budgeting only one Chopin disc this 1st complete recording. Everybody will talk about it . . . this season, Primitive, sophisticated. Sentimental, seductive. Hypnotic is it," Milwaukee Sentinel. "Few happier Chopin collections musically, sensationally hi- fi ...Recorded in London under available on records than this," The Gramophone, London. the personal supervision of the composer. CLARA HASKIL and GEZA ANDA Elisabeth Schwarzkopf, Marcel Cordes, Gottlob Frick, Cast: Mozart: Concerto in E flat for Two Pianos, K.365 Georg Wieter, Rudolf Christ, Benno Kusche, Paul Kuen, Bach: Concerto in C major for Two Pianos Hermann Prey, Gustav Neidlinger. Conductor: Alceo Galliera. Philharmonia. Conductor: Wolfgang Sawallisch. Philharmonia Orchestra. One 12" record Angel 35380 The Wise Woman is the peasant girl who becomes a queen. Note: The 1st Angel Record of Clara Haskil who makes She loses the throne because she is too clever ; recaptures her American debut in November with the Boston Sym- the King the same way. At the end she says: "Klugsein und phony and N. Y. Philharmonic- Symphony. lieben kann kein Mensch auf dieser Welt."... Did she mean it? Listen and learn. Two 12" records Angel Album 3551 B/L (35389 -90) FOR ORCHESTRA (Illus. booklet -libretto: German text, English translation) CHAMPAGNE FOR ORCHESTRA (KARAJAN- PHILHARMONIA) Music of Johann and Josef Strauss CALLAS SINGS "NORMA" Delicious music, glitteringly played and packaged. Play it La Scala recording of Highlights from Bellini's "Norma ". at your next party. Put it on your Christmas "must" list. Callas, Stignani, Filippeschi, Rossi -Lemeni. Delirium Waltz, Gypsy Baron Overture, Artist's Life, Emperor Waltz, Pizzicato Polka, The Blue Danube. Conductor: Tullio Serafin. One 12" record Angel 35342 With more than a little bit of Luck, you can get Ticket and Other dazzling Philharmonia Karajan-conducted records: Tiara and go to the Metropolitan on that Great Opening Philharmonia Pop Concert (35327), Ballet Music from the Night (Oct. 29) when Maria Meneghini Callas makes her Operas (35307), Opera Intermezzi (35207). N. Y. debut in "Norma "... if not, the Angel Opera House brings La Divina right into your home ..."Callas sings the BEETHOVEN "PASTORAL" SYMPHONY Casta Diva like a goddess of the moon briefly descended," André Cluytens and Berlin Philharmonic (Claudia Cassidy, Chicago Tribune) Famous on Angel Records, conductor Cluytens makes his One 12" record Angel 35379 American debut next month with the Vienna Philharmonic. One 12" record Angel 35350 (Factory- sealed with text $4.98 Standard Pkg: only $3.48) FOR THE SCHUMANN CENTENARY Note: Complete "Norma ", 3- record Angel Album 3517 C /L. "Spring" Symphony No. 1, Symphony No. 4 SOLOMON IN ALL HIS Conductor: Paul Kletzki. Israel Philharmonic. GLORY 1st of 3 albums recorded for the centenary of the death of HANDEL'S "SOLOMON" (SIR THOMAS BEECHAM) Schumann by a "great orchestra" (Saturday Review). If ever Maestro was matched to Masterpiece it is in this One 12" record Angel 35372 great (and first) recording of "Solomon ", edited, revised Coming in Nov.: Schumann Symphony No. 2 plus and conducted by the one -and -only Sir Thomas. Soloists: Overture, Scherzo and Finale (35373). Lois Marshall (Queen of Sheba), Elsie Morison, Alexander Reminder: Gieseking in Schumann Piano Concerto with Young, John Cameron. Royal Philharmonic ... Towering Karajan -Philharmonia and Kinderscenen (35321). choruses, melting romantic airs ... "Blessed the day when first my eyes saw the wisest of the wise .. . HERE Two 12" records Angel Album 3546 B (35340 -1) COMES THE BAND ... THE BAND OF ROME (Illustrated booklet incl. essay by Beecham and text) CARABINIERI Angel dedicates its 1st recording of the famous Banda dell' Arma dei Carabinieri di Roma to Italy's official Band VIOLIN and CHAMBER MUSIC - 100 niusicians and Maestro Domenico Fantini - which makes its 1st American tour this October and November. OISTRAKH ENCORES 12 thrilling numbers from Parade Ground and Opera House Vladimir Yampolsky at the piano. including La Fedelissima (Parade March of the Carabi- Collection of Debussy (Clair de Lune), De Falla (Iota), nieri whose motto is "The Most Faithful "), Legend of the Ysaye, Tchaikovsky (Valse-Scherzo), Suk (Love Song), Piave, La Marcia dei Granatieri, marches from I Vespri Kodaly (Hungarian Dances), Wieniawski, Zarzycki. Siciliani, Aida, Ernani, etc.... Record begins with L'Inno Angel 35354 One 12" record (recorded in London) di Mameli (Italian National Anthem), closes with Stelle e Strisce (Stars and Stripes) Evviva! SCHUBERT OCTET ( OISTRAKH: 1st Violin) ... One 12" record Angel 35371 1st violin, David Oistrakh; 2nd, Peter Bondarenko ; viola, Mikhail Terian; 'cello, Sviatoslav Knushevitzky; clarinet, Also on Angel's Bandwagon: The Scots Guards (35271), The Scots Guards on Parade (35337), Band of La Garde Vladimir Sorokin ; double bass, Joseph Gertovich; l,as- soon, Joseph Stidel; horn, Jacob Shapiro. Républicaine in Marches Militaires Francaises (35051) One 12" record (recorded in Russia) Angel 35362 and French and American Military Marches (35260). QUARTETTO ITALIANO plays Mozart: "Hunt" Quartet No. 11 in B flat, K.458 Schubert: Quartet No. 2 in C major One 12" record Angel 35351 Reminder: The Quartetto Italiano has also recorded Mo- zart's Quartets in G major, K.387,and D minor, K.421 (35063 ).

ANGEL RECORDS, ELECTRIC & MUSICAL INDUSTRIES (U.S.) LIMITED, 38 WEST 48 ST., NEW YORK CITY

a subsidiary of Electric & Musical Industries Ltd., Hayes, Middlesex, England

84 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com RECORDS

Records in 1Ìcricì!

Reviewed by PAUL AFFELDER NATHAN BRODER C. G. BURKE JOHN M. CONLY

RAY ERICSON ALFRED FRANKENSTEIN JOAN GRIFFITHS ROLAND GELATT JAMES HINTON, JR. JOHN F. INDCOX HOWARD LAFAY

MURRAY SCHUMACH JOHN S. WILSON

Classical Music 85 Folk Music 5 Recitals and Miscellany 106 Spoken Word 116 Dialing Your Disks 112 Best of Jazz 117 Music Between 114 Bartók on Microgroove 121

pianist now teaching at the Peabody Con- one makes a better case for this work than servatory of Music in Baltimore, is beauti- Louis Kaufman. The Vaughan Williams CLASSICAL fully recorded in this set. This is an ad- on the other side is a minor affair, com- vantage, of course, but it is a disadvantage posed in the days when everyone was too, because it points up the problem of writing concertos in baroque style. It is color in the performance of Bach's harpsi- pleasant enough, however, and serves as BACH: Concerto for Two Violins and chord works on the piano. Since this an interesting footnote to the history of Orchestra, in D minor; Concerto for music does not range far in either direction modern music. Both recordings are first - Violin and Orchestra, in E; Partita from the center of the keyboard, the harp- rate. A. F. for Unaccompanied Violin, in B sichordist avoids monochrome by octave - minor: Sarabande coupling and change of registration; the BARBER: Sonata for Cello and Piano pianist, however, must do so by dynamic Leonid Kogan, Elisabeth Gilds, violins; - See Hindemith: Sonata for Cello nuance and variety of touch. Mme. - Philharmonia String Orchestra, Otto Jam and Piano. bor occasionally succeeds, as - Ackermann, cond. in the Sin fonia of Partita No. 2 or the great ANGEL 35343. 12 -in. $4.98 (or $3.48). BEETHOVEN: Concerto for Piano and Toccata of No. 6. More often, it seems Orchestra, No. 5, in E -fiat ( "Em- A robust yet sensitive performance of the to me, she doesn't, and the result is some- peror ") Op. 73 Double Concerto. Kogan is one of the times rather routine piano playing. It is, new crop of excellent violinists nurtured of course, a matter not only of color but Robert Casadesus, piano; New York Phil- in the USSR; Miss Gilels, sister of the of musical insight. In the more capricious harmonic- Symphony Orchestra, Dimitri pianist Emil, is his wife. They perform sections, such as the Courante of No. 4, Mitropoulos, cond. together with a flexible precision, one Mme. Jambor is convincing, but in im- COLUMBIA ML 5100. 12 -in. $3.98. gracefully yielding to the other at the provisational movements, like the Alle- The orchestral adjustments are of an proper time. (Miss Gilels plays mande of the same Partita, she fails to order first to accent force: discreet violins, strong violin here.) There are moments when persuade. N. B. drums, assertive trumpets, and excellent, the tone seems in danger of becoming full -textured tuttis. The horns are too too rich, but it always stops short of the BALAKIREV: Russia - See Rimsky- mild, and the woodwinds are erratic in saccharine. This is as good a performance Korsakov: Fantasy on Russian the matter of bold clarity. The piano is of the Double Concerto as may be found Themes, Op. 33. substantially accurate and maintains from on LP today. The E major Concerto, in beginning to end a laudable balance with which Kogan is the soloist, is nicely per- BARBER: Concerto for Violin and Or- the rest. The trouble is that the con- formed too. The only serious criticisms I chestra ductor, in the first movement particularly, have of this recording concern the ab- tVaughan Williams: Concerto Ac- is not disposed to give value to the sence of any continuo instrument mys- and cademico terious, the celestial, the tender divagations the occasional tendency of the orchestra Louis Kaufman, that make the Emperor imperial among to fall slightly behind the soloists. First - violin; Concert Hall Sym- concertos. The manly force is class sound. N. B. phony Orchestra, Walter Goehr (in the admirable in Mr. Mitropoulos' Barber) and Clemens Dahinden (in the crisp insistence; but Vaughan Williams), tonds. with everything else slighted, it is hardly BACH: Partitas (6) for Clavier enough. The rondo, CONCERT HALL CHS 1253. 12 -in. $3.98. rendered rather mel- Agi Jambor, piano. ancholy, seems to suffer from divergent CAPITOL PBE 8344. Two r2 -in. $7.96. Nothing makes a better case for Samuel concepts, or from none. C. G. B. Barber than his elegant, intensely lyrical, The playing of Mme. Jambor, a Hungarian subtly colorful violin concerto, and no BEETHOVEN: Fidelio: The Four Over-

OCTOBER 1956 85

www.americanradiohistory.com tures (Leonora No. r, Op. 138; Leonora Philharmonia Orchestra, Otto Klemperer, the foregoing giddiness. Played fast, it No. 2, Op. 72a; Leonora No. 3, Op. cond. is a hysterical call to return to action, to 72a; Fidelio, Op. 72b); Coriolan Over- ANGEL 35328. I2 -in. $4.98 (or $3.48). dance without respite. It is played fast ture, Op. 62 here. The principle theme of the Finale, Deliberate, massive, sturdy and steady, taken at a moderate pace, has a rather Boston Symphony Orchestra, Charles the newest projection of the symphony grim and grotesque dignity which trans- Munch, cond. most often recorded will incur some hostil- figures the bacchanalia. When played fast RCA VICTOR LM 2015. 12 -in. $3.98. ity from listeners stipulating youth and it gains excitement but excites no fear. fire. One begins to respect the Klemperer The Fidelio Overture is the fourth out- Here it is played a little fast. structure after some minutes, when the standing version in the Victor catalogue. Where the quickness noted is acceptable, steadfast regularity of the plan becomes The others here, in mellow sound and this record will be received as one of the manifest. The strokes and the pulse are splendid orchestral playing, make a suc- best of the Sevenths. The first two move- measured, making a weight to which the cessful and undoubtedly intentional effort ments are admirable if not unusual in this very solid sound accords full justice; and to tradition. The hot speed performance, the orchestra is tautly unified, confound if the weight seems excessive, there are especially in the gasping Coriolan, and the sound is both brilliant and rich, adopted, some compensating virtues in perspicuous may not be the estimable novelty desired. without trouble from the usually trouble- display of counterpoint and a minimum of Admitting the strength of the dramatic some violins. slurring. This Eroica has less aspiration impetuosity, we are pained by the absence The Fidelio Overture is a lively dramatic than tenacity, but there is no dazzle in it, of relief, by the slight to the tenderness success. C. G. B. and it gives a telling transmission of deep and misery intrinsic in these sonata move- sincerity. With the Philharmonia players ments which are also the most domineer- at their most responsive, and with the BRITTEN: A Simple Symphony ing tone poems. On this disk with of deep, powerful, and detailed reproduction nearly every fine quality except sympathy, Netherlands Philharmonic Orchestra, Otto granted them, the record may fairly be trio of liberations are triumphantly Ackermann, cond. the called the best of the Heroic Symphonies explicit except for what and by whom. going slowly. C. G. B. Variations on a Theme by Frank Bridge C. G. B. Lausanne Chamber Orchestra, Victor BEETHOVEN: Sonatas for Piano: No. BEETHOVEN: Symphony No. 6, in F Desarzens, cond. ("Pastoral"), 17, in D minor ( "The Tempest"), Op. Op. 68 Six Metamorphoses After Ovid 3r, No. 2; No. 23, in F minor ( "Ap- Boston Symphony Orchestra, Charles Egon Parolari, oboe. passionata") Op. 57 Munch, cond. CHS 1252. 12 -in. $3.98. Solomon, piano. RCA VICTOR LM 1997. 12-in. $3.98. CONCERT HALL RCA VICTOR LM 1964. 12 -in. $3.98. Orchestral mastery of glowing tones rich- Benjamin Britten is a composer of many not the least of them is A pair of beauties from Victor, now be- ly recorded, marvelous as an abstraction, distinctions and this: he is without doubt the only musician ginning to concentrate her best abilities the sentiment having been largely re- who has written a set six on the Beethoven sonatas. This Appassion- moved. C. G. B. in history of pieces for to be played ata, all its tumult vivid but proportioned unaccompanied oboe in without extravagance, falls short of the BEETHOVEN: Symphony No. 7, in A, by a lady oboist standing in a boat the a The lake was the Meare, recent Rubinstein record (RCA Victor LM Op. 92; Fidelio: Overture, Op. 72b middle of lake. near Thorpeness; the lady oboist was Miss 1908) only in the less definite quality of Chicago Symphony Orchestra, Fritz Reiner, Joy Boughton; and the work was the Six the reproduced piano, almost spectacular cond. in the Rubinstein, excellent here. Among Afetanzorphoses After Ovid. With such RCA VICTOR LM 1991. 12 -in. $3.98. observances did they celebrate the Festival a number of good versions of The Tempest of Britain in 1951. The pieces are rather the newest cannot be relegated to in- The trio (assai meno presto) of the clever. feriority on any point, and in clarity of Scherzo, when played slowly, is an inter- The two other compositions on this disk phrasing surpasses the others. It is not lude for rest, reflection, or devotion after well necessary to dilate upon the technical are very known and are available on recordings. surety of this pianist, but it is not com- other and decidedly superior Since that is the case, the present LP needs monplace to hear such a surety restrained no further discussion. A. F. to employment entirely musical, and sup- ADVERTISING INDEX ported by sensitive, sturdy sonics. C. G. B. ABC -Paramount 120 BRUCH: Concerto for Violin and Or- Acta Corporation 115 chestra, No. r, in G minor, Op. 26 Sonatas for Piano; No. Amertest Products Corp. 130 -Maio: Symphonie espagnole, Op. 2r BEETHOVEN: Angel Records "), Op. 53; 84 21, in C ( "Waldstein No. Bradley Mfg. Co. 130 Isaac Stern, violin; Philadelphia Orches- E, Op. 109 3o, in Capitol Records _. 95, 99, 105, 114 tra, Eugene Ormandy, cond. Byron Janis, piano. Colosseum Records, Inc. 127 COLUMBIA ML 5097. 12 -in. $3.98. RCA VICTOR LM 1978. 12 -in. $3.98. Columbia Records 101 Dauntless International 107 Stern and Ormandy put new vigor into There is very little done by the pianist Decca Records, Inc. 103 two old war horses. Though both com- here that one would wish undone. The Elektra Records 130 positions are products of the romantic Esoteric Records 130 mechanics of play cannot be reproached, school, neither soloist nor conductor allows House of England 128 and the only reason for complaint in the Leslie Creations 130 the music to become oversentimental. Waldstein is a faint fatigue at the output London International 108 Tenderer performances than these there of virile force, hardly a fault in this sonata. London Records 93 may be, but none with purer, more exul- The retention of thematic clarity will be Mercury Record Corp. III tant tone on the part of the violinist and noted with favor, and the sensitive ability Music Box 129 none with greater over -all virility and to shape all moods of phrasing into a Nuclear Products Co. 127 freshness. Incidentally, all five movements pleasing and logical narrative is sharply RCA Custom Division 109 of the Symphonie espagnole are included. RCA Victor Division 97 The reproduction matches the perform- patent in both works. Convincing piano Record Market 130 ances in its vibrant clarity. P. A. sound adds its influence in determining Record Review Index 126 that there is no more satisfactory Wald - Robins Industries Corp. 130 stein on records than this version and that Schwann, W. 119 BUXTEHUDE: Organ Works, Vol. IV: No. 3o here is on a level with the best Summit Sound Systems Co. 128 Preludes and Fugues of its predecessors. C. G. B. Vanguard Recording Corp. 117 Vox Productions, Inc. 113 Alf Linder, organ. WESTMINSTER WN 18221. 12 -in. $4.98. BEETHOVEN: Symphony No. 3, in E- Walco (Electrovox Co., Inc.) ... 106 Westminster Recording Co. 91 flat ( "Eroica"), Op. 55 These six preludes and fugues maintain

86 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com the high standards of the previous issues DONIZETTI: L'Elisir d'Amore in this series, as regards the quality of both Hilde Gueden (s) , Adina; Luisa Mandelli the music and the performance. The pre- (s), Giannetta; Giuseppe di Stefano (t), ludes are nicely varied - the G minor is Nemorina; Renato Capecchi (b), Sergeant brilliant, the D minor majestic, the G Belcore; Fernando Corena (bs) , Doctor major sprightly. The prelude and fugue Dulcamara. Chorus and Orchestra of the in C is rounded off by a short chaconne Maggio Musicale (Florence), Francesco on an unusually lively theme. Unlike Molinari -Pradelli, cond. many Bach's of fugues, Buxtehude's here LONDON XLL 1364. Three r2-in. $14.94. are divided into sections of different character and material. The entire group is Perhaps Donizetti's L'Elisir d'Amore is brought to an effective close by the jubilant not a certified great masterpiece of the finale of the E major fugue. Linder makes order of, say, Falstaff. Nevertheless, that good use of the bright, clear, sharply it has remained in currency for a century differentiated colors of the fine old organ and a quarter has to do with more than used in this series. Especially interesting is the familiar fact that "Una furtiva lag - Gabriel Fauré the poetic and ethereal quality he gives rima" is a very pretty romanza for a tenor the G minor fugue by his choice of regis- who can take advantage of it. Of all nine- or, in spite of some rocky tone, than Tito tration, tempo, and subdued dynamics. teenth- century Italian comedy operas, Gobbi (RCA) . N. B. L'Elisir is one of the most beguilingly in- Fernando Corena's Doctor Dulcamara is dividual in charm -a sort of blending of good enough as far as it goes, but some- CHOPIN: Trio in G minor - See the pastoral simplicity of Bellini's La Son - what disappointing relative to his very best Ravel: Trio in A minor. nambula with a sense of musical characteri- work. He sounds well enough in his open- zation learned from opera buffa but not ing "Udite, udite" (apart from those ex- beholden to conventional buffa plot -and- DEBUSSY: Prélude à l'après -midi d'un cruciating Es) , but he simply does not faune; Nocturnes situation paraphernalia. Now, with the seem to really have his heart in selling the issue of this London set, there are three tRavel: Daphnis and Chloe, Suite No. 2 elixir; later, and especially with Miss full -length recordings on LP. All have Gueden on hand, he gives a completer Philadelphia Orchestra, Eugene Ormandy, qualities worth attention; and although reading, but something is wanting that is cond. ( with women's voices of the Phil- the newest version has certain points of to be found in Sesto Bruscantini's per- adelphia Orchestra Chorus, William R. sure superiority, they are not necessarily formance (Cetra) and even in the Smith, cond.) . those one might expect, and do not add tissue of mannerisms that attract some ML 5112. COLUMBIA r2 -in. $3.98. up to any clear performance superiority to that of Melchiorre Luise (RCA). In over the earlier Cetra and RCA Victor In the days of the phonograph's decline, the minor role of Giannetta, Luisa Man - sets, even if the London is recorded with delli is most charming, and the Maggio a quarter century ago, the Philadelphia a fuller and more natural brilliance than Orchestra recording (under Stokowski) of Musicale chorus and orchestra are very its predecessors. good indeed. All the sets observe standard Debussy's Faun helped keep the record in- Among the individual contributions, dustry alive. Perhaps out of deference to opera -house shortenings in recitatives and that of Hilde Gueden is outstandingly fine in this long association of work and orches- ensemble repeats, the RCA taking the in every regard: her tone as pure as crystal maximum, the London less than the Cetra. tra on records, Columbia has entitled this almost all the time, and yet responsive to miscellany Afternoon of a Faun though Francesco Molinari -Pradelli's tempos are, - the most delicate inflections of feeling; in general, more relaxed than those of that piece is the shortest of the three and her musicality beyond reproach; and her by no means the best played here. Actually Gabriele Santini ( RCA ) , about like those management of the text spotlessly correct taken by Gianandrea Gavazzeni (Cetra). it is Ravel's Daphnis music that profits an for a and spontaneous - amazing thing He gives a competent, routine exposition best from the efficient sumptuousness of non -Italian singer to accomplish. is There of the score, if anything a little too easy- the Philadelphia Orchestra. The Debussy of quality of none the biting tone that going where the tenor is concerned. All is certainly not bad, but it is rather over- so makes many otherwise good Adinas told, my own preference is still the Cetra, powered by all that grand and assured unsympathetic when they ought merely tone. Fine recorded sound. R. G. but Miss Gueden's Adina and the better seem sensible; and although there is some London engineering may be decisive for in the fiorature the last pushing of act, others. J. H., JR. DEBUSSY: Prelude to the Afternoon of by then the delight is too complete for a Faun-See Ravel: Boléro. this to matter much. Aside, perhaps, from her Fledermaus, this is the best work Miss FAURE: Songs (complete) Gueden has done on records, and one of Renée Doria and Berthe Monmart, so- DVORAK: Trio No. 3, in F minor, Op. the most attractive of leggero soprano char- 65. pranos; Paul Derenne, tenor; Jacques acterizations at all. In her reading, she Ducey and Pierre Mollet, baritones; tHaydn: Trio No. 3, in C Simone is as good as both Alda Noni (Cetra) Gouat, Tasso Janopoulo, and Harry Cox, Lev Oborin, piano; David Oistrakh, violin; and Margherita Carosio (RCA) , and her piano. is Svitaslav Knushevitzky, cello. voice much lovelier. WESTMINSTER XWN 5502. Five r2 -i n. is WESTMINSTER 18176. r2 -in. $4.98 (or Her Nemorino another story. Five $ 24.90. $3.98). years ago, say, Giuseppe di Stefano might have been ideal basic material for this role. Gabriel Fauré has not heretofore been Very gratifying virtuosity in its assimila- Now, with heavier roles sung into his sumptuously represented on disks, and a tion of two styles as disparate spiritually voice, he is less suitable to its requirements recorded edition of his entire song litera- and physically as these, the deft, assured of line and phrase. Although the tone is ture is indeed a welcome addition to the brilliance of the mature Haydn, and often fine, he sings too much of the time catalogue. Altogether, there are 503 in- Dvorak's deep and dark probing interroga- as if he were doing Cavalleria Rusticana dividual songs in the Westminster collections in the F minor Trio. One is in- in a good -sized house, and in "Una fur- tion, counting those that fall into the six clined to take the great Russian violinist tiva lagrima" any resemblance between his cycles: Poème d'un jour, La Bonne Chan- and the pianist usually associated with dynamics and those of Donizetti is fortui- son, La Chanson d'Ève, Le Jardin clos, him for granted, but the mobile dexterity tous. With far less impressive equipment, Mirages, and L'Horizon chimérique. They of enunciation and tone lavished by the both Cesare Valletti (Cetra) and Nicola range all the way from Op. r through Op. cellist (in the Dvorak, where his part is Monti ( RCA) stay much closer to the 118; and since they have been recorded in not submerged by the others) must be opera and the character. chronological order, it is possible to hear welcomed as an unanticipated gratuity. Renato Capecchi's Belcore is variable, Fauré's development as a song creator Reproduction is easy and accurate above but mostly very reputable, after a start from a frank romanticist to a quasi -im- low bass and fair there, where it is a little cluttered by overingenious readings and pressionist. casual in articulation. The second version, exaggerations of vocal color. However, It is a tribute to Fauré's unflagging and the best, for both pieces. C. G. B. he is not better than Afro Poli (Cetra) inspiration that, regardless of their corn-

OCTOBER I956 87

www.americanradiohistory.com things about of which Marcello was especially fond. the twenty- five -year -old Entré transfers is For me, one of the finest the Performance and recording are satisfactory. dead by comparison. Further, the RCA is whole. performance is the spontaneous N. B. all but literally complete (on eight sides ardor, the youthfulness of his Des Grieux. it ought to be), including all of the ballet In Act II, when Manon has tossed off MASSENET: Manon music. The only omission of note is the ". . . isn't it enough that we love each other ?," the impulse of his "Non! je reux Victoria de los Angeles (s), Manon; ninety- five -bar cut (usual in this country I que to sois ma femme" is electrifying. Liliane Berton (s), Pousette; Marthe Ser- and, it is said, in Paris) that ends Act with the exit of Manon and Des Grieux. There is more of Manon in that line than res (s) , Javotte; Raymonde Notti -Pages The Cours -la -Reine display song is the in a hundred B flats in Saint Sulpice. (ms) , Rosette; Henri Legay (t) , Chevalier dans les Legay has less of a voice than either Joseph des Grieux; Réné Hérent (t), Guillot; Gavotte; the alternative "Oui, down; Rogatchewsky ( Entré) or Libero de Luca Michel Dens (b), Lescaut; Jean Vieuille bois" is omitted. The Entré is pared the London is shingled, with music fading (London) ; and he is not as accomplished (b) , De Brétigny; Jean Borthayre (b) , who tells a vocalist as Rogatchewsky ( who is now Comte des Grieux. Chorus and Orchestra in and out to frame a narrator is missing. director of the opera in Brussels) used to of the Opéra -Comique, Pierre Monteux, .(in French) what the listener but be. But he is more appealing than either. cond. Both hold a good deal of the music, like the full Michel Dens gives a solid performance RCA VICTOR LM 6402. Four 12 -in. neither can give anything as Lescaut, but with more voice makes $15.92. theatrical illusion of the RCA. Probably the most important individual less of the part than does Roger Bourdin Years before Massenet ended work on contribution is the steady, pliant, and evoc- (London) . As the Comte des Grieux, the libretto given him by Meilhac and ative conducting of Pierre Monteux, who Jean Borthayre is unevenly satisfying; not Gille, in 5884, other composers had first came to Manon as a young viola really a bass to start with, he communicates worked to scenarios based on that long - player in the Comique orchestra in 1894. very little in the Cours -la- Reine, but comes popular romance by L'Abbé Prévost, L'His- True, most of his cast could probably up to class in Saint Sulpice. As De Bré- toire du Chevalier des Grieux et de Manon manage a decent Manon blindfold; but he, tigny, Jean Vieuille, sounding understand- Lescaut. So, nine years later, did Puccini. by the same token, might be able to get ably older, is on a level with himself - Youth, ardor, faithlessness, a reconcilia- a true ensemble from the ghosts of the when -young (Entré). And René Hérent tion, downfall, early death - the center original cast. The totality is a most im- is an excellent Guillot - always inside the of interest was ever the girl of the abbé's pressive musical -theatrical collaboration character, always making his points, never title, ever her eternally wayward feminine among conductor, singers, and the orches- falling back on crack-voice tricks; he is a pursuit of what she had hoped would give tra. model of his kind. The three party-girls her pleasure. But it was Massenet who As Manon, Victoria de los Angeles - chirp and laugh in time and on pitch, and most successfully captured and transmuted the only international name, and the only the little roles are done more than satisfac- the gleam of her errant fascination and of extra -Comique member of the cast - torily. Libretto included. Recommended its refractions in the senses of the men might well have felt a certain strain. If with enthusiasm. J. H., JR. about her. There can be little profit in so, it does not tell in her singing, which is who have learned by to any I have heard her do arguing with those much superior MENDELSSOHN: Concerto for Violin Massenet's music as in- role at the Metropolitan. In the rote to categorize in this and Orchestra, in E minor, Op. 64 the loss is only had seemed too warm, too sipidly honey -and- water; big house, it tWieniawski: Concerto for Violin and Like its heroine, Manon bestows womanly a voice, with too yielding a theirs. Orchestra, No. 2, in D minor, Op. 22 its charms easily, but not too easily, and texture for sure communication of the only if the approach is sympathetic. No words. But here the tone is more forward, Igor Oistrakh, violin; Gewandhaus Cham- grand piece, it is rather an elegantly fine- more brightly enameled. Her sense of ber Orchestra (Leipzig) , Franz Konwit- spun web of human sentiment, worked of character is more delicate. And her diction schny, cond. music and words that have grace, propor- is remarkable for a non -French singer, DECCA DL 9842. 12 -in. $ 3.98. tion, and a worldliness no less urbane for flawed only a handful of times by vowels Igor Oistrakh as a violin being in essence gentle. Truly it is a from Italian vocalises -a "saypendent," The emergence of virtuoso in his own right, rather than the triumph of sanity and le bon gotït. for one niggling instance. In the Cours-la- a supertalented father, Manon has been called, by those able Reine she pushes for an unbrilliant D, and accomplished son of is in this recording of to venture so, the most French of all the scale up is scarcely leggero; but in the well attested to For this is a operas. It may well be. However, it is first two acts, especially, her voice is at its the Mendelssohn Concerto. indeed noble, also, along with Carmen and Faust, one loveliest, with uniformly pure tones ex- sparkling performance - of the French operas performed most often warm, intensely musical, and of consider- in other countries - and not entirely to able depth. An occasional attempt to over - its benefit. For although it can serve very romanticize the music is not harmful in well as a vehicle for fine voices, what it a work as lyrical as this, and in any case needs above all else is the fluency and these moments are few and kept within precision of style characteristic of singers reasonable bounds. Among current edi- trained in French houses, especially in the tions, I would place this just below the dialogues- in- melodrame, and a style that, Francescatti and Milstein versions, but for the most part, only French conductors well ahead of the others, including the can command. So true is this that no one recent Columbia recording by Oistrakh has ever recorded Manon in any city other père, which I found overpowered and than Paris, with any basic ensemble other poorly balanced. than that of the Opéra -Comique, which by The technically difficult but rather old - now has a tradition of the work based on fashioned Wieniawski, whose main cham- some 2,000 -odd performances, including Monteux: "steady, pliant ... evocative." pion these days seems to be Heifetz, does those to be heard in the old Columbia - cept around F sharp. Both Janine Micheau not breathe quite as lustily as it might. Entré recording and the more recent one (London) and Germaine Féraldy (Entré) The performance is by no means poor, on London. Thus the performance dif- are good in the part, but neither ac- but I fear the work needs a slightly greater ferences are for the most part of degree complishes so much with such beguiling flair for fireworks than the younger Ois- rather than of kind. But in sum of clear sounds. trakh presently is capable of providing. superiorities the new RCA Victor deci- The Des Grieux, Henri Legay, sounds Konwitschny provides conscientious sup- sively outbalances the others. In fact, this to have a rather light voice of no parti- port, and the recent improvement in seems surely the finest of all the post Deccá s recorded is -78- cular importance - distinctly an opéra - sound again very much rpm recordings of major French operas. comique type. He has his problems in in evidence. J. F. I. To settle one point early, the new set "En fermant les yeux" and escapes in is very well engineered, with spacious "Ah! fuyez" by astute management. But MENDELSSOHN: Symphonies: No. 3, sound that lets climaxes soar and yet what he achieves elsewhere, especially in catches the most intimate nuances. The dialogue, is a revelation. His readings, sound of the London is less good; that of occasionally not conventional, touch poetry. Continued on page 92

90 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com "TIME" MAGAZINE FEATURES IT ... "\b'es.minster. a member of the recording elite, takes a flyer into sonic oddities... Ferrante and Teicher are master technicians and men of taste; the performances in Soundproof are honed and burnished to perfection" (see full length review, Time, Aug. 27th).

"DEE JAY" (America's Disk Jockey Magazine/ HONORS IT "Our reviewing panel, all disk jockeys, gave 'Soundproof' the highest score ever given an album -a whopping 94%. You will also be pleased to know that this LP is the only one which was ever voted unanimously by all twelve DJ's who reviewed the record." (Letter from Editor, quoted with permission). HAVE YOU HEARD IT?

Il ' , rr ((caler haUi't it (WP 6014) please send us his name. Westminster Records, 275 Seventh Ave., N » -.. Fork 1, N. I.

www.americanradiohistory.com in A minor ( "Scotch "), Op. 56; No. 4, Julius Katchen; New Symphony Orchestra the work (Columbia); the Remington, a in A ('Italian "), Op. 90 (London), Peter Maag, cond. provincial Germans -in- Italian performance LONDON LL 1357. 12 -in. $3.98. of slight lasting concern; the splendid re- Philharmonic Promenade Orchestra, Sir cent Angel recording conducted by Von Boult, Adrian cond. Mr. Katchen, a talented, versatile young Karajan; and the new London. XWN 18239. r2 -in. $3.98. WESTMINSTER pianist, has been lucky in the collaboration My choice still goes unhesitatingly to the WESTMINSTER W -LAB 7040 (Symphony of the engineers in making his talent bril- Angel - partly for reasons that seem No. 3 only) . 12 -in. $7.50. liantly apparent in most of his records. No matters of cogent fact, partly for reasons exception here: this is good sound, a little These two symphonies would appear to of purely personal taste. Mainly, I prefer, on the hard side, but clear and complete. be perfectly logical disk mates, yet this especially with familiarity, the over -all read- The sound lets his version of Concerto No. is the first time they have been coupled ing of Herbert von Karajan; and I like 13 prevail over its two rivals, although he on LP. For purely technical reasons, the the high quality of the cast's Italian is less knowing in Mozart than Mr. Balsam result is not altogether successful. The diction. But there may easily be some - on a Concert Hall disk now growing long Scotch is a lengthy work, (approximately those, for example, whose feel for Così in the tooth. Some difference of notion thirty -one minutes) and there is noticeable was gained mainly from the Glyndebourne about tempo, between pianist and conduc- sonic deterioration in its last two or three set on RCA - who will find themselves tor, is observable in both concertos, but minutes; the. sound thickens quite percep- more comfortable with Karl Böhm's gen- this imperceptibly disappears after they tibly at the end and takes something away eral way of planning and with a good have had time for adjustments. A point from an otherwise fine performance. many of his tempos, which are not so full to note with approval in the Mozart played Boult's reading is a trifle broader, yet less of contrast and not so swift in allegros as by this pianist is the manliness of the romantic, than Kletzki's for Angel; other- Von Karajan's. The tone Böhm gets from dexterity: one feels the surge of strength wise it seems to me to be superior to all the Vienna Philharmonic is clean and threatening to break through the delicate versions. Sir Adrian and his men luminous, yet a little fuller and more other semblance of the Mozartean fabric, which appear to relish the geniality of the romantic than what the London Philhar- as every Mozartean knows, is an inde- Italian even more keenly, for the entire monia gives Von Karajan, who turns out structible fusion of silk and iron. No one is beautifully managed and a performance of almost chamber -music performance can break through it, although one can played, full of animation and spirit. The poise and purity. As for the relationship trample it; a good musician ought to be may seem slightly sedate in tempo, between conductors and cast, Von Karajan finale able to give the impression that he could. versions, persuades his singers to give full co- opera- compared to the other though In the black D minor Concerto the I do not find it lessening the joyousness of tion in the sparkling performance he Katchen -Maag coalition confronts a nu- movement. The sound is noticeably wants; they are from varied backgrounds, the merous rivalry for one reason or another cleaner and on the but they make an ensemble and relate to brighter than that disappointing on records, and in this reverse side, beautifully matched to the each other very well, although the aural opinion succeeds in running second to the music. effect is of a superconcert rather than of spirit of the Gieseking- Rosbaud triumph on Angel The Third Symphony has been simul- an opera performance in situ. Böhm, for which on both its sides is a quite taneously released on Westminster W -LAB 35215, his part, has a Vienna cast well known to wonderful record. C. G. B. 7040. Here the continuity of the sym- each other, and they do as they have ap- phony (the composer wished it to be per- parently been doing for some time. There formed without pauses) is broken at the MOZART: Concerto for Three Pianos is an uninspired quality in certain num- end of the second movement. Actually this and Orchestra, in F, K. 242; Concerto bers; yet it would be a foolish thing to break is no great hardship, and it does for Two Pianos and Orchestra, in denigrate routine, for the ensemble is very eliminate the degeneration of sound ob- E -fiat, K. 365 good. served in the standard -price record. Perhaps the finest individual reading in J. F. I. Helen Schnabel, Karl Ulrich Schnabel the Angel recording is by Sesto Bruscantini (and Ilse von Alpenheim in K. 242) , as Don Alfonso - underplayed, but with a MOZART, LEOPOLD: Toy Symphony pianos; Vienna Symphony Orchestra, never -flagging sense of phrase and inflec- - See Mozart: Ein musikalischer Bernhard Paumgartner, cond. tion. Beside him, London's Paul Schoeffier Spass. EPIC LC 3259. 12 -in. $3.98. sounds prosaic, and his Italian is very uneven. Yet he is too sound a man A hasty exploitation of the show in two theater not to make his points. the MOZART: Concertos for Piano and Or- brilliant works, with surprising slight to Of sopranos, Elisabeth Schwarzkopf (Angel) is chestra: No. r1, in F, K. 413; No. 14, the substance, especially in K. 365, one the more and Lisa in E -fiat, K. 449 of Mozart's great concertos. The soloists brilliant alluring, della Casa ( London) the warmer, the more are inclined to be ungainly, and the con- Ellen Gilberg, piano; Pro Musica Orchestra varied in vocal color but not the more Paul Walter, cond. ductor, leading efficiently, has stayed aloof - (Vienna), precise in diction. Nan Merriman is a VOX PL 9720. 12 -in. $4.98. from the inner eloquence of the phrases. firm, true Dorabella vocally, and quite as Freed from a pervasive reediness and in- interesting dramatically as the When a proper adjustment of controls termittent brittleness, in orchestra and pi- relative newcomer Ludwig in (which will vary according to the type of anos respectively, the reproduction - with Christa the London. Anton Dermota's Ferrando for London is reproducer used) has been obtained, the its nearly ideal balance of treble and bass a of accompaniments very good in point of style, but no better orchestra offers pair lines - would have been noble. C. G. B. as satisfactory as any to be found in any than Leopold Simoneau in the Angel. By record of a Mozart concerto. The sound any standards Erich Kunz is a good is dramatically forceful, and unified in MOZART: Così fan tutte Guglielmo - quite impeccable musically, texture by a bass lining strong and per- more settled in the role than is Rolando Lisa della Casa ( s) , Fiordiligi; Christa vasive but without strain. It is a mellow Panerai in the Angel; but his diction is Ludwig (s) , Dorabella; Emmy Loose (s) , texture, and comfortable for all its dra- not so clear, and there is a certain mono- Despina; Anton Dermota ( t) , Ferrando; matic weaving, instantly and continuously tony in the way he uses his voice, which Erich Kunz ( b) , Guglielmo; Paul Schoef- pleasant. Moreover the direction is alive is bassy rather than baritonal. Emmy Loose fler ( b) , Don Alfonso. Chorus of the intelligent, the band capable. Un- is a thoroughly professional Despina, and Vienna Staatsoper and Vienna Philhar- luckily the soloist seems most at home though not so intriguing a vocal actress monic Orchestra, Karl Böhm, cond. in the cadenzas, and plays without distinc- as Angel's Lisa Otto. LONDON XLL 1286. Three 12 -in. $14.94. tion of inflection but with restricted dy- The Angel set is more nearly complete namics, in spite of husky hands. With There are now some five LP sets of Così musically, with only Nos. 7 ( "Al fato dan so much that is good and so much that fan tutte - the old RCA Victor made at legge quegli occhi") and 24 (the tenor's is ordinary, the record eludes a determina- Glyndebourne in the mid- r93os, excellent "Ah, lo veggio ") cut. The London cuts tive judgment. C. G. B. in ensemble and good in some of its cast- these, and also Nos. 17 (in part; the ing, but hampered by outdated sound; the Alfonso -Despina bit after the tenor aria), MOZART: Concertos for Piano and Metropolitan Opera performance, an Eng- 27 (Ferrando's "In quai fiero contrasto"), Orchestra: No. 13, in C, K. 4r3; No. lish version conceived far enough from and 28 ( Dorabellá s "È amore un ladron- 20, in D minor, K. 466 custom to strain even the adaptability of Continued on page 94

92 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com LATEST RE LEA.SE S ORCHESTRA INSTRUMENTAL

EL AMOR BRUJO- Complete (Falla) FANTASIESTUCKE (Schumann) (Opus 12) LA VIDA BREVE -Danza Espanola (Falla) WALDSCENEN (Schumann) (Opus 82). HABANERA (Chabrier) Friedrich Gulda piano. LL -1371 $3.98 SOROTCHINSKY FAIR -Gopak (Moussorgsky) CLAIRE DE LUNE (Debussy) SONATA No. 4 IN E FLAT MAJOR MARCHE ECOSSAISE (Debussy) (Beethoven)(Opus 7) Ernest Ansermet -L'Orchestre de la Suisse SONATA No. 5 IN C MINOR Romande. LL -1404 $3.98 (Beethoven) (Opus 10, No 1) Friedrich Gulda (piano). LL -1372 $3.98 A COLOR SYMPHONY (Bliss) INTRODUCTION AND ALLEGRO (Bliss) Sir Arthur Bliss- London Symphony SONATA No. 6 IN F MAJOR LL -1402 $3.98 (Beethoven) (Opus 10, No. 2) Orchestra. SONATA No. 7 IN D MAJOR (Beethoven) (Opus 10, No. 3) DIVERTIMENTO No. 7 IN D MAJOR Friedrich Gulda (piano). LL -1374 $3.98 (Mozart) (KV. 205) DIVERTIMENTO No. 1 IN E FLAT MAJOR (Mozart) (KV. 113) TWO MENUETTOS WITH VARIATIONS AND FUGUE ON HANDEL DANCES 463) THEME (Brahms) (Opus 24) CONTRE (Mozart) (KV. BALLADE No. 3 IN A FLAT MAJOR Ernest Marzendorfer- Salzburg Mozarteum (Chopin) (Opus 47) Orchestra. LL -1427 $3.98 SCHERZO No. 3 IN C SHARP MINOR (Chopin) (Opus 39) CONCERTO FANTASIE IN F MINOR (Chopin) (Opus 49) Julius Katchen (piano). LL -1325 $3.98 PIANO CONCERTO No. 26 IN D MAJOR (Mozart) (K 537) PIANO CONCERTO No. 25 IN C MAJOR ALBUM OF SCARLATTI SONATAS (Mozart) (K 503) Kathleen Long (piano). LL -1330 $3.98 Friedrich Gulda -New Symphony Orchestra Anthony Collins. LL -1370 $3.98 under PIANO SONATA No. 8 IN A FLAT MAJOR CONCERTO FOR VIOLIN AND (Haydn) ORCHESTRA (Bliss) PIANO SONATA No. 10 IN G MAJOR THEME AND CADENZA FOR VIOLIN (Haydn) AND ORCHESTRA (Bliss) PIANO SONATA No. 25 IN C MINOR Campoli- London Philharmonic Orchestra (Haydn) under Sir Arthur Bliss. LL -1398 $3.98 PIANO SONATA No. 30 IN E MAJOR (Haydn) Kathleen Long (piano). LL -1380 $3.98 OPERA

SONATA IN A MINOR FOR VIOLIN AND OPERATIC RECITAL PIANO (Vaughan Williams) BY GIUSEPPE CAMPORA SONATINA FOR VIOLIN AND PIANO OPERATIC RECITAL BY GIANNI ,POGGI ( Benjamin) Arias from Tosca, Falstaff, Fedora, Luisa Frederick Grinke and Arthur Benjamin. Miller, Trovatore, Manon Lescaut, Gianni LL -1382 $3.98 Schicci, Andrea Chenier, Lodoletta, Mefis- tofele, Arlesiana. LL -1381 $3.98

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OCTOBER 1956 93

www.americanradiohistory.com cello ") . The Angel recitative cuts, on the battery of tuned glasses briefly in vogue other hand, are more extensive. Both are toward the end of the eighteenth century, very well recorded. J. H., Jr. when everything was tried, ought certainly to be heard in its original instrumentation. The two pieces here gain in ex- MOZART: Divertimentos for Strings: traneous interest if not in intrinsic musical No. r, in D, K. 136; No. 2, in B -flat, value in Mr. Hoffmann's performances - K. 137; No. 3, in F, K. r38; Serenade which are quite possibly unbeatable - on No. 6, in D ( "Serenata Notturna"), an apparatus whose tone resembles the K. 239 ethereal howl of goblets when their rims Solisti di Zagreb, Antonio Janigro, cond. are massaged with a damp finger. The sonics of the instruments are clear VANGUARD 482. 12 -in. $4.98. current although subdued to the protagonist, and The Zagreb soloists do not automatically it is to be assumed that he is not libeled take precedence before the Zimblers of either. Boston or the Haas group in London or The second side continues the exposure the Münchinger men at Stuttgart (or a of curios. The five serious canons were twirler half naked and fourteen), but they written in imitation of the learned art have had their excellence joined by a of a bygone age and are as a whole sweet facsimile of reproduction perhaps lugubrious, while the seven jocular ones unique in the experience of recording a make reference to things and persons in- dozen -plus of strings for disks. What the different to us, and the scatology of several engineers have achieved is a tone -in -depth is a little depressing. All are sung with address and superb discipline by a re- both honeyed and zestful, realism without Rolf Reinhardt: Mozart played straight. the acridity that so often accompanies the markable small chorus. Maybe these things are necessary for a rounded knowledge of more startling aspects of realism. Of MOZART: Ein musikalischer Spass, K. Mozart. For the collector of Köchel num- course the essential value of such actuality 522; Serenade No. 13, in G ( "Eine bers here are twelve unexpected. C. G. B. is the bountiful persuasion the Zagrebers kleine Nachtmusik"), K. 525 have bowed for the engraving. It is clear tLeopold Mozart: Toy Symphony (for- at the first cursory comparison that the merly attributed to Haydn) MOZART: Songs boiling spirits of the divertimentos have nowhere else the fullness of expression, Pro Musica Chamber Orchestra (Stutt- Abendempfindung, K. 523; Als Luise die interpretational and electronic, that this gart), Rolf Reinhardt, cond. Briefe, K. 52o; (Die) Alte, K. 517; An record reveals. This is less obviously true Vox PL 9780. 12 -in. $4.98. Chloé, K. 524; Dans un bois solitaire, K. of the prankish beauties of the serenade, i98; Ich würd auf meinem Pfad, K. 39o; Plain performances, but not severe, their which the London Baroque Ensemble have Im Frühlingsanfang, K. 597; (Das) Kin- avoidance of display underlined by a handled for Decca with more point but derspiel, K. 598; Die kleine Spinnerin, strong, near, and commanding sound as of less tone; but the excess of tonal superior- K. 53t; Komm, liebe Zither, K. 351; (Un) a small orchestra in circle around a micro- ity outstripping the excess of point, most moto di gioja, K. 579; Oiseaux, si tous les phone. Given generous volume, this sound collectors will presumably prefer the sere- ans, K. 307; Ridente la calma, K. 152; seizes the hearer's attention and will not nade as well. It is an obligation of both Sehnsucht nach dem Frühlinge, K. 596; relinquish it, according remarkable value sense and conscience for Mozarteans to Sei du mein Trost, K. 391; (Das) Traum- to music of which there is no scarcity of own this record. C. G. B. bild. K. 53o; Trennungslied, K. 519; recordings. It is notable that all three (Das) Veilchen, K. 476; Verdankt sei es pieces are best when played straight - the dem Glanz, K. 392; (Die) Verschweigung, MOZART: Divertimento No. ix, in D, Joke because the determined aimlessness K. 518; Warnung, K. 433; (Der) K. 251 of its burlesque loses its point without a Zauberer, K. 472; Zufriedenheit, (No 1, tSchubert: Minuets (5), D. 89; German sober mien, Eine kleine Nachtmusik be- after Miller), K. 349; Zufriedenheit (No. Dances (5), D. 90 cause any fussing destroys the perfection 2, after Weisse), K. 473. of its shape, and the Toy Symphony be- Stuttgart Chamber Orchestra, Karl Mün- cause beneath the genial foolery of its Anny Felbermayer, soprano; Erik Werba, chinger, cond. rattle and cuckoo is a modest little marvel piano. LONDON LL 1393. 12 -in. $3.98. of musical creation that ought to be ex- VANGUARD 481 12 -in. $4.98. The third good version of the Diverti- posed in all its simplicity. A remarkable Lasting nearly an hour, these twenty-four mento No. u is more confiding than the record as a whole, in that each familiar songs comprise the largest LP collection elegantly alert Reiner performance for item of its freight is as persuasively car- of Mozart's modest (forty-one) output in Victor and more precise than the relaxed ried as in any edition of any. C. G. B. the form. It is idle to compare this record Casals version on Columbia. More scope with Angel 3527o containing sixteen songs is permitted the solo oboe here than in the MOZART: Miscellany (all included in the Felbermayer disk) Victor, and of the sonic results it is as sung by Elisabeth Schwarzkopf with easy to prefer the softer blend of London Adagio for Tuned Glasses, in C, K. 617a; Walter Gieseking at the piano, since as the brightness of Victor. The latter, Adagio and Rondo for Tuned Glasses, singers singing well, like organs well however, includes some repeats ignored by Flute, Oboe, Viola, and Cello, in C minor, played, can be equally convincing when the former. K. 617; Canons: Alleluja (K. 553); Ave their voices are most different. The tem- The early, homely little Minuets and Maria (K. 554); Lacrimoso son' io (K. peramental versatility of Miss Schwarzkopf German Dances, inventive imitations of 555); Caro. bell' idol (K. 562) ; Nascoso is not to be challenged by Miss Felber - the composer's most famous contempor- è il mio sol ( K. 557); V'amo di core mayer or any other soprano on the scene; aries and already instinctive with the teneramente (K. 348) ; Lieber Freistädtler but Miss F, guiding her tall soprano reach poignant cut of the Schubert melody and (K. 232); Difficile lean (K. 559); 0 du through these songs of which too many harmony, are played with an artful in- eselhafter Martin (K. 56ob); G'rechtelt's are too hard for their content, decorates formality calculated not to wither the enk (K. 556); Gehn wir im Prater (K. them with a knowing simplicity attractively charm of their noble simplicity. The 558); Bona nox (K. 561). appropriate to the satined duplicity of the sonics are good enough to draw no com- Bruno Hoffmann, glass harp; Gustav Age of Enlightenment. To be sure, there ment, and the record as a whole is good Scheck, flute; Helmut Winschermann, are some vocal gaffes, but these are more than offset by vocal distinction and as- enough to have a special word of com- oboe; Emil Seiler, viola; August Wen - mendation to balance its modesty. (The zinger, cello. North German Singkreis, sured style. The accompaniments are in- letter "D." preceding a figure indicates the unaccompanied, in the canons. telligently capable, borne on an adequate chronological position of Schubert's music ARCHIVE ARC 3044. I2 -in. $5.98. piano -sound, and the reproduction of the according to the indispensable catalogue of Otto Erich Deutsch.) C. G. B. Music composed for such an oddity as the Continued on page 96

94 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com la TItajta,tat (the hero eoming)

TCHAIKOVSKY: THE SLEEPING BEAUTY Orchestra of the Paris Opera, Manuel Rosenthal, conductor 18005

RIMSKY -KORSAKOV: SCHEHERAZADE Pittsburgh Symphony Orchestra, William Steinberg, conductor 8305

DEBUSSY: CHILDREN'S CORNER, PETITE SUITE Concert Arts Orchestra, Felix Slatkin, conductor 8328

(BERT: ESCALES, LES AMOURS DE JUPITER Orchestra of the Paris Opera, Jacques Ibert, conductor 18004 GOULD: FALL RIVER LEGEND BERNSTEIN: FACSIMILE, Ballet Theatre Orchestra, Joseph Levine, conductor 8320

ELGAR: SEA PICTURES, IN THE SOUTH London Symphony Orchestra, George Weldon, conductor; Gladys Ripley, contralto 18017

DUKAS: I q PERI, THE SORCERER'S APPRENTICE SAINT- SAËNS: OMPHALE'S SPINNING WHEEL Orchestra of the Paris Opera, Robert Benedetti, conductor 18008

GERSHWIN: AN AMERICAN IN PARIS RHAPSODY IN BLUE Hollywood Bowl Symphony Orchestra, Felix Slatkin, conductor; Leonard Pennario, piano 8343

HALFFTER: EL COJO ENAMORADO SUITE DE DANZAS, Pilar Lopez, Ballet Español 18003 COPLAND: BILLY THE KID SCHUMAN: UNDERTOW, Ballet Theatre Orchestra, Joseph Levine, conductor 8238

STRAUSS- DESORMIERE: LE BEAU DANUBE Orchestra of the Paris Opera, Manuel Rosenthal, conductor 18008

STRAUSS: DEATH AND TRANSFIGURATION TILL EULENSPIEGEL'S MERRY PRANKS Pittsburgh Symphony Orchestra, William Steinberg, conductor 8291 Some music was written to tell a story -of heroes and heroines - GRIEG: PEER GYNT SUITES -IVANOV: or to describe a scene, or simply to take you on a musical journey. IPPOLITOV CAUCASIAN SKETCHES Hollywood Bowl Symphony Orchestra, Felix Slatkin, Mostly, the composer found his "plot" in folk songs and legends. conductor 8329 DELIBES: SYLVIA SUITE, COPPELIA SUITE it a Sometimes it was a fairy tale. Sometimes began as Greek myth. Orchestra of the Paris Opera, Pierre -Michel LeConte, But whatever its origin, such story -telling music is among the conductor 18001 most beautiful ever written and the longest remembered. BERNSTEIN: FANCY FREE COPLAND: RODEO, Ballet Theatre Orchestra, The new Capitol albums featured here include ballets, symphonic Joseph Levine, conductor 8198 poems, orchestral suites and sketches. But they all suggest a delightful story -told in flawless high fidelity. Doubtlessly, your collection includes some of these albums. Still, they're all lovely and make exciting gifts- especially to yourself!

OCTOBER r956 95

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soprano is excellent when it is not punc- DECCA- ARCHIVE ARC 3048 -9. Two 12- contrast providing the stimulation of tuated by those little explosions still on in. S11.96. novelty and perplexing to preconceptions. records, a bane of the soprano voice. Some If the novelty proves to have stamina the of the projections establish a standard, The four sides (one hour, seven minutes) disk is as valuable as that of the Budapest and the record as a whole will outlast most of this edition are to be explained if not Quartet for Columbia in No. 17 and the of the present Mozart discal repertory. condoned by the interpolation of some Guilets' for MMS in No. 19. C. G. B. C. G. B. matter consequent upon an official occasion rather than upon a performance of MOZART: Symphonies: Nos. I -41 MOZART: Missa Pro Defunctis ( "Re- music. The disks reproduce an actual ser- Netherlands Philharmonic Orchestra, Otto quiem"), in D minor, K. 626 vice held in St. Stephen's on December 2, 1955, in commemoration of the 164th Ackermann, cond. (Nos. 1 -28, 3o, 31, 33, Or- New York Philharmonic -Symphony anniversary (he died December 5) of 38) ; Vienna State Opera Orchestra, Henry chestra and the Westminster Choir, with Mozart's death, calling attention to the Swoboda, cond. (Nos. 29, 34); Nether- Irmgard Seefried (s), Jennie Tourel (a), 2ooth anniversary of his birth a few weeks lands Philharmonic Orchestra, Carl Barn- Leopold Simoneau (t), and William War - later. berger, cond. (No. 32) ; Netherlands Phil- field (bs) ; Bruno Walter, cond. The recording begins with a toll of bells, harmonic Orchestra, Henry Swoboda, cond. COLUMBIA ML 5012. r2 -in. $3.98. which is followed by a prelude on the (Nos. 35, 40); Winterthur Symphony organ and then goes into Mozart's Mass Orchestra, Walter Goehr, cond. (No. 36) ; A long reverberation emphasizes the for Dead, interrupted here and there Netherlands Philharmonic Orchestra, cathedral -like quality of this devout per- the the chant of the priest celebrant Walter Goehr, cond. (Nos. 37, 39); Win- formance employing large forces. It is by incidentally, with a mellifluous- terthur Symphony Orchestra, Otto Acker- probably not to be questioned that the (emitted, ness cultivated to such a degree mann, cond. (No. 45). broad projection was shaped by the knowl- probably nowhere in the world but Vienna), and CONCERT HALL 1165 (Nos. 1, 2, 5, 6,); edge, inescapable this year, that Mozart with a postlude on the organ. 1166 (Nos. 4, to, 11, 14); 1177 (Nos. was born zoo years ago, has been dead terminates It is thus a "documentary," not without 7, 8, 9, 12); 1178 (Nos. 3, 13, 15, 16); 165 years, and that the music was com- value for those wishing to assay contem- 1193 (Nos. 18, 19, 20, 21) ; 1194 (Nos. posed with his death impending, to his For with historical 22, 23, 24, 25); 1256 (Nos. 17, 26, 27, full knowledge. He was extinguished be- porary culture. others, it may pretty grisly. We 28); 1257 (Nos. 29, 30, 31, 32); 1258 fore he could complete it, and the com- memories, seem with pain and anger that Mozart (Nos. 33, 34, 37); 1259 (Nos. 36, 39); pletion was entrusted by his widow to remember dumped into Potter's Field without 126o (Nos. 38, 4t); 1 261 (Nos. 35, 4o) his close friend Franz Süssmayr. To such was a in St. Stephen's of which he Twelve I2 -in. $47.76 (single disks at a Mozartean as Dr. Walter the temporal service - because there was no $3.98). circumstances must have had a most sug- was an officer - one to pay for a headstone or shelter from gestive solemnity; and it is above all com- For the first time an entrepreneur has the rain. Official contrition does not passion, regret, and grief that we hear issued all the symphonies of Mozart. Forty- palliate the hideous stain of the most in this homage to the composer whose one are attributed to the composer, of monstrously callous parsimony; and the music burned away half his lifetime. Here which at least three were not written by pompous reminder of a crime, in order it is not the Dies Irae or the Rex Tremen- him although he did some work on them. to initiate a sales campaign, establishes dae which cuts deepest, but parts of the Westminster has announced a complete an impressive nadir of tastelessness. Kyrie, the Lacrimosa and that Benedictus edition under the direction of Erich Leins- People not sickened by such antics will which surely Siissmayr could not have com- dorf and has already issued a dozen of its find a good demonstration of Mozart's posed without a course clearly charted by components. London has recorded thirteen Requiem in these disks. Although the the master. symphonies, Columbia twelve, and Epic cathedral of St. Stephen's is a good Unless we esteem compassion lore quality ten. Below Symphony No. 25 the editions deal less apparent than the cathedral in highly than other emotions in music, or thin out abruptly, and Concert Hall is the the new Columbia version (which is not unless in this year we wish to make espe- only company with any of the first six- made in a cathedral) one is struck by an cially sympathetic acknowledgment of our teen in her catalogue, and she has them of vastness and gravity, espe- distress that Mozart did not live forever, emanation all. cially in the quality of the bass, and a we shall not find this version of the Collected now in a deep box and of- fluttering, ethereal soaring in the higher Requiem so vivid or so inclusively elo- fered as a unit, the forty-one symphonies do not favor a quent as we could hope. The reverberation reaches. The acoustics have spent some years in the Concert Hall downright revelation of the sections of blunts the statement, absorbing enunciation making. The first twenty-five and a few downright majesty and downright terror. and dulling timbre. It covers the orches- others have been reviewed here, besides If one is looking primarily for a musi- tral coloration when the choir is in action, seven (including some of the foregoing) of the Requiem, one should and it murders staccato. The most esti- cal experience which have appeared under the MMS label to the Scherchen record. This one is mable effort and this is an estimable go on disks made from the same performances - a documentary. C. G. B. performance - must succumb to the heavy and tapes. The recordings of Nos. 26, influence of the layer of sonic fat. 27, 28, 30, 31, 32, 33, 37, 38, and 39, The Requiem with its passions complete MOZART: Quartets: No. 17, in B-fiat ten in all, are-according to the evidence is most convincing in Dr. Scherchen's ( "Hunt "), K. 458; No. 19, in C, K. available-new. They ought to be criti- hypnosis of a smaller choir and a brighter 465 cally reviewed. orchestra, smartly engineered in etched Later they will be at least summarized. Parrenin Quartet. timbres and intended for the phonograph Now there is neither time for the exact- 18047. 12 -in. $4.98 (or not the cathedral; with a Dies Irae and a WESTMINSTER ing comparisons necessary with seventy- $3.98). - Rex Tremendae and a staccato to make one five versions of the ten symphonies - nor and ecstasy. This perform- cower in fear The hearer must warm up to performances space in which to print the results. Initial which will last a long, long time, ance, resolute not to overstate anything. Seldom hearings indicate that Nos. 27 and 3o are appeared on Westminster originally 5233, is phrasing so cool, in an aristocratic com- better here than anywhere else, that No. is through one of those phono- and now - posure disdaining even elegance. No rhap- 31 is still coy to the phonograph, that the no one should try graphic mystifications sody, no ostentation of subtlety. No in- performance of No. 39 is astonishingly available only on a Lon- is to understand - dividuality of instrument either, and after virile and imaginative, that No. 32 93079. C. G. B. don- Ducretet- Thomson one begins to warm up, one realizes that not in the class of two differently stunning the object of the four players is totality, versions by the Messrs. Leinsdorf and Missa Pro Defunctis ( "Re- MOZART: of a blended sound of their four instru- Böhm, that the Prague as usual comes off K. 626 quiem"), in D minor, ments, each subordinate to their calipered beautifully on the spiraling disk, that all Vienna Symphony Orchestra and Staats- all. The warmth comes from the fleecy ten are played proficiently, and that the sound is good as a whole although it re- oper Choir, with Irmgard Seefried (s) , texture of the compounded strings, well Gertrude Pitzinger (a), Richard Hohn served by insinuating acoustics which dis- quires different adjustments from record (t), and Kim Borg (bs); Eugen Jochuni, parage articulation as the players them- to record. cond. selves do. Cool inflection, warm voice, a Continued on page 98

96 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com FR M RCA VICT R...

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OCTOBER 1956 97

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The edition in panorama constitutes an Fluth); Als Büblein klein (Falstaff, Cho- German theaters (and, recently, at the invaluable course of study, for the alert rus); In einem Waschkorb? ( Fluth, Fal- New York City Center) along with, or and the supine, in Mozart and in the staff); Horch, die Lerche singt in Hain instead of, so great a masterpiece as Verdi's development of the orchestral sonata, be- (Fenton) ; Wohl denn, gefasst ist der Ent- Falstaff. It is worth investigating. ginning in imitation and ending with the schluss . . . . O selige Traüme (Anna Apart from bits and pieces, including inimitable. It is the only complete edition Reich) ; O süsser Mond! (chorus) . its famous overture, Die Lustigen Weiber of anything in prominence, of which it has two said -to -be complete LP versions - may be said that two thirds are unchal- Maria Stader (s), Frau Fluth; Anny one (Urania) well cast and full in sound; lenged years after it had begun to appear. Schlemm (s), Anna Reich; Margarete the other, which I have not heard, reputed It is not to be expected that the two Klose (ms), Frau Reich; Walther Ludwig to be only so -so. This new Decca single thirds will remain the standard of per- (t), Fenton; Eberhard Wächter (b), offers a reasonably characteristic assortment of the best-known set pieces, assembled formance . Piece by piece, the symphonies Fluth; Kim Borg (bs) , Falstaff. Chorus will be picked up and scrutinized and re- and Orchestra of the Bavarian Radio, from more than one occasion but cleanly hearsed and polished by the great vir- Munich Philharmonic Orchestra, and and fairly consistently engineered by tuoso conductors and orchestras who never Württemberg State Orchestra; Ferdinand Deutsche Grammophon. The best singing play anything outside of the old repertory Leitner, cond. - and best vocal acting - is done by until someone's example forces them to. DECCA DL 9839. 12 -in. $3.98. Maria Stader and the distinguished Mar - Here, as so often in recent years, the garete Klose in the fine letter -comparing phonograph sets the example, and Con- duet of the Mistresses Ford and Page char- von Windsor is cert Hall led the phonograph. C. G. B. Die Lustigen Weiber acters. In "Nun eilt herbei," which is a like Wagner's Das Liebesverbot, essen- hard test in any case, Miss Stader manages, tially an opera buff,: composed to a Ger- Lustigen von but with less sparkle. Kim Borg, the latest NICOLAI: Die Weiber man text based on a Shakespeare play. Windsor (excerpts) Glyndebourne Don Giovanni, sings Fal- But Nicolai knew his business better than staff's sack -drinking song firmly, but gets Nein, das ist uirklich doch zu keck (Frau Wagner did, and his opera has a pace and less out of it than Wilhelm Strienz does in Fluth, Frau Reich) ; Nun eilt herbei (Frau wit that have kept it current in many his Urania performance. The duet with Fluth (Ford) goes much better. The chorus is good, especially in the tavern scene. and Ferdinand Leiner maintains an Mozart's Console Delightfully Reawakened orderly ensemble. Texts in German and English ( ?). A reputable sectioning of like the rest burg violins, alertly sinuous a very pleasant offbeat work. J. H., JR. of the strings, are almost devoid of edge. The sonatas are not distributed in numerical succession, but occupy three sides OVSIANIKO -KULIKOVSKY: Sympho- in a sequence planned to give the greatest ny No. 21, in G effect at the beginning and the conclusion 1-Vainberg: Serenade for Orchestra, Op. of each, a faintly theatrical precaution un- 47, No. 4 necessary in performances where such corn- Leningrad Philharmonic Orchestra, Eugene piece values are given to the most trifling Mravinsky, cond. (in the Symphony) . sonatas that they are almost as effective as State Radio Orchestra, Alexander Gauk, the ones customarily the most esteemed. cond. (in the Serenade). The remaining three sides are devoted to WESTMINSTER XWN 18191. 12 -in. $3.98. the pieces that Mozart wrote for clockwork organ, to a Prelude on the Ave Verum, The hyphenated composer of the symphony and to a transcription of an Adagio orig- was a contemporary of Haydn and Mozart. inally for musical glasses. The Prelude, This work dates from 1809; apparently and the Fugue, K. 375, are apparently it was lost for a long time and was not E. Power Biggs. "a revelation." first LP recordings. The seven pieces are rediscovered until around 1948. It is a played on as many organs, new and old, genial and hearty little score, slightly remi- COLUMBIA calls this lively and admir- in cities where Mozart played or could niscent of early Beethoven and most attrac- Tour. It able album A Mozart Organ have played, which gives a fillip to the tive in its two last movements, a pleasing includes all the music Mozart composed senses of the romantically inclined, and minuet and a Cossack dance. Blithe as for organ except the organ parts in litur- excites some astonishment at the in- it is, however, its pleasures are exhausted gical music. Naturally the seventeen blithe dividualities of the instruments. In spite at one hearing. little sonatas for organ and small orchestra, of the difficulties faced by the ambulant A far more interesting and unusual piece which forbade sleep delightful interludes engineers, reproduction is imposing, and is the Serenade of Mossaiye Vainberg, a the during holy services, are the bulk of in the deep bass almost literally stunning. contemporary composer and pianist. At the Fantasy, K. 6o8, may matter, although The last side is concluded by a brief first, one might guess it to have been writ- in the holi- be the heart of it. The sonatas Baedeker in sound: bells and organs of ten by Vaughan Williams or possibly Bax, by the conductor and day spirit prescribed churches in cities visited by Mozart. so English does it sound. However, one are not going favored by persuasive sonics C. G. BURKE soon hears ideas that seem to stem from to be eclipsed by any edition not accorded Prokofiev and orchestral touches right out apocalyptic sound or weeks of special re- of Khachaturian. Needless to say, this hearsals. Mr. Biggs, whose many, many MOZART: A Mozart Organ Tour curious mingling of national characteristics, organ records have often seemed to err in an Anglo- Russian musical entente as the direction of a placid scholasticism, is Sonatas ( 17 ) for Organ and Orchestra; baffling as it is amusing, is resolved in something of a revelation himself, in his Adagio, K. 356; Adagio, K. 58oa; Andante the proper way, with the work ending in assimilation of an airy, tripping style in and Variations, K. 6i6; Fantasy in F a predominantly Russian vein. complete accord with that of the conductor. minor, K. 594; Fantasy in F minor, K. The performances are more notable for It is to be noticed that the general at- 6o8; Fugue in G minor, K. 375; Prelude vigor than for suavity of orchestral playing. mosphere of exhilaration is not produced and Fugue in C minor, K. 546. Westminster has managed to produce by speed, the tempos being moderate, but reasonably good sound from the Soviet by the proportions of the phrases and the E. Power Biggs (on the organ of Salzburg tapes. J. F. I. decision of the accents. Cathedral in the Sonatas and K. 58oa; on a different south- German or Alsatian Organ and small orchestra are both well PROKOFIEV: Lieutenant Kije, Suite, organ for each of the others) ; Chamber served by the engineers and the vast acous- Op. 6o Mozarteum (Salzburg) , tics of the cathedral. The very long rever- Orchestra of the tKodály: Háry János, Suite beration, so often hurtful, here recalls Bernhard Paumgartner, cond. (in the Sona- saucily the nature of the place where the tas). so- worldly music is sounded, and the Salz- COLUMBIA K3L -231. Three r2 -in. $17.94. Continued on page zoo

98 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com yF S

THE UNßELAXED GENTLEMAN is Ali. Harris Zeitzew. Do you hear, for instance, the bottom -of- the -scale "croak" He's a member of Capitol Records' famous record -rating of the double bassoon? Do you feel the unique vibration "jury" which has just convened to render a verdict on a of the bass viol? Do you hear the last trace of overhang new Capitol album: is it good enough to bear the inscrip- to the cymbals? These are the "little voices" heard only tion "Full Dimensional Sound "? on the highest fidelity recordings. You'd certainly think so. It's a symphony brilliantly per- Only if Mr. Zeitzew hears them all, and distinctly, will formed by one of the world's greatest orchestras. It was he note on his scorepad, "Approved for FDS." recorded in Capitol's new custom -designed sound studios Is it all necessary? Capitol thinks so. "Full Dimensional - literally a recording engineer's "dream" workshop. Sound" albums are advertised as "the highest fidelity But with all that, the "jury" has the final word. And known to the recorder's art." The Jury's job is to make like all its members, Mr. Zeitzew has a veto. As acousti- sure they live up to their billing. cal expert, he's concerned primarily with how faithfully This week, hear a Capitol "Full Dimensional Sound" the overtones - that give each instrument its distinctive recording at your record dealer. You'll hear how high "voice "- are reproduced on the recording. high fidelity can be.

Incomparable High Fidelity in Full Dimensional Sound

OCTOBER 1956 99

www.americanradiohistory.com RECORDS

into the music. For all its uniqueness and creates the atmosphere of the well -known musicality, however, the reading would paintings. The orchestration here is have profited from a dash of virtuosity, slightly bolder, fuller, and less restrained, which I believe is implicit in the work but it is always governed by good taste. and essential to its performance. Sir Adrian Each score has appeared previously on Bouli s conducting is strong, sound, per- records, though not together on one LP haps a trifle stolid. The balance between and never before as magnificently pro- orchestra and soloist is better than average jected. Under the sensitive direction of for this concerto; the soloist is usually Caracciolo, the Scarlatti Orchestra per- played up - incorrectly. R. E. forms with unbounded relish, finesse, and genuine devotion. The sound is clear and RAVEL: Boléro; Rapsodie espagnole; warm. Most highly recommended. J. F. I. La Valse tDebussy: Prelude to the Afternoon of RIMSKY -KORSAKOV: Fantasy on a Faun Russian Themes, Op. 33; Sadko: Sea Episode Boston Symphony Orchestra, Charles tBalakirev: Russia Munch, cond. RCA VICTOR LM 1984. 12 -in. $3.98. State Radio Orchestra of the USSR, Kon- stantine Ivanov, Nikolai Anosov, conds. Serge Prokofiev The jacket for this release bears as general WESTMINSTER XWN 18120. t2 -in. $3.98. title The Virtuoso Orchestra, and it is adorned with a miraculously sharp, clear Two great masters of orchestration are at work here, though unfortunately not at top New York Philharmonic- Symphony Or- color photograph of numerous orchestral level. The excerpt from Sadko, a pale chestra, Dimitri Mitropoulos, cond. instruments. The promise of the photograph is by the recording. Not shadow of the "Sea" episode in Schehera- COLUMBIA ML 5101. 12 -in. $3.98. borne out having heard all of the fourteen other zade, is almost too short to be called any- Two of the best -known pop concert pieces Fauns, the seventeen other Boléros, the thing but a colorful nautical vignette. in the modern repertoire performed with nine other Rapsodies, and the sixteen More interesting is the same composer's exceptional insight into their humor and other Valses listed in the current Fantasy, for violin and orchestra, a work satire and beautifully recorded. A. F. Schwann, I cannot attempt a comparison that shows masterly handling of some of Munch's interpretations of these works nationalistic music. The symphonic poem PROKOFIEV: Romeo and Juliet with those provided on previous disks, Russia appears for the second time on LP, but if most of them are not more ex- but the performance here is by no means Orchestra of the Bolshoi Theater, Gennadi citing, then the recorded literature of as effective as that on Angel 35291, led Rozhdestvensky, cond. Debussy and Ravel is in a bad way. A. F. by Von Matacic. Reasonable sound, but WESTMINSTER XWN 18159/60. Two 12- far from outstanding. J. F. I. in. $7.96. RAVEL: Trio in A minor To judge by all accounts, Romeo and Juliet tChopin: Trio in G minor SCHUBERT: Minuets (5), D. 89; Ger- is the most sumptuous and elaborate bal- man Dances (5), D. 9o- See Mozart: David Oistrakh, violin; Sviatoslav Knushe- Divertimento No. rr. let of the Soviet era. It is certainly the vitzky, cello; Lev Oborin, piano. most durable, for it has been on the stage WESTMINSTER XWN 18174. 12 -in. $3.98. uni nterruptedly since 1940. Prokofiev SCHUBERT: Symphony No. 5, in B-flat extracted three suites from its full evening - These recordings were made in Russia -See Haydn: Symphony No. roo. length score, and all three of these have and. in all probability, some years ago. been recorded several times. The present By Western standards they are decidedly SCHUMANN: Concerto for Piano and recording is taken from the sound track mediocre in sound, but the richness, Orchestra, in A minor, Op. 54; Kin - of a film version from which little or noth- warmth, and vitality of the playing more derszenen, Op. r5 ing of the original score can have been than compensates for relatively poor omitted. At all events, there is a vast sonic quality. The Chopin may even Walter Gieseking, piano; Philharmonia amount of sound here, all of it very tune- benefit from the deficiencies of the record- Orchestra, Herbert von Karajan, cond. ful and effective, very richly scored, and ing, for it prevents the piano from swamp- ANGEL 35321. 12 -in. $4.98 (or $3.48). very shrewdly put together. Romeo and ing the strings, as it so often does in Walter Gieseking's pristine performance A. F. Juliet is surely a masterpiece of music for concert performance. of the concerto is so direct and uncluttered, music se. the theater if not of per The so simple and vernally fresh, without miss- recording is exceptionally good, especially RESPIGHI: Gli Uccelli; Trittico Botti- ing a nuance of the score, that it surely by contrast with some previous orchestral celliano ranks with the best. It is not as warmly recordings made in the USSR. A. F. Scarlatti Orchestra of Naples, Franco personal as Novaes', not as brilliant as Ser- Caracciolo, cond. kin's and Rubinstein's although Von Kara- RACHMANINOFF: Concerto for Piano sharply jaunty rhythms ANGEL 35310. 12 -in. $4.98 (or $3.48). jan imposes some and Orchestra, No. 2, in C minor on the first and last movements, and the Clifford Curzon, piano; London Philhar- Even if you should happen to have an Philharmonia is itself a brilliant ensemble. of monic Orchestra, Sir Adrian Boult, cond. aversion to Feste Romane or The Pines The Gieseking manner is equally appro- it LONDON LL 1424. 12 -in. $3.98. Rome, do not on any account permit priate in the Kinderszenen. It wants a to dissuade you from sampling this record- little in tenderness in some sections, per- Always in search of the musical core of ing of two compellingly lovely Respighi haps, but the purity of utterance is as a work, Clifford Curzon unfolds the Rach- scores. When he wished to, this composer moving as any amount of "interpretation" maninoff concerto in his characteristically could be as spare and effective in his or- could possibly be. The pianist's heavy deliberate and thoughtful style, keeping chestration as Mozart, and in The Birds breathing is more audible on this record a watchful eye on the composer's markings (Gli Uccelli) this restraint is always ap- than on others I know of, but is not likely and offering a gentlemanly, lyrical per- parent. This is a suite based on seven- to bother anyone. R. E. formance. The work becomes more trans- teenth- and eighteenth- century keyboard parent in his hands and assumes a fresh pieces, arranged for small orchestra, and SCRIABIN: Piano Music kind of easy -flowing texture, in contrast its avian characterizations are delicate, to the many hard- driven performances it amusing, satirical, and always brilliantly Sonata for Piano, No. 3, in F -sharp minor, receives. The natural inflection of the right. The Botticelli triptych, on the other Op. 23. Preludes (16) : Op. 11, Nos. 1, famous melodies, the limpid, purling hand, is an entirely original composition 3, 9, Io, 13, 54, and 16; Op. 13, No. sound of murmurous passages - as toward (if we except an occasional hint of a 6; Op. 15, No. 2; Op. 16, Nos. r and 4; the end of the first movement - are sug- folk song or a religious hymn) , in which gestive of Mr. Curzon's special insight the composer delicately and skillfully re- Continued on page 102

I00 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com COLUMBIA RECORDS SALUTES A LONG AND NOBLE LIFE

IN MUSIC WITH A SERIES OF BRILLIANT, NEW RECORDINGS

BY AN ARTIST WHO HAS JUST CELEBRATED HIS 80'" BIRTH-

DAY AND MORE THAN 60 YEARS OF CONDUCTING BRUNO

GUARANTEED HIGHFIDELITY ON BRAHMS: Symphony No. 1 in C BRAHMS: Symphony No. 2 in D BRAHMS: Symphony No. 4 in E JOHANN STRAUSS : Waltzes and Minor (Philharmonic- Symphony Major (Philharmonic-Symphony Minor (Philharmonic- Symphony Overtures (Columbia Symphony Orch. of New York) ML 5124 Orch. of New York) ML 5125 $3.98 Orch. of New York) ML 5127 $3.98 Orchestra) ML 5113 $3.98 COLUMBIA BRAHMS: Symphony No. 3 in E MOZART: Symphony No 39 in E- MOZART: Requiem Mass in D "BRUNO WALTER -THE SOUND Major; Acadrrric Festival Over- Flat Major; Symphony No. 41 in C Minor (Philharmonic- Symphony OF GENIUS": a special 12" Lp ture; Hungarian Dances (Philhar- Major `Jupiter" (Philharmonic - Orch. of New York, Westminster record containing highlights of the RECORDS monic-Symphony Orchestra of New Symphony Orchestra of New York) Choir and soloists) ML 5012 $3.98 conducting career of Bruno Walter. G,lumbie" ÿJ (Z RI etleet ee e eyested lic. York) ML 5126 $3.98 ML 5014 $3.98 ONLY $1.98 www.americanradiohistory.com RECORDS

Op. 27, No. I; op. 48, No. 3; Op. 51, the "Divertimento" which Stravinsky ex- nothing short of staggering, reaching a No. 2; Op. 59, No. 2; Op. 67, No. I. tracted from this ballet, but this is the new pinnacle in the final movement. the J. F. I. Vladimir Horowitz, piano. first recording of entire forty-five- minute score. As is the case with Petrouch- RCA VICTOR LM 2005. 12 -in. $3.98. ka and Pulcinella (but not with The Fire TORELLI: Concerti grossi, Op. 8: No. Scriabin's Third Piano Sonata dates from Bird), the complete work is far more 2, in A minor; No. 3, in E; No. 6, 1897, when the composer was twenty-five. effective than the suite of excerpts; in G minor; No. 9, in E minor No. A transitional work, in that it is neither among other things it solves the odd 12, in D as simple as the early Chopin- inspired pre- stylistic inconsistency that stands out so dis- Roberto Michelucci, Anna Maria Cotogni, tressingly in the "Divertimento." ludes nor as complex and mystical as his violins; I Musici. The Fairy's Kiss is a tribute to Tchai- last products, exemplified here by the Op. EPIC LC 3217. 12 -in. $3.98. 59 and Op. 67 preludes, it is at once a kovsky, and the score is full of borrow- curious and arresting work. Its four move- ings from that composer's salon pieces The first three of these concertos are for ments are economically constructed, its and songs. In the "Divertimento" these two violins; the other two are for one thematic material closely related through- sound highly artificial, not to say stilted; in violin. They are all attractive works, es- out; there is an overlay of rhythms to give the original they are deployed over a much pecially No. 6, which is a "Christmas the work a free, rich texture, and it broader context and harmonize much more Concerto." The Musici play with their abounds in the characteristic leaping figura- successfully with the typically Stravinskyan customary verve and the recording is excel- tions that give Scriabin's music its pro- rhythms of the unindebted parts. To help lent. Recommended to those who would pulsive, nervous quality. matters further, this recording gives us be satisfied with less than the complete Op. The judicious selection of preludes made Stravinsky conducted by Stravinsky, and 8 (available on three disks in Vox DL here from the eighty-five Scriabin wrote Stravinsky is immeasurably the best Stra- 113). N. B. illustrates the great development of his vinsky conductor there is. The recording style, as the composer gradually disinte- is good if not startlingly so. A. F. VAINBERG: Serenade for Orchestra, grated his materials to the point where his Op. 47, No. 4-See Ovsianiko -Kuli- works had no key. Some of the earliest TCHAIKOVSKY: Concerto for Piano kovsky: Symphony No. 21. 1, his preludes, in Op. remain among and Orchestra, No. 1, in B -flat minor, best, despite the obvious and strong influ- Op. 23 VAUGHAN WILLIAMS: Concerto Ac- ence of Chopin. These page -or -two long cademico - See Barber: Concerto for works are very touching in their lyricism, Paul Badura -Skoda, piano; Philharmonic Violin and Orchestra. powerful in their vast dynamic span. Promenade Orchestra, Sir Adrian Boult, Vladimir Horowitz's unique pianism and cond. VAUGHAN WILLIAMS: Fantasia on temperament seem ideal for this music. WESTMINSTER XWN 18162. 12 -in. $3.98. a Theme by Thomas Talfis; Fantasia With his transcendental technique he con- on Greensleeves; The Wasps-Over- veys perfectly its restless energy, intensity, Where this concerto is concerned, West- Farnadi- ture. and almost neurotic introspection. He also minster appears to be jinxed. The enhances the quiet moments with exquisite Scherchen version (just deleted) was un- Philharmonic Promenade Orchestra, Sir so is this new issue, phrasing, as in the Andante of the sonata; successful and though Adrian Boult, cond. or with an incredible fleetness and delicacy, for entirely different reasons. Scherchen WESTMINSTER W -LAB 7048. I2 -in. $7.50. it, doing as in the Op. 1, No. 3, Prelude. His whipped through with the soloist works were available previously, performance of Scriabin's Ninth Sonata her best to keep up with the pace, in one All three as on earlier was the jewel of his anniversary -recital of the most frantic performances recorded. though not close companions, Westminster releases the two Fantasias album, and this current disk is just as re- Now Sir Adrian strolls leisurely through - WL 5270, the Overture on WL 5228. markable. It is to be hoped that he its pages, occasionally infusing some sem- on reviewed in will record more of the sonatas before too blance of vitality into the orchestral ac- Both records were favorably retiring to let it HIGH FIDELITY (June and August 1954) long. R. E. companiment, and then amble along. Meanwhile, the pianist gives with particular emphasis placed on the SHOSTAKOVICH: Preludes and Fugues a cool, dispassionate, small -scaled perform- excellence of the sound. In transferring (6) from Opus 87 ance, devoid of grandeur or magnetism. them to the Lab series, Westminster's en- The lack of spaciousness in the perform- gineers have effected a quite startling im- Dmitri Shostakovich, piano. ance is not compensated for by the sound, provement. These is a deeper, warmer CAPITOL P 18013. 12 -in. $3.98. hardly the most flattering accorded the luster to the strings, very noticeable in Shostakovich's Opus 87, composed in London Philharmonic. J. F. I. the Tallis, and an over -all enrichment of 195o, consists of twenty -four preludes and definition in the entire orchestral fabric. fugues for piano solo. The composer here Even by Lab standards, this is superb. TCHAIKOVSKY: Symphony No. 4, in J. F. I. provides Nos. 24, 7, 8, 6, 22, and 20 of F minor, Op. 36 these, in that order. The entire series demonstrates a considerably greater depth Orchestre de la Suisse Romande, Ataulfo VERDI: La Traviata Argenta, cond. and scope, technically and expressively, than Rosanna Carteri (s), Violetta; Lidia Mar - one has come to expect of Shostakovich. LONDON LL 1275. 12 -in. S3.98. impietri (s) , Flora; Rina Maccagnani (s) , He ranges here from the French overture The conductor appears to be beset with Annina; Cesare Valletti (t), Alfredo; style of Bach's time to the broadly lyrical Salvatore di some conflicting ideas regarding this music, Glauco Scarlin (t), Gastone; style of his own symphonic slow movements, , Messenger; is a rather uneven, and not Tommaso (t) Giuseppe, and from a very Russian -sounding chorale and the result The move- Leonard Warren (b) , Germont; Arturo texture to a glittering, open texture like very penetrating reading. outer La Porta ( b) , Douphol; Dario Caselli of Domenico Scarlatti. This comment ments show him to greatest advantage, par- that ( bs) , Dr. Grenvil; Leonardo Monreale is not intended to suggest that the preludes ticularly the finale, which catches fire and , Rome Opera House blazes with a powerful and persuasive in- (bs) D'Obigny. and fugues are inconsistent with each Chorus and Orchestra, Pierre Monteux, other. They are not; they simply cover a tensity. But against this must be set his overly cautious handling of the slow move- cond. lot of territory, and they do so with ex- RCA VICTOR LM 6040. Three 12 -in. ceptional ripeness and power. The per- ment, which becomes rather plodding, and to scherzo. The 511.94. formance is wonderfully vital and the re- his sedate approach the is at an reasonable cording is quite good. A. F. latter taken eminently Antonietta Stella (s), Violetta; Elvira pace, some exquisite orchestral permitting Galassi (ms) , Flora; Luisa Mandelli (ms) , STRAVINSKY: Le Baiser de la Fée playing to shine through, but the over -all Annina; Giuseppe di Stefano (t), Alfredo; plan of the movement seems lost in the Cleveland Symphony Orchestra, Igor Stra- Giuseppe Zampieri (t), Gastone; Franco conductor's finicky attentiveness to too Ricciardi (t), Guiseppe; Tito Gobbi (b), vinsky, cond. many small details. The Swiss orchestra ML $3.98. COLUMBIA 5102. 12 -in. plays with tremendous brio and magnifi- Several recordings have been issued of cent tone, and the London sound is Continued on page 104

IO2 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Mr. MOZART CALLS THIS IS HIS YEAR -now he comes to you on high fidelity Decca Gold Label Records With your permission (and Constanza's), Mr. Mozart would like to pay you a visit. You'll find him a most eloquent guest, for his music speaks with great wit, charm and imagination. Inspired by the great European tradition of music, this master's genius is especially evident in his magnificent works for voices and orchestra. The essence of Mozart's genius Yet, the essence of his genius, from the comic to the sublimely religious, can only be captured by devotion, care and authenticity. This is the heart of the recording art. We believe that these high fidelity albums achieve this goal, for Decca Gold Label Recordings combine great musical performance with advanced "live" sound engineering techniques. Each Long Play record is compression moulded of silent polystyrene and inserted in a protective polyflex case. You get a perfect product -artistically and technically. This is what we mean by a New World of Sound. This is why.you'll hear Mozart at his brilliant best on the Decca Gold Label. Visit your record shop tomorrow!

MOZART/MASS IN C Major, K. 317 ( "CORONATION') SYMPHONY NO. 38 IN D Major, K. 504 ('PRAGUE ")

"): The Magic Flute: Soloists - Stader, S reich, Mass in C Major, K. 317 ( "Coronation Häfliger, Fisher -Dieskau, Greindl, RIAS Sym- Soloists -Stader, Wagner, Krebs, Greindl, Choir phony Orchestra and Chorus, Ferenc Fricsay, of St Hedwig's Cathedral; also, Symphony K. 504 ( "). Igor Conductor. Deluxe set. Complete Ge man - No. 38 in D Major, "Prague Orches- English libretto. 3 Long Play Records. DX -134 Markevitch directs Berlin Philharmonic tra. DL 9805 IAo,art: I`evuem

Requiem, K. 626: Recorded in Vienna's his- The Abduction From The Seraglio: Soloists toric St. Stephen's Cathedral. Commemorative -Stader, Streich, Häfliger, Greindl, RIAS Sym- Performance. Soloists - Seefried, Pitzinger, phony Orchestra and Chorus, Berlin, directed Holm, Borg, the Vienna Symphony Orchestra by Ferenc Fricsay. DeLuxe set. Complete Ger- and Chorus, Eugen Jochum, Conducting. man- English libretto. 2 Long Play Records. DL 983S DX -133 All recorded in Europe by Deutsche Grammophon Gesellschaft. . DECCA® q&Lad®RECORDS a New World of Sound "You can hear the difference!"

OCTOBER r956 103

www.americanradiohistory.com Germont; William Dickie (b), Douphol; by Angel and RCA Victor, but both be- Both have more distinction than can be Silvio Maionica ( bs) , Dr. Grenvil; Nicola long, along with the year -old London, at claimed for Francesco Molinari -Pradelli's Zaccaria (bs) , D'Obigny; Carlo Forti the top of the list. Each has its own values, crisp but soprano -guiled routinier job for (bs), Messenger; Vittorio Tatozzi (bs), and a choice among them is a matter for London. Servant. Chorus and Orchestra of the either very intricate calculus or strong pre- But conducting is not all. London offers Teatro alla Scala, Tullio Serafin, cond. judice, or perhaps both. The most telling Renata Tebaldi, who, liberties and all, ANGEL 3545 B /L. Two 12 -in. $10.96. advantages of both the new sets have to do has a finer voice and achieves more with with conducting that is several cuts above it than her younger rivals on LP. Hers It is told that when Verdi, in pre -Aida the average level. Tullio Serafin (Angel) is the major distinction of the London set. days, was asked which one of his operas must have conducted several hundred more In the new recordings there is a basic non - he preferred above all, he answered that as La Traviata performances in his long life parity in casting. Rosanna Carteri (RCA) a professional musician he would name than Pierre Monteux has in his. But is by nature a straight lyric soprano, say Rigoletto; as an amateur, La Traviata. they are musicians of relatable tempera- a Zerlina; Antonietta Stella is bigger- scale, His reply to the fatuous question turned ments, and their approaches to the score a Donna Anna or a Leonora in II Trova- out to be a prophecy -by- inference, proven are far more alike than unlike: refined tore. Either type is possible for Violetta, true by more than a hundred years of the over -all shaping, steadiness without rigid- to be sure; the rub is that Miss Carteri, most practical evidence of La Traviatds ity, and plasticity without slackness. Both who to my way of thinking gives decidedly vast popularity. take a moderate pace, with Mr. Serafin a the more spontaneous and affecting per- There are now eight Traviatas on LP. shade tauter than he sometimes is, Mr. formance otherwise, drives for climaxes as None of the pre- existing six is a dead Monteux occasionally asking sharper con- if her voice were Miss Stella's, and so loss; none is first -class in every regard. trasts (as in Alfredo's Act IV entrance) or reaps a harvest of needlessly bumpy line The same is true of the newest sets released more bite (as at the start of Act III) . and impure tone. Miss Stella (who is to come to the Metropolitan this season) uses her fine, clean voice as a well -grounded Violetta should and makes all the major Vaughan Williams' Eighth: "Fascinating." points, but with oddly inexpressive areas in between; here she seems a stage away ing; while in the Cavatina the noble from realizing her full potential. writing for strings inevitably recalls the Similarly, Cesare Valletti (RCA) has composer's beautiful Tallis fantasia. With less voice but is a more aware artist than the final movement the full orchestra is Giuseppe di Stefano ( Angel); but here brought into play in a rambunctious riot the gap in vocal quality tells more, for of orchestral sound. Here, as the com- Di Stefano can take the climaxes more poser says, "all the available hitting instru- freely and sounds far lovelier in mezza ments are commandeered," and to judge voce, and in this performance he is on from the outcome few have an idle mo- rather good musical behavior. Both are ment. more attractive than Gianni Poggi (Lon- Sir John Barbirolli, to whom the sym- don). phony is dedicated, directs a powerful, ex- With the Germonts, the situation is a citing performance and handles the com- turnabout - on the face of it. Leonard plexities of the score with admirable con- Warren (RCA) is characteristically a man Sir John Barbirolli with the composer. trol. The Hallé strings, and even more with a tremendous voice and honorable the brass, prove themselves capable of intentions, while Tito Gobbi (Angel) is PLANNING his Eighth Symphony, IN meeting all the many challenges in this something of an authentic acting genius first heard earlier this year, Vaughan work without ever becoming coarse or with a voice now pushed far past its Williams seems to have been less inter- edgy in tone. Mercury's engineers, for natural limits. The catch is that Mr. ested in creating a profound work capable their part, have achieved a triumph in Warren sings what is for him a quite un- of standing alongside the powerful Fourth, capturing such superbly balanced and clean characteristically fine Germont the tone the introspective Fifth, or the searing and - sound in the face of obvious difficulties. well forward and lightly poised, the diction Sixth than in continuing his ex- exalted The finale is particularly imposing, and pointed, and his readings really very just. periments with unusual orchestral sonori- I can foresee its becoming a test piece And what a voice it is! Mr. Gobbi, ex- in the Sinfonia Antar- ties, already evident for high fidelity equipment. pectably, gives some subtler, more imagina- tica (No. ) . The experiments are so 7 Compared to Vaughan Williams' fas- tive readings, and apart from some really successful that they tend to extraordinarily cinating new symphony, the short pieces terrible tones in Act II manages his re- lessen the impact of the musical ideas in- by Bax and Butterworth seem of rather sources well. volved. It is, in any case, a delightful, small import, yet both in their way are The important second -line parts are bonny work, full of irrepressible youthful minor gems. The Bax tone poem is a not notably well done in either set. The spirit, and it is likely to become one of mystical, Celtic seascape, delicately wrought London second line is better. Both Milan the most popular of the composer's sym- and full of marvelous orchestral touches; and Rome orchestras do respectably well, phonies, even with a public not yet fully it should appeal especially to lovers of and both choruses get good tone. Still, appreciative of his major compositions. Debussy and Delius. I fear, however, that it would be pleasant if someone would The Eighth is by far the shortest of his Barbirolli's interpretation treads a trifle too clean up the Scala choral diction or move symphonies (approximately 261/2 min- heavily and fails to expose all the fancy the microphone. utes) , unconventional in form, and scored in the score. The poignancy of Butter - Technically, both sets are well up to for a medium -size orchestra, harp, and worth's rustic rhapsody, on the other hand, par, the RCA (n.b., on three disks) having a large array of percussion, including - is admirably conveyed. been recorded at a higher volume -level according to VW "all the 'phones and - All told, this is an eminently commend- and with more imposing resonance, but 'spiels known to the composer." The lat- able record and an auspicious debut on the also with some oddities of balance (or- ter are used unsparingly in the two outer Mercury label for Sir John and his Hallé chestra covering voices, and, almost, vice movements. The work opens with a move- Orchestra. versa). Both sets cut Alfredo's "O ment that has already acquired the sobri- mio JOHN F. INDCOX rimorso in Act. II cut made almost quet "Seven variations in search of a ' -a everywhere except in the London set, theme," an apt description of a movement VAUGHAN WILLIAMS: Symphony which is complete. its which juggles several themes all having On two disks, Angel No. 8, in D minor manages the little stretta some relation to each other. The two "long" ending of tBax: The Garden of Fand Act. II; RCA as inner movements are given over to the cuts it, usual in this A Shropshire Lad winds and strings respectively, an unusual tButterworth: country. Librettos and notes, of course, and the RCA comes handsomely boxed innovation. The Scherzo, opening with a Hallé Orchestra (Manchester) , Sir John jaunty tune in the bassoons (slightly Barbirolli, cond. ti la London's gala Mozart sets - not with reminiscent of Prokofiev), is most engag- MERCURY MG 50115. 1z -in. $3.98. Continued on page ro6

104 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com S 1::1 D I

.1:\ 1) I'1`S NIASTEh:

The gentleman is Nathan Milstein. Ilis violin fantastic resources of the violin in the hands of Jt/Iilstein is a Stradivarius. Its obedience to his touch is one of the world's greatest masters. The album iaturel something wonderful to hear. is entitled "Milstein Miniatures." r With it, he has already recorded four great In one such "miniature," Cluck's Dance of

CM! i t, for the violin: the Beethoven, Brahms., the Spirits, Milstein plays solo violin passages Mendelssohn and Bruch. They stand like giants unequaled for grandeur. Another, Massenet's in the classical recording world. Medibttioa, is perhaps the most lyrically beautiful melody ever written for the violin. In Full Dimensional Sound But these are lengthy works. What of the Album 6339 many shorter violin pieces, equally brilliant, AH 13 \\larks have been captured by Capitol equally deserving of a master's hand? Rarely in "Fall Dimensional Sound," the highest fidel- do you hear them grouped in a single album. ity known to the recorder's art. That's why Capitol Records lias recordeda new These `Miniatures' are a major listening ex- collection of 13 such compositions. All show the perience.

INCOMPARABLE IIICII FIDELITY IN FULL DIMENSIONAL SOUND

OCTOBER 1956 105

www.americanradiohistory.com a score, but with a copy of Alexandre is thinnish but probably an accurate re- Dumas' Camille, bound in imitation vel- production of what went on. Notes and lum with an introduction by George text for the lines actually sung. Take it or Marek. not. J. H. JR. All told, the soprano -lover pure and simple may prefer the London. Between WIENIAWSKI: Concerto for Violin the RCA and Angel it is at best a close and Orchestra, No. 2, in D minor, Op. decision. For myself, I would lean to the 22 - See Mendelssohn: Concerto for RCA, not because of Camille, but because Violin and Orchestra. Miss Carteri says things so touchingly. J. H. JR.

VIVALDI: Concertos for Viola RECITALS AND d'Amore and Orchestra, Op. 25: No. MISCELLANY 3, in D minor, P. 287; No. 4, in D minor, P. 288; No. 6, in A, P. 233; Concertos for Bassoon and Orchestra: MARIA LUISA ANIDO: A Spanish in C, P. 71; in F, P. 318 Guitar Recital Johan van Helden, viola d'amore; Arnold Albéniz: Asturias. Rodrigo: En Los Swillens, bassoon; Concert Hall Chamber Trigales. Sanz: Pavana. Torroba: Suite Orchestra, Otto Ackermann and Fred Castellaña. Tárrega: Recuerdos de la Al- Hausdoerfer, conds. hambra: Sueño. Granados: Danza Es- CONCERT HALL CHS 1254. 12 -in. $3.98. pañola, No. 5 (Playera). Of special interest here are the lovely Maria Luisa Anido, guitar. concerto viola d'amore, in D minor, P. CAPITOL P 18014. 12 -in. 53.98. 287, and the cheerful one in A. They are A native of Argentina and a pupil of performed competently but not very im- Miguel Llobet, one of the leading teachers aginatively. P. 288, another fine work, is of the Spanish guitar, Maria Luisa Anido more stirringly played by the Virtuosi di is perhaps the most personal guitarist yet Roma, on Decca DL 9679. As for the to appear on records. Her playing is corn - bassoon concertos, if, as is possible, they pounded of individual phrasing and color- were written for the girls' school that ation, much rubato, arbitrary tempo shifts. Vivaldi directed in Venice, he saw to it Yet in its highly feminine way it is quite that the young lady who played first bas- persuasive, and the rubatos seldom de- soon got a good workout, but he was generate to a point where the musical apparently not otherwise inspired. N. B. line wilts. Even though Miss Anido's repertoire here is quite standard, aficionados THE MOST POPULAR WAGNER: Lohengrin ( extended excerpts) of the guitar should find her interpreta- PROTECTION tions sufficiently sensitive, imaginative, and Uta Graf (s), Elsa; Anneliese Schlosshauer fresh to be worth investigating. R. E. ON RECORD... (ms) , Ortrud; Karl Libl (t) , Lohengrin; Roland Kunz (b), Telramund, Herald; JULIAN BREAM: Spanish Guitar WALCO Leonardo Wolovsky (b), King Henry. Music Orchestra and Chorus of the Frankfurt Opera, Carl Bamberger, cond. Julian Bream, guitar. MUSICAL MASTERPIECE SOCIETY M 2029 - WESTMINSTER XWN 18135. 12 -in. 53.98. OP 21. Two 12 -in. $5.90. A welcome addition to the ranks of re- A great plenty of people have wished that cording guitarists is Julian Bream, a twen- Plastic Record Sleeves Lohengrin were not such a long, long ty- three -year -old Englishman. One side of opera. But it is. And it does not fit his disk is devoted entirely to works by adequately on two LPs. all respect the early nineteenth -century Spanish com- Used and Re -used by All Leading With Critics poser Fernando Sor, who is sometimes ex- and Fans. for the (possibly) humanitarian motives Critics and collectors agree - Record of the Musical Masterpiece Society, this travagantly referred to as the "Beethoven protection begins with a Walco Discover. "concert version" takes in the best -known of the guitar." In bits and snatches, Sor's Tough, tear -resistant DISCOVERS com- music only by hopelessly garbling the music has turned up frequently on other pletely enclose your records - keep out theatrical values, and the level of perform- guitar records, but never in such quantity destructive dust and moisture - protect ance is not such as to make the set worth as here. Closer to Haydn and Mozart than against fingermarks, scratches, accidental while on a "highlights" basis. Perhaps to Beethoven, his music is always ingra- spillage of liquids. most damagingly, Telramund is all but left tiating, but the Largo from Fantasie II is DISCOVERS exclusive contoured bot- out in Act I, save to lose the combat and outstanding in any terms -a long, brood- toms allow your record to slide in and plump out the ensemble, and his scene ing, discursive piece of great imagination out of the original record jacket quickly, with Ortrud at the start of Act II is Mr. Bream plays the Sor easily and without binding! Durable cut and feeling. - entirely, so no vaguely polyethylene sides protect against chips that satisfactory works in a cool, careful style that is ap- motivation is ever established. The Ameri- classical but could do with and grit . in the jacket itself! propriately can soprano Uta is the Try DISCOVERS today . . . see for Graf on lightweight more subtlety. yourself why they've become the most side for Elsa, but she is an admirable The rich, heady music of Turina on the popular protection on record. Available musician and sings well except when she reverse side, highlighted by the rhapsodic in 10" and 12" sizes. has to push tones into unsteadiness. Karl Fandanguillo, finds Mr. Bream on more Libl, the Lohengrin, sounds moderately congenial ground; he brings to this exotic Made by Electrovox Co. - originators well when the pressure is not extreme, idiom all the poetry and color it deserves. of the modern jewel -tip needle and world's largest manufacturers of phono- but his mostly pallid reading contributes Given time, Mr. Bream could easily be- graph needles. little. Anneliese Schlosshauer has neither come the equal of his teacher, Segovia, the vocal weight nor the top for Ortrud, and of Narciso Yépès, whose playing FOR FREE SAMPLE DISCOVER and both the Telramund and the King penetrates further into the music and at AND 33 -45 STROBE DISC, WRITE: Henry are outweighed by their music. The the same time has the surface glitter of Frankfurt nnn I PRODUCTS, IE.INC. ensemble play and sing with quicksilver. The recording is ultrarealistic; [,J u U 60-H Franklin St., Orange, N. J. good, provincial competence under routine leadership by Carl Bamberger. The sound Continued on page ro8 io6 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com UNUSUAL RECORDINGS for the Discriminating Nj -F% Record Collector

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PLAZA DE TOROS -La Fiesta Brava Vol. 2 BAWDY Songs and BACKROOM Music of the Bullfight Ring BALLADS Oscar Brand, noted balladeer sings Again the "Banda Taurina", of the Folk-Americana often heard but never Plaza Mexico, presents, in brilliant Hi- recorded. Rollicking songs for people Fidelity, traditional music of another with lusty appetites and strong musical afternoon at the bullfights. Complete tastes. with portfolio of full -color reproduc- Vol. 1 -AUDIO FIDELITY AFLP 1906 tions of bullfight paintings by world - famous artists, suitable for framing. 12 -in. $5.95 Vol. 2 -AUDIO FIDELITY AFLP 1806 AUDIO FIDELITY AFLP 1817 12 -in. $5.95., 12 -in. $5.95 Vol. 3 -AUDIO FIDELITY AFLP 1824 THE BRAVE BULLS! -La Fiesta Brava 12 -in. $5.95 FIESTA EN MEXICO Music of the Bullfight Ring ¡the BRAVE BULLS! Mariachis Featuring the "Banda Taurina" of the Plaza Mexico world's largest bullfight Miguel Dias arena. A Hi -Fi presentation of an after- A rich, colorful variety of traditional noon at the bullfights. Complete with rhythmic music that expresses the heart book of 24 full color Bullfight Poster and soul of Mexico. Played by authen- Reproductions. "brilliant engineering" tic Mexican Mariachi Musicians recorded in hi- fidelity - HIGH FIDELITY MAGAZINE. magnificent AUDIO FIDELITY AFLP 1801 sound. Features: Jarabe Tapatio; 12 -in. $5.95 Guadalajara; El Rancho Grande; etc. AUDIO FIDELITY AFLP 1816 12 -in. $5.95

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A11010 reluit AftP t2t7 ROME . .. WITH LOVE! Italian Accordion AFLP 1822 12 -in. $5.95 other studies in HIGH FIDELITY sound on AUDIO FIDELITY NEW ! ! ! on AUDIO FIDELITY TALBOT BROS. of BERMUDA, Vol. 2 AFLP 903 10-in. $4.00 HITLER'S INFERNO RECORDS for the FIRST TIME ! ! TALBOT BROS., Vol. 3 AFLP 1807 12 -in. 55.95 In Words and Music, 1933 to 1945 BACH TRANSCRIBED FOR PERCUSSION TRINIDAD STEEL BAND 12 -in. $5.95 Storm Troopers singing HORST WESSEL The most exciting, original and LORD INVADER: CALYPSO AFLP 1808 12 -in. $5.95 LIED and other marching songs. Hit- powerful percussion work yet. MERRY GO ROUND MUSIC AFLP 901 10 -in. $4.00 ler's Speeches, Goebbels' Speeches, Toccata and Fugue in D Minor DRUMS OF THE CARIBBEAN AFLP 902 10 -in. $4.00 Nuremberg War Crimes Trial. A "Great" Fugue in G Minor CIRCUS CALLIOPE MUSIC AFLP 904 10 -in. $4.00 startling and shocking documentary Toccata in F Major MERENGUES AFLP 905 10 -in. $4.00 production. Fugue in C Major MARIMBA MAMBO Y CHA CHA CHA AFLP 1802 12 -in. $5.95 NEVER BEFORE HEARD AUDIO FIDELITY AFLP 1812 KATHERINE DUNHAM, IN THE UNITED STATES! 12 -in $5.95 DRUMS OF CUBA -HAITI- BRAZIL AFLP 1803 12-in. $5.95 AUDIO RARITIES LPA 2445 12-in. $5.95 These records are available at your favorite Audio or Record Shop Nationally distributed by WRITE FOR 750 TENTH . FREE CATALOGS DAUNTLESS INTERNATIONAL NEW YORK 19, N.

OCTOBER 1956 I07

www.americanradiohistory.com you hear all the squeaks, clicks, and bumps made by the player's hands as an accom-

HINDEMITH paniment to a larger- than -life tone. R. E.

CAMBRIDGE SOCIETY FOR EARLY MUSIC: Italian Music for Strings of the Baroque Period Vivaldi: Concerto for Violin, Strings, and Continuo, in A, P. 288. Veracini: Sonata for Violin and Continuo, in B minor, Op. Hindemith: Nobilissima Visi- Music of Prokofiev: The Ugly Vincent D'Indy: Symphonie t, No. 3. Torelli: Concerto for Violin, one - Orchestral Suite; Sym- Duckling, Opus 18, Francoise Sur Un Chant Montagnard Strings, and Continuo, in D minor, Op. phonic Metamorphoses on Ogeas (Soprano); Overture on Français- Daniel Wayenberg 8, No. 7. Albinoni: Trio Sonata, in A, of Weber Joseph Hebrew Themes, Opus 34; (piano); Jour D'Eté A La Themes - Op. 1, No. 3. Keilberth conducting. Tele- Summer Day Suite, Opus 65a Montagne- Ernest Bour con- funken. 12" -LGX 66055. - Andre Jouve conducting. ducting. Ducretet -Thomson. Cambridge Society for Early Music, Erwin Ducretet- Thomson. 12 "- DTL 93069. 12 "- DTL 93084. Bodky, dir. UNICORN UNLP 1030. 12 -in. $3.98. The capacity of Italian composers of the Baroque period to spin out melodious slow movements is compellingly illustrated s31RT-tiafvK here, particularly in the works by Vivaldi, CIMILLS S1INT-sAENS GiANAVALDESANIMA Dall 'Abaco, and Albinoni. These offer REGER much of interest in the fast movements too; the Vivaldi concerto in fact is out I. +. 1111,1.447 of that composer's very capacious top J,Klti AI'II.D,:Rlll drawer. The Veracini and Torelli have their strong points but seem on the whole less interesting than the others. Ruth Pos- selt and Richard Burgin are the soloists here, but we are not told which of these artists performs the solo parts in the Saint -Saëns: Symphony No. 3 Reger: Variations and Fugue Saint -Saëns: Le Carnaval Des Vivaldi, Veracini, and Torelli. Whichever in E Major on a theme of J. A. Animaux; Franck: Psyché- in C minor, Opus 78 -Ernest with Bour conducting. Maurice Du- Hiller, Opus 100. - Joseph Symphonic Poem -Franz An- it is, those parts are played skill and ruflé at the organ of La Salle Keilberth conducting dru conducting. Telefunken. full -bodied tone. Aside from a few whiffs Gaveau. Ducretet-Thomson. Telefunken. 12 "- LGX 66049. 12" -LGX 66028. of pre -echo, the recording is first -rate, cap- 12 "- DTL 93072. turing the sound of the strings with uncommon fidelity. N. B.

EASTMAN SYMPHONIC WIND EN- SEMBLE: The Spirit of '76: Music for

IOS HIGH FIDELITY MAGAZINE

www.americanradiohistory.com exciting way: you almost think you've - sparkles with galanterie. The perfor- happy atmosphere. Audiences in those heard it before. Space precludes going mances are lively and polished, the re- days were not averse to joining in a lusty into detail about it, except to say that cording good enough, though not quite up second chorus, when invited to do so by the fidelity of the recordings is about as to the best that Angel has given us. N. B. stars like Vesta Victoria, George Lashwood, high as you can crave, unless you want Vesta Tilley, or G. H. Elliot, and English- unromantic twentieth- century armed forces men have been singing these numbers ever CHARLIE KUNZ: Old Time Music called out to disperse you. And should this since, either in parlor or pub, whenever a Hall Songs occur, you can still offer a trump: the ren- spot of community singing is called for. dition on the last band of MG 50112 of Charlie Kunz, piano; with rhythm accom- Although this record appears to be the Star -Spangled Banner, overpowering paniment. slanted at the English market, it contains enough to bring any National Guard LONDON LL 1342. 12 -in. S3.98. a number of songs that originated in this squad to petrified attention. J. M. C. country and a few known here through A splendid collection of some of the most their introduction by English singers on durable old music -hall songs, from the vaudeville tours in the early years of the FISK JUBILEE SINGERS palmiest days of the English "Halls." From century. It seems a pity that Kunz de- Palestrina: Exultate Deo. Perti: Adoramus 1900 to 1914 the atmosphere of these cided to give them the cocktail -room treat- Te, Christe. Tom Scott: Go Down Death. palaces of entertainment was gusty and ment, for it is surely inappropriate to all Trinidad folk song: Lord, I Don't Want good- humored, and these songs with their but the most cloying of these songs. Ex- No More Callalu. Negro spirituals: Were breezy singable tunes - topical, patriotic, ceptionally fine piano sound throughout. You There ?; Daniel, Daniel, Servant of and sentimental - admirably reflect that J. F. I. the Lord; Is a Light Shining in the Heav- en ?; I Want Jesus To Walk with Me; There's a Meeting Here Tonight; His BIG Name So Sweet; Rock My Soul in the NAME RECORDINGS Bosom of Abraham; Our Father; I've Been in the Storm So Long. LOWER (C°EN Fisk Jubilee Singers, John W. Work, cond. WORD W- 4007 -LP. 1 2 -in. $4.98. BASIN The Fisk Jubilee Singers sing with professional expertness, but they are not slick 7 STREET 4 and overrefined. Their superb sense of rhythm, whole -souled involvement in the music, and the rich vibrancy of their voices give life and plausibility to even the most elaborate, sophisticated arrangements of these wondrously appealing and unhack- neyed Negro spirituals. The characteristic approximation of pitches and the tremolos of the solo voices merely add flavor to the interpretations. I suspect that the time 12 top jazz selections featuring top stars. Giuseppe de Luca, one of the "Met's" devoted to the two Latin motets and to Dinah Shore, Lena Home, Sidney Bechet, most celebrated baritones, sings 11 out- Henry Levine and Paul Laval. 12" Long standing selections. 12" Long Play (CAL - Scott's Go Down Death might have Tom Play (CAL -321) $1.98. 320) $1.98. been better used for more spirituals or folk songs; but these pieces at least give the ensemble a chance to demonstrate its admirable discipline in other styles. A AT 1/2 THE BIG NAME PRICE! commendable disk. R. E. only $1.98 for each 12" Long Play; 794 for each 45 EP LOUIS DE FROMENT: Four Sym- (CN)AMDE 12 HITS FROM (CAMDEN) phonies by Three Sons of Bach Smilin' Through J. C. Bach: Symphony in B -flat. W. F. THE MOST Bach: Symphony in D minor. C. P. E. JEANETTE MAC DONALD HAPPY FELLA Bach: Symphony No. r, in D; Symphony No. 3, in F. Louis de Froment Chamber Orchestra, Louis de Froment, cond. ANGEL 35338. 12 -in. $4.98 (or $3.48). Duplications and reduplications in recordings of the standard repertory are inevitable, I suppose, but it seems too bad that we have to have several performances each of only a handful of works by Bach's sons when there are many that remain She sings 12 of the great songs she made The newest tunes from Broadway. "New unrecorded. Of the four works on this famous. 12" Long Play (CAL -325) $1.984 Orthophonic" High Fidelity Sound. 12" disk, only one - Philipp Emanuel's Sym- 4- selection 45 EP's (CAE -361, CAE-362) Long Play (CAL -319) $1.98; 4- selection phony in F - is new to LP. Both Johann 79e each. 45 EP's (CAE -375, CAE-307) 79e each. Christian's and Wilhelm Friedemann's Today's Hits. Connie Haines sings; Whatever Will Be, That Latin Beat. Value galore ! 12 Latin favorites de. symphonies were recently released on a Will Be; Weary Blues; You're Sensational; When My signed for dancing by Xavier Cugat & orch. 12" Long Concert Hall disk; and there are two other Dreamboat Comes Home. 45 EP (CAE -334) 79e Play (CAL -323) $1.984 4- selection 45 EP (CAE-359)79e. Emanuel's Symphony versions of Philipp Dancing Down Broadway. 12 all time hits from the Manhattan S . 13 mood music stylings by the in D. This question aside, there can be Broadway stage, played in dance tempo by Ralph Flana. famous David Whitehall and his orchestra. "New Ortho. nothing but praise for the present record- gan and bis orchestra. 12" Long Play (CAL -322) $1.98; phonic" High Fidelity. 12" Long Play (CAL -324) ing. The two works by C. P. E. are full of 4- selection 45 EP (CAE -358) 79e. $1.98; 4- selection 45 EP (CAE -360) 79e. interesting ideas, and each has a grave and poignant slow movement. Friedemann's RCA symphony is a beauty, and Johann Chris- MD EV See your nearest record dealer for these great values) A, eaau m, nmens..u. tian's - originally an overture to an opera Nationally Advertised Prices-Optional

4 OCTOBER i956 io9

www.americanradiohistory.com MUSIQUIZ: Volume 2: roo Operatic ableness of the experienced listener. In offer much sport to the listener who knows Arias actual fact, it does not do either very well. much about opera, and it prejudices any The hundred tunes (not all from arias, PERIOD SPL 1601. 12 -in. $5.95. value the disk might have as a mnemonic in spite of the subtitle) are disposed in device. Additionally, the groupings are As all know who have misstepped into ten groups; printed sheets are supplied for sometimes very odd indeed. "Baritones: the lairs of such creatures, collectors of multiple -choice testing, with a few red - Often Menacing, Always Manly," for in- opera recordings are peculiarly addicted to herring entries thrown in to keep the stance, has an almost microscopic assay of that wanton little parlor game in which a game from being "too easy." The tunes, menace. And what The Song of India, host will play snippets of this and that generally just the first few bars, are not taken in context, has to do with "Colora- and require his prisoners to say what sung. They are played on an electronic turas Climb the Scales" is most mysterious. and /or who. Thus this operatic "Musiquiz" organ or harmonium. Hardly any are eso- Then, too, the printed answer sheet had seems rather like an attempt to promote a teric enough to cause difficulty to anyone yielded one flat misidentification by the pleasant hobby into a paying proposition. with a fair working knowledge of standard time I wearied of reading it, which hap- As a matter of predisposition, it probably repertoire. pened in the second group. All of which ought to be remarked that I myself loathe The main problem - and almost all the leads me to wonder just who ought to such guessing games - unless, of course, fun - is in the performances. For who- be giving the test and who taking it. I can be games- master. In other words, ever is at the organette keyboard has what J. H., JR. there are quite enough of us as it is. amounts to a positive genius for taking The "Musiquiz" opera disk (an earlier tempos unrelatable to known performances issue dealt with instrumental works) claims and for bringing eye- out harmonies that DAVID OISTRAKH to teach the opera novice to recognize the make some tunes sound quite unlike them- tunes it offers and to test the knowledge- selves. But even this is not likely to Chausson: Poème, Op. 25. Glazunov:

Camden's Paderewski Collection Portrays a Personality I GNACE JAN PADEREWSKI, pianist in 1912. Two magnificently played pieces ideas were better carried out in the novel and patriot, was probably the best by Couperin, dating from 1914, confirm approach to Debussy's Minstrels. But the known and certainly the best paid musi- his myth. The very opposite could be most that can be said about his perform- cian of the early twentieth century. The said of his interpretation of Chopin's ance of the Adagio from the Moonlight attraction he exerted on audiences, how- Waltz in C -sharp minor, recorded only Sonata, made in 1936, is that it was a best ever, was by no means wholly musical in three years later. Here the rhythmical seller in record shops for many years. character. He was a striking, complex deviations in Paderewski's playing are so In spite of shortcomings, The Art of man, well endowed with personal mag- considerable that if we were to create a Paderewski is a valuable phonographic netism, and these extramusical qualities new manuscript on the basis of this re- document. Although many of Paderew- contributed to his success. His records, cording we would get a completely differ- ski's performances are poor, a few are alas, could capture only Paderewski the ent version, rhythmically, from what extraordinary. The two works by Couperin musician. Even so, they are of great in- Chopin wrote. An example of better suggest that, contrary to general belief, terest, and it is good to have a selection discipline is his treatment of Liszt's La Paderewski was a more sensitive interpreter of them on this new RCA Camden LP, Leggierezza, recorded in 1923, in which of the classics than of the romantics, thanks which is derived from 78 -rpm recordings Paderewski uses the little -known and to his moderate use of rubato in music of made between 1912 and 1936. stimulating cadenza by Leszetycki. The nonromantic tendency. In evaluating the art of Paderewski, we Revolutionary Etude, made in 1928, could But it is always dangerous to draw must accept the fact that even his best hardly serve as a model for young virtu- conclusions based on insufficient evidence. performances were not free from certain osos, as it contains several false notes care- Even Paderewski's earliest records were mannerisms, such as delaying the right fully camouflaged by a loud pedal. Also, made when the artist had passed the age hand, rhythmical unevenness, etc. Such a few white keys found their way into of fifty. It is undoubtedly true that the mannerisms once had the power to charm Paderewski's Black Keys Etude, recorded best of Paderewski's art will remain un- both audiences and critics, but they were at the same time. known to posterity, but the Couperin here not necessarily a reflection of the style of Indeed, his recordings of the Etudes at least pushes aside somewhat the curtain the times. Other masters of the day - serve as classic examples of the degree to of the past. RCA Camden is to be con- Hofmann, Lhevinne, and Rachmaninoff, which technical imperfection and manner- gratulated for having achieved such fine to mention a few - could present their isms can paralyze creative conception. His results in dubbing the original 78 -rpm art without resort to musical cosmetics. matrices. Let us hope that another Pader- The motives for eccentricity in perform- ewski LP will be forthcoming soon on ance were thus less historical than hysteri- this label. Many fine recordings of his cal in character. Whatever deficiencies we still await reissue. may find in Paderewski's recorded per- JAN HOLCMAN formances, they cannot be blamed on the taste of his day. With some exceptions, Paderewski's PADEREWSKI: The Art of Paderewski early records - the ones made before 1915 - are pianistically and artistically Beethoven: Sonata for Piano, No. 14, in superior to the later ones. But the excep- C -sharp minor ( "Moonlight ") : Adagio tions have to be borne in mind. The only. Chopin: Etudes (3) in G -flat, Op. pianist's playing was often determined by ro, No. 5; in C minor, Op. so, No. 12; his mood, so that we find some poor inter- in C -sharp minor, Op. 25, No. 7; Prelude in pretations among the early records and a A -flat, Op. 28, No. 17; Waltz in C- few very good ones among the later. The sharp minor, Op. 64, No. 2. Couperin: Mazurka in D, for example, was remark- La Bandoline; Le Carillon de Cythère. De- ably well performed when Paderewski was bussy: Minstrels. Liszt: Etude de Concert, in his seventieth year. And some of his No. 2, in F minor ( "La Leggierezza") . other renderings also indicate the lack of Paderewski: Nocturne in B -flat. Schubert: connection between the time of recording Moment Musical in A -flat, Op. 94, No. 2. and the quality of performance. Schumann: Warum?. Stojowski: By the The new LP reflects Paderewski's various Brookside. personalities. Pleasant sound -impressions Ignace Jan Paderewski, piano. are received from his Warum?, recorded Merit was often a matter of mood. RCA CAMDEN CAL 31o. 12 -in. $ 1.98.

II0 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com I II II

Mazurka- Oberek. Kabalevsky: Concerto for Violin and Orchestra. Ravel: Tzigane. David Oistrakh, violin; various orchestras. WESTMINSTER XWN 18177. 12 -in. $3.98. Various Russian orchestras and conductors stand behind Oistrakh in this collection, but they are not worth listing because they are seldom more than barely audible. This is regrettable in the Chausson, wherein the orchestra has an important part to play, but it is a matter of little importance so New HIGH FIDELITY Releases far as the other three pieces are concerned. The emphasis is upon the virtuosity of the soloist, and there is no greater virtuoso among contemporary violinists. The two French compositions are too well known to require comment. The Glazunov is scarcely more than a tuneful encore piece. The Kabalevsky is a short, light, brilliant, exhilarating affair, much beholden to Rus- sian folk song and dance. A. F.

PRELUDES OF SPAIN Torroba: Mazurka from Luisa Fernanda. Ernesto La Halffter: Niña de los Luceros. VAUGHAN WILLIAMS Symphony No. 8 in DEBUS5' La Mcr; Iberia; Preluc to "The Prelude to La Guerrero: Monteria. Sutullo D Mino- BUTTERWORTH A 5hropsHre Lad; Afternccn of a Faun ". Detroit ioy-phony, and Vert: Rondo from La Del Soto BAX Garden of Fand. Halle Orchestra, Sir Paul Paray conducting. NG 50101 Del Parral. Penella: Excerpts from Don John Barbirol i, conducting. MG 50115 Gil de Alcala and Las Musas Latinas. Mostazo: Los Piconeros. Caballero: Ex- cerpts from La Viejecita. Jiménez: Ex- cerpts from La Tempranica. Jiménez and Vives: Excerpts from La Gatita Blanca. Orquesta de Camara de Madrid, Enrique Navarro, cond. MONTILLA FM 69. 12-in. $4.98. With two exceptions these "preludes" are excerpts or potpourris from zarzuelas, and only one of these zarzuelas, La Batita Blan- ca, has not, to my knowledge, already been recorded by Montilla. In any case they fdIAR1! MGM are bracingly played and conducted, and Is1M41112DNESIA SWIM pRCNEä1RA the sound is excellent. Cheerfully melodious, strong on dance rhythms, the record BEETHOVEN Slmphony No. 4 in B-flat; Sym- 5E5510445 The Brock Maskers; HCVHA'IESS is a Spanish counterpart of medleys from phony Na. E in F Major. Minneapois Sym- PRELUDE Al D QUADRUPLE FIGUE: LO the works of Johann Strauss, Offenbach, or phony, anta Dorati Gilbert and Sullivan. The two nonzarzuela conductirg. MG 50100 PRESTI the Mass. Eastman- RocFeter Or- items - though in the zarzuela style - are chestra Howcrd -tanson conductire. Halffter's richly orchestrated "folklore MG 50106 episode," La Niña de los Luceros, and a slick orchestral setting of Los Piconeros, a song sung by Imperio Argentina in the film Carmen la de la Triana. R. E. MARCHES for ( ° I i. 0 1:!++( N T1YIRtIhG . talntr PURVIS: Communion; Greensleeves; FK3t5gt Repentance; Thanksgiving; Supplica- res in, tion; Divinum Mysterium Richard Purvis, organ. WORD W- 4004 -LP. i2-in. $4.98. Richard Purvis effectively composes pretty music in the lush chromatic style of the twentieth -century French organ school. All but Thanksgiving, a conventional and MARCHES FOR TWIRLING -music for baton STRAUSS Till Eulenspiegel's Merr. Prcnks; dull piece, are fantasies based on or using twirlers. Eastman Wind Ensemble, Frederick Der Roaenkav lie- Suite. Minnea,x l s Sym- old tunes. The composer plays on a 191 o Skinner organ in the First Congregational Fennell conducing. MG 50113 phony, Altai )oreti conducting. Church of Montclair, N. J.; its soft timbres CHAUSSON Symphony in B Mina.- Detroit are very agreeable, but in climaxes it be- Symphoii, Pawl Foray conducting. comes rather ponderous. Needless to say, YG 5.108 Mr. Purvis is an ideal interpreter of his own works. Currently organist of the HIGH FIDELITY Grace Cathedral in San Francisco, he has ) previously recorded Greensleeves and Sup- CLASSICS \_Y plication on a disk he made on his own LIVING PRESENCE organ for HiFiRecord. R. E. t OCTOBER 1956 bII

www.americanradiohistory.com SCOTS GUARDS: The Scots Guards band of the Scots Guards particularly wel- and immediate sound throughout, fully the on Parade come. This intermixing of bagpipe and equal of the first volume of similar music brass is common practice when the bands issued on Angel 35271. J. F. I. Regimental Band and the Massed Pipers are on parade ( after all the prodigious of the Scots Guards. lung power of the pipers is not inex- CHORALE: My True ANGEL 35337. 12 -in. $4.98 (or $3.48). ROBERT SHAW haustible), and Angel was wise to follow Love Sings Because a twelve -inch record of continuous this custom. Once the ears become ac- with the Light Brown bagpipe music becomes excessively monot- customed to the interchanging of the esso Annie Laurie: Jeanie Hair; When Love Is Kind: Johnny Has onous to my Sassenach ears, I found the sounds, the record adds up to an exciting I Know My Love: marches played by the regimental brass concert of really stirring music. Grand Gone for a Soldier: Comiez' Thro' the Rye; Black, Black. Black; Da unten im Thale; Flou' Gently. Sweet Afton; Treue Liebe: Adic1s, Catedral de Dialing You r Disks Burgos; Auprès de nia blonde; He's Gone A Red Rose; Al Olivo. In All LP disks are recorded with treble boost following values in the table below: ROLL - Away: Red, Boy; Fa una and bass cut, the amount of which often OFF -10.5: LON, FRRR. 12: AES, RCA, stiller Nacht: The Soldier varies from one manufacturer to another. Old RCA. 13.7: RIAA, RCA, New RCA, Canzone. To play a disk, the bass below a certain New AES, NARTB, ORTHOphonic. 16: Robert Shaw Chorale, Robert Shaw, cond. turnover frequency must be boosted, and NAB, LP, COL, COL LP, ORTHOcoustic. RCA VICTOR LM 1998. 12 -in. $3.98. the treble must be rolled off a certain num- TURNOVER 400: AES, RCA. 5ooC: - folk ber of decibels at so,000 cycles. Recom- LP, COL, COL LP, Mod NAB, LON, These lovely folk songs and near and mended control settings to accomplish this FFRR. 5ooR. RIAA, ORTHOphonic, songs are done to a most beautiful Shaw Chorale. are listed for each manufacturer. Equalizer NARTB, New AES. 500: NAB: 630: shiny turn by the Robert won't please control panel markings correspond to the BRS. 800: Old RCA. The performances probably those who like their folk music straight All rerords produced under the following labels are recorded with the bullish, - standard Rl_1.1 curie (50OR is another kind Epic; McIntosh, and unadorned, but there arnover; 13.7 rollo_ff): Angel; fAtiantic; Bethlehem; Classic )initions Clef; ENIS; through MGM; Montilla; New Jazz; Norgran; Prestige; Romany; Savoy; Walden. Labels that have used of simplicity here - that achieved other recording curves are listed below. the highest possible polish; not a flaw mars eloquent singing. Mr. Shaw NEW OLD the smooth, RECORD LABEL out of his singers, Turnover Roll off Record No. or Date: Turnover, Rnll(1fi gets every possible effect :Allied 500 15 with the subtlest gradations of dynamics, amer. Rec. Soc. 400 12 yet he never aims for effects alone; they .Arizona .50OR 13.7 To 1955: 115), 12.7 are all used to achieve a musical end. The II. Audiophile :)(III 12 control is complete, and yet it seems Bach Guild 51)OR 13.7 No. 501 -529: 500, 15 nonexistent. It is the kind of work that * Bartok .11WR 1:3.7 No. 901 -905, 308, 310, 311: 500k, 1:3.7 , No. 906 -970, 301 -304, 309: 1)30. 16 is the joy and despair of other choral con- Blue N te Jazz 50014 13.7 7'o 1955: 400, 12 ductors. The arrangements are tasteful, Boston 30110 Ili and the original French, Italian, Spanish, *Caednun, 55UR 13.7 No. 1001 -1022: 1)311, Ib and German texts are used. No transla- Canyon 3110R 13.7 To No. 06160: 400, 12 tions are provided, and the record liner Capito; 500R 13.7 To 1955: 4(10, 12.7 names two works not on the disk and lists 13.7 To 1955: 400. 12.7 Capitol -Cetra 7 50(R the rest in incorrect order. The above Cetra -Soria 3011(' - Ili listing is correct, as is that on the disk Colosseum 51)1111 13.7 To January 1954: 500,11, *Columbia 300R 13.7 To 1955::í110C, Ili label. Silken engineering. Most highly Concert hall 500R 10.5 To 1954: 500C. 15 recommended. R. E. *Contemporary 5151k 1:3.7 No. 3501, 2501, 2502, 2505. 2507, 2001, 2002: 41)0, 12. No. 2504: 500, 11; tCuak (SOOT) 5110 12 -15 INA SOUEZ: Arias and Songs Coral 500 Pi Benedetto Marcello: Il mio bel foco . . . . Decca 500R 1:3 7 To November 1955: 500, Ili fiamma. Mozart: Baci amorosi e lilektra 51108 13.7 No. 2 -15, 18 -20, 24 -26: 1130, 16. No. 17 Quella 22: 400, 12. No. 16, 21, 23, 24: 500R, 13.7 cari. KA. 283a; CO moto di gioja. K. 579. Esoteric 501R 13.7 No. ES 500, 517, EST 5, 6: 400, 12 Respighi: E se un giorno tornasse; Invito Folkways 50ÚR 13.7 7'o 1955: 500C, 113 alla danza; Nebbie. Antonio Guarnieri:

1, 5 500, 16. 3, 9 -19: 4011, 1 *Good- lime Jazz 5ÚOR 13.7 No. -8: No. ' Caro. caro è'l mio bambin. Beethoven: In Society 10 Ilaydn .51100 questa tomba oscura. Brahms: Der Tod HMV 511Ú1t 11) das ist die kühle Nacht, Op. 96, No. 1. - Kapp 50014 13.7 No. 100 -103, 1000 -1001: 800, It Kendall 300 Ili Grieg: Ein Traini. Op. 48, No. 6. Cilea: *London, Lon. Int. 5110E 1:3.7 To No. 846: 5000', 10.5 Adriana Lecouvreur: Io son l'umile ancella. Lyrichord 500 Ili Puccini: Turandot: Tu che di gel sei *Mercury .;OUR 1:3.7 To October 1954: 400, 12 cinta. T. Haynes Bayly: Long. Long Ago, Nocturne 1 .51012 13.7 No. LP 1 -3, 5, XP1 -10: 400, 12 John Jacob Niles: Go 'Way from illy Oceanic 1 :1000 Di Window. Mrs. H. H. A. Beach: The *L'Oiseau Lyre S00R 13.7 To 1954: 50)C, 10.5 Year's at the Spring. *Overtone 500E 13.7 No. 1 -3: 500, 16 Oxford 500(' i ti Ina Souez, soprano; Loyd Simpson, piano. 13.7 No. 1 -13: 400, 12 Pacific Jazz SOOR NEW SOUND NS 5001. I2 -in. $4.98. Philhurmonia 4(1(1 12 ti tI'olymu=ic 500 16 As a name and a voice, Ina Souez has been R(':\ Victor 50Úk 1:3.7 To September 1952 :100 or 8(111, 12 known to record collectors since the mid - 500 16 Remington late 193os, when her Fiordiligi in Cosi Riversinc 5(IOR 13.7 To 1955: 400, 12 fan tutte and Donna Anna in Don l'eio! o 500 113 4- - Transrad io 500C 111 Giovanni were first heard in the much Irania 5011R 13.7 No. 7059, 224, 7066, 7063, 7065, 603. admired old Glyndebourne sets issued by 7069: 400, 12. Others: 500C. 111 Victor. Yet few among even her warmest Vanguard 500R 13.7 No. 411 -442, 6000 -6018, 7001 -7011, 8001- 8004: 500,10 admirers seem to know anything about Vox 3110R 13.7 500, 16 sinless otherwise specified. where she came from or where she is *Westminster 500R 13.7 To October 1955: 500C, Ili; or if AES now. specified: 400, 12 The fact is that while Miss Souez *Currently re- recording old masters -or RIRA curve. j-Binaural records produced on this label have no treble boost on the inside band, which should be studied in Europe and made her reputation ,. played without any rolloff. there, she is an American, born in Colora- do and now living in San Francisco. In

II2 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com 1941 she sang in Così fan tutte with the Liszt war horse, and Fiedler brings a BROADCAST BC 616. 12 -in. New Opera Company in New York, and hearty bluffness to his performance of When he sets himself a strict rhythm, later, engagements being hard to come Italia. The quality of sound ranges from Truman Welch gives a good account of by, to keep active at all she appeared with good to wonderful, dependent mainly on popular tunes in the traditional theater- the Spike Jones show as a burlesque prima the date of the original recordings. organ style. Otherwise the music tends donna. A breakdown followed, and she Charles O'Connell's lucid and well - to drag, for the performer lacks the snap turned to managing a café -bar in San written annotations, presented in booklet and verve of such fellow practitioners of Diego. Even in a world and a time when form, give additional worth to this at- his art as George Wright and Ray Bohr. many vocal careers go unfulfilled, hers is tractive release. J. F. I. He also slurs unnecessarily the simple, a particularly sad story. straightforward harmonies of the music. Then, two years ago, she pulled loose TRUMAN WELCH: Theater Pipe Or- He plays a typical Wurlitzer pipe organ ends together, opened a studio in San gan installed in the Paramount Iceland Amphi- Francisco, and began to sing again. It is Theater in Paramount, Calif., and the re- Washington Post March: Heartaches: Hi- her singing as of now that is to be heard corded sound is unusually wide -range and Lili Hi -Lo: Spaghetti Rag: Sleepy Time from this recording. Unhappily, it is to vivid. A fascinating note on the record Gal: El Chocolo; Tenderly; Deep Purple; be recommended mainly to those Souez liner about Mr. Welch states that as a My Heart Stood Still: It Happened in admirers whose devotion is of long and youth he brought home a theater organ, Monterey: Blue Is the Night; If I Could rock -solid standing. The familiar mu- to his parents' "surprise," and that the next Tell You sicality is at work, most of the time, but two years were spent altering the home the voice has deteriorated past easy enjoy- Truman Welch, organ. to accommodate it! R. E. ment, although it is still surely the remains of a fine instrument. Once a full, free soprano of exciting thrust if imperfect equalization, it now sounds heavy and unsteady, effurtful in projection and unsure make your hi -fi in locating pitches. Not even the curi- set osity of the little alternative Susanna aria by Mozart, "Un moto di gioia," can make earn its keep this more than a memento of what once was. The accompaniments are fairish, the sound very clear. Extensive notes, frank as far as they go, about the singer. NI) texts. J. H., JR.

THE TONE POEM with these new Liszt: Mephisto Waltz (CSO, Reiner). Strauss: Don Juan (CSO, Reiner) . Vox Ultra high fidelity recordings Tchaikovsky: Romeo and Juliet; Francesca da Rimini (BSO, Munch). Liszt: Les

Préludes (BSO, Monteux) . Ravel : La If your hi -fi set has been coasting along on its reputation, Valse (BSO, Munch) . Casella: Italia it's time you gave it some records (BPopsO, Fiedler). Copland: El Saldrt worthy of its potential. These new Vox recordings have the scope, the intensity, the realism that require true hi-fi México ( BPopsO, Fiedler) . Debussy:

Nuages ( Stokowski & orch.) . Ibert: reproduction to be heard in their full nlagnifience.

Escales ( Stokowski & orch.) . Various orchestras and conductors as noted MOZART: REQUIEM, D MINOR, K. 626. Wilma Lipp, soprano -Elizabeth Hoengen, alto- Murray above. Dickie, tenor- Ludwig Weber, bass -Singverein der Gesellschaft der Musikfreunde, Vienna -Pro Musica RCA VICTOR LM 6129. Three 12 -in. $11.94. Symphony, Vienna -Jascha Horenstein, conductor. Illustrated De Luxe Album DL 270 The presentation of ten works on three twelve -inch records to form what might FOR THE FIRST TIME COMPLETE ON ONE RECORD! be called an anthology of the tone poem BEETHOVEN: SYMPHONY NO. 9, D MINOR, OP. 125 "CHORAL" has been most successfully achieved in this Wilma Lipp, soprano- Elizabeth Hoengen, alto -Julius Patzak, tenor -Otto Wiener, bass -Singverein striking and artistic album. Book publish- der Gesellschaft der Musikfreunde, Vienna -Jascha Horenstein, conductor. Each record pressed from ers discovered the potent sales appeal of master stompers! Not over 500 from each master PL 10,000 anthologies some time ago, and RCA apparently intends to find out if there is a Also De Luxe Edition with illustrated book containing, in addition, "CHORAL" FANTASY, OP. 80, 2 -12" large enough musical public for similar DL 282 collections on records. The choice of ANOTHER IN THE AMAZING VOX "SPOTLIGHT" SERIES! repertoire is slightly on the conservative "SPOTLIGHT ON BRASS" DL 300 side, but the ten pieces add up to a splendid exposition of the evolution of 27 brass instruments, ancient and modern, rare and well- known -from the $20,000,000 worth of instruments the form, from the days of Liszt to Aaron VOX is using in this special hi-fi series. Recorded in Symphony Hall, Boston, with famed instrumentalists Copland. The one weak link in the chain Roger Voisin, Joseph Orocz, Harold Meek. Each record pressed from a Master Stamper -not over 500 is the Casella, which may have had a from any one Master! Complete with stroboscope plus special "Spotlighter" that lets you select correct succès d'estime when the composer was band at a glance. Illustrated booklet by R. D. Darrell. Produced and directed by Ward Botsford. the conductor of the Boston Pops, but which now seems pompous, dull, and far too long. Six of these performances are already available on single Victor LPs, the newcomers being the two Tchaikovsky symphonic poems, the Liszt illephisto Waltz, and Casella's Italia. Munch does far better with Romeo and Juliet. which is given a very dramatic and robust reading, than I'lha High Fidelity with Francesca da Rimini, which is on the pallid side. Dynamic power and fire char- acterize Reiner's splendid handling of the 236 West 55th Street, New York 19, N. Y.

OCTOBER 1956 1 Ij

www.americanradiohistory.com For Gavioli The Music Between by Murray Schumach

MUSICAL TRAVELOGUES that trans- Rion Homme, so often treated as a musical port the tropics into a city apartment Hamlet, is here somewhat bubbly. And Draaiorgel with hand drum and trumpet or evoke for for Ça, c'est Paris the gusto does not some Midwestern farmer seductive images try to become wartime patriotism. of Paris with attar of violins are a current In short, M. Ysaye knows the difference pet of the record business. Music of between sightseeing and sociology. Not foreign flavor presumably offers to those so, however, the second type of passport - lovers only! who spent some of the summer abroad madness music, which applies the grand just the right excuse to sigh and thrust approach of Toscanini taking on a re- upon visitors the photographs of the Taj quiem. An example of this second category IT's THE FAMOUS giant Dutch barrel Mahal by moonlight or the Sacré -Coeur is the ambitious, photo- strewn, text -fat- organ they play on sunny afternoons at sunrise. And those who didn't make tened album called Paris -The Sounds, the trip will, of course, dream much more in the streets of Amsterdam. Once The Sights, recorded by George Mela- amiably of next year's voyage - and re- chrino and orchestra (RCA Victor LPM you hear it, you love it. venge with the proper musical - back- 1261) . The clues to pompousness in this It's uniquely authentic Dutch ground as inspiration. record are monumental, with one side en- After several recent sessions - music because these massive organs of living titled "The People's Paris," the other "The room tourisme (all, coincidentally, fur- Culture of Paris," and a swollen, violin - exist only in the Netherlands. Only a nished by RCA Victor), I found the jammed band pouring more schmaltz into Dutchman could have thought one up. experience as tiring in some ways as the City of Light than the Seine does tramping through the museums of Europe. water. Here Ça, c'est Paris is introduced The fault, to be sure, was partly my by train noises, which may well have been Afternoon own. Recordings of the wanderlust per- taped at the Gare du Nord but which are suasion should be followed as casually as hardly musical. And how the autos honk a street scene from a sidewalk café table; - despite the Paris edict - and how the in Amsterdam they do not usually bear minute scrutiny. throaty argot of Paris -as- she -is -spoke clut- But even under the best conditions such Famous Dutch ters up the same sort of songs that M. globe -trots by ear exude, for the most part, Ysaye presented with only musicians! barrel organ the special tedium that clings to bombast The essential frippery of this project, music of any sort. however, becomes most apparent in the Like all tourist accommodations, these "culture" division. The Parisian theater is records fall into categories. First - and portrayed with a flat rendition of a waltz this is the only kind I like - is the species from Offenbach's La Belle Hélène and a of disk that offers, without fanfare, simple humorless can -can by the same composer. or exciting tunes done by foreigners as To capture a mood of chic, the record though they were playing for their own plods into Debussy's La Plus que lente countrymen (as, in fact, they well may with an elegance that would be perfect for be). A good example of this is The a newsreel of an Atlantic City beauty con- Follies of Paris ( RCA Victor LPM 1260) , Capitol has recorded this delightful test. Eventually, after dragging forth Ravel in which Jacques Ysaye and orchestra to parade as the spirit of the Louvre and music on Amsterdam's famous Kalver- prove that ear -busting arrangements are portions of Mignon, Thais, and Faust to straat. We call the album "Afternoon not required to make a persuasive case for depict French opera and ballet, the Mela- French music of a popular variety. This in Amsterdam" (No. 1 0003) and it's chrino assemblage - amid recorded cheers collection of well -known French tunes em- part of the CAPITOL OF THE WORLD - drives with cymbals clashing to the braces the ebullient flavor of Parisian night Arc de Triomphe. The tune, to be sure, of collection international recordings. life with humor that is never self -conscious is the Marseillaise, about as spirited here (for all its noise) as pre -baseball -game IF YOU'RE ONE of the stalwarts who renditions of The Star- Spangled Banner. insist that the music of Paris is unlike This is a triumph of technique over taste. The third, and last, variety on my list with us. any other sound, you're is the record that, with all the assurance That's why, to bring those special of God, re- creates foreigners in American sounds to America, we went to Paris images. This admittedly calls for some one of France's favorite talent, and Morton Gould has long shown to record a striking aptitude for translating the orchestras, Franck Pourcel's grand world's most flavorsome musical idioms orchestre a cordes. It's in the new into what some sections of the record CAPITOL OF THE WORLD series and business consider acceptable American titled "Our Paris" (No. 10002). jargon. In Jungle Drums (RCA Victor LM 1994) he proves anew that he knows C'est magnifique! how to use an instrument for an ear -en- ticing effect. And RCA's engineers prove Other CAPITOL OF THE WORLD albums include: how well they can capture these effects on Band of HER MAJESTY'S ROYAL MARINES No. 10000 Jacques Ysai e: "se1J- mocking ... charm." microgroove. The sound on this disk is CAIRO! (Modern popular music of Egypt) No. 10021 stupendous. Yet, for me, Mr. Gould's SANTIAGO! (Chilean Folk Music) No. 10020 and warmth that is never maudlin. When jungles all look custom -made for Dorothy the accordion warbles in the Folies-Bergère Lamour, with every tom -tom as neatly in ((;A I ITOL OF THE WORLD overture, or the brass becomes hilarious in place as her sarong - and a tidy spot left Machiche, or a bravura quality is struck for the harp. His musical safari into the in Ah! Si Vous Voulez de l'Amour, there tropics will meet no wild game, since so is always the self -mocking quality we as- much of the journey is in Spain, borne by A SERIES OE'OU7STANUING I >$,;RECOftCINGS sociate with Gallic charm. In La Vie en such certified jungle ditties as Andalucia, Rose or La Seine tenderness and sadness Malagueña, Cordoba, and the Ritual Fire are twitted by a cool, tasteful piano. Even Dance.

I 11 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com is particularly regrettable since most of Alf Edwards, concertina, and Brian Daly, the songs are hauntingly lovely - and guitar. FOLK MUSIC utterly unfamiliar. Nonetheless, the record RIVERSIDE RLP 12 -609. 12 -in. $4.98. is enthusiastically recommended. by Howard LaFay Scots Street Songs A. L. LLOYD: English Street Songs Ewan MacColl, baritone, with occasional A. L. Lloyd, baritone; with concertina ac- concertina accompaniment by Alf Edwards. REV. GARY DAVIS, PINK ANDER- companiment by Alf Edwards. RIVERSIDE RLP 12 -612. 12 -in. $4.98. SON: American Street Songs RIVERSIDE RLP 12 -614. 12 -in. $4.98. No one excels Ewan MacColl in the sing- Harlem Street Spirituals, Sung by Rev. A. L. Lloyd, a salty, capable interpreter of ing of Scotland's traditional songs. He is Davis, with guitar accompaniment. Gary folk material, is at his outstanding best at his best in these two releases. Virtually Carolina Street Ballads, sung by Pink in this array of broadsides, some of which all of the material on Scots Folk Songs is Anderson, with guitar accompaniment. find their roots in medieval England. new to LP, and MacColl accords it his RLP 12 -61 L. 12 -in. $4.98. RIVERSIDE Among the superficially unfamiliar ballads, customary robust treatment, authentic The rough -hewn, street- corner voices of the keen -eared auditors will recognize the down to the last dour burr. The Street Rev. Gary Davis and Pink Anderson - forbears of such American staples as The Songs, which date from the eighteenth one representing the sacred stream, the Little Mohee, Expert Town, and St. James and nineteenth centuries, are not indige- other the secular - give striking insight Infirmary. Satisfactory sound. nous to Scotch soil, being largely derived from English and Irish sources. Nonethe- into the genesis of jazz. In terms of both EWAN MAC COLL: Scots Folk Songs style and content, they move in the unless, their incorporation into the Scotch defined area between Negro folk song Ewan MacColl, baritone, accompanied by oral tradition has been complete - if and America's greatest indigenous musical form. They and others like them represent perhaps the most vital link in the tenuous chain reaching from forgotten RECORDED AT KRESGE African chants through the Catfish Rows AUDITORIUM, MIT of the United Stares to the relatively THE MODERN AGE sophisticated syncopation that has become OF BRASS DAHL Music for our nation's musical trade -mark. The sound Brass- Instruments is adequate; Davis and Anderson are out- HINDEMITH Morgen- musik - standing. BEREZOWSKI Brass Suite - SANDERS - Quintet in MIKLOS GAFNI: Neapolitan Folk B Flat Roger Voisin and his Songs brass ensemble Miklos Gafni, tenor, with guitar accom- UN LP 1031 $3.98 paniment by Renato Rossini. RECORDED AT WESTMINSTER WP 6031 2. 12-in. $3.98. MIT CHAPEL HANDEL:4CONCERTOS Westminster is to be felicitated on the FOR ORGAN AND choice of Miklos Gafni to record the 1st Releases in a Unique ORCHESTRA 4, 2 and 5. His voice is rich. Opus No. soaring songs of Napoli. Opus 7, No. 1 and 5. florid, and generously laced with the lach- Lawrence Moe, New Series of High Organist; Professor rymose catches that induce frissons of de- Klaus Liepmann light in Neapolitans hearing their melo- conducting the Fidelity Recordings Unicorn Concert dies sung in the true manner. Unfortu- Orchestra; New nately, the engineering does not measure Holtkamp Baroque up to the other successful elements. Due Outstanding in sound ... outstanding Organ LP 1032. $3.98 apparently to faulty mike placement, when- in content . these are first UN releases in new which Unicorn's KRESGE ever Gafni bellows a lusty note - series MUSIC AT MIT. RECORDED AT he does with gratifying frequency - there Recorded in Kresge Auditorium and AUDITORIUM, MIT is a breakup of sonic texture. Annoying BEETHOVEN PIANO the new MIT Chapel SONATAS as this is, it is not fatal to enjoyment. Engineered by Peter Bartók E Major, Opus 109 However, better listen before buying. No Outstanding performances by A -flat Major, Opus 110 texts; no translations. respected artists like ERNST LEVY Ernst Levy, Pianist UN LP 1033 $3.98 HUNGARIAN STATE FOLK EN- SEMBLE: Gypsy and Folk Music of Hungary Orchestra and Chorus of the Hungarian State Folk Ensemble, Imre Csenki, director. ANGEL 65029. 12 -in. $3.98.

As enchanting a disk as you are likely to find this or any other month. A small army of Hungarian folk artists, 160 to he exact, combine their talents to bring sparkling life to gypsylike music ranging from obscure csardas to a brilliant orchestral treatment of Liszt's Hungarian Rhap- sody No. 2. In every case the ensemble's performance bursts with vivacity as well as a high degree of skill. While the general level of engineering is satisfactory, certain bands suffer from substantial distortion. UNIC RN Unfortunately, Angel did not see fit to 75 STATE ST., BOSTON, MASS. provide either texts or translations. This

OCTOBER 1956 1 i ;

www.americanradiohistory.com occasionally rather incongruous. And Mac - Stephens' Righteous Anger. And the dying fall - perhaps unduly emphasizes Coll's versions are close to definitive. Su- record concludes with Mr. Colum's nar- the other -worldliness. For my own taste, perior engineering on both disks. ration of his own prose anecdote illae- this style makes for considerable monotony, shalghlinn at the Fair -a genuinely wise especially when it is applied to many of and funny tale. J. G. the poems, ranging from ballads and folk THE SPUKEN WORD lyrics to James Joyce, on the second side IRISH POETRY of the disk. - No texts are included, the jacket gives as much attention to the Selections of verse by William Butler celebrated actress -reader as to the content Yeats and other Irish poets, read by Siob- THE GOLDEN TREASURY OF IRISH of the record; but a novelty is provided in han McKenna. VERSE that two or three of the poems are read ARTS 707. t 2 54.98. SPOKEN -in. in the original Gaelic. J. G. A selection of Irish verse, read by Padriac Colum. The Yeats poems, to which one side of SPOKEN ARTS 'o6. t2 -in. S4.98. this record is devoted, are, for the most ARTHUR MILLER part, verse written in the poet's romantic, Arthur Miller. speaking on and reading This disk includes twenty poems some somewhat pre -Raphaelite manner; and the - from The Crucible and Death of a Sales- translated from the Gaelic, most written listener wishing to exercise his ingenuity man. in English. and almost all characterized on those better-known poems which re- SPOKEN ARTS 704. r 2 -in. $4.98. chiefly by the note of lament. Youth flect the extraordinary mystical- metaphysi- fades. beauty decays, death comes. In cal system of A Vision will consequently This record is prefaced by a brief com- general the leitmotif is that "My poor he disappointed. Here one is plunged into mentary in which the distinguished play- heart is sad "; and even when a poet sug- the pervasive melancholy of a faery world. wright himself sets forth a distinction be- gests we "be merry before we go." his beautiful but in subdued pastel shades, on tween drama taking its point of departure carpe diem is hardly an inspiration to drain the whole inimical to the real world of from the ancients and drama uniquely the cup very joyously. Mr. Colum's read- here and now. modern. The former presents characters ing of these poems on the whole enhances In his jacket notes, Padraic Colum de- embodying man in his public functions, the general aura of desolation. scribes the early poems in this selection as more or less representative of various A refreshing interlude is, however, pro- "like utterance out of a dream." Miss Mc- social forces; the latter creates the parti- vided by that literary curiosity, Jonathan Kenna's reading - with its very slow - cular individual, whose contemporary Swift's Market Women's Cries, and by the paced cadence, the deliberately hushed reality is suggested by an accumulated highly entertaining invective of James tone, and, often, at the ends of lines a mass of psychological detail. The readings

School For Scandal : "Sophisticated Titivation" sheridan's School for Scandal takes its to have been assembled only for this re- delivery for the medium, but, contrasted life from the sort of indulgent de- cording and to have proceeded without with the others, appears to give a most cadence that is often mistaken for innocent much rehearsal or direction. The actors unconcerned and dispirited performance. vitality. Written late in the eighteenth have tried to converse naturally, but they On the other hand, Cecil Parker, as the century as an attack against the sentimental are still stage actors and read with the potential cuckold, merely lowers his vol- comédie larnnorante, or tear -jerking com- slow pace of stage performance. which in ume. barrels through with a few surface edy, it seeks to recapture the substance a theater seems faster than it really is. In vocal tricks, and dominates the whole of Restoration Comedy without, as the surrendering projection they also give up affair. Claire Bloom, as the straying Lady smug textbooks tell us, resorting to its resonance and voice control. It is rather Teazle, gets a winsome petulance into her "indecency." Strangely enough, it emerges shocking to hear master actors fall into lovely voice, but ignores the fact that she is with the qualities hypocritical defenders the amateur pitfalls of breathiness and playing a country girl who puts on airs. claim for Restoration Comedy - grace, strained sentence endings. And Edith Harry Andrews, as the villain, does try to wit for wit's sake, and an elegant spoof- Evans' "S's," part of a magnificent stage play his role hut resorts more to mock ing of the manners of a masquerade in diction, hiss through the album with ir- unction than to varieties of insidiousness. never -never land - hut it lacks those char- ritating sibilance. Perhaps the simple truth is that the cast acteristics fundamental to the earlier Since the cast achieve only varying de- relies on style and feels its way through, drama, appetite and involvement. Restora- grees of intimacy the levels are uneven tossing off a flourish here. trying on a bit tion Comedy did regard the senses as a and the actual performances become hard of emotion there, in general leaving the means to knowledge, and made of wit a to judge. Alec Clunes, as the virtuous business of success up to poor Sheridan. sort of philosophical discourse. Its char- ne'er-do-well, probably achieves the best This album is, of course, no substitute acters thereby had a chance to develop to for a performance. Its dialogue is not the their logical ends. School for Scandal re- marvelous language the Comédie Fran- tains the types and basic plot of its pre- çaise works with, or the wonder that makes tended model: an old man. seemingly nearly any Shakespeare recording interest- doomed to cuckoldry, marries a country ing. It doesn't demonstrate acting since girl for her innocence. only to have her the actors don't act. What it does offer tall among the extravagance and vice of is a chance to hear the beauties of English a fashionable society peopled by scandal- as it is best spoken and to pick out some mongers, fops, and schemers; there's also of the vocal mannerisms of actors sea- a really villainous "good" brother and the soned in a great stage tradition even really admirable wastrel brother. But since though their work here is only a faint the play can't be "indecent," the intrigues echo of their excellence on a stage. fall short of consummation and society, for THEODORE HOFFMAN all its exposed wickedness, survives com- fortably. So School for Scandal is sexy without being sexual, witty without hurt- RICHARD SHERIDAN: The School Scandal ing anyone, and critical of society short for of telling the truth. As such, it is cer- Cecil Parker, Sir Peter Teazle; Baliol Hol- tainly the cornerstone of the kind of loway, Sir Oliver Surface; Harry Andrews, sophisticated titivation which still gives Joseph Surface; Alec Clunes, Charles Sur- pleasure and makes money on our stage. face; Claire Bloom, Lady Teazle; Dame The cast of this version, headed by some Edith Evans, Lady Sneerwell; et al. of the brightest luminaries of the British ANGEL 39292/94. Three I2 -in. $14.98 stage, is all one could ask for, but it seems Richard Brinsley Sheridan (or $10.44)

IIG HIGH FIDELITY MAGAZINE

www.americanradiohistory.com on this disk are, apparently, intended to GOOD TIME JAZZ 12017. 12 -in. 38 min. exemplify the two different paths which the 53.98. drama may take. However debatable the THE BEST 11l'' JAZZ The spirit and even some of the arrange- basic premise of the little preliminary talk, ments of Lu Watters' Yerba Buena Jazz by John S. Wilson there is afforded a highly interesting con- Band march on in this first disk by the trast. Bay City Jazz Band. This new group is The Crucible represents a play in which made up of traditional jazz enthusiasts in figures caught in a domestic triangle find THE BAY CITY JAZZ BAND their mid -twenties who were inspired by involved in a con- revival, in the 19405, of the long themselves intimately Arab Strut: Alligator Blues: ally Heart; Wafters' moral signficance. At neglected King Oliver instrumentation flict of universal Yerba Buena Blues: Hon. nr I Gonna Do Elizabeth ( instead of the customary the time of the Salem trials, It?: Potato Head Blues: Weather Bird two trumpets witchcraft by the the almost equally neglected Proctor is accused of Rag: Auntie Soshal's Social: West Texas one) and husband has se- Oliver, Jelly Roll Morton, servant girl whom her Blues: Doctor Jazz: Beale Street Blues; repertoires of finds himself en- the Armstrong Hot Five and Hot duced. John Proctor Snake Rag. and meshed in a situation in which he is Seven. Since Watters retired seven years forced to play a role much broader than Everett Farey, cornet; Al Cavallin, trumpet; ago, no other bands - not even the Yerba that simply of husband and lover. The Sanford Newbauer, trombone; Roy Giomi, Buena splinters led by Turk Murphy, Bob Crucible deals with an inquisition, and all clarinet; Don Keeler, piano; Tito Patri, Scobey, and Wally Rose- had used this kinds of analogies have been drawn be- banjo; Walt Yost, tuba; Lloyd Byassee, particular instrumentation until the Bay tween the play and contemporary political drums. City band was formed a year and a half inquests. From the excerpts on this record one would probably not draw such deduc- tions. The play as presented here seems a collection of set pieces, having no rele- vance outside itself and not a great deal of inherent dramatic credibility. The fact High Fidelity to the Viennese Spirit, that Mr. Miller is called upon to read five feminine ) and or six roles ( two of them in High Fidelity Sound chooses to do so in a somewhat strange manner evidently intended to resemble JOHANN STRAUSS, JR. the speech of the ordinary seventeenth-cen - tury New England burgher may have some- (Complete). thing to do with this. and Orchestra of the Vienna State Opera The life and death of that disappointed Chorus Conducted by ANTON PAULIK ( happy man salesman Willy Loman "a The definitive recording, featuring ERICH KUNZ, EMMY with a batch of cement ") has, on the other LOOSE, and other stars of the fabulous current Vienna State Opera (Volksoper) production hand, a very genuine poignancy - perhaps 2 -12" Album with complete German -English text. VRS- 486/7. because one's living room is not well equipped to hold "heroic" forces. And The critics are talking about the in this reading the career VANGUARD TREASURY OF STRAUSS six superb disks of Waltzes, oddly enough, Paulik. man "who never knew Polkas and other Viennese confections conducted by the inimitable Anton of a fat, foolish at its best, superlatively repro- which "Wonderful . stylistically this is Viennese playing who he was" suggests a universality duced," Paul Affelder. "As in previous issues, the perfomances are notable for the almost leads one to agree with those elegance and authentic style of the orchestral playing and for the excellence of Vanguard's to find in the play not sound," High Fidelity. critics who profess Available separately: VRS -438, VRS -443, VRS -457, VRS -458, VRS -459, VAS-476. simply the decline and fall of Willy Loman but the tragedy of the "low" man ERICH KUNZ sings in all times and places. J. G. GERMAN umIIymRozwu ZS:0(GO Of blenching, Wining and other Irreverent Pastimes MARK TWAIN 25 nostalgic, hilarious and tipsy tunes, from the Middle Ages to the 19th century Stories: The Jumping Frog of Calaveras Male Chorus and Orchestra of the Vienna Volksoper County; Huckleberry Finn: two episodes; Franz Litschauer, conductor VRS -477 Bluejay Yarn. "Impeccably sung by Erich Kunz . credit Vanguard with engineer- A Tramp Abroad: the ing and issuing this entrancing collection, ' Chicago American. "Richly and musingly sung . . . good fun and wonderful sound," Walter Brennan and Brandon de Wilde, Wash. D.C. News. readers, directed by Howard O. Sackler. CAEDMON TC 1027. r 2 -in. 55.95. Another memorable Vanguard debut Mr. Brennan reads The jumping Frog and ANTONIO JANIGRO conducts the excerpt from A Tra,'np Abroad. Master De Wilde reads the Huckleberry Finn Ot)ILLVIVI E re-s 2f:q'a13 episodes, which are the shooting of Old "A magnificent chamber orchestra," Presse, Paris. Boggs and the attempted lynching of his "Welded into one glorious sounding instrument," London Telegraph and Post. the account of the circus and NOW AVAILABLE killer, and MOZART: Divertimenti K. 136, K. 137 and K. 138 of the presentation of the King's Cam - Serenata Notturno K. 239 VAS-482 eleopard, or the Royal Nonesuch. I shall ROSSINI: Four Sonatas for Strings VAS-488 if you haven't read Coming: do no synopsizing; VIVALDI: Four Concertos and Two Symphonies VRS -492 these works, you should do so - listening OTHER NEW RELEASES: to is no substitute, qualitatively excerpts *LOUIS MOREAU GOTTSCHALK (1829 -69): THE BANJO and other or quantitatively. Mr. Brennan, such a Creole Ballads, Cuban Dances, Negro Songs and Caprices- Eugene List, veteran actor that you almost can see the piano VRS -485 stubble on his chin, invests his material J. S. BACH: GOLDBERG VARIATIONS -James Friskin, piano BG -558 and audible inner glee TALES OF TERROR by EDGAR ALLAN POE, dramatic readings by with so much gusto Nelson Olmsted VRS -9007 a mite tarsome; that to me it gets jest *SLEEP NO MORE! FAMOUS GHOST AND HORROR STORIES, others may savor it more hospitably. Mas- dramatic readings by Nelson Olmsted VRS -9008 ter De Wilde, by contrast, rushes through his reading with a nervous scholarly earnestness that is as appealing as it is VA_ NGUARD foreign to the character of Master Finn. recordin:s for the connoisseur One cannot have everything, can one? St., New York 19, N. Y. J. M. C. Vanguard Recording Society, Inc., 256 West 55th

OCTOBER 1956 I17

www.americanradiohistory.com ago with the encouragement of Watters, pianist than Don Keeler and a less limited prising disk - surprising in that LPs by who gave it access to some of his arrange- clarinetist than Roy Giomi, but even so guitarist-led groups have usually consisted ments. the playing of the Bay City Jazz Band is heavily of the steady plinkety-plunk by the The result is a real, rip -roaring, stomp- exuberantly sturdy and frequently alight guitarist himself. Ellis can plink with the ing traditionalist band, in some respects with happy excitement. The selections are most agile plunkers, but in this instance better than its inspiration. It is, as it mostly numbers associated with Oliver and he has had the good sense - or good should be, essentially an ensemble band; Armstrong. The four originals are service- fortune - to work with something more and fortunately one of its strongest points able; only Giomi's Arab Strut, however, than just a rhythm section and to make is its ensemble work - forthright and comes off with the properly zestful spirit some careful and intelligent plans before authoritative, but unstrained, sailing hap- for this style. facing the microphone. Consequently his pily along on the unique and graceful guitar is cushioned on a relatively rich Ellis Wonderland blend of the three brass instruments. Be- HERB ELLIS: in ensemble when he is out on his own, and yond this, in its two co- leaders - trom- Sweetheart Blues; Somebody Loves Ale; aural variety is provided by the solos of bonist Sanford Newbauer and cornetist It Can Happen to You; Pogo; Detour Harry Edison and Jimmy Giuffre. Most of Everett Farey - it has instrumentalists of Ahead; Ellis in Wonderland; Have You the selections are in a quiet, swinging power and color. Farey, in particular, plays Met Miss Jones ?; A Simple Tune. vein, pleasantly unpretentious and en- and ease almost never livened by sly ensemble and solo ideas that with a naturalness Herb Ellis, guitar; Harry Edison, trumpet; keep perking the listener's interest. Ellis' heard in revivalist hornmen. His melodic, Jimmy Giuffre, tenor and baritone saxo- My Heart and Doctor playing is sensitive and efficient and Edi- propulsive solos on phones, clarinet; Charlie Mariano, alto that we have a fascinating son holds to his relaxed, finger -snapping Jazz suggest saxophone; Oscar Peterson, piano; Ray new jazz voice with us. Newbauer's trom- style. Giuffre unfortunately elects to be Brown, bass; Alvin Stoller, drums. bone is lusty and rawboned alone and an heard mostly in flat, colorless perform- NORGRAN 1o81. 12 -in. 36 min. 53.98. eager powerhouse in ensembles. One ances on tenor and baritone saxophones and might wish for a more rough -and -ready Charm is the keynote of this rather sur- only briefly in his breathy, probing clarinet manner.

LIONEL HAMPTON AND IiIS Is Jazz Ready for Freddie? GIANTS Plaid; Somebody Loves Me; Deep Purple; an excellent tenor saxophone solo by September Song; Verve Blues. Seldon Powell, but it lacks the jazz feeling Edison, that is so strongly present in Gulda's other Lionel Hampton, vibes; Harry compositions. trumpet; Art Tatum, piano; Barney Kessel, Although Gulda is heard only briefly guitar; John Simmons, Red Callender, in his own works, he is featured at some bass; Buddy Rich, drums. length on Night in Tunisia and Bernie's NORGRAN 1o80. 12 -in. 42 min. $3.98. York Tune, recorded live during his New Even though Hampton gets the billing recordings on stint at Birdland. (The on this disk, it is two of his sidemen in - this disk were made at Birdland, some Harry Edison and particularly Art Tatum the the evening with an audience, some in who provide the sparkle. Tatum takes the - afternoon without.) Unfortunately, over completely on all of his solo appear- are Birdland- cum -audience recordings quite ances, performing with easy grace and on Night in shallow, Gulda's piano rarely becoming so involved in displays of some of the back-room Tunisia having technique as to distract from the swinging early characteristics of Erroll Garner's line of his theme. His playing on Verve is very direct and disks. The playing Blues is a masterful summation of the no to the point - no sideshows, pointless blues idiom, offered with directness and His touch, as might Guida: contemplative Ellingtonian. displays of technique. simplicity. Edison is less consistent, oc- is wondrous to be expected, something casionally at a loss for ideas, but more FRIEDRICH GULDA's debut as a jazz hear in a jazz musician and he combines often singing genteelly hot thoughts musician last spring received the sort it with a ruggedly driving rhythmic sense. through his muted horn or opening up himself on these selections as of anticipatory publicity that generally He shows for a big -voiced roundhouse punch. one leads to disappointment in some degree. It less of a two- handed pianist than Hampton's playing is surprisingly routine is to his great credit that he overcame this might hope he would be, but his esssen- in view of the challenging company he flow hazard by writing and playing imaginative, tially right -handed developments finds himself in and Barney Kessel is disciplined, and strongly swinging jazz smoothly yet buoyantly. He is, on the 'way off his normally provocative beam. with a winning lack of either pretension whole, an excellent jazz pianist as of But Tatum and Edison are in the fore- or condescension. The recording debut of today; yet one has the feeling that he ground so much of the time that they make Gulda's sextet on this disk is one of the has scarcely begun to show what he can the disk eminently worthwhile. most auspicious in many years. do in this field. The sextet is a cleanly rehearsed group, The emphasis here is on the group as a MAT MATHEWS whole and Guida as composer and arranger generally very good in its ensemble at- rather than Guida as a performer. His tack and brightened by Woods and Powell Bag's Groove: Yesterday; There's a Small writing shows a strong Ellington influence in solos that are consistently among their Hotel; Laura: Alava: The Nearness of You: ( Dark Glow is akin to the Duke's finest best on records. This disk should appeal Bernie's Tune: Spring It Was; Study in mood pieces), an abiding faith in a hard - to jazz enthusiasts of all shades. Purple; Owl Eyes: Night and Day: Lullaby driving ensemble, and a belief that no JOHN S. WILSON of the Leaves. be left out on his own soloist should FRIEDRICH GULDA AT BIRDLAND Mat Mathews, accordion; Herbie Mann, too long without some form of front -line flute; Benny Weeks, guitar; Percy Heath, support or variation in attack. The most Vienna Discussion; Scruby; Dark Glow; Night in Tunisia; Dodo; Air from Other bass; Kenny Clarke, Walter Bolden, drums. interesting of the originals in this collec- BL 54013. min. Planets; New Shoes; Bernie's Tune. BRUNSWICK 12 -in. 33 tion are the brooding Dark Glow, a show- $3.98. case for one of Phil Woods's warmest Friedrich Guida, piano; Idrees Sulieman, solos; Dodo, a furiously swinging piece trumpet; Jimmy Cleveland, trombone; Phil ART VOL. 2 with faultlessly executed ensemble pas- Woods, alto saxophone; Seldon Powell, THE MODERN OF JAZZ, sages; and a gracefully pulsing, melodic tenor saxophone; Aaron Bell, bass; Nick Nou See How You Are: Mat Mathews, selection called New Shoes. Only Air from Stabulas, drums. accordion; Oscar Pettiford, cello. Summer- Other Planets can be scored as a miss. It RCA VICTOR LPM 1355. 12 -in. 36 min. time: Mathews; Pettiford, bass; Kenny is pretty - too pretty, possibly - and has $ 3.98. Clarke, drums.

118 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com The Puritan, What a Difference a Day THE SIX: The View from Jazzbo's Makes, How Deep Is the Ocean: Mathews; Head Herbie Pettiford; Clarke; Joe Puma, guitar; Giggles: Phweedah; Over the Rainbow; flute, alto flute, tenor saxophone. Mann, The View from Jazzbo's Head; Blue Lou; As Time Goes By, I Only Have Eyes for Our Delight; My Old Flame: The Troglo- You. Later On: Mathews; Pettiford; Clarke; dyte. Julius Watkins, French horn. Puma; Bob Wilber, clarinet, tenor saxophone; Not So Sleepy, Knights at the Castle: John Glasel, trumpet; Sonny Truitt, trom- Mathews; Pettiford; Clarke; Puma; Dick bone; Bob Hammer, piano; Bill Britto, Katz, piano; Art Farmer, trumpet. bass; Jackie Moffitt, drums. $3.98. DAWN DLP 1104. 12 -in. 37 min. BETHLEHEM 57. 12 -in. 37 min. $3.98. BihIe"of Mathews is a Dutch accordionist, a resident The evolution of Bob Wilber is an inter- Ca1aIo'Ibe of this country for several years, who has esting one. Originally a protégé and followed the trail blazed by Joe Mooney student of Sidney Bechet, Wilber aban- and has brought the accordion fully into doned Dixieland several years ago, studied the jazz realm. His specially constructed briefly with a teacher as far removed Record Collectors? instrument has a mellowness of tone which from Bechet as one could imagine -Len- is usually lacking in most jazz efforts on nie Tristano and then organized The Because Schwann offers on o regular monthly advantage - accordion. He is heard to best Six with the announced intention of basis o complete listing of long play records DLP an adventurous disk on Dawn 1104, making it a mainstream group drawing os follows: un- classified on which he works with a variety of on the traditional, swing -era, and modern usual combinations. It is an unpretentious aspects of jazz. As of the beginning of Classical (By Composer) collection, distinguished by Watkins' this year, when these selections were cello - Chamber Music French horn and Pettiford's bass and recorded, The Six was leaning toward mod- The selec- along with Mathews' accordion. ern and sloughing off traditional. It is Anthologies BL 54013, recorded tions on Brunswick heard here in a group of numbers mostly thoughtful, Piano three years ago, are generally rooted in swing but with some modern but lack the depth Organ polished, and swinging harmonic ideas. The group has a close on the Dawn LP. and variety offered rapport and swings with a light, clean Vocal drive. The writing is sound and solid and, Spoken & Miscellaneous PHINEAS NEWBORN, JR.: Here Is by modern jazz standards, conservative - Orchestral Phineas although Wilber has contrived some tonal blends for Phu'eedah and Operas Phineas Newborn, Jr., piano; with Oscar striking My Old Flame. On this last number Pettiford, bass; Kenny Clarke, drums; Cal- Musical Shows Wilber plays an excellent full- toned, airy vin Newborn, guitar. Operettas clarinet. Otherwise he concentrates on the ATLANTIC 1235. r2 -in. 37 min. $3.98. tenor saxophone, on which he sounds like Films Phineas Newborn, Jr., is a twenty- three- a rougher -hewn Eddie Miller. John Glasel Folk Music & Folksongs year -old pianist from Memphis who has shows flashes of brilliance on trumpet and Popular, Jazz, Swing moved quickly to the front of the jazz builds a rich, melodic solo on Phueedah, scene in the past year. This disk shows his only opportunity of any length. The Childrens why. His playing is clean and precise to Six make a great deal of sound, swinging If your dealer does not handle Schwann a degree most unusual among jazz pianists. sense in this varied and well -balanced kindly send us his name and address. Every note is delivered to the listener as series of numbers. Catalogs if wrapped in its own individual cello- phane container. This is done regardless of tempo; Newborn, it should be noted, JOE TURNER: The Boss of the Blues Tatum Hay is in the same league with Art Joe Turner, vocal; with Joe Newman, flow of when it comes to ripping off a fast trumpet; Jimmy Nottingham, trumpet; phrases. Lawrence Brown, trombone; Frank Wess, deal of Tatum the new There is, in fact, a good tenor saxophone; Seldon Powell, tenor runs and the in his playing - the graceful saxophone; Pete Brown, alto saxophone; with the strong tendency to decorate, along Pete Johnson, piano; Freddie Green, SCHWANN DIGEST? but basically interior sense of swing - guitar; Walter Page, bass; Cliff Leeman, Newborn is quite a different kind of musi- d rums. is the difference is in their ages as The Schwann Digest cian. The ATLANTIC 1234 12 -in. 44 min. $3.98. much as anything, for Newborn is what companion piece to our regu- if latter had Tatum might have been the Big Joe Turner's first long -playing disk lar cdtid. #ag. It's a beautifully grown up listening to modern jazz pianists. has been a long time coming and it is which lists Newborn's most typical manner would just as good as Turner fanciers have hoped illustrated brochure seem to be the light and airy style that he it would be. Turner is a Kansas City blues fifty to sixty outstanding re- bouncing, melodic reveals on John Lewis' shouter who has been in and out of the leases of the month as selected composition Afternoon in Paris, or the spotlight for the past twenty years. On hardened, sharpened variant of this dis- this disk his robust voice is undiminished by the record manufacturers. played in the fast -tempoed Dahoud. Un- in power and quality and his sense of Many of the album covers are fortunately, discretion is not yet one of is as as He has never phrasing apt ever. illustrated in a sparkling dis- Newborn's strong points and he occasion- been so well recorded and he has cer- ally falls into a show -off, gimmicked idiom tainly never had as fine an ensemble in play of color. Ask your (All the Things You Are and, to a lesser back of him. Pete Johnson, an assoc:a;e Schwann dealer for this excit- extent, The More I See You) or trips of Turner's who goes back to the Kansas to the flashingly through a piece (I'm Beginning City days and who helped originate some ing new addition to See the Light) without finding much of the classic Turner items included on Schwann family. to do but flash. Nonetheless, this is a the disk (Cherry Red, Roll 'Em Pete. strong new piano personality, possibly the Wee Baby Blues, Piney Brown Blues), Schwann Long Playing most striking one since Erroll Garner gives the singer his customary meaty, appeared over a decade ago. The Atlantic definite, boogie -flavored piano support. Record Catalog disk provides him with an excellently re- Lawrence Brown, whose trombone has 137 Newbury St. Boston 16, Mass. corded debut. much of the same soulful shout as Turner's

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www.americanradiohistory.com voice, is resonantly virile in his own solos and flute ( all but the tenor with dis- land Roots (ABC- Paramount 118. 12 -in. and delicately moody behind Turner's tinction) uses his several instruments in 35 min. $3.98). The roots appear to be singing. Joe Newman provides some pun- the course of Man of Many Parts (Con- largely in a few of the titles - Royal gent muted trumpet bits, especially as he temporary 3522. 12 -in. 44 min. $4.98) Garden Blues, Black Bottom, Charleston sets the mood for How Long Blues, and without making a fetish of his versatility. - played at a bright bounce by musicians and the guitar and bass of Freddie Green There is such variety in the selections who are quite modern in attack and who, and Walter Page are as light and per- themselves, played by three different except for pianist Dave McKenna, pro- suasive as in their days together with the groups, that Collette's instrumental duce nothing especially memorable. Away Basie band. Turner's singing is consis- switches are taken as a matter of course. out at the extreme reaches of the modern tently rich and clean -cut, projected with The performances are neat and well -man- limb, the Charlie Mingus Jazz Workshop refreshing ease. He has, happily, included nered, but Collette might emerge as a has contrived some strange jazz sounds a couple of pop tunes along with his blues more definite musical personality if he for Pithecanthropus Erectus (Atlantic to show how much they can benefit from concentrated on one or two instruments, 1237. 12 -in. 36 min. $3.98) in which his resourceful personal style. preferably the warm and moving clarinet yowls, street noises, and foghorns com- and flute heard on St. Andrews Place pete with Mingus' quintet for attention. Other October Jazz Blues and Ruby. More As Before: Kid Ory's approach- A bow in the direction of unschisma- ing seventieth birthday ( December 25) Varied Directions: Buddy Collette, who tized jazz is made by Don Stratton, a is heralded on The Legendary 'Kid' (Good plays alto and tenor saxophones, clarinet trumpet player, on Modern Jazz with Dixie- Time Jazz 12016. 12 -in. 42 min. $3.98) wherein Ory's band pumps its way through another series of traditional tunes, this set enlivened by the presence of clarinetist Phil Gomez. Hampton Hawes and his trio have produced a third volume of their cool, glittering developments of standard tunes on Everybody Likes Hamp- 4.1- ton Hawes (Contemporary 3523. 12 -in. 44 min. $3.98) and a very different pianist, Meade Lux Lewis, thumps out six Here are records that speak the very C ' zestful boogie woogie creations on Yan- e language of modern jazz ... by artists who have cey's Last Ride (Down Home 7. 12 -in. captured its spirit and translated it into a living 3o min. $3.98). experience ... on ABC -Paramount full fidelity recordings. Swing Stuff: Thanks to the mature These are albums that will endure as living expressions of our time. work of nineteen -year -old pianist Bobby Scott and more sensitive drumming than Just Released! one normally expects from Gene Krupa, Jazz Rhythms of Gene Krupa (ARS Jazz A New Collector's Item Division. 12 -in. 4o min. By subscription) is a pleasant and varied collection MtiAJV1rAmM,,A4 of long performances by Krupa's quartet. Billy Bauer, a guitarist with a low- voltage presene style, ambles amiably through some pretty KNOW YOUR JAll and lightly swinging selections on Billy 39 öïow In how many ways can an Bauer, Plectrist (Norgran 1082. 12 -in. instrument speak? Eleven min. $3.98) and another quartet, led by YOUR contemporary greats of clarinetist Buddy De Franco, swings with the trumpet, trombone, a will through In a Mellow Mood (Nor - JAZZ piano, sax, clarinet, vibra- gran 1079. 12 -in. 40 min. $3.98) but aonaw e.a . nr Tarfof phone, guitar, bass and to little purpose, since De Francós facile, Cluotfe Rouse Tony Scor, drums display their ex- cleanly defined playing quickly boils down Cohn M. eell Lowe pressive versatility in the to a series of skillfully performed exer- Ono., .l.b O.,fä various styles of modern m r Cler.e ne cises. jazz. A truly exciting dis- ABC Jbnm, GlerMenC Matters: Brown, the 115 play of instrumental Trumpet Clifford artistry. trumpet player who was killed in an automobile accident last spring, does some of his most polished and controlled work "Evergreens' The glory of love on Clifford Brown and Max Roach at Basin Street (EmArcy 36070. 12 -in. 40 min. $3.98) while another trumpet man, J ^E Shorty Rogers, has contrived a group of bright, Basie- touched pieces for four different groups on Martians Come Back (Atlantic 1232. 12 -in. 42 min. $3.98). ROY Rogers is shown no consideration by such of his associates as Harry Edison, Lou Levy, and Jimmy Giuffre, who consistently over- ABC ABC ABC shadow their maestro. A similar fate is EVERGREENS 112 MODERN JAll 118 THE GLORY OF LOVE 120 suffered by Art Farmer, also a trumpeter, The Billy Taylor Trio WITH DIXIELAND ROOTS Jackie and Roy whose The Art Farmer Quintet (Prestige There are few pianists who can Don Stratton Two modern day hummingbirds 12 -in. 35 is project emotion through the Stratton and Sunkel on twin backed by a swinging sensitive 7017. min. $4.98) memor- modern jazz piano like the in. trumpets like you haven't rhythm section -bring an orig- able only for the neatly turned and quietly Taylor. inal vocal styling to both jazz comparable Billy heard since the days of Louis persuasive solos of his pianist, Duke Jor- Armstrong and Joe (King) Oliver. and ballad. dan. But Sm Williamson, yet another leader who plays trumpet, reverses the situation on Stu Williamson (Bethlehem All above Album Series are 12" LP recordings. p $3.98 each at your record dealer, or order direct. O 55 12 -in. 4o min. $3.98). He is the O n, saving grace - although not an unfailing Write for Free complete Jazz Catalog to Dept. HF one - in a company that includes his brother Claude, Jimmy Giuffre, Bill Hol- ABC -PARAMOUNT 1501 Broadway New York 36, N. Y. man, and Charlie Mariano.

I20 HIGH FIDELITY MAGAZINE

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HIGH FIDELITY DISCOGRAPHY No. 29

Bartók on Microgroove

by Alfred Frankenstein

to one of the more cynical beliefs of the chamber music, like the Third, Fourth, and Fifth String ACCORDINGmusical world, a great composer is never recognized Quartets, the Sonata for Two Pianos and Percussion, and as such until he is safely dead. Although this idea is quite the chamber orchestra piece called Music for String Instru- widespread, it is by no means universally true. It was, ments, Percussion, and Celesta. Here Bartók reaches farthest however, emphatically and even grimly true of Béla Bartók. north in "modernism," in dissonant textures, complex Bartók was regarded as an austerely unapproachable modern- rhythms, extreme and unusual instrumental effects; here ist when he died, on September 26, 1945; today, only also, perhaps, he attains a pinnacle in the ingenuity of his eleven years later, every significant work of his except the structures. First Piano Concerto is available on records, and his music Bartók's idiom is notably more mellow and more readily appears on concert programs as frequently as that of the assimilable in the last period than it had been in his "second" established nineteenth -century masters. He is pre -eminently stage. Tonality is more clearly maintained, the harmonic the popular musical discovery of the high fidelity era. fabric is less harsh, and the spirit of the music often more As is well known, the roots of Bartók's style are in the relaxed and genial. Significantly enough, nearly all the works folk music of his native Hungary and its neighboring coun- of this period are concertos - for orchestra without principal tries, on which he was one of the world's foremost scientific soloist, for violin, for viola, and for piano. (I refer here, of authorities. Herein he found not picturesqueness, à la Rim - course, to the last of the three piano concertos.) The Diverti- sky-Korsakov, but the philosophic substance of a new idiom mento, with its concerto -grosso instrumentation, should also which, in many cases, does not reveal its source to the be included with the works just mentioned. As a result of casual ear. His greatness lay, in other words, not in his use this change in idiom, Bartók is the only composer of recent of folk materials but in his fusion of modal and rhythmic years whose later works are more frequently performed than principles derived from folklore with the most highly elab- his earlier. orated traditions of European art music. He was, of course, Compiling a discography brings to one's attention numer- one of the most erudite as well as one of the most imaginative ous compositions which the concert hall neglects. In the case musical craftsmen of modern times. of Bartók most of these are vocal - magnificent folk-song Ever since Wilhelm von Lenz published his Beethoven et arrangements, original songs, the great Cantata Profana, and ses trois styles a hundred years ago, it has been the fashion the fabulously beautiful opera Bluebeard's Castle. Most of to divide composers' careers into three parts. Bartók's musical these have been made available by that unique firm, Bartók life can be described in a similar triptych, although the Records, established by the composer's son for the dissemina- periods overlap and such schematization is not to be taken tion of his father's works on LP. The Bartók label also offers too rigidly. other obscure and out -of- the -way pieces, always in authorita- The first period is dominated by the piano. Bartók was tive performances extremely well recorded. Another neglected one of the most prolific piano composers of modern times, work which it is a joy to discover through disks is the early but he wrote nothing for piano solo after 1926 except the Second Suite for orchestra. last books of Mikrokosmos. His relationship to the keyboard Herewith, then, are listings and evaluations of all the instrument was of a very special kind. For years he earned works of Béla Bartók known to the writer to be currently his living as a piano teacher, and in consequence large num- available on microgroove records. All are twelve -inch unless bers of his pianistic works have a strongly didactic emphasis. otherwise noted. They are listed in descending order of Very often they are directed toward students at the most preference. Records not submitted for this study are indicated painfully elementary level, and yet they remain exquisitely by asterisks before their titles. musical; his are the only first -grade piano pieces since those of Schumann which virtuosos delight in playing and which Before turning to the main business of this discography, I have been recorded in great numbers. should like to acknowledge my indebtedness to Halsey Although Bartók's second period contains some important Stevens, whose excellent book The Life and Music of Béla piano works, like his one and only sonata for that instrument, Bartók (Oxford University Press, 1953) has been a constant it is most notable for its contributions to the literature of and invaluable source of information and enlightenment.

OCTOBER 1956 I2I

www.americanradiohistory.com FOLK -MUSIC COLLECTION composer's own exact, but warm and a revision of 1945. All the pianists in- gentle, style of playing. volved in the recordings use the revised HUNGARIAN FOLK SONGS (1 edition) These four sets will hereafter be re- edition except Lili Kraus, who uses both. Since folk music plays so important a part ferred to as the Foldes Collection, the Of the eight recorded editions, only in the whole Bartók story, this collection Sandor Collection, the Farnadi Collection, three are complete. All of these are ex- "recorded in Hungary under the super- and the Bartók Collection. cellent from the point of view of perform- vision of Béla Bartók" is very significant ance and recording, but Kozma's inter- consists of by way of background. It pretation is the most robust and reminds sung by Hungarian country sixteen songs FANTASY II (5903 ) (1 edition) one most of Bartók's own performance, flutes bag- people, some with peasant and The third in a set of Four Pieces written if a sixteen -year -old memory of that per- pipes, and three dances played on bagpipes toward the end of Bartók's student days. formance can be relied upon. in alone. Some of these tunes show up It is a quiet, highly ornamented, Lisztian Of the partial recordings, the one by Bartók's published works, notably the affair of considerable historic significance Lili Kraus is by far the most interesting. piano series called For Children. The but of no great intrinsic merit. Mme. Kraus plays the first twenty-one bagpipe tunes are especially interesting for - In Foldes Collection, Vol. II. DECCA pieces of the first book, and does nine of the light they shed on some of Bartók's DL 9802. $3.98. them twice - the first time in the version most iconoclastic innovations in the treat- of 1945 and the second in the version of FOURTEEN ment of string instruments, as in the BAGATELLES, OPUS 6 (1908) 1909. (The labels on the disk and the Third Quartet. The accompanying pam- (I edition) jacket reverse this order, and prospective One of the major pleasures of compiling phlet contains, among other things, some purchasers of the record are warned ac- discography was of Bartók's transcriptions of the songs and this that of renewing cordingly.) The differences are highly acquaintance with this entrancing bagpipe tunes, and these are a thundering com- significant. Bartók's tempos of 1945 are position and with Kozma's revelation of what this remarkable com- entrancing much slower, more plastic, and more ex- of it. Bartók regarded poser could hear. He has noted all man- performance the pressive than those of 5909, and he has ner of subtle inflections you would swear Fourteen Bagatelles as his first mature sometimes enriched the harmonic texture work. They his main are not there at all until you compare the exhibit characteris- as well as the phrasing. Mme. Kraus's tics in a highly delectable form har- record with the printed page, and he has - performance is very sensitive, but there is monic adventure, rhythmic inventiveness, taken down - in the most minute detail considerable surface crackle in the copy - countless involvements which the aver- folkloristic tunefulness, and that most submitted. Bartókian of all qualities, age ear can recognize in a gross or massive maximum -Tibor Kozma. BARTOK 919 (Book I) kind of way but cannot attempt to fol- pungency of color with maximum clarity and 920 (Book II). $5.95 each. re- of texture. The recording is as fine as low through all their mazes. The -Menahem Pressler. M -G -M E 3009 the performance. cordings are much too good to have been (Book I) and E 3047 (Book II). $3.98 taken with the kind of hand- cranked field - Tibor Kozma. BARTOK 918 ( with Six each. his Rumanian Folk Dances and Rumanian equipment Bartók himself used in - Geza Anda. ANGEL 35126 (Book I, collecting days; but since he selected and Christmas Carols). $5.95 with Sonatina) and 35246 (Book II). transcribed these tunes, they bear his stamp - No. 2 only. Béla Bartók. In Bartók $4.98 each. Collection. REMINGTON 199 -94. $3.98. of authority. -Lili Kraus. (21 pieces from Book I. ) -ETHNIC FOLKWAYS LIBRARY P 1000. TEN EASY PIECES (1908) (r edition) EDUCO EP 3008 (with Sonatina and $5.95- The first work to exhibit the extreme con- Fifteen Hungarian Peasant Songs). $5.95. Anda. I MUSIC FOR PIANO SOLO centration of form which henceforth is to -Geza (Book complete.) ANGEL be highly characteristic of Bartók's piano 35526 (with Sonatina). $4.98. Before turning to individual compositions music. Despite the title, a number of -Andor Foldes. (17 pieces from Book for piano solo and the recordings thereof, these pieces are by no means easy. As in I; Io from Book II.) In Foldes Collec- I shall note four general collections of the Bagatelles, one may detect parallels tion, Vols. 1 and 2. DECCA DL 9801 and Bartók's piano pieces, since I shall have with Debussy and with Schoenberg, but 9802. $3.98 each. occasion to refer to them repeatedly. the best of the Ten Pieces are the em- -Gyorgy Sandor. (20 pieces from Book The most important of these collections inently Hungarian "Evening in the Coun- I.) In Sandor Collection. COLUMBIA ML - and one of the most remarkable ex- try," "Magyar Folk Song," and "Bear 4868. $3.98. amples of wholesale recording in existence Dance." -Carl Seeman. (17 pieces from Book - is The Piano Music of Béla Bartók, -In Foldes Collection, Vol. IV. DECCA I.) Io -in. DECCA DL 4085 (with Eight on performed by Andor Foldes and issued by DL 9804. $3.98. Improvisations Hungarian Peasant Decca. The four records of this set con- Songs). $2.98. tain about three-fourths of Bartók's output FOR CHILDREN ( 1908 -9, rev. 1945 ) -Ilona Kabos. (8 pieces from Book I.) for piano solo; there are only four other (8 editions, 3 complete, 5 partial) BARTOK 917 (with Three Rondos on records in the entire contemporary dis- This work consists of two books, each Hungarian Folk Tunes, Sonatina; Kodály: cography which contain piano works of graded progressively from pieces of the Seven Piano Pieces). $5.95. Bartók not represented, in their entirety most elementary simplicity to pieces of or in part, in Foldes' compendium. moderate difficulty. The forty pieces of Two RUMANIAN DANCES, OPUS 8a Two single -disk collections sufficiently Book I are based on Hungarian folk (1909 -1o) (1 edition) diffuse to demand mention here are Béla tunes and the thirty -nine of Book II on Unlike the famous set of Six Rumanian Bartók, performed by Gyorgy Sandor for folk tunes of Slovakian origin. The Hun- Folk Dances produced in 1915, the the- Columbia, and Bartók, played by Edith garian tunes are decidedly more interest- matic material of this pair is original with Farnadi for Westminster. Foldes and San - ing than the latter, but the three con- Bartók and the forms are both extended dor were pupils of Bartók and Farnadi was cluding pieces of the Slovakian set are and monumental in their effect. Perform- one of his successors as professor of piano works of remarkable intensity and power; ance and recording are magnificent. at the Academy of Music in Budapest. The they are, in fact, considerably beyond the -Edith Farnadi. In Farnadi Collection. performances of all three are highly au- musical capacity of the average child. The WESTMINSTER XWN 18217. $3.98. thoritative and their recordings are excel- series as a whole is important as repre- lent. senting an extensive, systematic explor- TWO ELEGIES, OPUS 8b (1908 -9) ( I The fourth general anthology is in a ation of Bartók's findings as a collector edition) special category. It is called Béla Bartók of folk music; it also looks forward to The Two Elegies represent a momentary Plays Bartók and is issued on the Reming- Mikrokosmos in its linking of a graded reversion to the late- nineteenth-century, ton label. Bartók made many records, but course in piano technique with indoctri- romantic style from which Bartók only two of them survive - this one and nation in Bartók's harmonic system, but it emerged. The page bristles terrifyingly the Columbia selections from Mikrokosmos is far less daring, comprehensive, and with notes, the pedal smears almost every listed below under the title of that work. many -sided than that encyclopedic master- bar, and the total effect is rather like They are, of course, out of date from the piece of later years. The score of For Debussy pretending to be Liszt. sonic point of view, but they are of Children has been published in two ver- -In Foldes Collection, Vol. II. DECCA great historic interest as examples of the sions, the original version of 1909 and DL 9802. $3.98.

1 22 HIGH FIDELITY MAGAZINE

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THREE BURLESQUES, OPUS 8c (1908 -1 I ) Serly's version, is the only one available Szekely's transcription for violin and pi- (2 editions) on records. It is not very important and ano. The violin version, with its gypsy Back on the main line - spare textures, is listed here only for the sake of com- slides and scoops, represents everything wiry rhythms - with Bartók's acid sense pleteness. that Bartók detested, and it sounds ab- of parody in the driver's seat. Both edi- -New Symphony Orchestra (London) , solutely revolting after one has heard the tions are first rate. Tibor Serly, cond. BARTOK 303 (with music as Bartók intended it to be heard. -In Foldes Collection, Vol. IV. DECCA Two Portraits). $5.95. Perhaps the players are to blame rather DL 9804. $3.98. than the arranger; anyhow, there it is. -Edith Farnadi. In Farnadi Collection. SONATINA (1 915 ) (4 editions) Of the four pianistic interpretations, WESTMINSTER XWN 18217. $3.98. Actually a series of Rumanian folk dances Kozma's, as usual, is the most robust and very brilliantly transcribed. It is hard straightforward, but all four are excellent. SEVEN SKETCHES, OPUS 9 (1908 -Io) -Tibor Kozma. BARTOK 918 (with (1 edition) Fourteen Bagatelles and Twenty Rumanian A house -cleaning collection of fragments Christmas Carols). $5.95. and visions fugitives in a variety of styles; -Andor Foldes. In Foldes Collection, No. IV is in the Lisztian manner, Nos. Vol. H. DECCA DL 9802. $3.98. V and VI are Rumanian folk tunes, and -Gyorgy Sandor. In Sandor Collection. there are gently evocative sketches slightly COLUMBIA ML 4868. $3.98. suggesting Debussy. Not a major work -Edith Farnadi. In Farnadi Collection. but an interesting one. WESTMINSTER XWN 18217. $3.98. -In Foldes Collection, Vol. II. DECCA -(arr. Szekely) Tossy Spivakovsky, vio- DL 9802. $3.98. lin, Artur Balsam, piano. CONCERT HALL cHC 39 (with Violin Sonata No. 2). ALLEGRO BARBARO (1911 ) (3 editions) $3.98. Szekely) Arthur Grumiaux, violin, The only short piano piece by Bartók to -(arr. Paul Ulanowsky, piano. BOSTON 203 be published individually, no doubt be- Debussy: Sonata; Ravel: Tzigane cause it represents an important new de- (with and Habanera). $4.98. parture in his style. It is the first work in the savagely percussive manner which in retrospect appears as one of Bartók's SUITE, OPUS 14 (1916) (3 editions) major contributions to the pianistic tra- Although the first movement suggests the dition of our time. All three recordings style of the Six Rumanian Folk Dances, the 1 and performances are of the finest quality, Gyorgy Sandor Suite as a whole represents Bartók in a but the Sandor is a little more incisive and mood to reach out beyond the confines of barbaro than the others. to choose among the four performances, the folklore with which he had been so -Gyorgy Sandor. In Sandor Collection. but the Anda has the best -reproduced long preoccupied. The work is in the COLUMBIA ML 4868. $3.98. sound. clangorous, percussive manner that was -Andor Foldes. In Foldes Collection, -Geza Anda. ANGEL 35526 (with For soon to reach its climax in the Sonata, Vol. IV. DECCA DL 9804. $3.98. Children, Book I) . $4.98. but it has a pronounced and very dramatic -Edith Farnadi. In Farnadi Collection. -Andor Foldes. In Foldes Collection, profile of its own. Farnadi's extremely WESTMINSTER XWN 18217. $3.98. Vol. I. DECCA DL 8901. $3.98. free, vigorous, but poetic interpretation -Ilona Kabos. BARTOK 917 ( with Three may be the best one in this case, but all FIFTEEN HUNGARIAN PEASANT SONGS Rondos on Hungarian Folk Tunes, selec- three interpretations might well be recom- (1914 -17) (3 editions) tions from For Children; Kodály: Seven mended. One of Bartók's most interesting and im- Piano Pieces). $5.95. -Edith Farnadi. In Farnadi Collection. portant works for piano solo. It falls into -Lili Kraus. EDUCO EP 3008 (with WESTMINSTER XWN 18217. $3.98. three sections. The first is a series of Fifteen Hungarian Peasant Songs and se- -Andor Foldes. In Foldes Collection, four old tunes in bardic, declamatory lections from For Children). $5.95. Vol. III. DECCA DL 9803. $3.98. style, the last a series of nine very bril- -Gyorgy Sandor. In Sandor Collection. liant dances. In between are two pieces TWENTY RUMANIAN CHRISTMAS SONGS COLUMBIA ML 4868. $3.98. wherein Bartók shows how folk material (1915) (2 editions) can be manipulated rather than directly One of the subtlest, simplest, and most THREE RONDOS ON HUNGARIAN FOLK stated; the first of these two pieces is a charming of Bartók's numerous folk -song TUNES (5956-27 ) (3 editions, 2 com- scherzo, the second a ballade in variation arrangements. Of special interest is the plete, I partial) form. All three performances are very extremely plastic rhythm, with its con- The first rondo was written in 1916 and good, but the Foldes and the Kraus are stant, irregular shift from two to three is comparatively simple in form and tex- somewhat more finely shaded than the and back again. No preference can be ture, with obvious but very effective al- Sandor, and the Foldes has a slight edge expressed for either recording. Both are ternations of theme and section. The on the others in the matter of recorded elegant. last two date from 1927 and so involve sound. -Tibor Kozma. BARTOK 918 (with a far more highly developed technique; -Andor Foldes. In Foldes Collection, Fourteen Bagatelles and Six Rumanian they are much more fluid and communica- Vol. III. DECCA DL 9083. $3.98. Folk Dances). $5.95. tive than the first rondo, more closely -Lili Kraus. EDUCO EP 3008. $5.95. -Andor Foldes. In Foldes Collection, knit in structure, drier in sound, more (with Sonatina and selections from For Vol. III. DECCA DL 9803. $3.98. complex in rhythm. In other words, the Children) Bartók of 1916 was arranging folk songs, -Gyorgy Sandor. In Sandor Collection. SIX RUMANIAN FOLK DANCES ( 1915 ) while the Bartók of 1927 was writing his COLUMBIA ML 4868. $3.98. (6 editions) own music on a folk -song basis. These pungent, vigorous, tangy tunes Both of the complete performances are THREE HUNGARIAN PEASANT SONGS were at one time more widely played than excellent, and they are so similar that no ( 1914-17) (1 partial edition) anything else bearing the name of Bartók. rational choice can be made between them. The Three Hungarian Peasant Songs date Halsey Stevens lists no less than seventeen The recording by Bartók himself includes from the same period as the above -men- different recordings of them in his biog- only the first movement. tioned set of fifteen, but they were not raphy of the composer; they have been -Ilona Kabos. BARTOK 917 (with published until 1942, at which time they arranged for every conceivable combin- Sonatina, selections from For Children; appeared in a memorial album entitled ation, but - as the present recordings Kodály: Seven Piano Pieces). $5.95. Hommage à Paderewski. The third of show - no one has yet improved on -Andor Foldes. In Foldes Collection, these was orchestrated by Tibor Serly as Bartók's original version for piano solo. Vol. III. DECCA DL 9803. $3.98. prelude to his orchestral version of Three of the five recordings are of the -No. 1 only. Béla Bartók. In Bartók Mikrokosmos, and this movement, in original while two provide Zoltan Collection. REMINGTON 199 -94. $3.98.

OCTOBER 1956 123

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EIGHT IMPROVISATIONS ON HUNGARIAN Another desk -cleaning miscellany, pub- Mikrokosmos, first place must be given to PEASANT SONGS (1920) (4 editions, lished in three books that bear no per- the Columbia disk containing thirty -five of 3 complete, I partial) ceptible relationship to each other. First the pieces, from the last four books, per- Strongly capricious, rather strangely shaped is a set of "Four Dialogues," studies in formed by the composer himself. The pieces; the folk -song basis is never ob- two -part counterpoint of a very fluent and recording is remarkably good in view of scured, but the harmonic texture is highly sensitive kind. Next are four high- spirited its age, and the significance of the inter- elaborated, and the virtuoso element is genre pieces -a curiously macabre "Min- pretation is too obvious to require com- stressed to a very marked degree. Of the uet," an "Air," a grotesque "March of the ment. Foldes does a beautiful job with three complete recordings, the Seemann Animals," and a quick -step "Tambourine." twenty-four pieces from the last three is the best in sound, but is marred (at The third book is devoted entirely to one books, and Katchen provides an able in- least in the review copy) by surface piece, not at all "little." It bears the terpretation, finely registered, of eight crackle. All four performances are highly slightly confusing title "Preludio, all' pieces from Book VI. Scarpini does only authoritative; one, indeed, comes from Ungherese" (not a prelude in Hungarian the "Six Dances in Bulgarian Rhythm" at the court of final authority in all matters style, but an allegro in Hungarian style the end of Book VI; his recording does pertaining to Bartók. preceded by a prelude.) The best part not measure up to the others. -Andor Foldes. In Foldes Collection, of the whole thing is the "Four Dia- In 1941 Bartók's disciple, Tibor Serly, Vol. II. DECCA DL 8902. $3.98. logues," which Foldes plays particularly transcribed five pieces from Mikrokosmos -Carl Seemann. Io -in. DECCA DL 4085 well. for string quartet. They are remarkably (with selections from For Children). -Andor Foldes. In Foldes Collection, successful in this version, especially since $ 2.98. Vol. IV. DECCA DL 9804. $3.98. Serly employs many of the special color- -Leonid Hambro. BARTOK 902 (with -Edith Farnadi. In Farnadi Collection. istic devices to be found in Bartók's own Out of Doors). $5.95. WESTMINSTER XWN 19217. $3.98. quartets. Two years later Serly went at -Nos. 1, 2, 6, 7, and 8. Béla Bartók. -Preludio all' Ungherese only. Béla it again, this time making an orchestral In Bartók Collection. REMINGTON 599 -94. Bartók. In Bartók Collection. REMING- suite of eight movements from Mikro- $ 3.98. TON 599 -94. $3.98. kosmos and dragging in the third of the SONATA (1926) (3 editions) Three Hungarian Peasant Songs to serve Bartók's biggest single work for piano MIKROKOSMOS ( 1926 -37 ) (9 editions, as prelude. The result is not to Serly's solo and one of his most impressive in 2 complete, 7 partial) credit. He recomposes many of the pieces any form. It is a grimly serious piece, Approaching Mikrokosmos through the and in so doing cheapens them. Both of overwhelmingly propulsive, percussive, long perspective of Bartók's piano music Serly's arrangements have been well re- and dissonant, full of electrifying tone as a whole, one finds it looming more corded. clusters and brutally reiterative, primitive than ever as one of the major master- -Gyorgy Sandor. COLUMBIA ML 5082 rhythms. Even the slow movement does pieces of the world's musical literature. (Books I and II), 5083 (Books III and not relax the glacial drive of this sonata's There is scarcely an idea, problem, mood, IV), and 5084 (Books V and VI). $3.98 mood. Of the three recordings, the Foldes procedure, or device in Bartók's earlier each. is clearly the best both in recording and piano music that does not reappear some- -Edith Farnadi. WESTMINSTER XWN performance. Scarpini is tight and logical where among these 153 pieces, so that 18182 (Books I and II), 18183 (Books in interpretation, rather wiry in sound. the whole is a great summation of every- III and IV), and 18184 (Books V and Skolovsky sometimes seems a little scared thing Bartók stands for, at least in the VI). $3.98 each. of the genie he and Bartók are conjuring domain of the piano. This, however, is -35 pieces from Books III, IV, V, and out of the piano. the least part of its interest and value. VI. Béla Bartók. COLUMBIA ML 4459. -Andor Foldes. In Foldes Collection, Here Bartók takes the piano student $3.98. Vol. III. DECCA DL 9803. $3.98. by the hand and leads him, gently and -24 pieces from Books IV, V, and VI. -Pietro Scarpini. COLOSSEUM CLPS 1025 patiently, from the simplest of four -finger Andor Foldes. In Foldes Collection, Vol. (with excerpts from Mikrokosmos; Stra- exercises to some of the most complex I. DECCA DL 9801. $3.98. vinsky: Sonata and Piano Rag Music). and elaborate virtuoso studies in modern -8 pieces from Book VI. Julius Katchen. $3.98. music. Along with this indoctrination in LONDON LL 759 (with Rorem: Sonata -Zadel Skolovsky. COLUMBIA ML 4871 pianistic technique goes a parallel in- No. 2). $3.98. (with piano sonatas by Scriabin, Berg, doctrination in modern harmony, counter- -Nos. 148 -153. Pietro Scarpini. CO- and Hindemith). $3.98. point, and rhythm. The two types of in- LOSSEUM CLPS 1025 (with Sonata; Stra- OUT OF DOORS (1926) (2 editions) doctrination were clearly one in Bartók's vinsky: Sonata and Piano Rag Music). The most remarkable thing here is the mind; he trained musicians, not piano $3.98. fourth movement, "The Night's Music," players. Even the simplest eight -bar pieces -Nos. 69, 127, and 545. Béla Bartók. which is the first of those unprecedented at the outset of Mikrokosmos possess enor- In Bartók Collection. REMINGTON 599- nocturnes, full of bird twitters, the buz- mous musical interest and can be lis- 94. $3.98. zing of insects, and distant, ethereal, tened to often with pleasure, and from -Nos. 502, 108, 116, 139, and 542, arr. aeolian -harp effects, which were to be- these simple pieces the work fans out into Serly. New Music String Quartet. BAR - come a specialty of the house of Bartók. an indescribably vast exploration of mu- TOK 901 (with Quartet No. 3; Stravinsky: The other four movements - "With sical resources. The title is modest. Three Pieces). $5.95 Drums and Pipes," "Barcarolla," "Muset- Mikrokosmos is really a musical macro- -Mikrokosmos Suite, arr. Serly. New tes," and "The Chase" - are generally in cosm. Symphony Orchestra (London), Tibor the hard -driving, percussive manner of the Choosing between the two complete Serly, cond. BARTOK 303 (with Two Sonata, but are much more vivacious in recordings is difficult. Both are very re- Portraits). $5.95. mood. Hambro's dealings with the fast cent and both employ the most up -to -date movements are marvelously dynamic and recording techniques. Farnadi is especial- PETITE SUITE ( 1926) (1 edition) make one regret that he has not recorded ly impressive in the more poetic aspects of Bartók's last composition for piano solo. the Sonata itself. His performance of the music, but Sandor has a little greater It is actually an arrangement of six of the "The Night's Music" is more incisive than variety of approach. Furthermore, Sandor Forty -Four Violin Duets of 1931. Most Foldes'; he turns it into an eerie ghost develops certain points more fully. For of the movements are short, bright things piece, while Foldes emphasizes its poetic, example, Bartók prints the "Chromatic in folk -dance style. The opening "Slow impressionistic values. Since the piece is Invention," No. 145, in two forms, the Melody" is especially beautiful. dedicated "to Ditta," whom Bartók had second of which is an inversion of the -Béla Bartók. In Bartók Collection. recently married, Foldes is probably right. first, and suggests that both can be played REMINGTON 599 -94. $3.98. -Andor Foldes. In Foldes Collection, simultaneously on two pianos; Sandor Vol. IV. DECCA DL 9804. $3.98. provides this simultaneous performance, VOCAL MUSIC: SONGS -Leonid Hambro. BARTOK 902 (with but Farnadi does not. For that reason and Eight Improvisations on Hungarian Peas- one or two others (including the excellent, Although Bartók published hundreds of ant Songs). $5.95. extensive annotation) the Sandor set has folk songs in authentic versions, without NINE LITTLE PIANO PIECES (1 926) ( 3 the edge. harmonization or accompaniment, made editions, 2 complete, I partial) Among the recordings of excerpts from countless instrumental arrangements of

I24 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com these tunes, and employed them repeated- -Madga Laszlo, soprano; Franz Holets- Bartók's piano accompaniments had been ly in large -scale instrumental works, he chek, piano. WESTMINSTER WL 5283 used; the performance is a cappella. made relatively little use of this material (with Hungarian folk songs). $2.99. -Concert Choir, Margaret Hillis, cond. in vocal versions for concert performance. BARTOK 312 (with Cantata Profana and In his entire career he published only DORFSZENEN ( 1924) ( edition) selections from Twenty -Seven Choruses). forty-three folk -song arrangements for Unlike the other recorded folk -song ar- $5.95. solo voice and piano, and his choral arrangements for solo voice and piano, these rangements are not much more numerous; five Village Scenes are based on Slovak CANTATA PROFANA (193o) (i edition) in fact, his contribution to the vocal rather than Magyar material. This means Bartók's most important choral work and literature as a whole is strikingly small, that their vocal line is on the flatly de- one of the most important of modern but not slight in quality. Two theories clamatory side, but Bartók compensates times. The text, derived from a Ruman- have been put forward to explain Bartók's for this with some of the most fasci- ian ballad, sounds silly in bare synopsis - comparative neglect of vocal media. One nating accompaniments he ever wrote. nine young hunters are turned into nine is that there is no very large market for The recording, punctuated with coughs stags and so can't go home again - but songs or choral pieces in Hungarian; the and applause, was taken at a concert per- this poem is nevertheless the springboard other is that he was essentially an instru- for a composition of almost overwhelming mental composer. These two theories are dramatic power, symphonic complexity, not mutually exclusive, and in all prob- and coloristic grandeur. The performance ability both are correct. is extremely good and the recording is satisfactory. TWENTY HUNGARIAN FOLK SONGS -Richard Lewis, tenor; Marko Rothmul- (1906 ) ( I partial edition) ler, baritone; New Symphony Orchestra Bartók arranged only the first ten songs (London) and Chorus, Walter Susskind, in this collection; Zoltan Kodály was cond. BARTOK 312 ( with Four Slovak responsible for the other ten. Bartók's Folk Songs and selections from Twenty - arrangements are extremely simple, with Seven Choruses). $5.95 the melody line doubled in the piano; at this stage he is still the folklorist, pre- TWENTY -SEVEN CHORUSES ( 1935 ) ( senting his material in the most direct partial edition ) and unadorned fashion. Chabay and Hungarian folk songs simply arranged for Kozma provide four songs from this set, children's voices and rather dull in effect. beautifully performed and recorded. The recording contains eight of the -Nos. i and 2. Leslie Chabay, tenor; twenty-seven movements. Tibor Kozma, piano. In Folk Songs of -Concert Choir, Margaret Hillis, cond. Hungary, Vol. I. BARTOK 904. $5.95. BARTOK 352 (with Four Slovak Folk -Nos. 5 and 6. Leslie Chabay, tenor; Songs and Cantata Profana). $5.95. Tibor Kozma, piano. In Folk Songs of Hungary, Vol. 11. BARTOK 914. $5.95. 'Falter Susskind VOCAL MUSIC: OPERA formante and has all the drawbacks of EIGHT HUNGARIAN FOLK SONGS (1907- BLUEBEARD'S CASTLE (191r ) (r edi- such. It succeeds in conveying a some- 17) (2 editions, r complete, r partial) tion) what more vivid sense of the singer's Here Bartók is no longer to issue Bartók's only opera may not be one of content personality than of the songs she pre- his folk songs in the simplest fashion but the most dramatic ever written, but it is sents. enriches the accompaniment, deriving its certainly one of the most beautiful. The -Irmgard Seefried, soprano; Erik Werba, harmonic texture from the modal implica- old fairy tale is very subtly adapted in piano. DECCA DL 9809 ( with songs by tions of the songs themselves; and he Béla Balázs' libretto. There are only two Schubert, Brahms, Mussorgsky, Wolf, and places the eight songs in a contrasting characters, Bluebeard and his latest wife, Strauss) . $ 3.98. order, which creates the effect of a unified Judith. There are seven doors in the cycle. great hall of Bluebeard's gloomy abode. Of the two recordings, the Chabay is TWENTY HUNGARIAN FOLK SONGS Judith opens each of them in search of preferable because it is complete. The ( 1929) (I partial edition) light. She finds instead a torture chamber, Laszlo - which omits the last three songs Bartók's last folk -song collection for solo an armory, a treasure vault, a garden, a - is gorgeous, however, especially in its voice and piano. It carries forward the panoramic landscape, and a lake of tears, projection of mood. tendency to employ extremely free and all of them reddened with blood. From -Leslie Chabay, tenor; Tibor Kozma, highly elaborated accompaniments, and behind the seventh door come Bluebeard's piano. In Folk Songs of Hungary, Vol. I. reaches Bartók's ultimate in the fusion of three former wives. One, he says, was his BARTOK 904. $5.95 folk song and concert song. The perfor- bride of dawn, one his bride of midday, mance and recording are quite good, but -Nos. 1 -5. Madga Laszlo, soprano; one his bride of twilight. Judith will be Franz Holetschek, piano. WESTMINSTER the editing is confusing in the extreme. his bride of deep night, to be enclosed WL 5283 (with Five Songs and selec- The record contains Nos. 5 through 8 forever with the other wives; and after tions from Twenty Hungarian Folk Songs, of this set, on separate bands, and with that espousal, deep night shall reign eter- 1929). $2.99. text in the accompanying pamphlet. It nally in Bluebeard's castle. also contains Nos. 16-2o of the same set, The imagery of the text is highly poetic, FIVE SONGS, OPUS 16. (1916) (1 edi- on a single band, without text, and with but without lushness or strain, and the tion) a note implying that these songs come music fits it with the utmost plasticity. To all intents and purposes, this cycle from a different collection; this band is The declamation reminds one strongly of constitutes Bartók's only contribution to labeled, bewilderingly and meaninglessly, Pelléas et Mélisande, but a Pelléas et the literature of the "art song." There is "No. 16 (1-5)." Mélisande based on the rhythms and inno folklore in it. The dark, bitter poems -Magda Laszlo, soprano; Franz Holets- tonations of Hungarian rather than French. by Endre Ady called forth songs of the chek, piano. WESTMINSTER WL 528; The handling of the orchestra is magnifi- most intense lyric power, generally de- ( with Five Songs and selections from cent, and the effect of the whole is of clamatory in style, with magnificently at- Eight Hungarian Folk Songs). $2.99. almost unparalleled poignancy. The su- mospheric and monumentally difficult pi- perb interpretation and perfect recording ano parts. This work belongs in the tra- VOCAL MUSIC: CHORAL have much to do, of course, with the ex- dition of Mussorgsky's Sunless cycle, but traordinarily moving effect of this treas- has a very strong profile of its own, and FOUR SLOVAK CHORUSES ( 1917 ) (1 urable disk. it leads one deeply to regret that Bartók edition) -Judith Hellwigh, soprano; Endre Koreh, wrote no more songs of this type. The Skillful arrangements respectfully sung, bass; New Symphony Orchestra ( London) , interpretation on the one available re- but the total effect is far from exciting. Walter Susskind, cond. BARTOK 310 /II. cording is superb. Perhaps it would have been exciting if $11.90.

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www.americanradiohistory.com RECORDS

CHAMBER MUSIC talgic, Magyar melody, bird chirpings, and similar nocturnal sounds. Flanking this SIX STRING QUARTETS (2 complete edi- are two scherzos, one muted and myster- tions; also one edition of No. 3 alone) ious, the other entirely pizzicato. The As the compiler of this discography had first movement is an intense, heroic alle- Recently occasion to remark in these columns some gro, the last a folk -dance piece. All the time ago, one of the major pleasures of coloristic effects of the Third Quartet are music is to follow the development of a used again, together with a great many Published great composer's mind through a series of more, some of them invented for the oc- works in the same general form and the casion. Some of these new effects are too same texture; and when the interpreters subtle to register properly in recording, remain constant, so that the composer's but at least one of them does -a piz- growth is the only variable factor, that zicato wherein the string rebounds against pleasure is considerably enhanced. This the fingerboard, producing a curious, hard, 1955 kind of study is possible in Bartók's case banjolike sound. only through the six string quartets, all The five -movement arch form is used of which have been recorded by two dif- again in the Fifth Quartet ( 1934), but ferent performing organizations. now the centerpiece is a scherzo (in Bul- High Jiilelity The First Quartet, composed in 1908, garian folk -dance style) and it is flanked is a highly chromatic, highly romantic by two slow movements, both of them and rhapsodic piece that unwinds at con- influenced by the "night music" idiom. RECORD REVIEW siderable length in a manner not totally The outside movements are contrasted and unlike that of Schoenberg's famous Trans- related in much the same way as those in figured Night; there are a few folkloric the Fourth Quartet, but the effect of the touches in the finale that proclaim Bartók, work as a whole is not so challenging. but not much else that does so, though The Sixth Quartet, composed in 1939, INDEX the whole thing proclaims the hand of opens and closes with two of Bartók's a major composer. most limpid and persuasive movements, The Second Quartet, written between but in between are a mordant, ironic 1915 and 1917, is the most frequently march, and a "Burletta" in a fairly grim performed of the six. Its thematic ma- and satiric mood. The work as a whole, is far less profuse than that of the however, is significant of the retreat from A complete index to all clas- terial first, its harmonic idiom is tighter and dissonance and the exploitation of extraor- sical, semiclassical, jazz, and stronger, and its structure more individ- dinary effects that was characteristic of spoken word record reviews ual; it opens and closes with slow move- Bartók in his last years. which appeared in HIGH ments, the first of them intensely lyrical, Each of the two complete recordings FIDELITY Magazine in 1955. the second ruminative and enigmatic; in has its special virtues. The Vegh is newer, between comes one of the most over- is slightly richer and fuller in sound, Arranged alphabetically by whelmingly dynamic scherzos ever writ- brings out the polyphony more clearly at points, and does by composer or by collection - ten for string quartet. Here Bartók, certain better some title with the issue and page though in musical speech peculiarly his of the special effects. The Juilliard recording is very good, however, and on which you will find the own, comes close to the world of Beetho- the ven's last quartets. Juilliard interpretation seems to me some- review you wish. For in- Ten years elapsed before Bartók re- what more robust, varied, and vital; for stance, if you are curious as turned to the string quartet. His third this reason, I prefer it. The New Music to what was said about work in this form ( 1927) is the most recording of the Third Quartet alone is Haydn's Nelson Mass, the in- concentrated of the six. It is in one move- dex will refer you to page 58 ment subdivided into three parts, the last of the November '55 issue of of which is a highly varied recapitulation HIGH FIDELITY. of the first. The Quartet No. 2 is recalled in Parts I and III are slow while Part A "must" reference aid. that II is fast and scherzolike, but that is as far as the resemblance goes. The Third \t! Quartet actually introduces us to an al- well played and reasonably well registered. ONLY EACH together new Bartók, one for whom the 500 Quartet. COLUMBIA ML 4278/ polyphonic development of short motifs -Juilliard 80. $3.98 each. Send for your copy NOW takes the place of thematic elaboration; -Vegh Quartet. ANGEL the quartet is also full of new color de- 35240/42. $4.98 each. 1954 Irmo( also available vices, like the icy sounds produced sul 3 New Music Quartet. BAR - ponticello and the clatter produced with -No. only. at 5o0 per copy. TOK 901 (with Five Pieces from Mikro- the wood of the bow; some chords are kosmos; Three Pieces). marked martellato, and there are dizzying Stravinsky: $5.95 slides in all the parts. The whole work SONATA FOR VIOLIN AND PIANO, NO. i HIGH FIDELITY Magazine has something of the percussive and ironic is (5921) (1 edition) Dept. R21, Publishing House character that also to be found in the Sonata for Piano written in the previous A long, romantic, rhapsodic work, very Great Barrington, Mass. year. ample and rich in sound, and in this re- Enclosed find Please Halsey Stevens suggests that the Fourth spect quite different from the spare, lithe ( 1928) is Bartók's greatest work, sonorities of Bartók at his greatest. It send me copies of the Quartet and he may very well be right. Here the is a moving and meaningful composition, 1955 Record Review Index. arch form hinted at in the second quartet however, and it has been magnificently and clearly established in the third is performed and recorded. Name developed to its fullest, most monumental -Isaac Stern, violin; Alexander Zakin, piano. COLUMBIA ML 4376. $3.98. Address aspect. The first and fifth movements have material in common, and likewise the second and fourth; the third move- SONATA FOR VIOLIN AND PIANO, No. 2 ment stands thematically alone as the (1922) (2 editions) centerpiece of the whole. It is the only The second is the more important of the No C. O. D.s or charge orders please. slow movement, and it is in Bartók's two sonatas for violin and piano; it is, "night music" style, with a florid, nos- indeed, one of the most characteristic and

126 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com 1 EXCITING NEWS! COLOSSEUM ushers in significant of Bartók's works in any form. Charlotte Zelka and Alfred Brendel, - the fall season with a NEW GOLD LABEL It is in one movement divided into two pianos; Gustav Schuster, Roland Berger, series featuring AHF Authentic High Fidelity sections -a short, slow introduction fol- Rudolph Minarich, and Heinrich Zimmer- recordings. lowed by a long allegro. In effect it is a mann, percussion. VOX PL 9600 (with * Indicates American recording premiere. wiry, tough -sinewed, and altogether elec- Music for String Instruments, Percussion, The Fabulous David Oistrakh in . . MENDELSSOHN: Violin Concerto in E Minor, trifying Hungarian rhapsody. Making a and Celesta). $4.98. Op. 64. BRUCH Violin Concerto in G Minor, choice between the two records is difficult. Op. 26 Gold Label - CRLP 225 "THE GENIUS OF DAVID OISTRAKH ": Kodaly Both are by topnotch artists and both are Folk Dances. BARTOK CONTRASTS ( 1938) (2 editions) *Three Hungarian wonderfully clear, big, and fine in sound; *Hungarian Folk Tunes. BRAHMS Hungarian This trio for violin, clarinet, and piano Song Poem, Druian, however, plays the piece with a Dance No. 11. KHACHATURIAN consists of two brilliant dance movements Dance in B Major. SUK *Love Song. ALBENIZ somewhat stronger line than Spivakovsky. Love Song. SARASATE *Tsordtsiko. SAINT - separated by a quiet interlude; coloristic valse. -Rafael Druian, violin; John Simms. SAENS - YSAYE *Etude en forme de and virtuoso effects abound, and the whole SAINT -SAENS Introduction and Rondo Cap - piano. MERCURY MG S0000 ( with Ravel: ricioso, Op. 28. Gold Label - CRLP 249 thing has a juggling, humorous, pyro- Violin Sonata). $3.98. BABADJANIAN: *Trio in F Sharp Minor with technical quality which has made it one composer, piano. MENDELSSOHN Trio No. 2 Spivakovsky, violin; Artur Bal- in C Minor. Op. 66. Gold Label CRLP 247 -Tossy of Bartók's most popular compositions. - sam, piano. CONCERT HALL CHC 39 A First Recording with His Son, Igor! . Of the two extant recorded editions, BACH: *Sonata for two Violins and Piano in C (with Six Folk Dances) . S3.98. Rumanian that by Mann, Drucker, and Hambro Major with Igor Oistrakh, violin. MOZART Concerto No. 4 in D. Gold Label - CRLP 245 is clearly superior in interpretation and in The Sensational Pianist Emil Gilels in . . . RHAPSODY No. s (1928) (2 editions) sound. KABALEVSKY: *Piano Concerto No. 3 Composer Bartók published three different versions -Robert Mann, violin; Stanley Drucker, conducting. RACHMAN INOV Piano Con- work for violin and piano, cello certo No. 2 in C Minor, Op. 18 Lev Oborin, of this - clarinet; Leonid Hambro, piano. BARTOK piano. CRLP 10223 and piano, and violin and orchestra. Of 916 (with Sonata for Solo Violin). $5.95. BACH: Brandenburg Concerto No. 5 in D. BACH two chamber versions, only the one Concerto in D Minor for Piano and Orchestra the -Melvin Ritter, violin; Reginald Kell, Sviatoslav Richter, piano ( "the greatest liv- for cello has been recorded. It sounds clarinet; Joel Rosen, piano. DECCA DL ing pianist" - Emil Gilels). like a simple, straightforward, lighthearted Gold Label - CRLP 250 9740 (with Milhaud: Suite for Violin, Seven Great Russian Artists on One entertainment piece such as any reasonably Clarinet, and Piano). $3.98. Record! . competent Hungarian composer might HAYDN: Trio No. 3 in C Major. Oistrakh, violin produce. The version for violin and Oborin, piano Knushevitsky, cello. HAYDN SONATA FOR SOLO VIOLIN (1944) Trio No. 7 in G Minor. Gilels, piano Kogan orchestra, discussed below, is immensely (4 violin Rostropovich, cello. LOCATELLI So- superior. Comparison of the two is highly editions) nata in F Minor "Au Tombeau ". Oistrakh The last work entirely composed by Bar - violin. Yampolsky, piano. instructive, however, and one may be Gold Label - CRLP 249 tók. The first two movements are severely grateful to Starker; he plays the cello The Great Young Cellist Mstislav and elaborately polyphonic, in the tradi- arrangement quite well, and it has been Rostropovich in . well recorded. tion of the Bach sonatas for unaccom- DVORAK: Concerto for Cello and Orchestra, panied strings. The high point of the Op. 104 Czech Philharmonic Orchestra under -Janos Starker, cello; Otto Herz, piano. Talich. TCHAIKOVSKY Variations on a Ro- piece, however, is the ethereal, almost PERIOD EXLP 602 (with Kodály: Sonata; coco Theme for Cello and Orchestra, Op. 33. entirely monodic third movement, entitled Knushevitsky, cello. All 12" Ips @ $3.98. Weiner: Lakodalmas). $4.98. CRLP 231 "Melodia." The finale is a combination of -Same recording but coupled with Hin- Ask your favorite dealer or write for informa- feathery scherzo and folk dance. The per- tion and free catalog to Colosseum Records, demith: Sonata; Weiner: Lakodalmas. Inc., Oakwood Road, R. R. 3, Norwalk, Conn. PERIOD SPL 715. $4.98.

FORTY -FOUR VIOLIN DUETS ( 1931 ) (i edition) A fiddler's Mikrokosmos i.e., a series - of short pieces based on Central European folk material arranged in such a way as to provide a graded course both in violin technique and musicianship. Beautifully played and recorded, but a trifle exhaust- ing to listen to at one sitting. -Victor Aitay and Michael Kuttner. BARTOK 907. $5.95.

SONATA FOR TWO PIANOS AND PERCUS- SION ( 1937) (3 editions) The title involves a distinction without a difference, for Bartók never handled the piano more percussively than he does here. This work does not record very well, mainly because the polyphony of the piano parts, perfectly clear when the instruments are placed on opposite sides of a stage, becomes confused in the microphone; besides, one ought to see this sonata performed, since the choreography of the two percussionists is something devastating. What comes through, however, is the enormous dynamism, gusto, and excite- Remove static elec- niceties tricity and static -attracted ment of the piece. The elaborate your have been dust and lint from of the treatment in the battery treasured high fidelity records. more successfully caught in th RCA Vic- Protect their pure sound and tor version than in the Vox, even though increase their length of life. Greatly the RCA Victor clings to the two percus- improve the reproduction on your sionists indicated by the score while the "collector's items." Use the efficient Vox doubles their number. atomic tool of our atomic age. -Gerson Yessin and Raymond Viola, STATICMASTERS only $14.95. Available at pianos; Elayne Jones and Alfred Howard, your Hi -Fi shop, music store, or order direct. Sent percussion; Leopold Stokowski, cond. RCA postpaid -cash with order. VICTOR LM 1727 (with Goeb: Symphony No. 3). $3.98. NUCLEAR PRODUCTS CO. 10173 E.Rush St. El Monte1,Calif.

OCTOBER i956 I 2 7

www.americanradiohistory.com formantes on the four records are all vein; the effect of the whole is rather like sa, - 1 1 1 excellent, but there is a marked difference a children's picture book in bright but in the quality of the recordings. The pastel- shaded colors. Performance and re- PIPE ORGAN Mann and the Tworek are decidedly the cording are of the best, and the accom- best, and are equally good. The Gitlis panying pamphlet ( like the one for Blue- is somewhat less good, and the Gertler beard's Castle) is a wonderfully ingen- MASTERPIECES comes in a poor fourth. ious guide. Now on Hi -Fi Records -Robert Mann. BARTOK 916 (with Con- -New Symphony Orchestra (London), trasts). $5.95. Walter Susskind, cond. BARTOK 308 and (Recorded & Pressed by RCA) -Wandy Tworek. I o -in. LONDON LS 711 3o8a. Three sides. $8.95. The finest library of classical, $ 2.98. semi -classical and religious -Ivry Gitlis. Vox PL 9020 (with Vio- pipe organ music ever pro- THE MIRACULOUS MANDARIN, SUITE lin Concerto) . $4.98. (1919) (2 editions) duced -and high fidelity too. -André Gertler. ANGEL 35091 (with If Bartók's first ballet, The Wooden Prince, 118 selections on 10 new 12 Berg: Violin Concerto). $4.98. inch 331/4 RPM long -play is too bland for complete effectiveness, records. All played with a his second, The Miraculous Mandarin, goes vibrant and inspired inter- ORCHESTRAL WORKS too far in the opposite direction. The story pretation by Porter Heaps, has to do with a prostitute who lures men internationally known con- SUITE No. 2 (5905-7, rev. 1943) (1 to her room so that they can be robbed cert artist. A real find for edition) and killed by her accomplices. Several lovers of fine pipe organ Very young Bartók, but very wonderful victims are disposed of when there ap- music realistic you -so Bartók too. The influence of Strauss pears a mandarin who is impervious to would believe you were in and the post- school is mani- all and who dies only in the a cathedral listening to a big Wagnerian brutality organ. And for the Hi -Fi fest, and the folklore element recalls spasms induced by the girl's final pitying fan, the pipe organ with its Smetana in its handling, but Béla tenderness. The score is extremely com- tremendous range makes Bartók never composed anything more plex, brutal, and brilliant; but for me these Summit records ideal packed with life and joy, more colorful, some of the stagy excess of the libretto for putting a set thru its exhilarating, and entertaining. No doubt has entered into the music as well. The paces. a good part of one's enthusiasm for this Serly is much the better of the two record- youthful masterpiece arises from the mas- ings. Ask for them at your record counter or terly performance and superb recording. -New Symphony Orchestra, Tibor Serly, BARTOK 301. unite direct for com- -Minneapolis Symphony Orchestra, An- cond. $5.95. plete record list. tal Dorati, cond. MERCURY MG 50098. -Minneapolis Symphony Orchestra, Antal $3.98. Dorati, tond. MERCURY MG 50038 (with $3.98 each Kodály: Peacock Variations). $3.98. TWO PORTRAITS ( 1907 -8) (3 editions) THE SUMMIT SOUND A queerish piece with enigmatic autobi- SYSTEMS COMPANY DANCE SUITE (1923) (4 editions) ographical overtones at which Stevens One of the most vivacious, colorful, and 919 E. Market St., Akron 5, Ohio delicately hints. The first portrait is lab- popular of Bartók's orchestral works, eled "The Idealistic." The only surviving ranging freely through the whole range fragment of an early violin concerto, it is of the folklore in which he was in- a very delicate, lyrical adagio recalling terested Arabic, Hungarian, Rumanian the mood of many an operatic love scene, - but tying it all together in a gorgeously PORTABLE FIDELITY but with immense - restraint and fineness convincing package. Of the three record- of texture. The second portrait is called RECORD HOLDER ings, the London is much the finest and "The Distorted." It is identical with the fullest in sound, but all three interpreta- last of the Fourteen Bagatelles for piano, tions are by eminent Bartókians. but in this version its efforts at caricature -London Philharmonic Orchestra, Georg seem labored. Both performances are ex- Solti, cond. LONDON LL 709 (with Ko- cellent, but the Autori is slightly the better dály: Dances from Galanta). $3.98. recording. - RIAS Symphony Orchestra, Ferenc Symphony Orchestra (London) , -New Fricsay, cond. DECCA DL 9747 (with Franco Autori, cond. BARTOK 303 ( with Music for String Instruments, Percussion, Mikrokosmos Suite). $5.95. and Celesta). $3.98. -Same, but coupled with Dance Suite. -New Symphony Orchestra (London) , BARTOK 304. $5.95. Franco Autori, cond. BARTOK 302 (with -RIAS Symphony Orchestra, Ferenc Mozart -Serly: Fantasia in F minor). Fricsay, cond. DECCA DL 9748 (with Divertimento). $5.95. $3.98. -Same, but coupled with Two Portraits. BARTOK 304. $5.95. DEUX IMAGES ( 1910) (I edition) The title is always given in French, doubtless because the first "picture" - entitled MUSIC FOR STRING INSTRUMENTS, PER- "In Full Flower" - is the most corn - CUSSION, AND CELESTA ( 1936 ) (8 pletely Debussyan thing in all of Bartók; editions) Protects valuable records from warpage one it is also a bit of a bore. The second Bartók's greatest orchestral work, the most breakage. Holds over 100 records it v ?rti- movement is a tuneful, very heavily or- intense and concentrated in structure, the cally correct designed compartmerts keepinc chestrated "Village Dance," which seems most moving and exhilarating in effect, fashionable wrough- them easily accessible. A scarcely to belong with its companion the most unusual and individual in instru- iron and gleaming brassed combination piece. The recording and performance are mentation; if he had written nothing else, decorator designed to fit any roo-a cad on he would still be ranked among major period. Portable, it is eosily carried wñh c excellent. the full load of records. With protective -uober - New Symphony Orchestra, Tibor Serly, composers of modern times. It is curious, tips, stands on furniture top or floor. Hoadle cond. BARTOK 307 (with Two Rhap- however, that a man whose passion for folds dawn for easy storage. 18"x13' "x12 sodies). $5.95. accuracy led him to give precise timings Satisfaction guaranteed or money ref,nded. for the sections between rehearsal letters SHIPPED PRE -PAID TO YOUR DC -O[ THE WOODEN PRINCE (1914 -16) (I in his scores should have conferred so Send $6.95 to Dept. H -3 edition ) loose and inaccurate a title on this work, House of England, Ltd. A ballet on an empty- headed fairy -tale for it implies that the harp is an instru- plot that called forth much pleasant ment of percussion and that the celesta 230 Fifth Avenue, New York 1, N.Y . music, a great deal of it in folk -dance is not. The scoring is for strings, harp,

I 28 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com piano, celesta, xylophone, timpani, side sums up much for which he stands - folk- drums with and without snares, two sets lore, humor, satire, profundity of feeling, of cymbals, bass drum, and gong. This is and profound originality in structure; the AS A DISCRIMINATING the kind of combination that recording immensely erudite fugue of the last move- engineers delight in, which may be one ment, based on a shaggy, peasantlike sub- good reason for the many recorded ver- ject with cackling repeated notes, is the MUSIC LISTENER sions. Unfortunately, none of them can sort of thing that only Bartók could You have probably spent a good deal cope with an additional subtlety Bartók imagine. of time and money in assembling a demands. When playing this music, the Of the five recordings, the one by sound system to meet your particular orchestra is arranged on the stage accord- Reiner is the richest in nuance and color, standards. ing to a special pattern whereby certain but there is a tense, nervous, prima -donna Are you just as particular about the con- spatial, three -dimensional effects are ex- quality to the interpretation that is far dition of the records you purchase ?. Do ploited; this, of course, cannot be captured from the spirit of Bartók. The Dorati you scrutinise each one closely for hair- by any single -track system. sounds most like Bartók so far as the open, line scratches, a small pit, a suspicious With this reservation made, all the sinewy character of its tone is concerned. looking spot, or a nasty looking rub ?. recordings can be said to be good; but the The Van Beinum is perhaps the most If so Boult, which sells for a premium price, is penetrating in its interpretation, but the the best by a slight margin. Boult and other two are eminently respectable. In THE MUSIC BOX Solti are the most successful in maintain- the last analysis, one cannot wholeheartedly ing the lithe, aerated, chamber -music tex- recommend any of the existing records offers you a unique, personal mail order ture that is so essential here, and Solti's of this great and very popular composi- service, which will relieve you of this presentation of some special effects - like tion. tedious and time consuming operation, the xylophone and sliding kettledrum duet -Concertgebouw Orchestra, Eduard van with its attendant moments of exasper- at the start of the third movement - is Beinum, cond. LONDON LL 5. $3.98. ation, and send you records which, as actually superior to Boult's. -Minneapolis Symphony Orchestra, Antal one Egyptian customer eloquently wrote, -Philharmonic Promenade Orchestra, Sir Dorati, cond. MERCURY MG 50033. "Shine like bright moons ". Adrian Boult, cond. WESTMINSTER $3.98. Here is a service which guarantees that: W -LAB 702I. $7.50. -Chicago Symphony Orchestra, Fritz new, -London Philharmonic Orchestra, Georg Reiner, cond. RCA VICTOR LM 1934. * Every record mailed is a brand factory fresh, unplayed copy, which Solti, cond. LONDON LL 1230 (with $3.98. has been very carefully examined for Kodály: Suite from Háry János). $3.98. -Philadelphia Orchestra, Eugene Or- visible imperfections. Possible flaws -Pro Musica Orchestra ( Stuttgart) , Rolf mandy, cond. COLUMBIA ML 4973. are carefully spot checked on the Reinhardt, cond. VOX PL 9600 ( with $3.98- finest equipment, and records that do Sonata for Two Pianos and Percussion) . -Philharmonia Orchestra, Herbert von not meet our rigid standards are re- $4.98. Karajan, cond. ANGEL 35003. $4.98. jected. -Los Angeles Chamber Symphony Or- Every record is dusted, cleaned and Harold Byrns, cond. CAPITOL P * chestra, enclosed in a polyethylene envelope, 8299 (with Milhaud: Concerto for Per- WORKS FOR SOLO INSTRUMENTS AND ORCHESTRA for additional protection against dust cussion and Small Orchestra; Chávez: damage. Toccata for Percussion). $3.98. is Same, without couplings. CAPITOL RHAPSODY No. 1 (1928) (1 edition) * Every record stoutly and care- - to reach you in perfect L -8048. I0 -in. $2.98. As is pointed out above, Bartók produced fully packed, -Philharmonia Orchestra, Herbert von three versions of this work, one for violin condition. Karajan, cond. COLUMBIA ML 4456. and piano, one for cello and piano, * Every order over $6.00 is mailed $ 3.98. and one for violin and orchestra. The POSTAGE FREE anywhere in the -Chicago Symphony Orchestra, Rafael versions with piano sound trivial, but the U. S. A. On orders of less than Kubelik, cond. MERCURY MG 50001 piece comes into its own with the lively, $6.00, there is a charge of 40¢ to (with Bloch: Concerto Grosso). $3.98. resonant orchestral background and reveals cover postage and handling. Fric - -RIAS Symphony Orchestra, Ferenc itself as genuine Bartók in his lightest, * All records are sold at the manufac- say, cond. DECCA DL 9747 (with Dance gayest mood. The performance is excellent turer's suggested list price only. NO Suite). $3.98. and so is the recording except that the DISCOUNTS. picturesque part for the cimbalom does We can supply you with any LP on DIVERTIMENTO ( 1939) (3 editions) not register at all and may have been * omitted; it is doubled at every point by any label IF it is available from the A vigorous, zestful, sparkling study in the manufacturer. sonorities of the string orchestra, often ex- other instruments, and so it is difficult to ploiting contrasts of tutti and solo quartet tell if it has been covered up or left out. * Our service is prompt and courteous. in concerto -grosso style. The interpreta- -Emmanuel Vardi, violin; New Sym- phony Orchestra (London), Franco Autori, * The Music Box is devoted EXCLU- tions on the three records are astonishingly Orders, it is not cond. BARTOK 307 (with Rhapsody No. SIVELY to Mail far apart; all three conductors, for ex- open to the public, and only two ample, have totally different ideas as to 2 and Deux Images). $5.95. people handle our stock. what Bartók meant by Allegro non troppo in the first movement; Serly, by contrast RHAPSODY No. 2 (1928, rev. 1944) ( * When ordering, simply list the need, with your check to the others, sounds definitely troppo edition) records you money order to cover their cost. has best tempos, the A much more adventurous, important, or allegro. Fricsay the To avoid delay, please list substitutes, best general interpretation, and far and and characteristically Bartókian piece than since we never make substitutions away the best recording. the first rhapsody. Here the wayward, without your written permission. -RIAS Symphony Orchestra, Ferenc Fric - capricious, wild- sounding music of the Sorry . . . no C. O. D's. say, cond. DECCA DL 9748 (with Two Hungarian bagpipe is carried to its daring Collectors please note. We have a Portraits). $3.98. limits. The performance is fine, but the limited number of deleted LP's, vocal -Zurich Chamber Orchestra, Edmond de recording is not as clean as that of the and orchestral. Stoutz, cond. LONDON LL 1183 (with First Rhapsody. Müller: Sinfonia No. 2). $3.98. -Emmanuel Vardi, violin; New Sym- * -String Orchestra, Tibor Serly, cond. phony Orchestra (London), Tibor Serly, BARTOK 905 (with Gesualdo -Serly: Dul- cond. BARTOK 307 (with Rhapsody No. 1 cissima Mia Vita; Scarlatti -Serly: The and Deux Images). $5.95. lc KaIC JBOsá Cat's Fugue). $5.95 CONCERTO FOR PIANO AND ORCHESTRA, MAIN STREET FOR ORCHESTRA 2 (1930 -31) (I edition) CONCERTO (1943) (5 No. BARRINGTON, MASS. editions) The emphasis here is on a bustling, per- GREAT Bartók's last orchestral work and one that cussive, neoclassical kind of polyphony not

OCTOBER 1956 129

www.americanradiohistory.com unlike that of the piano sonata of 1926; tra. Wilhelm Furtwängler, cond. RCA Record Market in the concerto, however, the mood is less VICT -R LHMV 3. $4.98. grim and the activity of the outer move- -Ivry Gitlis; Pro Musica Orchestra, Jascha ments is relieved by a superb adagio, with Horenstein, cond. Vox PL 9020 (with

a scherzolike interlude, in the "night Sonata for Solo Violin) . $4.98. FOR A music" vein. The strings are omitted from -Max Rostal; London Symphony Or- -4-, the first movement, thereby securing a chestra, Sir Malcolm Sargent, cond. LON- ENGINEERS \l,0,'"`- "sec" quality of texture paralleling that DON LL 302. S3.98. i of Stravinsky's piano concerto, written ONLY! ELEKTRA is proud to announce the release of its playback system cali- six years earlier, wherein the strings are CONCERTO FOR PIANO AND ORCHESTRA, bration record. Flat as a homemade entirely dispensed with. The performance NO. 3 ( 1945) (6 editions) pancake from 18.75 to 20,000 cps., it is less powerful than it might be Far - is perfect source material to .check - To all intents and purposes, Bartók's last is your systems response from pickup to nadi especially impressive in the more work. It was written during his last illness speaker. ONE CAUTION: Thu must know poetic aspects of Bartók, like the slow as a legacy for his wife, to whom he had your stuff in orderto use' it properly. movement of this concerto and the re- We have included a full description of - precious little else to leave; he died, how- is how jt was made, what it is and how to cording barely adequate. ever, before the score was quite finished, use it. But, the really clever among you -Edith Farnadi; Orchestra of the Vienna and its last seventeen bars were orches- ,?h will find any number of worthwhile State Opera, Hermann Scherchen, cond. applications for the EPSCB. trated by Tibor Serly. According to a WESTMINSTER WL 5249 (with Piano persistent rumor, Bartók here deliberately Concerto No. 3) . 52.99. 3.50 from your ELEKTRA dealer or post adopted a less uncompromising harmonic /aid from idiom than usual in the hope that the ELEKTRA RECORDS CONCERTO FOR VIOLIN AND ORCHESTRA concerto would win a wide popular 361 Bleecker St., New York City. (1937 -38) (4 editions) audience and prove the more valuable as Stevens' word "radiant" fits perfectly; the an inheritance. Whether or not this TRIAL OFFER music also has a breadth and nobility of is true, the music is remarkable for its 12 for $1 00 conception that is unique among violin serenely fluent melodiousness; and its Twelve -Inch Record concertos save only those of Beethoven Andante religioso with a "night music" and Brahms. Of the four recordings, the interlude is one of Bartók's most poig- COVERS Varga is almost incomparably the best; nant pages. shipped prepaid this, in fact, is one of the masterpieces of Of the five recorded versions submitted Money Beck GUARANTEE the Bartók discography, in performance for this study the best on all counts is the Made of Polyethylene Plastic. and recording alike. Among the other Katchen, which combines an admirably Slips Inside Original Jacket three, the Gitlis and the Menuhin are sensitive performance with an excellent Keep your valuable records free from dust, preferable to the Rostal, since that artist registration. Sensitivity is also the keynote scratches, finger marks, spilled liquids, etc uses an affettuoso style which is out of with Farnadi and Haas. Sandor seems al- s.t. Introductory SAMPLER DOZEN and character in Bartók. most brutal by comparison, though the i SURPRISE BONUS $1.00 Prepaid -Tibor Varga; Berlin Philharmonic Or- sonic qualities of his disk are outstanding. Dealer Inquiries Incited chestra, Ferenc Fricsay, cond. DECCA DL As much cannot be said for Pennario. 9545- $3.98. -Julius Katchen; Orchestre de la Suisse SRADLEY MFC. MC. -Yehudi Menuhin; Philharmonia Orches- Romande, Ernest Ansermet, cond. LON- 11 W. Magnolia Blvd. Burbank, Calif. DON LL 945 (with Prokofiev: Piano Con-

certo No. 3) . 53.98. EXCLUSIVE! -Edith Farnadi; Orchestra of the Vienna State Opera, Hermann Scherchen, cond. Not Available From Any Othei Source WESTMINSTER WL 5249 (with Piano l'Esrr TAPE Concerto No. 2 ) . 52.99. -Monique Haas; RIAS Symphony Or- Encore Treasure Tape "The Measure of chestra, Ferenc Fricsay, cond. DECCA DL Your Tape Recorder's Performance" (Ex- 9774 Petite cerpt from Dubbings test tape D -110. In- (with Martin: Symphonie cludes the following tests: Timing (tape Concertante) . 53.98. speed), Recording level, head alignment -Gyorgy Sandor; Philadelphia Orchestra, THE (rough and fine), Wow and flutter, Signal Eugene Ormandy, cond. COLUMBIA ML UNBELIEVABLE to noise. Instruction booklet included. 4239 (with Miaskovsky: Symphony No. SOUNDS OF THE Limited quantity. 21). $3.98. SIENA PIANOFORTE INTRODUCTORY OFFER -Leonard Pennario; St. Louis Symphony Write for its fascinating story 59c each 3 for $1.50 Orchestra, Vladimir Golschmann, cond. (plus postage) CAPITOL P 8253. (with Prokofiev: Piano Concerto No. . ESOTERIC Send for free catalogue of interesting 3) $3.98. ` -H. Reiter; Berlin Radio Symphony 238 EAST 26th ST., N. Y C. 10 new products. AMERTEST PRODUCTS CORP. Dept. HF (1) Orchestra, Varisch, cond. 10 -in. REGENT 1280B Sheridan Avenue, New York 56, N.Y. 5028. $3.00.

IF YOU CONCERTO FOR VIOLA AND ORCHESTRA GIBSON GIRL TAPE SPLICERS (1945) (1 edition) LIKE TO Bartók left only confused, if voluminous, splices in a wink! sketches for this concerto, which was com- COLLECT NO SCISSORS! pleted and orchestrated by Tibor Serly. NO RAZORZO aDES! resulted is a work ends What of the utmost RECORDS refinement, transparency, and restrained At Your Dealers lyricism. Halsey Stevens' strictures upon ROBINS INDUSTRIES CORP. fieradell. N. Y Then surely you will want one of our Wrought Iron it seem to me altogether undeserved; per- Cabinets to show -off more than 200 o you long - haps he arrived at his opinion after study- playing record albums. Ten compartments each holding over 20 records, so you can devote entire ATOMIC JEWEL RADIOACTIVE ing only the bare, even empty- looking sections to your symphonies, operas, ballets, choral score, and did not have the opportunity and chamber works. Still more spaces for your STATIC ELIMINATOR of hearing the music come to life at the concertos, folk music, dance, jazz and show albums. Reduces Record Wear The answer to every serious music lover's problem hands of Primrose, who commissioned it, for safe, compact record storage. Sturdy, 25"x22 "x Reduces Needle Wear 10 ", rubber tips. Please remit $9.95, shipping wt. Improves Fidelity and whose recording of it is magnificent. 10 lbs., fully assembled, exp. chgs. collect: with -William Primrose; New Symphony Or- our famous AIR- MAIL -MONEY -BACK- At Your Dealer GUARANTEE! $9.95 chestra (London) , Tibor Serly, cond. ROBINS INDUSTRIES CORP. Bayside 61, N. Y. 1<:LESLIE CREATIONS Dept. 209-C Lalayette Hill, Pa BARTOK 309. $5.95.

I 30 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Tape Deck

by R. D. Darrell

ALL official and private auguries agree MOZART: Divertimento No. 17, in D, sound of which Burke writes, or the that the debut of several new stereo - K. 334 "bleaker and less resonant" sound noted tape catalogues (especially those from EMI by Schonberg is, if no longer existent here, Vienna State Opera Orchestra, Felix Pro - will be the big news least not to me. But I may and Concert Hall) haska, cond.; Jan Tomasow, violin. at apparent around the time this column sees the light well be hypnotized. In fact, I know I am A -V TAPE LIBRARIES A -V 2001. 7 -in. of print. Meanwhile, as the reviews below and I must confess that I have no $8.95. - bear witness, tape listeners are being well hankering to be roused from my ecstatic supplied by the already established pro- Lacking the opened -up sonic perspectives Mozartean dream. (Feb. 1956) ducers. of stereo, as well as the final touches of Mozartean insight and refinement, this PROKOFIEV: Sonata for Violin and Note: as usual, all tapes reviewed are retains rather than augments the familiar Piano, No. r, in F minor, Op. 8o 7.5 ips and - unless specifically noted virtues of the well -liked LP version (Van- tFranck: Sonata for Violin and Piano, as stereo - are 2 -track single -channel guard 445) - warm if not ultratrans- in A recordings. The symbol prefixed to parent recording, especially of attractively David Oistrakh, violin; Lev Oborin, piano. a review indicates stereo tape. If a date blended string- and -horn tone, and a rein parenthesis is appended to the re- A -V TAPE LIBRARIES A -V 1043. 7 -in. laxed, expressive reading in which Toma- $10.95. view, it refers to the issue of HIGH sow never attempts (or Prohaska permits) FIDELITY in which the corresponding the confusion of concertante with concerto The fame this Paris recording of the Pro - review disk appeared. style. (March 1954) kofiev sonata won in LP form (Vanguard 6019), as the first capturing of the fabu- LIEBERMANN: Concerto for Jazz MOZART: Symphony No. 41, in lous Oistrakh fiddling by outside- the -Iron- Band and Symphony Orchestra C ( "Jupiter "), K. 55r Curtain engineers, may have been some- -I-Strauss: Don Juan what eclipsed by a more recent American Chicago Symphony Orchestra, Fritz Rein- version with Yampolsky (RCA Victor LM Chicago Symphony Orchestra (and the er, cond. 1987 ) . Yet, not having heard the latter, Sauter -Finegan Orchestra, in the Concerto), RCA VICTOR DCS Io. 7 -in. $12.95. Fritz Reiner, cond. I am perfectly satisfied with the present RCA VICTOR ECS 3. 7 -in. $54.95. I'm sorry, but I just can't "review" this taping of the former; certainly the perform- formally or properly. The first time I ance itself hardly could be bettered. The Liebermann's inspiration of modernizing played it, I followed the score so much Franck, though much superior technically the old concerto-grosso form apparently awed at the completeness and lucidity of to most Russian recordings, is marked by exhausted his imaginative resources, for aural detail (although, alas, the repeats are an overly liquid, pleasant, but by no means his music for the combination of sym- observed only in the third movement) that "natural" quality of piano tone. Moreover, phonic tutti and jazz -band ripieno merely I couldn't even think of appraising its the Oistrakh reading is one which will be goes through the motions until it sud- over -all quality. Each time since, I have of primary interest to fiddle students and denly - but, alas, too briefly - flares heard it, often in the company of friends, fanciers; rich, assured, and dramatic, it into life in a real -gone, jumping Mambo. with such unanalytical relish that I never has everything but the Franckian innocence Nevertheless, the hep audiophile will find found a chance, or felt any need, to make which gives this music its true magic. every moment a sonic joy and his cup will specific "critical" notes. Perhaps it is (Aug. 1954) run over with crispy -crunchy transients enough to say of both Reiner's performance galore. From his particular point of view, and the stereo recording that if all printed SCHUMANN: Concerto for Piano and the single- channel LP version (LM 1888) and manuscript copies of the Jupiter score Orchestra, in A minor, Op. 54; Kin - it is should never have been released, for were catastrophically destroyed, I am con- derszenen, Op. 15 only in stereo that the recording success- vinced that any competent musician could fully refutes C. G. Burké s criticism of easily make an accurate, full reconstruction Guiomar Novaes, piano; Pro Musica Or- losing "definition when both jazz and from the present tape. chestra (Vienna), Hans Swarowsky, cond. PHONOTAPES- symphony orchestra let fire together." The Yet I might add, in view of the pub- SONORE PM I IO. '7-in. $8.95. familiar Strauss tone poem is played and lished commentaries on the LP version Schumann, Novaes, and Vox hardly could recorded with comparable translucence, (with three other Mozart symphonies in have planned it this way, but if they had sharpness of focus, and gleaming sonority, LM 6035) in these pages and elsewhere, they couldn't have supplied more miracu- but it sounds wholly incongruous in such that either my ears are differently attuned lously ideal materials than these of unlikely musical company. (March 1955) Scenes or - more likely - that the stereo tape Childhood for displaying recorded tape's differs markedly from the disk. For the finest qualities as a medium of musical MENDELSSOHN: Octet for Strings, "underrecording," "weak," and "acrid" experience in the home. If you want to in E -flat, Op. 20 discover what tape can provide at its Fine Arts Quartet; Oscar and David Chau- flawless best, don't miss this. The concerto sow, violins; Milton Preves, viola; Dudley overside (or rather, as I keep forgetting, Powers, cello. on the other track) has moments of equal CONCERTAPES 23 -5B. 7 -in. $11.95. enchantment in the solo part; but here, unfortunately, the nondescript orchestra This is neat but hardly virtuoso playing. suffers from acute tonal anemia and the The airiness of the young Mendelssohn's listless conductor is baffled by the soloist's scherzo, however, surely never sounded romantic waywardnesses - tending to zag so wind -borne in previous "orthodox" re- when she insists on zigging. The LP cordings; and the clarity of the fugal pas- version is Vox PL 8540. (Dec. 1954) sages here adds new force to my growing conviction that contrapuntal writing of any SHOSTAKOVICH: Symphony No. r, kind (no less than impressionistic sym- in F, Op. ro phonic orchestration) can be reproduced in its authentic lucidity only when the stereo medium is utilized. Reiner's Jupiter: an "ecstatic dream." Continued on page 138

OCTOBER 1956 133

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No Waiting- Full Selection Instantly From This Month's Available RECOMMENDED Pre -Auditioned - Assurance of Quality RECORDED TAPES Recordings BRAHMS : Concerto For Violin and Orchestra in D. Heifitz, Chgo. Sym., Reiner, RCA (Stereo) Your Door ECS4 $14.95 Convenient - Delivered To BARTOK: Concerto For Orchestra. Chgo. Sym., Reiner, RCA (Stereo) ECS9 $14.95 If It's Recording Tape - We Have It! BRAHMS: Concerto No. 1 in D. Rubenstein, Chgo. Sym., Reiner, RCA CC -15 $10.95

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PROKOFIEFF : Symphonies : No. 1 in D, No. 5 BLANK TAPES in B -flat Phonotapes - Sonore. PM 131 $ 8.95 we can supply you with any All sizes, grades and types Although recorded tape currently available, all Tape Audiotape Soundcraft House Recommended Selections are pre - Irish Scotch auditioned for highest quality. Each month we list our recommendations so you may have When Ordering Specify brand, a selection of proven quality in all classes of type and reel size. music. In ordering by mail it is thus possible for you to have selections when you want them - without delays or back ordering. All Distributors For tapes delivered POSTAGE FREE in original manufacturer's package unopened. WE PAY Ampex Acoustic Research THE POSTAGE. JansZen McIntosh WHEN ORDERING Specify Tapes by Name and Number. Enclose Check or Money Sound Equipment Order Sorry, No. C,O.D.s.

new dimensions in sound MAIL THIS COUPON NOW: Please Send Me Complete Monthly List Of Current Recommended Recorded Tapes.

he Tczpe f/occs-e name address P. O. Box 150, Geneva, III. city zone state L

OCTOBER r956 1 37

www.americanradiohistory.com OTAPLp, TAPE DECK beautifully warm acoustical environment, ó¡ the crystalline clarity and natural "spacing" Continued from page 133 of the instruments, and the truly artistic /i7 utilization of stereo sound's greatest ad- !1 National Symphony Orchestra, Howard vantages, without any attempt to exaggerate Mitchell, cond. them. I haven't heard the single -channel SONOTAPE SW 1007. 7 -in. $7.95. version (apparently available on LP in Great Britain only), but I certainly PHONOTAPES- Nothing Shostakovich composed later has don't know of any conventional recording which ever stimulated me as much as this still captures as transparently the low bassoons SONORE wondrously fresh, zestful, and imaginative at the beginning of the Chinese Dance, work. And the qualities I admire most in the usually frantic confusion at the it are exactly those which Mitchell exploits end of the Trépak, or the pianissimo tambourine October Releases in this infectious reading. From the deep. in the Arabian Dance - to cite only a few solid lows of the bottom strings of a grand offhand examples of the wealth of tonal VIENNA CONCERTO piano and a superb bass drum to the glit- delights available here. Fantasy on Themes of Johann Strauss by tering zing of high percussive harmonics, Heinz Sandquer, piano, and his orchestra this tape displays a full- range, distortion - PM 5010 73/2....$6.95 33/4 $4.95 free sonic spectrum to satisfy the most avid BAND CONCERT: J. Strauss, Sr.: of hi -fi ears. (Westminster WL 5319; Feb. Radetzky -Marsch; J. Strauss, Jr.: Prokofiev: LIEUTENANT KIJE SUITE 3955) Kaiser-Walzer, Schatz - Walzer, Feuer - "CLASSICAL" SYMPHONY fest- Polka; Komzak; Andreas Hofer- Orchestras conducted by Jascha Horenstein STRAVINSKY: Marsch; ( Anon.) Erherzog Johann Fire Bird Suite; Sym- Jodler PM 5009 71/1_. $6.95 33/4. $4.95 phony in C Deutschmeister Band, Julius Herrmann, Weber: DER FREISCHUTZ OVERTURE Cento Soli Symphony Orchestra, Rudolf Albert, cond. cond. OBERON OVERTURE SONOTAPE SW 1010. 7 -in. $7.95. OMEGATAPE OT 3008. 7 -in. EURYANTHE OVERTURE $9.95. Generally I mean to confine Mendelssohn: RUY BLAS OVERTURE Both orchestra and conductor are new to these tape reviews to considerations of technical HEBRIDES OVERTURE me, but the former obviously is thoroughly and allied qualities, especially when the works Schubert: ROSAMUNDE OVERTURE competent if not especially polished, and the latter themselves are already well known and ex- Bamberg Symphony, Jonel Perlea, conductor - if no Ansermet - leads it tensively reviewed in LP versions as in with an assurance and awareness - - PM 138 71 $8.95 33/4 $6.95 of inner the present part- detail significances. The recording, case, a collection drawn from a Westminster disk series (WL 3003, WL Chopin: WALTZES (COMPLETE) while somewhat darkly powerful in a way 3005, etc., begun in 1953) . But it goes that cries for the luminosity of stereo, is Guiomar Novaes, piano roughly against my grain to praise properly for Stravinsky unreverber- the PM 118 71/2 $8.95 33/4... $6.95 - - original recording and tape duplication ant and sharply focused. Both works ap- - as I must here without at the same time pear here for the first time on tape, - Schubert: IMPROMPTUS, Opp. 90 & 142 and expressing personal regret over expending the Fire Bird glows a shade less incandes- Ingrid Haebler, piano such advantages on such unrewarding per- cently than in the best LPs. PM 147 71/2 _ $8.95 33/4....$6.95 formances. As a documentary, sonic and musical, this tape is unquestionably valu- Grieg: HOLBERG SUITE TCHAIKOVSKY: Nutcracker Suite, able: it takes one right to an authentic Op. 7/a NORWEGIAN DANCES Prater band concert in Vienna - but is LYRIC SUITE Philharmonia Orchestra, Nicolai Malko, that trip necessary, if what it leads to is WEDDING DAY, TROLDHAUGEN cond. delicious Strauss swollen to elephantine ponderousness and drowned in whipped - Bamberg Symphony, Edouard van Remoortel HMV SCT 1500. 7 -in. Price (see below). cream schmaltz? PM 146 71/2 $8.95 33/4 $6.95 The strongest impression I get from my first encounter with one of the British BERNSTEIN, ELMER: The House: Mozart: SYMPHONY #25 in G Minor e "stereosonic" tapes, kindly Divertissement #29 lent me by Mr. SYMPHONY in A Major A. E. Foster of the Newark College of En- Elmer Bernstein, piano; Dorothy Remsen, SYMPHONY #33 in B Flat gineering, is that our British cousins still flute; Martin Ruderman, harp; Armand Vienna State Philharmonia, Jonel Perlen can teach us a lesson or two in applying Kaproff, cello. PM 144 73/2.. $8.95 33/4....$6.95 strictly musical standards to even the most STEREOTAPE ST 3. 7 -in. $7.95. revolutionary of new techniques. I can't SONGS TO GROW ON say whether this and other releases in Properly, this is an entry for the "Reel

Voi. 1 : Nursery Days, sung by Woody Guthrie the mushrooming British stereo -tape reper- Music Notes" section, since Elmer Bern - Vol. 2: School Days, sung by Charity Bailey, tory are easily or at all available through stein's episodic divertissement (drawn from Pete Seeger, Cisco Houston, Leadbelly, American importers or affiliates, nor - if a film score) strikes me as no more than Adelaide Van Wey so - what the domestic prices may be ( the an eclectic musician's absent -minded tonal PM -139 71/2 ...$8.95 33/4... $6.95 present tape lists for 2 pounds, 15 shillings, doodling in an innocuously "modern" (for in Great Britain); but if this is any fair Hollywood, at least) vein. example, the general level of technical ex- However, this release merits special If you haven't already heard the supe- cellence is comparable with that of the best mention on several counts: I ) as not rior and sound on PHONOTAPES- artists British contributions to sound -reproducing entirely unrepresentative of the notions SONORE, listen to equipment and should find an equally re- some new entrants into the tape- recording PM -1 MUSIC DEMONSTRATOR ceptive market here. field have about suitable program materials; PM -2 POP MUSIC SAMPLER To be sure, the British use the CCIF 2) as a happier example of commercial Only $1.98 each, including a coupon (International Radio Consultative Com- candor in labeling a 7 -inch reel which worth $1 toward the purchase from your mittee) tape- recording characteristic, which runs little more than twelve minutes a dealer at list price of one tape from our differs somewhat from our NARTB or "half reel" (although, to be sure, this catalogue. Ampex standard. And my playback of doesn't seem to affect the price substan- the present tape is consequently a bit down tially) ; and 3) as outstandingly notable at the high end and possibly a bit up at for the immaculate cleanliness of its bril- For free listing of topes, write to the low end. Not that it matters much, liant, but never exaggeratedly so, close -to for the recording merit of Malko's gra- recording. PHONOTAPES INC. Made in a living room, this cious Nutcracker performance (one of the recording not only illustrates the character- 248 West 49th St., New York 19, N. Y. most ingratiating I know) lies not so istic naturalness and intimacy of the tape much in its brilliance, as such, as in its medium, but proves that the value of

J 38 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com stereo is not limited to big concert -hall Music for Sleepwalkers Only; while the atmosphere. The illusion that the four Jack Kelly Trio's Sippin' Music serves up players here are sitting in one's own living dance -and -background rhythms no less ap- room triumphs over everything but the propriate for extra -dry martinis. Both are evidence of one's eyes. distinctive only for the brightness and presence of their recorded sound (104 REEL MUSIC NOTES and 105, 5 -in., S6.95 each). ALPHATAPE: The Roger Wagner Chorale's BERKSHIRE: Eugenio Gastoldi and the Songs of the Great West (AT 19, 5 -in., "Monaco" Symphony Orchestra under is probably the finest close, pres- $3.95) Claude Gillet play ence -plus, single- channel recording of un- the Brahms Violin Concerto as if they were wading labori- accompanied ensemble singing I have ever ously through thick molasses. The best I heard. The program here is not the same can say is that there is a lot of tape here as that in the same group's frontier -songs for the price (B 2103, 7 -in., $6.95) . LP (Capitol P 8332) , but the arrangements are similarly nonfancy, and the perform- CONCERTAPES: Leonard Sorkin's Sinfon- ances themselves no less skilled and ietta has neither stylistic feeling nor spirited. executant control proper for a medley of the favorite Music of Johann Strauss - A -V TAPE LIBRARIES: John S. Wilson's which is hardly uncommon. But, more enthusiasm for Vic Dickenson, Ruby Braff, surprisingly, the coarse tonal qualities and "Sir" Charles Thompson strikes me here seem exacerbated rather than made as under- rather than overstated, now more tolerable in stereo sound. Surer that I have heard the Dickenson Septet this must be an early experiment, to: in four long selections drawn from its later Concertapes are far superior techni- Vanguard LPs, Vols. 3 and 4 (\Rs cally ( tot A, 7 -in., Sí1.95). 8012/3). But even if my own suscep- Dept. tibility must be discounted, surely the CONNOISSEUR: Janos Starker's fine cells, Write for HF biting transients and brassy growls of playing emerges grossly oversize from the listing. SONOTAPE these driving, swinging performances unevenly recorded Spanish Album ( from CORPORATION never sounded on disks with the electri- the Period LP 584 of 1954), but is caught fying sonic drama of the present two- in juster proportions and with markedly 185 Madison Ave. New York 16, N. Y. channel tape ( A -V 707, 7 -in., S9.95) greater tonal attractiveness in a French v1 - easily the tops to date in stereo jazz Album (from the Period LP 708 of 1955) recording. of musically more substantial works by Francoeur, Couperin, Fauré, Poulenc, BEL CANTO: Murray McEachern's trom- Ravel, and Debussy (D 5 -108 and D 5 -509; bone- and harp -dominated ensemble is suitably treacly and lethargic for its Contrurred on next page

Now! New RCA Victor superstrength, extra -long CROWN play Hi -Fi "Mylar "* tape! fessional Tape. Recorder

SPECIFICATIONS "Micro- Linear" Heads .Çi' Three Speeds Three Motors OP, Meets NARTB Stonda-ds "Micro- Sync" Timing =;' 41 Plays 50ró longer! Not 1200 feet, Straight Line Threadirg but 1800 feet on a 7" reel! Extra - 4" Dual Lighted Mete - superstrong! Costs $7.50 Magnetism Braking thin- per 7 -inch reel. Also available: new Perfect Erasure CROWN PRINCE RCA Victor acetate tape with full Easily Portable 10'2" Reels frequency performance at a spe- Rack mounting tape recorder - cial low price! And RCA GUARANTEED IDEAL FOR HI -Fl INSTALLATIONS! Victor acetate tape with full High Fidelity Record & Playback Pertinence Dual Track IPS 15 7Y 3 response. The same tape used for WOW .12 .18 .:5 Less professional recordings DB ±2 ±2 t3 Case $34950 - CPS 20 to 30 ro 30 0 $3.50 for 7 -inch reel. 22,000 16,000 10, *00 NOISE Write for literature. Address Dept. F -10 RATIO 55 52 M "MyIer' is a registered Dupont trademark for its for Fall Track Hadr polyester film. Nationally advertised list price; shown, subject to change.

INTERNATIONAL RADIO 8 ELECTRONICS CORP. RCAATCTOR,RADIO CORPORATION Elkhart Indiana O Of AKR1G CAMDEN 8, NEW JERSEY

OCTOBER 1956 139

www.americanradiohistory.com TAPE DECK work by an unnamed but true virtuoso on the the drums (5 -in., $6.95 each). Continued from preceding page OMEGATAPE: Genuinely tasteful expres- Magn ifi ce nt 5 -in., $6.00 each, or $4.50 to Livingston Tape Club members). siveness and verve, clothed in the purest of warmly colored sonorities, distinguish HIFITAPE: Stereo here contributes much the Roger Wagner Chorale's program of .terr Ograp%í to the out -of -doors feeling and a temper- world -wide folk songs, unobtrusively ar- ing of the noisy energy of Harry Zimmer - ranged and entirely unaccompanied (OT

man's Band with a Beat: an odd mis- 6003, 5 -in., $6.95) . I'm far less im- The world's finest cegenation of dance- orchestra and college - pressed by the sentimentalized, and not band styles in a monotonously muscular notably danceable, performances War- hq of ... f hi-fi tape recorder medley of popular tunes and marches ren Baker's Dozen in This is It!; but ( R 602, 7 -in., $12.95). Happily, thanks to beautifully transparent and J however, we are spared stereo's ability to open stereo recording, every tinkle and bring listeners into closer intimacy with whispering snare can be welcomed by one's performing artists in The Mitchell Boys ears ( ST 7010, 5 -in., $7.95). Choir Sings (R 301, 7 -in., $6.95) . As it JII'I is, these wretched children, precociously PHONOTAPES - SONORE : Orazio Frugoni's Spanish Piano Music recital (PM 120, lilt adept in the shoddiest of "vodvil" and To' Hollywood tremulous schmaltz, are so in- 7 -in., $8.95) , of familiar concert pieces llq a: tolerable even in single -channel record- by Albéniz, Granados, Turina, and Falla, ing that for once I refused to turn the is more notable for its fluent pianism than reel over and hear it all the way through. its insight into authentic Iberian idioms; yet, even without the aid of stereo, the JAZZTAPE: In the first two Club du disque taping here agreeably softens the often francais recordings to appear on American criticized hardness of Frugoni's piano tone tapes, the French engineers steal the show in the LP version (Vox PL 942o, Feb. from the visiting or expatriate artists. The 1956). Bernard Zacharias Orchestra's Gershwin Parade (JT 4014) gives them no great STEREOTAPE: Stepping Out with Herb opportunity, but while they can't disguise Jeffries shows the same technical excel- this group's lack of rhythmic (and Gersh- lence as earlier reviewed releases from winian) animation, they do make the the same company, but here the mannered most of its rich, well- varied sonic color- robustness of the popular singer and the ing. And they enjoy a field day with the Hollywood tonal effects of the co- starring Mary Lou Williams Combo's Rhythmes Richard Hazard Orchestra never succeed in noirs (JT 4013) - both with the relaxed making their superbly reproduced tones yet zestful piano playing (and occasional signify anything beyond sheer, however singing) of the star and with some mag- ingratiating, sound (ST 2, 7 -in. (half - oudiophìle net nificently rowdy, electrifying percussion reel). professional quality at nominal cost The Amazing New Feature - Packed The world -famous FERROGRAPH magnetic tape recorder, designed and developed primarily for professional use, has been TANDBERG re- styled for YOU - the discriminating audiophile, the progressive educator, the TAPE RECORDER and PLAYBACK efficient businessman, the music lover. Combines HiFi Quality With the Standard equipment with the British Broad- Long -Play Advantage of Slow Speeds casting Corporation, it is a byword with cultural, educational and scientific users MUSIC, EVEN AT 1 IN /SEC, WITH throughout Europe. The FERROGRAPH is RECORDS jg unconditionally guaranteed to meet the most NO AUDIBLE WOW OR FLUTTER critical performance requirements. We challenge any other recorder now on the Two models of this versatile dual-speed, market to outperform the precision -built dual track recorder are now available in LIMITED QUANTITIES, with tape speeds of TANDBERG 33" and 7112" or 71/2" and 15" per second. Both models feature the employment of a synchronous hysteresis capstan motor pro- TANDBERG HI -FI 3 -SPEED viding unparalleled long -term speed stability, thus avoiding pitch errors ón playback. TAPE RECORDER The Instrument for the Most Demanding Hi -Fi Enthusiast Here, in one machine, you get everything: High speed ALL FERROGRAPH RE- (7 1/2 in /sec) that gives brilliance and presence to music reproduc- CORDERS AND TAPE tion. Low speed (1 7/8 in /sec) for the long -play continuity you need for DECKS have three mo- monitoring, dictating, etc. Medium speed (3 3/4 in /sec) for combined tone quality tors. Custom installa- and long play. No audible wow or flutter at any speed. Mike and radio inputs that can be mixed. tion models with tape Outputs to built-in speaker, a separate speaker, and headphones. Frequency response of 30- 15,000 speeds of either, 71/2 cycles. The Tandberg Model 3 is ideal as the central sound source of a hi -fi system of any in 27 and 15 ips, or 33/4 and dimension. Weight, carrying case, lbs. 71/2 ips are available. Price (complete with case, mike, and 7" reel of tape) Model 3 5349.50 (Custom model 66/H illus. at left). TANDBERG 2 -SPEED TAPE RECORDER The Ideal Instrument for Education and Business

For dictation, monitoring, detective work, courtroom, conferences, school and classroom use . Write for performance for a combination of long playing and excellent sound reproduction . the TANDBERG Model 2 specifications and the name is unsurpassed. At its top speed of 3 3/4 in /sec. its response is 30 -8,500 cycles, no audible wow or flutter. The fidelity, clarity and brilliance of its performance prove that tape speed and frequency of the franchised dealer in your area. response are no longer valid criertia by which to judge reproduction quality. At its slow speed (1 7/8 in /sec) you get 8 1/4 hours of continuous recording. Available with footpedal control as ERCONA CORPORATION Tandberg Model 2F (Electronic Division) Price (complete with case, mike, cord and reel of tape) Model 2- 5249.50; Model 2F- 5279.50 6551 Fifth Ave., Dept. 15. New York, N. Y. TANDBERG 10 East 52nd Street New York 22, N. Y. Plana 9 -7190 Canada: Astral Electric Co., Ltd., 44 Danforth Rd., Toronto 13

140 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Equipment reports appearing in this section are prepared by members of HIGH FIDELITY'S staff, on the basis of actual use in conjunction with a home music system, and the resulting subjective evaluations of equipment are expressed as the opinions of the reviewer only. Reports are usually restricted to items of general interest, and no attempt is made to report on items that are obviously not designed primarily for high fidelity applications. Each report is sent to the manufacturer before publication; he is free to correct the specifications paragraph, to add a comment at the end of the report, or to request that it be deferred, ( pending changes in his product) or not be published. He may not, however, change the report. Failure of a new product to appear in TITH may mean either that it has not been submitted for review, or that it was submitted and was found to be unsatisfactory. These reports may not be quoted or reproduced, in part or in whole, for any purpose whatsoever, without written permission from the publisher.

Viking Full Fidelity Tape a balanced four -pole fan -cooled drive of misadjustment of the supply drag motor. brake. System The "basic" Viking tape deck comes Two amplifier units are available for with a single record /playback head in- use with the Viking tape deck. The model (furnished by manufacturer): SPECIFICATIONS stalled, so it may be used as a playback- PB -6o is a small MODEL 75 - two-speed mechanical tape drive preamplifier -equalizer for system with up to three heads installed as ordered. use only in playback, and this comes in a Speeds: 7.5 or 3.75 ips, selectable by moving drive belt. Frequency response: 40 to 14,000 cycles at tiny self -powered case equipped with a 7.5 ips; 40 to 7,000 cycles at 3.75 ips. Signal -to- volume control and a variable equalizer than 45 db. Flutter: 0.2% or noise ratio: better a less. Reel capacity: 7 in. Dimensions: 12 1/8 in. control. The equalizer provides wide long by 9 3/8 wide by 5 1/8 deep, over -all. range of control extending beyond the Prices: monaural playback unit $59.95; same with tape lifter $62.45; binaural playback $69.75; Ampex ( 3,000 cycle bass turnover) and binaural playback with tape lifter and head pres- Dubbings ( t,600 cycle) curves, so any sure pad $74.45; monaural record /playback unit tapes encountered in use may be $67.45; monaural record /playback with tape lifter quite and pressure pad $71.95. MODEL PB -60 - playback accurately equalized. Accuracy of equaliza- preamplier- equalizer. Signal -to -noise ratio: 50 to tion, though, depends upon the accuracy of 55 db, without selected tubes. Input: one, for high impedance tape playback head. Controls: volume your ear, because the equalizer is continu- and variable equalization. Output: low impedance ously variable and the "standard" curves from cathode follower. Equalization: from -5 to + 5 db of NARTB curve at 10,000 cycles. Output are not marked on the panel. With the voltage: 5 to 10 volts. Power requirement: 110 equalization properly set, the PB -6o play- volts AC. Dimensions: 7 1/4 in. deep by 3 wide by 2 high, over -all. Tubes: 6X4, 5879, 12AX7. back preamplifier gives full -range play- Price: $24.50. MODEL RP -61 - record and playback back of any 7.5 or 3.75 ips tapes, with amplifier. Frequency response: playback ± 2 db, The Viking basic tape recorder chassis. 40 to 14,000 cycles; recording ± 2 db, 40 to 12,000 slightly higher hum and distortion than is cycles. Harmonic distortion: less than 2 %, total of usual with top -quality tape equipment. record and playback. Inputs: three, from record/ playback head, high -impedance microphone, and only unit or can record previously -erased Since the Dynamu heads used in the radio tuner. Controls: AC on -off; record volume; tapes. Other head combinations available Viking are high -impedance, the leads be- equalization (- 5 to + 5 db of NARTB curve at 10,000 cycles); record /playback switch; playback include erase and record /playback; erase, volume. "Magic eye" record level indicator. Out- record, and playback (for monitoring from put: low- impedance cathode follower. Tubes: 12AX7, 6SN7, 6X4, 6E5. Dimensions: 8 1/2 in. the tape while recording); staggered stereo- deep by 12 1/8 wide by 2 3/8 high, over-all. phonic playback heads (one of which can Price: $74.50. MANUFACTURER: Viking of Minnea- ); stacked polis, 3520 East 43rd St., Minneapolis 6, Minn. be used for monaural playback stereophonic and half -track record /playback The Viking system consists of a set of heads (for recording or playing back unitized components that can be assembled stereo or monaural tapes) ; and half -track in different combinations to build up prac- erase and record heads with a stereophonic tically any kind of tape recorder or play- playback head. All monaural heads are back machine. Before we go any further; half- track, but aside from this restriction this is a fine idea all by itself. there are practically no combinations that The tape deck itself includes only the cannot be made up. The fact that the same transport mechanism and heads, and it is head may be used for either recording or a masterpiece of design simplification. It playback further increases the remarkable The PB -6o tape playback preamplifier. runs at 7.5 or 3.75 ips tape speed and flexibility of the Viking system. uses a single sliding knob to control tape The Viking tape deck is deceptively tween the tape deck and the preamp unit motion. The four operating modes are re- cheap in appearance, looking more like a must be kept fairly short. They should be a instrument. I'm glad to verse, neutral, forward, and fast forward. toy than quality less than 3 feet in length to prevent severe An ingenious latching system in the con- be able to say it doesn't perform like a high- frequency losses. trol mechanism prevents the tape from toy. Its tape handling ability is excellent One of the PB -6o preamplifiers can be being broken by too -rapid switching from . . . positive, precise, and easy on tape. used with the Viking mechanism to form fast forward to normal forward; the knob There is no tendency toward tape spillage a tape playback unit; two can be used for must be moved all the way back to neutral when changing operating modes, and the stereo playback; or one can be used for before it can be returned to the normal high -speed functions are smooth and quiet. monitoring from the tape while recording forward mode. A good idea. Its speed regulation is equally good, al- with the RP-6i amplifier. Other refinements in the Viking tape though on the unit I tested it seemed to The RP -6r is a complete self- powered deck include an automatic tape lifter (on deteriorate somewhat as the tape ap- record and playback amplifier chassis, special order, at $2.50 extra), easily ac- proached the inside layers of the supply cessible take -up tension adjustment, and reel. This may well have been the result Continued on next page

OCTOBER 1956 143

www.americanradiohistory.com TESTED IN THE HOME too much. A little extra expense could It has a standard- thread objective, so that purchase a Viking stereophonic recorder -as GSS wrote us - you can get a 4mm Continued from preceding page and playback unit, for those who want to corrected objective from Bausch & Lomb, keep ahead of the industry and make their Leitz, etc., for $42.00 more and get up own stereo tapes. J. G. H. to 43ox magnification. As supplied, the interconnecting - equipped with pre-wired GSS MS -1 costs S25.00, without a case. cables that plug directly into the tape It has a built -in electric light, correctly deck. The cables are color -coded for iden- MANUFACTURER'S COMMENT: The erase and record, playback leads have been limited to a length positioned for proper illumination of the tification, and are of the maximum length which it was felt would provide optimum perform- stylus tip. The microscope tube is at- that can safely be used with Dynamu's ance in the majority of installations. There is no noticeable deterioration in the performance of the tached to a special gear and pinion so it high -impedance heads. Unfortunately, this unit if the length of these leads is increased by as can be racked far enough away from cart- length turns out to be too short to reach much as 12 inches. Our final test procedure calls for the bias to .75 ma with ridges. am- adjustment of current the tape deck's input plugs unless the test fixture head, selected as typical. This bias The MS -2 is somewhat smaller than plifier is located directly above or beneath current is correct for use of Scotch No. 111 tape. experience indicates that the only deter- the MS -1, and has only one objective (non- deck. units can- Our own the tape Consequently, the rent to use of the deck in a vertical position is standard thread) , providing a magnification not be used placed next to each other. that we do not as yet offer a suitable reel retainer. We hope to remedy this; meanwhile ordinary t/a of about 75x. It costs only $12.50. is as Viking's carrying case recommended inch rubber grommets may be used as retainers. Both models are covered by the GSS the logical answer to this, if the user does We are at this time making slight changes in our service guarantee which provides that they a equalization characteristic (Modified NARTB) to not intend to mount the components in provide considerably better low-frequency re- may be returned to GSS at any time for cabi net. sponse. Present indications are that we could safely needed a charge of but specify response within 2 db down to 30 cycles. any repair for The controls on the RP -61 are conven- $1.00, which includes return postage and tional as far as tape recorders go, with the packing," to quote from their letter of exception of the continuously variable April 10, 1956, CO us. equalization control. It uses a "magic -eye' Both microscopes can, of course, be used recording level indicator, and a separate GSS Stylus Inspection for normal use, so to speak. The basic front -panel switch selects the record or difference is the built -in illumination and playback function. This switch is not inter- Microscopes the extra rack -out. Both are sturdy and locked with the tape deck in any way, so No matter what kind of a stylus you use, simple to operate. the user must remember to return it to Now, how do they work? The 75x lens the Playback position at the completion of it will wear out eventually. Then it becomes a lethal instrument, as far as records is good enough for examination of standard are concerned. Hence you must examine it 21/2 10 3 -mil styli, but the 125x will show from time to time, and a quick rule of up a flat much more alarmingly. With a r -mil microgroove stylus, the 125x mag- thumb is after 5 plays for metal, 5o for sapphire, 500 for diamond. (A diamond nification is enough - but barely so. You will of course last well beyond that 500 can see a small flat, but you must look figure, but it's better to be absolutely safe.) closely. We'd feel safer if we had 200X Many people can find a dealer some- magnification, for example, but then there where near them who has an adequate are all sorts of problems. As GSS pointed stylus inspection system available, and that out, to get an adequately color-corrected solves their problem. But there are many high -powered objective with sufficient over- The RP-6r record /playback amplifier. others who are not so fortunate. The usual all resultant definition to see anything at you must be willing to pay sub- solution for them is to (r ) send the stylus all clearly, stantially more money. Furthermore, a a recording, to prevent subsequent erasure (with or without cartridge, depending on higher -powered lens is much more diffi- of the tape. make) back to the manufacturer for ex- cult to focus and hold. GSS felt that their The RP -61 has the same equalization amination, or ( 2 ) buy a microscope. The 125x system, used with care, would be control on it as does the smaller preamp, latter method can become quite a project, but the sound from this unit is notably because there are more different kinds, E superior. Hum is negligible, and the dis- styles, sizes, shapes - and prices - for tortion is down to where it compares with microscopes than there are hi -fi units. high- priced recording equipment. Basically, for stylus examination you As a recorder, the RP -61 chassis does need a microscope on a stand. Hand -held admirably well. Distortion and noise are magnifying glasses or tubes or what have very low, and the frequency response can you are inadequate because you need more be equalized to where it is very nearly magnification than you can hold steady by flat. Bias current is not adjustable, but is hand. Then you need sufficient magnifica- set at a value which seems optimum for tion; you need enough quality in your average tape coatings. Some experimenta- lenses so that the image is sharp and tion will be necessary to find which tape relatively well color -corrected; and you brands best suit it. When used with a tape need enough "room to work." By the last that matches it, the Viking's frequency re- we mean: if you can remove the stylus sponse from input to tape playback can be from your cartridge, a standard microscope equalized to about ± 3 db from 5o to is satisfactory, but if you cannot, and must 13,000 cycles at the 7.5 ips speed, which therefore examine the stylus while it is is remarkable for a recorder of this price. in the cartridge, you must be able to rack When installing the Viking system, the the microscope tube up away from the base mechanical section can be mounted hori- or "table' far enough to get the cartridge zontally or standing up at an angle. Ver- under the microscope's objective or lower is not recom- lens. And there aren't many microscopes tical mounting, though, Standard lenses fit the MS -1 'scope. mended because of the type of bearings you can do this with. used in the drive system. Also, despite the General Science Service sent us one adequate and yet not so hard to use that heavy shielding that is used in the Dynamu of their regular, low -cost school micro- the average person couldn't achieve success. heads, the deck should be kept away from scopes, with 125x magnification, nearly a We agree with them. Several people tried alternating fields (as might emanate from year ago. It worked fine with removable the GSS MS -1; all were astonished at the power transformers and phono motors) , to styli, but we could not focus on a stylus in amount of dirt on and around their styli, keep hum at a minimum. its cartridge. So we wrote GSS a long and some spotted (correctly) tiny flats. The Viking system, then, seems to be letter, full of suggestions, and these micro- Hence we feel that the GSS MS -1, with one of the best answers to date for a low - scopes are the result. The MS -1 has two 125x magnification, used carefully and after cost high -quality tape system, and offers objectives, giving powers of 75x and 125x. a bit of practice, will permit accurate an ideal way of converting to stereophonic tape playback without straining the budget '3450 Yosemite Ave., Minneapolis 16, Minn. Continued on page 146

144 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com *I 111111111 I! au, 1111i 111111

Bogen owner visits famous lake

Despite appearances, this is a very setting. (Only $84.50, plus a well- Before you forget, send 250 for the new realistic photograph. Consider not spent $7 for the blonde-finished Third Edition of "Understanding High only how real the performance of metal enclosure.) Fidelity.' Write David Bogen Company. Swan Lake sounds Inc., Department WZ, P.O. Box # 5 00, through the The amplifier is the Bogen DB115, gentleman's Bogen Paramus, Neu' Jersey. equipment, but with more features than any other how realistic a he price paid for it. in its class. We won't belabor you The tuner is our R620 for AM and with specifications if you, in turn, FM-with Bogen's exclusive Auto- will take a moment to listen to a matic Frequency Control. You drift DB115 next time you're near one. serenely across Swan Lake with If you need a fine high fidelity am- never a fear that Swan Lake itself plifier, and your price is $75, this HIGH FIDELITY because it sounds better will ever drift away from your dial- is the instrument to ask for.

www.americanradiohistory.com TESTED IN THE HOME So, performance on both individual zo cycles, to prevent the sub -sonic bands is outstanding; let's look at the breathing that sometimes occurs when a Continued from page 144 stereophony provisions on the 33o. A marginally unstable preamp is connected number of FM stations which have AM to an amplifier having full -range low -fre- affiliations are currently broadcasting stereo quency response. This low -gain input re- evaluation of i -mil styli by the average programs, with the AM carrying one quires 2 volts of signal to drive the home user. channel and the FM the other. Since the amplifier to its full output. For control And we might point out that there are 33o contains two separate tuners, it can be units which normally put out a lower level about four million other things to look at used to receive both of these channels than this, two other input connections at a microscope as . . . but with such this simultaneously, and two stereo output jacks that's another story, and is a lot of fun are provided for this purpose. if you have never done it! - C. F. Another form of stereo broadcasting, called multiplexing, consists of superimposing the second channel on the first, Scott 330 Tuner and transmitting both via FM. Due to the current lack of commercially available de- SPECIFICATIONS (furnished by manufacturer): an modulators, most listeners to a multiplexed FM -AM tuner with independent output connections, permitting binaural reception. FM section - Sen- broadcast would simply hear the main FM sitivity: 3 uy for 20 db quieting. Tuning range: 88 channel as usual. But the addition of a to 108 mc. Bandwidth: 2 mc. Image rejection: 80 db. Automatic gain control. AM section - Sen- multiplex demodulator will enable any- sitivity: 1 uv. 10 kc whistle filter. High- frequency one to receive the second channel from a response: to 10,000 cycles. Tuning range: 550 to 1700 kc. Inputs: AM - external antenna or FM station that is transmitting a multiplexed lead -in; FM - single wire lead or 300-ohm dipole. stereophonic program. A separate output Controls: selector (FM, AM wide -range, AM normal, AM distant); FM coarse tuning; FM fine preceding the FM detector stage is required The Marantz, with its cover removed. tuning; AM coarse tuning; AM fine tuning; AC to feed the demodulator, and the 33o has (AM, FM); AM level set; power; meter selector this connection. No station that we know FM level set; 10 kc filter adjust; AM antenna high gain are provided, one with the low - five selector (FM dipole, AM antenna). Outputs: of is multiplexing stereo broadcasts as yet, frequency filter, the other without it. at low impedance; two to stereophonic system, when it arrives one to monaural system, one to multiplex de- but the Scott 33o will The metering facilities on the Marantz modulator, one to tape recorder. One switched handle it. power amplifier are for use when the unit AC outlet. Tubes: 6BQ7A, 6U8, 4 - 6AU6, 6AL5, Really a first class tuner in all respects, 6BA6, 6BE6, 2 - 12AU7, 6X5 -GT. Price: $199.95. is first installed and then at periodic in- MANUFACTURER: H. H. Scott, Inc., 385 Putnam and one that isn't likely to become obsolete tervals thereafter as a spot check for out- Ave., Cambridge, Mass. in a hurry. - J. G. H. put and rectifier tube condition. A selector The 33o handles beautifully and puts out switch on the chassis gives the desired some of the cleanest sound I've heard off meter reading, and screwdriver adjustments the air. The tuning meter is quite effective, ( which are normally covered by plastic although I found it difficult to know when Marantz Power Amplifier caps to ward off prying screwdrivers) al- I was tuned to the precise mid -station low each value to be set for its indicated stays fairly high SPECIFICATIONS (furnished by manufacturer): a point, because the meter basic self -powered single-chassis power amplifier. position on the meter face, to insure over a good deal of a station's tuning Power rating: 20 watts or 40 watts (triode or ultra - optimum adjustment of the output tube range. However, distortion certainly did linear operation selectable by switch). IM distor- operating tion (60 & 12,000 cycles, 4:1): below 0.5% at conditions. not to be affected by what looked 40 watts output; below 0.15% at 10 watts. Fre- seem ± Two sets of output terminals are lo- like significant off- center tuning. Instead, quency response: 1 db, 2 to 50,000 cycles at cated on a long strip at the edge of the 0.5 watts output. Power response: ± 1 db, 15 to stations tended to pop completely in ( with 45,000 cycles at 40 watts output. Sensitivity (for chassis. When the variable damping con- 40 watts output): C.7 volts into high -gain inputs; distortion) or to drop out al- is ( minimum 2.0 volts into low -gain input. Inputs: three; one trol not being used set in the Off together. As a result, it is almost a diffi- at low gain with 20 -cycle cutoff, one at high gain position ) , speaker connections are made task to tune the 33o improperly to a with 20 -cycle cutoff, one at high gain with 2 -cycle as cult cutoff. Controls: meter selector switch; screwdriver usual between Ground and the desired station. adjustments for bias voltage, DC balance, and AC output tap. If the variable -damping con- Tuning on the AM band is equally balance; variable damping (off, 5 to 1/2 damping trol is being used, the ground connection factor). Outputs: to 4, 8, or 16 -ohm speaker, definite, and FM limiting is quite good. with or without variable damping. Damping factor is lifted off and transferred to the variable - Sensitivity on both AM and FM is high; (with damping control Off): 20. Hum: more than damping- return terminal which corre- 90 db below 40 watts output. Built -in illuminated certainly more than adequate for all but meter tests bras voltage, DC balance, or AC sponds to the output impedance being used. the most difficult or distant receiving loca- balance. Tubes: 12AX7 /ECC -83, 6CG7, 2 - 6CA7/ This might seem like a lot of complica- EL34, 2 - 6AU4GTA. Dimensions: 15 in. long by tions. 91/2 wide by 61/2 high. Weight (packed): 46 lb. tion just to install a power amplifier, but The sound from this tuner, though, is Price: $198.00. MANUFACTURER: The Marantz the sound of the Marantz suggests that it Company, 44 -15 Vernon Blvd., Long Island City, one of its most outstanding attributes. N. Y. is not wasted effort. It produces beauti- With its selector switch set for wide- range, fully clean, transparent sound with an ef- the AM sound is remarkably comparable Anyone who wonders just how far the fortless ease that I've rarely heard in range and cleanliness to that from many high fidelity business has come since all equalled. The high end is amazingly FM tuners I've heard! hi -fi amplifiers were homemade in cellar smooth, without the lack of definition one FM sound from the 33o is correspond- workshops should take a good, long look would expect from such a velvety top, and ingly excellent; very clean, smooth and at this beautiful product by Marantz. The its ability to separate the details in a com- transparent, with a comfortable "ease" weight and appearance of this massive plex orchestral passage is truly remark- power amplifier are enough to inspire deep able. Bass is full, very well defined, and respect in even the most technically has a solidity that enables you to identify uninitiated; it has the unmistakable ap- easily the various bass instruments in an pearance of a product of the very highest orchestra. quality. The variable damping control is smooth With its perforated cover in place it and does not add roughness to high fre- is impressive only by virtue of its size and quencies. Its range of control is not as weight, but with the cover removed the great as that of some other similar con- illuminated meter and imposing array of trols, but seems to be more than adequate connectors and adjusting screws are ex- to match any speaker system worthy of The 330 receives AM, FM, or stereo. posed to view. Its businesslike appearance use with an amplifier of this caliber. does not by any means belie its perfor- A revelation was in store for me when about it that indicates extremely low dis- mance, either, but first let's take a look I tried flipping from the Triode to the tortion. at the mechanics (or electrics) of it. Ultra- Linear tube connections. I had al- Additional features include a signal - Three input connections are provided. ways been under the impression that a strength tuning meter and the coarse -fine One is to take the output from a high - triode amplifier output stage had a "sweet- concentric tuning knobs which are now output control unit, and this connection standard on all of H. H. Scott's tuners. has a built -in low- frequency rolloff below Continued on page 148

146 HIGH FIDELITY MAGAZINE

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625 NEW YORK AVENUE, N.W., WASHINGTON 1, D. C. NA. 8 -322 www.americanradiohistory.com TESTED IN THE HOME Dictograph player doesn't do too much in plug attached to a shaped metal strip which the way of glamorizing sound and giving serves both as an anchor for the cable Continued from page 146 it body and perspective, but it does offer an and as a handle to facilitate the plug's excellent flat reproduction of recorded mu- removal from a phono socket. Protruding sic. Perhaps this is just another way of from the rear of the plug there is a short, er" sound than a tetrode or pentode one, saying that the bass lacks the fine meaty needle- shaped copper wire connected to the but I frankly could tell absolutely no dif- resonance one hears in the concert hall or plug's inner conductor. This is what makes ference between the two modes of opera- with larger, more elaborate equipment. the contact with the inner conductor of the tion of the Marantz, except at high vol- But nobody expects the ultimate in cable, while the tab at the side of the ume levels. The purpose of this switch, sound reproduction for less than $200, "handle" folds over to grip the cable and by the way, is to allow for restricting the and the Dictograph system does a really to make contact with the shield (or a low- power output when using capacity remarkable short -of- ultimate job. I have grounded side) of the cable. loudspeaker, to minimize the danger of listened to all kinds of recordings on it - Here is how the solderless plug is in- damaging the cone through overloads. stalled (and compare this with the usual The Marantz is, on all counts, one of procedure). First, make sure the cable's the most beautifully put together and end is cut squarely, and then if the cable sumptuous -sounding amplifiers I've lis- has outer insulation on it, strip this off tened to. - J.G.H. for a length of about Oh in. Trim the end of the cable shield off to about 1/2 inch short of the inner conductor, and slide the inner conductor over the end of Dictograph Home Music the plug's projecting pin. This will drive System the pin inside the cable itself, jamming it against the thin wires in the cable and SPECIFICATIONS (furnished by manufacturer): a providing a forced, low- resistance electrical complete record player, amplifier, and speaker system pre -assembled in two cabinets. Record contact with them. Then, holding the cable player: Collaro model RC -54 (three- speed, inter- tight over the pin, lay the shield beside mix) changer, with GE magnetic cartridge and diamond stylus. Speaker system: one 8 -in. and the clamping tab, and fold this firmly over one 3 -in. speaker, installed in their own cabinet. the cable, using a pair of pliers or diagonal Amplifier - Inputs: three, for magnetic phono, auxiliary, and AM -FM tuner. Controls: combined cutters to squeeze the tab tightly over the AC on -off and volume; treble; bass; combined cable. selector and equalizer switch (LP, RIAA, AES, FOReign, RADIO, AUX). Outputs: to single - That's all there is to it. The bent tab, speaker or two speaker systems. Power output: The zoo -A, finished in tan fabricoid. besides grounding the shield, also prevents 10 watts at below 1% distortion; 15 watts peak. the cable from twisting or pulling away Tubes: 2 - 12AX7, 12AU7, 2 - 6V6GT, 6C4, 5Y3GT. new and old, soft and loud and have Price: $179.50, in fabricoid cases; $199.50, in wood - from the center pin, and the handle at finish and with pilot light. MANUFACTURER: Dic- never felt in the least bit deprived of the end of the plug assembly eliminates tograph Products, Inc., Jamaica 35, N. Y. musical satisfaction. Correct placement of the necessity for pulling the plug out by the speaker cabinet is important for get- The Dictograph people claim that "if you means of its cable. ting optimum results; fortunately, Dicto- 'did it yourself,' all these high quality It's an excellent idea, and the only pos- graph provides a long (25 -ft.) connecting components would cost you $300 or sible shortcoming it might have would be more." I haven't totted up the figures to wire between the speaker and amplifier, so verify this assertion, but it's obvious that it's easy to experiment. the Dictograph equipment gives exceeding- Although I have been using the basic ly good value. The amplifier (described as $579.50 model (too -A), I'm inclined to Williamson -type) is a honey - clean, re- think that Model tot -B is worth the extra sponsive to the controls, relatively hum - $20. The tan fabricoid of the cheaper free. The Collaro record changer is well model is serviceable but not handsome, known and requires no comment here. and the lack of a pilot light incurs a very The separate speaker system, given the real risk of inadvertently leaving the limitations of an eight -inch "woofer," per- amplifier on. The Workman solderless phono plug. forms remarkably well. As a whole, the This equipment is light and small enough to qualify as portable, but it would system produces good, clean sound, within the durability the be far easier to carry were handles attached of connections. When out noticeable distortion or imbalance. If is new the to the cabinets; they could be affixed at the plug and the cable clean, I may be allowed subjective terminology connections are positive and have low (the only way this nontechnical listener the rear and out of sight. Second, it is important (at least in grime -ridden Man- enough resistance so that they will not can describe equipment), I'd say that the cause or noises. But if any hattan) to keep the turntable covered hum crackling of the contact surfaces have oxidation films when not in use; a piece of vinyl plastic on them, the connections might not be so cut to proper size wards off dust beauti- satisfactory. fully and might well be supplied by the manufacturer. R.G. I've been using these plugs for several - weeks now, and have had no trouble at MANUFACTURER'S COMMENT: We also supply a all in this respect, but I wonder what matching cover for both the 100 -A and 101 -B model players, at a cost of $12.00 and $15.00 respectively. might develop after several years. Fortu- nately, it would be a simple enough matter to twist the cable and tighten its connections, or even to reinstall the plugs if Workman No- Solder any noise develops, and the ease of installing and using these plugs makes them Phono Plugs more than worthwhile, regardless of any DESCRIPTION: solderless RETMA phono cable con- uncertainties about the future. nectors. Price: $0.39. MANUFACTURER: Workman As a suggestion, though, it might just Anne Rd., Teaneck, N. J. TV, Inc., 309 Queen be an idea to put a drop of solder between Users of the standard RETMA phono plugs the shield and its anchor tab, to ensure a have been objecting so long to the diffi- positive and permanent contact at the most culty of attaching them to shielded cables critical spot. - J.G.H. that I can only be surprised no one has MANUFACTURER'S COMMENT: The factor of pos- come up with these cute little gadgets a sible corrosion over a long period of time is one that we feel can be wholly discounted. The long time ago. danger of this is no greater than it is with present In construction, the Workman solderless connectors now in use both in civilian and military applications. Dictograph's furniture model roz -B. phono plug consists of a standard phono

148 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com << "Gas silent as the stars"

>1( STARLIGHT ARM COMPLETE STARLIGHT UNIT MODEL 671 MODEL 07

Exclusive double wrist action... counter- balanced head for minimum mass assures The mx ;zINEI perfect tracking and reduced record wear ... instantaneous counter- weight adjustment from 4 to 14 grams ... lifts to vertical position for easy cartridge replacement on precision -machined pivot ... ball bearing swivel and single hole mounting . total arm resonance well outside the audible range ... beautifully finished in black and satin chrome . 12 inches long overall, plays all records up to 16 ". HIGH FIDELITY TURNTABLE

with Continuously Variable SPEED CONTROL and BUILT -IN STROBOSCOPE permitting exact settings for 16, 33, 45 or 78 RPM. Look at the outstanding features of the Metzner Starlight * Fully shielded, 4-pole motor ... laminations cast Turntable and Transcription Arm and you will hardly in lead. believe that so much precision is possible at such modest * Entire unit supported on "Lord" anti -vibration prices. But when you check these claims at your Starlight mounts. dealer ... check them against even the highest priced * Attractive satin -finished aluminum mounting plate. models. You will agree there is nothing finer in its field at any price. Why not check Starlight quality right now!? No matter how fine - or expensive - the * Direct center -drive, no belts - no pulleys - no cones. electronic components of your music system * Massive, precision- machined aluminum turntable - are, PERFECTION REALLY STARTS AT non-slip cork pad. THE TURNTABLE. SO ... DON'T AC- * Micrometric speed adjustment from 16 to 83 rpm. * Wow and flutter is less than 0.2% RAIS. CEPT LESS THAN A STARLIGHT . . . Noise and rumble better than 40db * below average See your dealer recording level. today.

E N G I N E E R I N G C O R P O R A T I O N HOLLOYWOOD 38, CALIFORNIA

OCTOBER 1956 149

www.americanradiohistory.com HIGH FIDELITY LEXICONFUSION A Snide Guide to the Vernacular of Fi

by DONALD SHIRER and J. GORDON HOLT

ARM . . . An elongated hinge for a value. Essential for ultimate fi. NEEDLE ... A low -fi stylus. pickup cartridge. ENCLOSURE . . . The box around a OSCILLOSCOPE ... A music- apprecia- ATTENUATOR ... One Hi -Fi cannibal speaker. Must have a round hole in at tion medium for deaf persons. to another! "I'll wager you don't least one side, unless speaker is square. PICKUP ... A device used for picking know how I solved my Mother -in -law ENGINEER . . . What you must pre- up surface noise, lint, dust, grit, and problem." Second cannibal: "I'll bet tend to be if you don't know music. the sound from a record. attenuator!" FLAT ... Flat Stylus: A precision cut- PORTABILITY ... That characteristic AUDIOPHILE ... Anyone knowing the ting instrument. Flat response curve: of a component which weighs less correct pronunciation of "audio - nirvana. than 320 lbs. and is equipped with a philiac," but not necessarily the date FLETCHER -MUNSON CURVE ... A handle. of Mozart's birth. tribute to the futility of the flat re- PRE -AMP ... A device which adds hum

BALANCE . . . A state of relative sponse. and hiss to the weak signal from a volume between a tweeter and a FLUTTER . . . A high -speed variation pickup. woofer which appeals to neither the in fidelity. ( See Wow) PRESENCE ... Bringing the performer

bass -conscious nor treble- oriented lis- HIGH FIDELITY . . . You think I'd into the living room without having tener. be crazy enough to try and define to serve tea. Not related to a woofer. BANDWIDTH ... The size of an or- this? PRESSING ... The degree of need for chestra, without strings. HISS ... Sound made by an audiophile a better speaker system. BASS ... The low, or expensive tones. in referring to another's equipment. RESONANCE ... What you don't want in a loudspeaker that is reproducing BASS REFLEX . . . An uncontrollable HORN ... A device used to warn un- muscular reaction to reproduced for- suspecting guests of an approaching a cello which sounded gorgeous be- tissimo percussion passages. hi -fi demonstration. cause of. BINAURAL . . . Having two, rather HYSTERESIS -SYNCHRONISM . .. An RIAA ... See: NARTB. than three, ears. emotional state brought on by ac- 78 ... A kind of record you own 279

CARDIOID . . . A condition brought cidently dropping an expensive pick- of and can't play on your single LP on by listening to too many demon- up onto a rare recording, simultane- stylus. stration records. ously rupturing the cone of the speaker. SQUAWKER ... A medium -sized coni- CARTRIDGE ... A device which ac- INFINITE BAFFLE . . . The state of cal plug used to fill the space between curately converts disk groove undula- mind of a layman listening to two a woofer and tweeter. See also: mid- tions and surface blemishes into wide - audiophiles discussing merits of con- range. range electrical impulses. trolled positive feedback. STEREOPHONIC ... A term used to CHANGER ... One who prefers quar- KIT . . . A collection of components, explain why a system cost twice as ters to dollar bills. Also, a mechan- with assembly instructions, which are much as it should have. ism which allows one to relax while purchased in order to pay less money STYLUS ... A device used for abrad- listening to 9 incorrectly equalized and spend more time to acquire a ing record grooves. disks out of a stack of 12. component. SUPER -TWEETER ... A speaker used CLEAN SOUND ... Rinso -white noise. LABORATORY MEASUREMENTS ... to add crispness to the sound of record Var., pristine fidelity. The reason your system should sound blemishes.

. . . well, at . COMPENSATION "Oh, better than it does. 331/4 . (1) Prima facie speed limit least it keeps him home nights." LEVEL ... (1) Something which turn- for long -playing records. (2 ) See COMPLIANCE ... Freedom of move- tables and arms should be. (2 ) The also: microgroove. ment, i.e., having handles. See: port - volume of sound produced by a THIS ... See: high fidelity. ability. speaker. Low -level: loud. High- level: TIMBRE ... A warning to other wood- COMPONENT ... A minor part corn- threshold of pain. cutters. prising the major whole, or com- LISTENER . . . Last and most fallible TURNOVER . . . (1) A two -way ponent. chain in Hi -Fi system. In many phonograph cartridge which facili- COMPONENT ... A major whole corn- cases, it approaches human character- tates playing disks with the wrong prised of many minor components. istics ( See Critical Listener) but for stylus. (2 ) Undefined manipulation CONCERT -HALL REALISM ... How true fidelity it is replaced by a dummy of the bass range on a disk. a real concert hall sounds. load (sometimes also a listener) and TWEETER ... A speaker whose manu- CRITICAL LISTENER . . . A listener an oscilloscope. facturer admits is a poor bass repro- whose hi -fi system is better than yours. LIVE CONCERT ... Hi -fi fer city folk. ducer. CURVE . . . The measured frequency LOUDNESS CONTROL ... A control VALVES . . . Electron tubes imported response of a component which is sup- used to compensate for deficiencies in from Great Britain. posed to be flat. medium -fi ears. VOLUME EXPANSION ... The tech- DECIBEL ... 1/10 of a young woman. MICROGROOVE ... A device used for nique of spreading dynamic range Also, the measure of how much a abrading .001 -in. styli. from inaudibility to overload. Vol- flat component is actually curved. MICROPHONE ... The site of original ume Compression: the same thing, DIFFUSER . . . A device designed to sin. only in reverse.

change a jet of high frequencies into MID -RANGE . . . Part of the audio WATTS . . . What a power amplifier a needle spray. spectrum that all people can hear but produces by consuming more of. DISTORTION ... Even your best friend few listen for. WOOFER . . . A speaker which emits won't tell you. .. . MUDDY SOUND ... How a recording low notes only. Named after the out- EAR . . . A sound receptor having re- of a mud pit should sound on true put signal from large dogs. (For stricted frequency range, high distor- hi -fi. small dogs, see presence.) tion, peaky response, and no trade -in NARTB ... See RIAA WOW ... Musical mal de mer.

150 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com There's nothing between you and the music ... not even price!

r This new Sonotone Linear Standard Speaker System times its size. Note how true acoustical damping and gives you more than just "presence" -the feeling that a high flux -density design give amazingly true tran- the music is being created right in the room. It gives sients, put a new crispness into rapid passages. Note you "absence," too. Gone is all awareness of "loud- the rich basses, totally free of coloration. You hear each speaker sound "... there is nothing between you and instrument as purely as in the concert hall. And you the music. look at a meticulously detailed and finished cabinet of Not even price! Compare this system with those cost- classic modern design. Isn't this the speaker system ing several times as much, including systems many you want? $199 NET. Price slightly higher in the West.

SONOTONE CA -15 COAXIAL SPEAKER has a huge 5 -1b. Alnico V magnet, with 15,000 gauss flux density. Available separately at $96 NET. Unusual velour suspension of the rigid, curvilinear cone UNIQUE, drops resonance to 30 cycles, keeps ex- ELLIPTICAL CONE EXTREMELY HEA' /Y treme "lows" full, rich and natural. The TWEETER MAGNET ASSEMELY six -inch non -metallic cone tweeter is elliptical, providing wide lateral dispersion of "highs" without tinniness or piercing effect. 25 watt output, 40 watt peak. Both the W -15 woofer and the LINEAR OUTPUT, T -64 tweeter are available individually 20 TO 17,000 CYCLES at $78 NET and $7.50 NET respectively.

Electronic Applications Division MAHG.

ONOTONE CORPORATION Z èÁ s C. ELMSFORD, N. Y. Write for free descriptive brochure

OCTOBER 1956 155

www.americanradiohistory.com 1 COLOGNE Continued from preceding page Reports from all GARRARD matter. It will certainly be many years Record Changer s before serious electronic music gains of our branches indicate that But continue to be the back- acceptance or is even widely heard. Garrard Record Changers meet bone of our high fidelity then this has been the situation for for a sales. Whether the years now even with "conventional" all of the qualifications customer insists upon the contemporary music. For example, fine high fidelity record changer quality of a professional first -rate compositions such as Web- ... regardless of budget. Be- turntable, or prefers the em's Six Bagatelles, for String Quartet, cause of recognizable quality, convenience of a changer, Op. 9 (composed in 1913 ) , still shock we know that we can the average listener. unsurpassed craftsmanship, satisfy all his requirements It is my own opinion that electronic and adherence to rigid engi- the ... properly used, can open the with GARRARD media, neering standards...the chang- "World's Finest Record way to the further development of ". music as an art of a high order. er that impresses every type Changer media A "best buy" Twenty years hence, electronic of customer is the GARRARD at as the salvation of may well be seen "World's Finest Record a music almost moribund under the weight of traditionalism. In any case, Changer ". As low as $42.50 at electronic music, viewed historically, seems a possible meeting point for some of this half -century's divergent 5000 sq. ft. of Hi -Fi musical trends. Perhaps the most sig- demonstration rooms. nificant of these trends was that to- HIGH FIDELITY & COMMERCIAL 223 W. Madison Street, ward greater complexity, a trend SOUND STUDIO Chicago, Ill. State 2 -2950 which led music to the extreme limits 701 Arch Street, Philadelphia, Pa. California branch at of playability by human performers. 4736 W. Century Blvd., These limits were reached about Branches in Allentown and Easton. I nglewood, Calif 1042 Hamilton Street, Allentown, Pa twenty -five years ago at the apex of 916 Northampton, Easton, Pa. the prewar European avant-garde movement, notably in the works of Schoenberg and Webern. The war Our customers spend a delayed the advent of electronic music, lot of money on which otherwise might have been records. They want to We sell every record seized upon earlier. enjoy them properly, changer, but have found In the near future there is bound and protect them at a certain amount of confusion the GARRARD to be to be the same time. They regarding the role of instruments in a consistently excellent tell us that because customers creating electronic music, and we will performer. Our hear the question: which will domi- of pusher platform, say it plays all records nate, the new electronic tools, or the one piece removable without damage, rumble, people who use them? A hint at the center spindle, and or wow. Since this is the answer is provided by the camera, correct tracking and main function of a fine which threatened to supersede the tangency, the one record changer, we always artist and make visual representation changer that gives recommend it. available to anyone who could push them what they need at the time. But the right button right is the GARRARD RC88 The GARRARD the fact remains that the professional "World's Finest Record photographer today, with all of his "World's Finest Record ". Our salesmen equipment, requires basic talents of Changer Changer ". Ask for a dem- will gladly onstration at perception very similar to those of the artist who wields brush or pen. demonstrate it at And just as camera designers or -6 do not themselves 4ce,:w aualy Scgee 1944 ESTCBIISN[D IV]7 manufacturers E necessarily turn out anything more II A R V Y ELECTRONICS RADIO COMPANY, INC. than snapshots for the family album, I I I HOLLYWOOD DISTRIBUTORS Of HI-11 COMPONENTS so musical instrument manufacturers "Our Auditorium is the and designers may have only vague mecca for music lovers and ideas concerning good music. But this audiophile from all parts Hi -Fi Components Exclusively E' is probably as it should be, for as in since 1944 of the world." - the music of the past the problems 103 West 43rd Street, - 7460 Melrose Avenue, New York City. of electronic music do not reside in Los Angeles, Calif. LU 2 -1500. the instruments but rather in the WEbster 3 -8208

158 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com people who create music and in the There are many good rea- people who listen to it. And, as al- sons why our customers ways, the main burden falls upon the prefer the GARRARD composer, whose efforts are essential to the furtherance of music as a living Record Changers. art. Convenience seems of par- This does not mean that we have amount importance ... 'all to accept all electronic music, nor does the from installa- it mean that everyone has to like it way easy or else be condemned as a dull -witted tion with exclusive snap -in reactionary. Nevertheless, I want to spring mountings, which register a plea for open- mindedness can be levelled from the top with regard to the new developments. ...through quick wiring The new need not threaten the old; with the cable and UL ap- the process is addition not replace- proved cord attached, they ment. In my own case I see no con- appreciate the refinements flict between my fondness for Scarlatti they get in the GARRARD and my predilection for Brahms. And, some two weeks after my visit to the "World's Finest Record electronic music studio at Cologne, it Changer ". See them at your HIGH FIDELITY.... gave me great pleasure to buy a de- earliest convenience, at ... at budget prices! lightful little harpsichord in Passau. Being by nature a purist, I play noth- This new 12" tri -axial model incorporates the following exclusive characteristics which are an ing on it but authentic harpsichord integral part of every Racon high fidelity music. loudspeaker. FOAM SUSPENSION Detroit's High Fidelity Unique "Hi -C" (high compliance) plastic foam ART OF BAFFLING cone suspension provides inherent pneumatic Headquarters, damping with no "hangover" or boomy effects. Continued from page 72 7422 Woodward Avenue, Large diaphragm excursion for clean low fre- guency response. Trinity 4 -1100 adjusting the enclosure to a particular CONE RE- INFORCEMENT type of speaker. Much of this can be Six low mass stiffening struts of cellular plastic are cemented to rear surface of cone to provide done in the original planning and rigidity and prevent "breakup" at high levels. computation, but much of it must be arrived at through empirical testing Our reputation depends on MID -RANGE and analytical listening. reliability. Prompt service A separate cone propagator set into a circum- and spare parts must always ferential slot near the large cone apex aug- As an aid in this listening, the author ments mid -range response. This still permits often takes a speaker enclosure out- be available. That's why at low frequen- piston action of the main cone free -field we generally install cies. Mechanical crossover at 2000 cycles. doors, under substantially conditions, and alternately listens to t he GARRARD Record TWEETER it and to a good pair of earphones. Changer. In fifteen years of A combined compression and direct radiator Under this treatment, many an enclo- dealing with this manufac- tweeter is installed coaxially. Response in the upper range (5,000- 18,000 cycles is smooth sure has shown off its shortcomings, turer, we have always and natural, without a trace of harshness. Built and a few have demonstrated "tone found them willing and able in electrical crossover at 5,000 cycles. quality" that positively enhanced the to stand behind their prod- SPECIFICATIONS MODEL 12-HTX musical quality of the program. uct. Therefore, we endorse RESPONSE: 35- 18,000 cps. Far too much emphasis has been the GARRARD POWER: 20 watts placed upon quantitative values in re- "World's Finest Record IMPEDANCE: 8 ohms RESONANT FREQUENCY: 40 cps. producer performance and not enough Changer ". It's always in FLUX: 1,500 gauss upon the qualitative aspects. We stock at HI FREQ. DISPERSION: 100° measure the range of the response DIMENSIONS: 12 1/2" dia. x 7" deep WEIGHT: 9.5 lbs. curve, its degree of deviation from a ARROW PRICE: $43.50 audiophile net. norm at several frequencies, its polar Write for free literature covering the complete pattern. We measure efficiency. In ELECTRONICS high fidelity line by the oldest manufacturer in short, we seem to be interested prin- the field of loudspeakers. cipally in how much sound we are get- HIGH FIDELITY LOUDSPEAKERS ting instead of what kind of sound RACON - again on the pseudological premise that the "degree" should determine the "Always an Audio Fair" ELECTRIC "kind," since the "kind" already has COMPANY, INC. 65 Cortlandt Street, 1261 Broadway, New York 1, N. Y. been established by the original program. But although such studies are New York City fundamental to good design, they are 525 Jericho Turnpike Export: JOSEPH PLASENCIA, INC. Mineola, N. Y. 401 Broadway, New York, N. Y. Continued on next page

OCTOBER 1:956 159

www.americanradiohistory.com ART OF BAFFLING Continued from preceding page The only fundamental. The hidden danger ILLUSION is that our conclusions may be based upon studies so fundamental that they of MANY SURPRISES do not describe what we are seeking BIG SOUND, at all. For example, the sine wave has HIGHEST FI reproduced by a relatively long been, and still is, the acousticians' small speaker enclosure, is favorite probe for exciting a loud- LOWEST PRICES UNCOMMON, speaker enclosure to measure its re- wave, of because it can be sponse. The use of the sine course, is predicated on the knowledge achieved only through that the complex music wave is corn- WIDE RANGE, posed largely of sine waves - and so HIGH DEFINITION, it is in fact. and The sine wave curve can be ex- INTRINSIC TONE QUALITY. pected to show the sine wave response New trade names for of an enclosure. But what about the old acoustical "tricks" "complex response" of that same en- are no substitute for closure? Some who know will cer- tify that the complex response of an MUSICAL ENGINEERING. enclosure is quite unlike its sine re- BEAUTIFUL SOUND, AA sponse. One can go even further, to say created by musical instruments, Selected by all Hi -Fi authorities as that the response will vary as the kind the most perfect intermix record can not be recreated by changer ever built. Americanized and degree of "complexity." version of world- famous Rex A anything other than a changer. Patented intermix -plays Radiation pressure test results ob- 10 in any size between 6" and 12" MUSICAL INSTRUMENT. tained with various "kinds" of excita- without pre- setting. RUMBLE WOW and FLUTTER are practically non - -Plane tion wave forms sine waves, square existant. Short spindle supplied for The Pro - use as Hi -Fi record player. Plug -in and rectangular waves, saw -tooth and shells for all make cartridges. PRISMATIC II Truly triangular waves, warble frequencies, the greatest Hi -FI value ever! reproduces Audiophile Net $59.50 white- and gray -noise patterns, and (45 rpm spindle Net $3.50 addl.) BIG SOUND - - sweeps - show significant differences MUSICALLY; in speaker enclosure output response without coarse, selective even when the unit of measurement y.e- r,.:'-r,4ba emphasis in any register. is a common denominator. This means HEAR IT that the enclosure and its driver react and differently to different stimuli. A likely explanation of this phenomenon HTI COMPARE IT. is the variable excitation of a cluster - ST.TIC of overtones, or partials, called "for - mants." The formant series of overtones is known to be a determinant have brought you new magic factor in the tone quality of virtually RSscientists - the B &O A+ professional anti -static all musical instruments; its exact posi- cartridges for ABSOLUTE FIDELITY. tion in the spectrum of the instru- (Pat. Pending). Now you can enjoy static -free, dust - ment is a criterion of the instrument's free, noise -free reproduction, longer so- called carrying quality as well. lasting records and prolonged stylus Actually, the development of the life with a brilliance never before dreamed of! science and art of sound reproduction Audiophile Net: Dual Sapphire $ 9.78 has progressed so far toward perfec- Single Sapphire S 9.30 Single Diamond $21.30 tion, and at such a furious pace of Micro Diamond St. Sapphire $21.78 DEALERS: - late, that our evaluations of what is Your customers deserve the desirable or undesirable can be ex- .,, .; FREE! 1956 eirtone Cafa- :4 7 log. The above are only samples of opportunity of free choice. pressed only in necessarily controver- the many terrific values in the new Z. 1956 Fen -Tone Hi -Fi catalog includ- Pro -Plane will back your sial, subjective terms. There is no ing mikes, tape decks, cartridges, doubt that the future holds conclusions record changers, silent listening guarantee of superiority. devices, etc. LITERATURE from the many laborious psycho - acoustic studies now and being carried on FENTON COMPANY which will "explain" our reactions to 15 Moore Street, New York 4, N.Y. ARCHITECTS' SPECIFICATIONS tone quality and even. perhaps, the ON REQUEST. musical art itself. Sold through better PRO -PLANE SOUND SYSTEMS, INC., Audio Distributors. See yours today! AVRR, 51st Street & West of Rockies, Pittsburgh 1, Pennsylvania ****4{<******** prices slightly higher. MUseum 1 -2905

]6o HIGH FIDELITY MAGAZINE

www.americanradiohistory.com BROCINER Pioneer in High Fidelity*

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We sincerely believe that in the history of High Fidelity there has been no precedent for the unique demand indicated by the consumer for Brociner High Fidelity components, throughout the country (not to mention South Africa). Distributors have been harassed by the public which will not be turned away to competitive equipment. Indeed, the consumer has been our best salesman. For example, the entire initial production run was sold out before the Mark 20 had left the drawing board. Without fanfare, over a period of almost twenty years, a foundation of quality has been built which makes the name Brociner a byword in the industry. Audio engineers, professional broad- casters and celebrated musicians choose Brociner equipment for their personal home music systems. Truly, BROCINER HIGH FIDELITY COMPONENTS are the experts' choice. When the experts' approval co- incides with the public's, quality is established; and in AMPLIFIERS High Fidelity, Brociner is quality! You are cordially invited to write THE MARK 10 - 10 Watt Integrated Audio for literature Amplifier and specifications on the Mark 20 as well as the name of your nearest Brociner Distributor THE MARK 30C- Audio Control Center who will be pleased to have you listen to And Its Companion Unit our entire line of High Fidelity equipment. THE MARK 30A- 30 Watt Basic Amplifier *Since 1937 Prices slightly higher west of Rockies. MEMBER IM{tltYtl 01 MAN BROCINER ELECTRONICS CORP. -1 344 EAST 32ND STREET NEW YORK 16, N. Y. Export Representative: Dage Corp., 219 E. 44th St., N.Y.C. /NC

OCTOBER i956 i6i

www.americanradiohistory.com ORFF HYPOTHESIS Now ... "Ao Continued from page 69 DYNAKIT EXTENSION 1951. Orff is most curious as to what MARK II they did with it, but there were ap- 50 WATT POWER SPEAKER parently no tape recordings. He has been unable, in any case, to get one. ) AMPLIFIER KIT Not surprisingly, Orff is most drawn to the jazz singer. Here, he says, is a singer working in his own language and his own style, singing as it comes naturally to him to sing, and using materials which are of his own music and his own time. He contrasts the jazz singer with the classical singer doing Salome one night and the Mass in B minor the next. The gap in time, he says, is too great for the latter's artistic success. One cannot jump back and forth stylistically from one century to another and do justice to both - or to one's self. A premium kit for the audio perfectionist, the Dynakit sounds better because it is designed For Orff himself, jumping back and tor outstanding transient response and stability, for high power at low distortion. and for com- forth, not from one century to another, plete and accurate reproducibility. The improve- from one place to another, is be- ment ever conventional circuits Is immediately but apparent to the discriminating listener. coming a similar problem. Inter- The Dynakit combines unequalled quality with economy and simplicity. It features the finest of national fame is rendering impossible parts, like the superb Dynaco A-430 output would liked transformer. At the same time construction Is the retired life he have greatly simplified by the Dynaco pre -assembled to lead. The new house where he had printed circuit unit which includee the major portion of the wiring. hoped to live quietly and productively in his beloved Bavarian countryside NEW SLANTING CORNER BAFFLES has become a week -end gathering You can now double or even triple your Hi -Fi enjoyment for a fraction place. of its original cost! Corner location Between visits at home he is off gives these new -type baffles excellent here and there to attend new produc- Hi -Fi tone - not at all like ordinary small speakers. tions of his stage works, to assist in They sound like big speakers because ad- recordings and radio and television jacent walls act like extension surfaces, This printed circuit assembly guarantees that performances, to lecture and to talk the Dynakit's outstanding specifications will be thus in effect increasing the "air mass." met by every constructor. The Dynakit can be Bass reflex design gives added boost to with his publishers. His six -volume wired in less than three hours, and its low price means that everybody can now afford to have. low notes. Best of all, their slanting Schulwerk (a method of introducing the best front aims sound toward you, avoids dis- Specifications: work children to music by simple rhythms tortion of off -angle listening. They Power Output: 50 watts continuous rating, equally well on floor or ceiling. and songs rather than by formal train- 100 watts peak. Distortion: under 1% at 50 Switch your programs to ing on an instrument) is being re- watts, less than 1% harmonic distortion at any any room in your home: frequency 20 cps to 20 ke within 1 db of maxi- issued by Schott's Sons, Mainz, in a mum. Response: Plus or minus .5 db 6 cps to * BO kc. Plus or minus .1 db 20 cps to 20 kc. Square Bedroom new edition scheduled for translation Wave Response: Essentially undistorted 20 cps to 20 ke. Sensitivity: 1.5 volts in for 50 * Dining Room into a number of languages, including watts out. Damping Factor: 15. Output Im- pedances: 8 and 16 ohms. Tubes: 6CA7 /EL-34 * Workroom English. This has imposed a further (2) (6550's can also be used) 6AN8, 5U40B. or heavy editorial burden. Size: 9" x 9" x 6'Sá" high. * Porch The most important new production Argos slanting corner baffles are made of the past year has been Wieland Dynakit Mark II of extra heavy wood, covered with thick -ribbed fabric. They hang simply, Wagner's staging of Antigone in Stutt- take paint beautifully if desired. gart. Antigone was first produced in $6975 Blonde or Mahogany, Same Price. Salzburg in the summer of 1949. Slightly higher in West SCB -8 (8" speaker) ...List $12.35 SCB -12 (12" speaker) ... List $17.05 Neither this nor subsequent produc- Complete including Ask your Parts Distributor tions in Dresden and Munich were Punched Chassis Protective Cover notably successful. The Stuttgart per- Transformers Factory Wired Printed Circuit Assembly formances, however, appear to have Complete step -by -step construction data and caught fire. They also inspired specu- pictorial diagrams. lation: will Orff be the first composer Available through leading Audio and Electronic Ports Distributors to challenge the exclusivity of Richard PRODUCTS COMPANY Pat. Pending 31Q MAIN STREET GENOA, ILLINOIS Wagner at Bayreuth? Nobody knows. There is no doubt DYNA COMPANY DEPT. HF, 3142 MASTER ST. that Orff and Wieland Wagner, as PHILADELPHIA 31, PA. men of the theater, are congenial

162 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com spirits. There is hardly any doubt that Wieland has toyed with the idea and Proudly own an would like to do it, presumably with Antigone. But it would be a drastic What's behind the AUDIO step certain to bring down upon E LITE Wieland Wagner's head once again the fury of the dyed -in- the -wool Wag- TELEFUNKEN nerians. The decision remains in abey- ance. OPUS 1 World -wide recognition has come late to Orff. This is largely due to the war and the earlier years of the Nazi regime, which cut Germany off Exclusively imported from international life. He has always from West Germany by had a numerous and enthusiastic fol- AMERICAN ELITE, INC. lowing in Germany, if only limited pproval among the high priests of modern music. And recognition, as we have seen, has exacted a price in terms of time and leisure and produc- Price about $449.95 tion. But it has also brought its satis- factions. AUDIO ELITE BRAHMS: A As he stands amid the disorderly complete hi -fi radio -phonograph jumble of his studio, among his books in custom cabinet! Magnificent and scores and mementos, surrounded 1 Phonograph input, tonal range on hi -fi FM, AM, by his drums, tom -toms, xylophones, high impetence Short Wave through 6- speaker rattles, and triangles ( the score of Omniphonic sound system. 2 Tape Recorder input-output Antigone calls for sixty -three percus- Exact -tuning "eye." Built -in 3 Jack for 4 -to -8 ohm fifteen Telefunken record changer with sion instruments, serviced by extra speaker players) , he can brush it off with a ceramic pick -up cartridge, 1 4 Extra FM dipole antenna jack casual "Fine gute Wurscht geht eben diamond stylus, 1 sapphire 5 Extra AM -SW antenna jack stylus and fast, safe feeding of roamer, besonders eine Münchener!" 6 Ground one to ten 10" and 12" inter- ( A good sausage will always make out, mixed records. Needle pressure particularly a Munich sausage.) less than /2 -oz. Special filter. As Orff well knows, his music is Dimensions : 391/2" x 40" x 18 ". making out - and for the same reason: people like it!

LIVING WITH MUSIC Continued from page 73 And what's inside it? experiences of my life was to hear Listen - and you'll know! The some one whistling one of my tunes in Opus 7 is, without question, the Price about $249.95 the Lowell House courtyard at Har- world's most magnificent high vard. The whistler turned out to be fidelity sound system complete Professor I. B. Cohen, then an instruc- in a table model. Omniphonic AUDIO ELITE BACH: True hi-fi tor at Harvard, a friend of mine, and sound - all the range, majesty phonograph with amazing fre- a generous admirer of my songs. and color you can hear - is produced by the 6- speaker sys- quency response of 40 to 25,000 Cohen was a friend of Leonard Bern- c.p.s. via 4- tem matchlessly regulated by speaker Omniphonic stein, and while both were students at - sound system. Telefunken auto- Selectovox tone control. Built - Harvard they made a record of T. S. matic record changer with sono- in antennas and automatic anti - tone ceramic pick -up cartridge - Eliot's Waste Land, Cohen admirably fade control. In choice of hand- 1 diamond and 1 sapphire stylus. reciting the words and Bernstein pro- somely crafted cabinets : blonde, Automatic filter, extension viding the piano accompaniment. modern and traditional. Dimen- speaker jack. Dimensions : 26" Cohen played me the record many sions: 25-1/2" x 16-1/5" x 11 ". x26"x15s% ". years ago; and it was one of the most Price 5279.95 to $299.95 memorable of my home music listen- Hear Quality Speak - See Hear Quality Speak - See I could wish that your dealer, or call or write ing experiences. your dealer, or call or write this reference to what is probably the AMERICAN ELITE, INC. only copy of the record in existence AMERICAN ELITE, INC. 7 Park Ave., New York 16, N.Y. might eventually lead to its wider dis- 7 Park Ave., New York 16, N.Y. Tel.: MU 3 -8490 tribution. Tel. : MU 3 -8490 Continued on next page

OCTOBER 1956 163

www.americanradiohistory.com LIVING WITH MUSIC the most perfect... Continued from preceding page FOR If music utters those things that YOUR Cannot be spoken, I must say that

RECORDS 1 am also extremely fond of what can RECOTON be spoken. I refer to the records of poets reading examples of their own poetry. What a boon it would be to be able to hear Chaucer reading from The Canterbury Tales, or Keats read- 'V° ing An Ode to a Nightingale. Short of seeing Shelley plain, it would have been good to hear him. Today we can hear Eliot, Sitwell, Auden, Dylan S Thomas, Robert Frost, Masefield, and others read their own poetry. Listen- Your record collection ing to such records is one of the deserves the very best... pleasantest experiences of my life. As I write I learn of the death of RECOTON DIAMOND STYLI my old friend John Latouche at the ... top performance age of thirty -eight ( August 7, 1956 ) . from your recordings! I first met Latouche at a salon (not a Before you play another saloon ) in Washington Square North record-see your deal- in the late Thirties. He was then er and ask for a Recoton scarcely out of his teens. He was a Diamond Styli! RECOTON CORPORATION kind of pixie, which is but another way of saying that he had a sort of 52.35 Barnett Avenue Long Island City 4, N. Y. magical quality about him, an imp with ineffable charm, wit, and warmth. It was not difficult to predict his future. That it should have been cut off so prematurely is a major dis- aster for the American theater. La- touche was an extremely clever im- proviser at the piano, and some of my most delicious experiences in home music listening have been as- LABORATORY, INC. sociated with John's performances. He was also extremely clever with words, NEW YORK HIGH FIDELITY SHOW Sept.2ó -30, Room 505 with or without a piano, and it was subject: amusing to observe him in the throes featuring:A Significant Departure in the Direction of Highest Fidelity specificationThe COLBERT ELECTRONIC 3- CHANNELsummary: FREQUENCY DIVIDER Complete Range Controls for three frequency bonds Eliminates impedance mismatching Complete electronic compensation for unequal speaker efficiencies Affords optimum damping of individual loudspeakers Provision for use on two or three -way loudspeaker systems Includes 10 watt ultra -linear amplifier for use on middle or high range For use with regular or electrostatic loudspeakers, or combinations U Three -channel operation results in lowest over -all distortion r, ct KL MODEL 3 -CFD $154.50 Decorator style case in blonde or of creation, for most of the time while mahogany formica finish... $15 he was at the piano the music would Slightly higher in west and deep south come into being to fit the words. The

For full specifications see your voice, the seriocomic face, the wicked dealer or write to Dept. HF10 glint of the eye, all this added up to something unforgettable. I suppose that what Latouche is most likely LABORATORY INC to be enduringly remembered for is 160 -09 Hillside Avenue his Ballad for Americans, which he Jamaica 32, New York Continued on page 166

164 HIGH FIDELITY MAGAZINE

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DC The excellence of its design and the quality of operated preatnp filaments and balanc- P. components combine to provide this compact ing adjustment to minimize hum- Mcler high -fidelity FM-AM tuner with superb char- can be switched to indicate either re- acteristics normally found in units costing sev- cording voltage or output level of am- eral timos as much, and with performance un- plifier. Features rumble filter, loudness helIevable at this low price. Features Armstrong FM circuit with limiter and Foster-Seeley control, separate base and treble con- discriminator. Simplified tuning with slide -rule dial and flywheel counterweighted mechan- trols, silencing switch, speaker selector ism. AFC defeat circuit combined with tubing control- Attractive etched copper- plated switch, output balancing adjustment and monitoring jack and lacquered finish. SPECIFICATIONS SPECIFICATIONS ± FREQUENCY RANGE: FM, 88 -108 MC; AM, 530 -1650 KC, ANTENNA INPUT: FM, I FREQUENCY RESPONSE: 1 db 20- 40,000 cps. HUM: 85 db below rated output. 300 ohms; AM. Ferrite loopstiek and high impedance external antenna. CONTROLS; POWER OUTPUT: 35 watts with 4% total distortion at full rated output. INPUTS: 2-a function control for AM, FM, PHONO, TV and a tuning /AFC Sound, defeat control, DIS- TV Radio, Magnetic Phono, Crystal Phono, Tape. OUTPUT IMPEDANCE: 4, 8 TORTION: Less than 1% rated output: FREQUENCY RESPONSE: FM, :l- 5 db 20 to and 16 ohms; high impedance for tape recorder. TUBE COMPLEMENT: 3- 12AX7, 20,000 cps; AM, ± 3 db 20 to 5000 cps. SENSITIVITY: FM, 5 us for 30 db quieting: 1- 12ÁU7, 4 -EL84, 1 -5114, FEEDBACK: Negative feedback loops virtually eliminate dis- AM, Loop sensitivity 80 /meter. SELECTIVITY: POWER: uv FM, 200 KC bandwidth, 6 db down -I tortion. 117V, 60 cps, 80/150 watts with auxiliary power receptacles. Remova- 375 KC FM discriminator peak to peak separation; AM, 8 KC bandwith, 6 db down1 ble escutcheon. Size 1238" L x 9%" D x 43/4" H. IMAGE REJECTION: 30 db minimum. HUM LEVEL: 60 db below 100% modulation - A combination of high power, high fidelity, gleaming beauty and advanced engineering TUBE COMPLEMENT: 1 1 ak" 2- 12AT7, -6ßA6, -6ßE8, 2 -6AÚ6, 1 -6AL5 plus 1 -6X4 rectifier, I features unmatched at even twice the price. Supplied in complete kit form with sim- SIZE: high x 9%" wide x 9%" deep (excluding knobs). CONSUMPTION: 30 watts./ plified easy -to- follow instruction sheets. Shpg. w -, 25 lbs. For 110 -120V 60 cycles AC. Less metal case. Shpg. wt., 9 lbs, KT-115-Complete kit, Net 59.50 KT -100 kit, leso cage, Net 34.951 LT-I0 -- Completely wired LA- 66 completely wired Net 79,50 Less metal case. Net 52.50E ML- 100 -Metal cage for above, Shpg. wt.. 3 lbs Net 5.001 ar, sa METAL -CASED HIGH FREQUENCY TWEETER CONE TYPE HI -FI TWEETER FREQUENCY RESPONSE 2000 -16,000 CPS HANDLES 20 WATTS OF POWER Highest quality cone type high frequency tweeter having WITH ACOUSTIC LENS a range from 2000 to 10,000 cycles. Especially efficient DIRECT IMPORTATION at higher end of audio spectrum where other cone type 5.95 tweeters tend to lose clarity and volume. Entirely closed Ne MAKES THIS PRICE POSSIBLE! in a metal case with a base so that it can stand by itself or be mounted on a Flat surface with mounting bracket supplied. Rated to handle 20 watts of power. A cross- FREQUENCY RESPONSE FROM 2000 over network is required: the Lafayette LN -2 is ideal. CPS TO BEYOND AUDIBILITY oice coil impedance 8 -16 ohms. Size: 31 /e" x 21/2" LOUVERED ACOUSTIC LENS FOR 3" Diam. Shpg. wt., 3 lbs. UNIFORM SOUND DISPERSION HK -3 Net 5,93 HANDLES 25 WATTS OF POWER CROSSOVER CAPACITIVE -INDUCTIVE NETNORK 14.95 PRICED EXCEPTIONALLY LOW NETWORK BUILTT N CEVVEL REIRLL ANCE aCONTROI New high freque. ley tweeter featuring a louvered acoustic lens for uniform sound The frequencies above 2000 cycles are chan- dispersion and capable of handling up to 25 watts of distortion -free power, The neled to the high frequency tweeter by means of directional tendency of high frequency notes is overcome by the natural wide the high -Q inductance and capacitance ecmpris- dispersion angle of the short horn and the acoustic lens which disperses and ing this efficient crossover retwork. The highs radiates the high notes smoothly throughout the entire listening area. The lens is and lows are brought into acoustic balaice by detachable for panel mounting, with a separate base for the tweeter furnished means of a continuously variable level -brilliance for external mounting where desired. Aluminum voice coil has 16 ohms impe- control- Control has a 21/2 ft. long cable for re- dance. Size: 45/4" long x 3" diameter, lens extends 21/2". Requires a crossover mote mounting- Network matches 8 -16 ohm network, preferably one with a level control, such as the LN -2. With full instruc- speakers with insertion loss reduced to r. mini- tions. Shpg. wt., 5 lbs. mum. Enclosed in metal case 6" L x 23/4" H x 8.75 D. With HW -7 Net 14.95 25/e" full instruction:. Shpg. wt.. 5 lbs. a..mmmm ISO ...===m==o IMPORTED I I 12 HI -FI COAX. SPEAKER a a eZ 165 -08 Liberty .Ave. FREQUENCY RANGE 30 -15000 CPS I HANDLES 20 WATTS OF POWER DEPT WJ Ra ° JAMAICA 33; N. Y. COMPLETE WITH LEVEL CONTROL SEND POWERFUL TSK -5 MAGNETS NAME:--- SPECIAL SHEEPSKIN -EDGED CONE ------FREE A Lafayette exclusive import end exceptional value. Consista of a 12" woof- ADDRESS LAFAYETTE er, coaxially mounted 21/2" tweeter and a built -in crossover network- The specially processed fibre cone has a sheep- CATALOG skin edge to suppress unwanted nodal vibrations and insure beautiful tone CITY__------_ Reg. Price quality. Highly efficient TSK -5 magnets, Level control provides variation to 6 db el. cut. Maximum input 20 watts. Impe- ZONE - / T 541 8 ohms. all ------dance Rugged -metal frame. Net If made in this country, would cost at least $49.50. Shpg- wt., 11 lbs. STATE- 29.50 5K -58 Net 29.50 ---_-_---- 100 SIXTH AVE., NEW YORK, N. Y. BOSTON, MASS., 110 Federal St. PLAINFIELD, N. J., 139 West 2nd St. ffag NEWARK, N. J., 24 Central Ave. BRONX, N. Y., 542 E. Fordham Rd.

OCTOBER 1:956 165

www.americanradiohistory.com LIVING WITH MUSIC Continued from page 164

described as a pamphlet for democracy. We mourn his passing. The radio often brings unexpected musical pleasures, but welcome and much appreciated as these are, there is nothing like the pleasure of being able to pick and choose whatever one may want to hear and to play it whenever one desires. I have from my earliest years been a jazz fancier, and I spend a good deal DVOTONE of time listening to virtuosos in that field and taking great pleasure in "dis- IN covering" ( strangely enough, simultaneously with an extraordinary number of others ) new artists in the LIFE... field. Most of the time I prefer the music to be danceable, for my wife DFF BRINGS BIGGEST NEWS and I dance together at the drop of a IN THIS CENTURY OF SOUND hemidemisemiquaver. Such an atmos- No lesser news medium than Life could qualify for this important announcement of pheric disturbance is sufficient to ani- DFF -Duotone's Fidelity Focus. For DFF is the greatest needle design ever achieved for mate both our feet and our features. true fidelity. DFF brings every note out of the shadows and into clear relief. A Duotone Then, of course, there is the whole exclusive, DFF protects your records, too, but costs no more than the ordinary needles range of modern jazz piano virtuosos. that may blur tones and endanger delicate record grooves. Want to check the perform- They delight me. But at this point I ance of your present needle? Ask your dealer for free Duotone Home Needle -Tester and valuable, free DFF Book, or write feel that I have said enough, and will leave the real aficionados to argue the The Duotone Company, Inc. Keyport, New Jersey merits of Bushkin contra Brubeck.

THE MAJOR Continued from page 76 "Authorized Quotation g45 way, began pouring out of Alpine from on regular schedule in the summer of THE AUDIO LEAGUE REPORT" 1939, the age of real high fidelity in radio and sound reproduction was Over the past two years, this phrase has become the most coveted born. recommendation any hi -fi manufacturer could hope to attain. It was to be a long, painful, and Why? interrupted birth, however. With only THE AUDIO LEAGUE REPORT is the most authoritative source of forty -odd FM stations up and some information on performance obtainable anywhere. The sole business and half- million FM receivers in the hands function of The Audio League is to perform tests and write Reports on of the public, World War II inter- hi -fi equipment. These Reports are complete, accurate, and candid - even when critical of manufacturers' claims. All the technical data, vened to shut down FM's civilian curves, and meaurements (made on stock production units) are presented. growth. Armstrong promptly made Methods of test and significance of findings are fully given. The sub- FM available license -free to the gov- jective conclusions of The Audio League are clearly stated. ernment and himself plunged into If you want facts about performance, not claims . . . . military development, working up If you want to up -grade present performance . ... mobile FM units widely used by all If you want to purchase the best obtainable equipment . . ground and sea forces and inventing a If every dollar you spend on audio equipment counts . . remarkable new FM radar system Your smartest purchase is a subscription to which is just beginning to be heard THE AUDIO LEAGUE REPORT of. Following the war, Armstrong's reward for these services and the P. O. Box 363 Mt. Vernon, New York foregoing of all wartime royalties on Only $1. Two recent issues including a cumulative index Only $z. FM was to see FM's postwar growth Twelve issues $4. Start with current issues delayed and its prospects scuttled by Twenty-four issues $7. Start with Vol. i, No. 12 Thirty-six issues $9. (Apr. '56) a combination of commercial and Start with Vol. 1, No. r, political forces plainly fearful of FM's (all 15 back issues) uninhibited postwar competition. Please enclose remittance with order - no billing available Continued on page 168

166 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com what makes LECTRON ICS so different?

We take this business of reputation seriously ... and because we stake our reputation on what we sell, we take no one's word for quality! We test it - ourselves - in the home, away from manufacturers' "ideal" lab conditions. If it passes our "obstacle course" with flying colors, GARRARD 301 we award it our seal. Whenever you TURNTABLE see this seal -buy with confidence! Few turntables have been admit- TESTED6440 ted to our select list. We've insisted .APPAOYDD AMO . GUARANTEED TUI 11,1 upon standards which combine smoothness, silent operation and AR -1- 2 YEARS, ruggedness. The Garrard 301 in tFClRON1S JANSZEN Push -Pull f,. addition, offers absolute control of pitch. For these uniformly excel- Electrostatic SPEAKER lent features, nominally priced, Lectronics strongly recommends COMBINATION this turntable as a "fine buy" from the manufacturers of the "world's Since its national introduction by finest record playing equipment." Lectronics over a year ago, most of Guaranteed unconditionally! the nation's leading professional Net $89.00 laboratories have adopted the Acoustic Research -JansZen combination as their reference standard. A truly unique instrument that adds no "coloration" or the usual speaker distortions. Driven by a modern, low distortion amplifier (like the Custom "56" or "100 "), it will reproduce the full range and power of the symphony orchestra. AR- 1- JansZen Combination ... $3,19.00 AR -1 (with built in SHERWOOD AM -FM TUNER tweeter) alone .. .. $185.00

We are impressed with the remarkable features of the newly designed S -2000 Tuner. Its quality of reception on the AM band satisfied our most critical standards. We found the best AM recep- TO: LECTRONICS, CITY LINE CENTER, PHILA. 31, PA. Gentlemen: I wish to order: tion short of strictly laboratory equipment. The Check or money order enclosed GARRARD 301 Turntable $ 89.00 Please ship C.O.D. (25% down S- 2000's FM quality measures up to the highest enclosed; balance C.O.D.) SHERWOOD S -2000 AM -FM standards of sensitivity, ease of tuning and free- Tuner $144.50 Name dom from distortion. Its FM circuitry is so stable AR -1 Speaker $185.00 Address AR- 1- JansZen Speaker and easy to tune that it eliminates the need for Combination $329.00 City Zone State tuning eyes or meters. Send for specifications All Prices F.O.B. Philadelphia brochure "S ". Standard finish (gold tooled mahogany "Towards leatherette) Net $144.50 Perfectio4ECTRON/CS in Sound" (Other finishes on request) r CITY LINE CENTER, PHILA. 31, PA.

OCTOBER L956 167

www.americanradiohistory.com THE MAJOR the cartridge that scores 1000 Continuel from page 166 In a series of rulings manipulated through the Federal Communications The Recoton -Goldring cartridge was Commission following the war, FM the best by a national independent acclaimed was pulled out of the channels in research organization, because it passed which it had given unexampled ser- all tests with haying colors! vice through the war, shifted upward in frequencies to a band where it had no transmitters or receivers ready # I° for the postwar market, and in these e . ¡ new frequencies had its stations cut to anywhere from a third to a tenth + se l ip of FM's prewar power. It was 1947 '. before FM was ready to go again, an initial whoosh that was to Performance uniformly excellent. with over FM stations ' Cantilever - stylus - armature see seven hundred construction capable of rougher take the air, but by then only three treatment than most moving -coil for Armstrong to col- mechanisms. years were left Will fit just about any American- lect royalties on his basic patents. This made arm. postwar hamstringing of FM was a Smooth and free of strain even on heavily recorded passages. final blow from which Armstrong . Gives you more tor your never recovered. He fought the battle g_60itirmmoney. (Only j9.90 in- of FM long and valiantly before the cludíng 2 synthetic sap- FCC and Congressional investigating C0Í0 U phire styli). committees, instituted a mammoth in- fringement suit against that large part At leading hi.Fi distriautorrr "5OO" MAGNETIC TURNOVER write For destriptiee literature to of the industry which had never recog- CARTRIDGE nized his FM invention or paid royal- RECOTON CORPORATION, 52 -35 Barnett Ave., Long Island City 4, N. Y. ties on it, and wore out his M,,nulociurers of World Famous Phonograph Styli. strength with a mounting series of personal and financial ills, culminating in his death event by suicide on February 1, 1954. H 1- F 1 the most sensational The stamina of the FM idea, how- since the first car radio! ever, remains as a monument to a man of great stubborn power and integrity. Far from being dead, FM grows yearly on the now spectacular upsurge of the high fidelity radio and recording infor dustry. It is being built into a new high fidelity network by the BBC, covering all the British Isles, and a network of over one hundred FM stations in Western Germany is now the pride of Western Europe. From the start FM was the required sound channel for all TV; it is now the basis of all FM microwave relay for trans- continental transmission of multiple telephone, radio, and television services. This is the legacy of Edwin Howard Armstrong, one of the last great individualistic inventors on the American scene.

Now, enjoy concert hall sound while driving . . with the only true FM, AM high fidelity radio in the world. One you'll keep even when trading in your car. Becker is the official Mercedes -Benz car radio! And don't forget Mutual's full FM coverage this fall on the entire East coast. So "tune up" your car with a Becker.

East of the Mississippi see your Hi -Fi dealer or write direct. Dealer inquiries invited.

WITTE IMPORT DISTRIBUTORS, 125 SOUTH 16th ST.. PHILA. 2, PA.

HIGH FIDELITY MAGAZINE

www.americanradiohistory.com September- October, 1956

The woofs and tweets of the New York audio show season will be echoing in thousands of ears, golden and tin, by the time most of you read this - and HARVEY's, New York's traditional rendezvous for audiophiles, will be buzzing with "Have you heard ..." and "Is it better than ... " and "How soon will you have it ... " and all the other queries about the debut -making new components. But HARVEY's veteran audio consultants are not given to crystal- gazing - they believe in a "let's wait and see" period before going all -out for any new development. They are certainly all -out for the time -proven equipment we are reporting on this month - it's the kind that can weather years of audio shows without obsolescence.

Take the wonderful Garrard 301 transcription turntable, for example. It's not the newest on the market, but many top-ranking experts still prefer it to any other. G. A. Briggs, for one, has been using it in all of his celebrated concert -hall demonstrations. The Audio Instrument Company, Inc., laboratory, recently tested three random samples of it and came up with Att an independent sensationally low wow and rumble figures, far exceeding the most stringent professional requirements. The Model 301 is made with typical British attention to fine details - such as ball bearings where others use only bushings. It is one of the very few top -flight turntables with variable + or - fine adjustment on each of the 3 speeds - indispensable for playing with perfect pitch those off -pitch records that have been so much discussed lately. Best of all, it costs only $89.00.

Then consider the Stromberg- Carlson AR -420 amplifier and SR -402 tuner. Nothing flashy about them - just straightforward, proven circuitry ... careful physical design ... solid workmanship ... a sure bet for the discriminating audiophile! The AR -420 is a 25 -watt job with a pair of 6L6G's for output. It incorporates on the same chassis a highly versatile preamplifier with continuously variable turnover and roll -off controls for phono equalization - the only off -beat touch, but an impressive one ... The SR -402 is a deluxe AM -FM tuner featuring an exclusive dynamic cascade noise limiter and a temperature- compensated driftless oscillator. Sensitivity is rated at 1.5 pv for 20 db quieting. Prices are eminently reasonable in view of the obviously high quality - $109.95 for the AR -420 amplifier, $159.50 for the SR -402 tuner.

Another obsolescence -proof, gilt -edged audio security is the Ampex 601 tape recorder. This is the new, improved version of the Ampex 600, the epoch- making little 71/2 ips portable tape recorder that sounded just like the big Ampex professional 15 ips console jobs. Can't ask much more than that from any tape machine ... The improvements incorporated in the 601 are not in overall design, which could hardly be improved, but in minor details important to a number of users. Both input and output have been changed to low impedance to suit all professional requirements ... the safety button for "record" is now illuminated ... the Samsonite case is a new and very handsome shade of tan ... a few additional small physical changes make fer added convenience. Price is still $545.00 and worth the dent in anyone's hi -fi budget ..

When it comes to loudspeakers, new designs may come and go, but Jim Lansing Signature speakers outlive (and outsound) most of them. The extra care that goes into the design and construction of these beautiful units has been proverbial since the dawn of hi -fi. Here's a recipe for a Jim Lansing combination that's hard to beat at the price: Take the Model D123 12 -inch extended range speaker ($54.50). This is the recent and much -admired Jim Lansing design with the 3s/s" depth (I), 3" voice coil and 35 cps cone resonance. Put it into the Model C36 reflex enclosure ($51.30, blond or mahogany). Add to it the Model 075 high -frequency unit ($54.50), the unique ring -type radiator developed by James B. Lansing Sound. Cross over at 2500 cps by means of the Model N2500 dividing network ($15.00). Sit back and enjoy superb sound for a total of only $175.30!

To mention just one relative newcomer, let's look at the Fisher FM -40 FM tuner. It's already in the "old - reliable" category, anyway, being simply one of the newer units in a thoroughly field- tested line of high - quality Fisher tuners. This one is compact and outstandingly stable and drift -free - as well as quite moderately priced. It has simplified controls and a very neat little meter for accurate center -of- channel tuning. Sensitivity is stated to be 3µv for 20 db quieting. An unusual feature is the provision of three different outputs: cathode follower, detector and multiplex. All this comes for just $99.50, plus $14.95 extra for mahogany or blond cabinet.

Again. a reminder that you can order by mail from HARVEY's just as easily as "come and get it." Many of our best customers wouldn't do it any other way. They just add some extra money for postage and let HARVEY's and the U.S. Post Office Department do all the hard work. Excess postage is promptly refunded, and HARVEY's money -back guarantee covers any subsequent complaints, which are about as rare as people with 22,000 cps hearing . . .

HARVEY RADIO CO., INC. 1123 Avenue of the Americas (6th Ave. at 43rd St.), New York 36, N.Y. JUdson 2 -1500

OCTOBER 1956 171

www.americanradiohistory.com AUDIO FORUM

AN ALL NEW l SIR: below. A wiring diagram supplied I have read a great deal about a more with the T -pad will show how it ELECTROSTATIC "spatial" type of sound coming from should be connected to the second more than one source, and I would speaker. The T -pad may be located like to try this out. What I would like either at the auxiliary speaker or near TWEETER to know is, can I do it with my present the amplifier. (MODEL 5 -20) system, and if so, how do I set it up? Then, when they are connected and What about this 8 and i6 -ohm busi- ready to go, try listening for a while, ness? and then try reversing the connections My present rig uses a Heathkit Williamson amplifier with the latest e-OHM T-PAD 1 1t1N i i?it. sripth yip; Heath Preamp. The speaker is a

I I11¡)) nl.,. multiple University system with bass, I Ilri, 4 -OMM 1111t mid -range, and high -range speakers. AMPLIFIER n1111?1 sHt} OUTPUT 111 AUXILIARY Mlÿtÿl,i ri'! The amplifier is set for 8 -ohm oper- . SPEAKER )111I 111'1 ation, and only one output impedance 1,llilfì>7111 is available at a time. 111111 í l) l P,. N'It11 I would like to use a bookshelf it 1a1111:,. 1111111 type speaker system in another part MAIN 1tltlN} 18' of the room. How do I connect the SPEAKER f rliiy.;ti?; speaker systems together, and then The second speaker's level should be 1 }Ñ1í set by of -pad. ií,liÿ how do I connect them to the ampli- fairly low means the T 111 . ,'u'f;, fier? What about the impedance p)?). ll ; Iÿ If! matching? to speaker one, and listen to them for a while that way. The polarity of o"o John Volpe 1sll' these connections will be determined l'°,1. Bronx, N. Y. by that which sounds best. One way A small second speaker added to your will give a much better illusion of system will give you a sort of pseudo - "fill" between the speakers; the other REMARKABLE VALUE stereophonic effect, but will also tend way will give more of an impression to produce some constant movement, of the sound coming from two sources. AT ONLY $29.50 back and forth, of the apparent source The first is correct. Combine this all New Electro- of sound as the pitch of the music With the speakers connected in static Tweeter with your present parallel, amplifier be con- speaker system and realize the changes. If you feel that you could the should full capabilities of your Hi Fidelity nected for 4 ohms output, to give System. overlook this secondary result, you FEATURES might try an 8 -ohm speaker, located correct matching. about 6 to 8 feet to one side of your Plug in combination with your SIR: present speaker system main speaker, and aiming to one side Built in crossover network and of you rather than straight at your One matter which must cause much matching transformer listening position. confusion among readers of your Smooth response from 5000 to beyond 20,000 cycles The second speaker should have magazine is the sensitivity rating of Excellent transient response the same tonal balance as your present FM tuners. Uniform distribution of sound system, although the frequency range For example, one advertiser states 360 horizontal omni- direc- tional sound. of the second speaker is relatively that his Professional FM -AM tuner Dimensions: 41/2" x 41/2' x 12" unimportant. If your present system has "extreme sensitivity - 1.5 µvolts Hand rubbed cabinet in ma- for 20 db Another manu- hogany or blonde has bright sound, the auxiliary one quieting!" Radiating assembly guaran- should have much the same bright facturer advertises "Modern tube line- teed for 2 yrs. sound. up provides better than ro µv. sen- Manufactured in the U.S.A. An 8 -ohm T -pad should be installed sitivity for 20 db of quieting." The Available at all leading Hi -Fi dealers. If your dealer between the amplifier and the second usual reaction to this comparison is can not supply, write speaker, and should be set so that the to suppose that io is better than 1.5, DEPT. H. volume of the second speaker is but these tuners' prices would indicate slightly less than that from the main that the ratio is inverse. When I posed speaker. Further deviations from that this question to salesmen in high fidel- ELECTRONICS CORP. AVE. 735A AMAIORp may be determined later by ity equipment shops, they have turned Mlle ]0. P setting DESIGNERS your listening preferences. pale ( whether from apoplexy or fear AND MANUPCIORr. OP ADDIO EQUIPMENT The speakers should be connected I have never ascertained), but they in parallel, as shown in the diagram have never explained. It would be

1 7 2 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com very helpful if you would explain the terms and define the ideal. This is "Designed and Styled in California just one of several instances in which for Today's Gracious Living" PDQ manufacturers of electronic equipment assume too much technical background on the part of their readers. John L. Beckham Dallas, Tex.

Tuner sensitivity ratings specify the amount of input voltage required for a certain amount of background noise quieting, so the lower the voltage rating, the more sensitive is the tuner. Comparisons can be made between two ratings for 20 db quieting. but ratings of 20 db quieting on olie tuner and for 3o db quieting on another are not comparable. A sensitivitl rating on a 75 -ohm antenna is equal to 10 the rating on a .300 -ohm antenna, all other things being equal. Electronically Speaking: "Pageant" AFM -6A $174.50 A tuner rated at io µvolts sen- "PAGEANT" AFM -6A; AM and FM Tuner -Preamplifier. & "Hacienda" Cabinet 11.95 Sensitivity: FM 3mv for 30 db quieting - AM 3mv. sitivity on a Soo -ohm antenna, for 20 Featuring: Separate AM and FM Front Ends - Dual Double -Tuned Limiters - Cathode Follower Output. db quieting, is half as sensitive as one Cascode FM -RF, Pentode AM-RF- Flywheel Tuning. Full Armstrong Discriminator -DC Filament Supply rated at 5 µvolts on a Soo -ohm an- for Tone control and Preamp Stage -IOkc Whistle tenna for 20 db quieting. and has Filter - Signal to noise ratio: Preamp 65 db - Tone Control 70 db - Selector: TV -Tape, AM, FM, exactly the same sensitivity as one FM- AFC, AES, COL, RIAA, NAB, MIKE -Tape or Multiplex Outlet - Exclusive Front Panel Only Mounting - rated at 5 µvolts on a 75-ohm antenna Loudness Compensator - Fully Ventilated Cabinets. DEALER INQUIRIES INVITED Lafayette, California for 20 db quieting. Pedersen Denotes Quality SIR: Recently, in a few instances and for some of the more esoteric record corn - panies, your "Dialing your Disks" What's this abou columns has published definite record XP? numbers at which the companies From time to time, Fairchild has sent out unusual merit or interest for certain users of samples of its products for testing by engineers, audio equipment, it may be offered as an "XP" switched to the RIAA curve. But for music critics, and other professional users. These model. The model number will not necessarily r samples embody one or more new features bear any particular relationship to that of other Columbia, RCA, and most of the large which,having been subjected to laboratory test similar Fairchild products. companies there appears only a date and evaluation, seem to have enough merit to The product will not be given national pub. be incorporated into future designs. But before licity by Fairchild, but for the switchover. Do they keep it doing so it is always helpful to have any Fairchild dealer is the judg- of course free to advertise, if he wishes. such a dark secret? ment of experienced users of such equipment. Sometimes it is to The price will generally reflect the custom na- I do not remember whether I not reasonable embark on a program of building a new product in quan- ture and engineering costs of the equipment. bought some of my recordings in tity, since it may have limited appeal, it may Anticipated delivery terms will be quoted, but cannot always be guaranteed. or '55. these record cost too much to manufacture, or there may be 1953, '54, Did any of a dozen other reasons- Many users of An XP model may be withdrawn without companies change all their masters as audio equipment have told us of their interest notice, or it may be adopted into the regular in obtaining such samples "short Fairchild line. In of a certain date, the or run" de- the latter case, it is quite so that actual signs since, being of an inquisitive nature and possible (in fact, it is to be expected) that number of the record would be no constantly striving for a closer approach to per- the selling price will be perceptibly lower than fection, they are eager to try whatever promises when offered as an X.P. guide? Or would it be possible to say to improve their results, even if only a little. The product will be EXPERIMENTAL, hence that all Columbia LPs before, say, ML Fairchild, recognizing that the one -time "ama- the designation. For this reason, specific per- 5000 were the old LP curve, and the teur" or "hi -fi nut" is now often better informed formance claims will not be made. Each item than many professionals, at least in some reso offered will, in the opinion of Fairchild subsequent ones RIAA? spects, has decided to make available certain Recording Equipment Company, be of unusual Also, there is the problem of issues equipment which would interest such inquisi- interest and will represent an advance in the tive users. The now famous 220XP is an ex- art. It is offered to users who wish to associate like Nixa on Westminster, and HMV ample. This cartridge, employing a 1.0 mil x 0.6 themselves with experimentation and who wish on RCA Victor whose mil elliptically-ground stylus (and certain other to try "the latest" before it becomes generally - equalization experimental features) was offered for sale in available: XP equipment is not intended for do they use? limited quantities and without benefit of ad- for the average user. vertising, in spite of which fact backorders No special warranty is offered Of course, the main thing is wheth- began, piling up at an for XP products alarming rate. This par- but the standard Fairchild warranty policy will, er it would be possible to start a ticular cartridge has been replaced with a of course, apply. later experimental transducer, designated XP -2. campaign to urge all record companies This cartridge will incorporate, The XP is a salute to those not -easily -satisfied among other users to specify their equalization on the advances, the latest Fairchild development in who, in our opinion, are a most important high performance pickups, the riveted diamond. part of the whole audio or high fidelity scene. label or the record jacket, until that If you are interested in experimenting Following is Fairchild's and try- XP policy: ing the latest, your dealer can inform you of halcyon day arrives when everything Whenever a product seems to Fairchild to have the latest XP developments. disked is recorded with the RIAA

FAIRCHILDRECORDING EQUIPMENT 101 N AVE. 154 Continued on next page CO. 8 ST., WNITESTONE 57. N

OCTOBER T956 173

www.americanradiohistory.com AUDIO FORUM Continued from preceding page

curve, including the fly -by -night jazz labels. Surely the few printed words would not add much to the cost, and it would be more of a definite answer for Realism, Beauty, to the fan than just to "dial them the Compactness way they sound best." An integrated acoustical system wi +h full range natural reproduction of sound. Dr. R. O. Btillis, Jr. Santa Monica, Calif. Engineered to produce extraordinary presence, clean dynamics and transients, voice reproduction with startling realism.

Cabinets finished by master craftsmen. Since many manufacturers do not release recordings in the same sequence All done by the same technical magic as they were recorded, it is impossible which produced the world's finest for these companies to list a particular phonograph pickup . . . the famous record number at which they cu-itchcd WEATHERS FM 1 -gram pickup. from one recording curve to another. TuteaL for limited space: Weight 42 lbs., For the same reason, these companies ex- only 834" deep, 32" long, and 26" high. would find it a very tedious and pensive task to go through their files v4udea,Ciee filet: Natural Mahogany and make a list of what records use $135.00, Blonde $139.50. what curves, so they prefer to list a Write for full information. date from which time they started cutting new masters for a new curve.

66 E. Gloucester Pike, The equalization of records bought Barrington, New Jersey shortly after that date is purely a matter of speculation, since some may still have the old recording curve, while Export: Joseph Plasencia, Inc., 401 Broadway, New York 13, N. Y.. others will be found to use the neu' curve. It is then up to the listener to set his equalization controls to those positions which produce the best sound front the record in question. Meanwhile, HIGH FIDELITY will continue to query the record manufacturers from time to time, mrl as additional information is obtained, this will be added to the "Dialing Your Disks" table. As far as we can determine. all 1Vestmin_rter and RCA Victor LPs use equalization as listed in "Dialing Your Disks."

SIR: G(ad,o opi Perhaps you can help me locate and determine the cause of an annoying preamplifier with cabinet $168* acoustic problem. I am using a Fisher 5oc control unit and a 25 -watt amplifier to drive an 8 -in. speaker in a bookshelf enclosure. The speaker is strictly a temporary set -up, until such time as I can get together a higher -power two or three - *slightly higher west of the Mississippi way system. Until then, I naturally would like to get the best possible results with the present one. Everything sounds fine with the write for literature m a rani z cow¶y loudness control switch in the "Off" 44 -Th Vernon Boulevard, Long Island City 1, N. Y. position. When the loudness control Continued on page 176

174 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com C01'1ING To Your City .. .

HIGH FIDELITY SHOWS

SEE and HEAR the latest in HIGH FIDELITY from leading high fidelity manufacturers .. .

Don't miss these free public showings of Hi -Fi *Amplifiers - Pre Amplifiers - FM -AM Tuners Equipment ... from the most economical units - Turntables and Record Changers - Phono for the budget- minded to spectacular home music Cartridges - Microphones - Music Control Centers Speakers. theatres ... compare and enjoy them all. - * Speaker Enclosures and Equipment Cabinets - *Complete Hi -Fi Systems and Components Finished and Assembled or Do- It- Yourself Kits. THREE FULL DAYS OF CONTINUOUS DEMONSTRATIONS FROM 1.P.M. TO 10.P.M. FOR EACH SHOW ADMISSION FREE IN MIAMI - October 12, 13, 14 - McAllister Hotel 1956: NEW ORLEANS - October 25, 26, 27 - Roosevelt Hotel DALLAS - November 16, 17, i8 - Adolphus Hotel ST. LOUIS - November 23, 24, 25 - Staler Hotel MILWAUKEE - January 4, 5, 6 IN 1957: MINNEAPOLIS - January r8, 19, 20 SEATTLE - February r, 2, 3 YOUR LOCAL PORTLAND - February 15, 16, 17 NEWSPAPERS KANSAS CITY - March r, 2, 3 AND RADIO STATIONS OMAHA - March 15, 16, 17 WILL CARRY DENVER - March 29, 3o, 31 ANNOUNCEMENTS SALT LAKE CITY - April 5, 6, 7 OF THE LOCATION PITTSBURGH - April 19, zo, 2I OF THESE SHOWS CLEVELAND - April 26, 27, 28 DETROIT - May 3, 4, 5 Free Recorded Hi -Fi Concerts every hour on the hour during these shows. RIGO Enterprises Inc. 500 N. Dearborn, Chicago 10, III.

OCTOBER 19;6 l-i

www.americanradiohistory.com AUDIO FORUM Exciting High Fidelity Firsts' IMPERIAL Continued from page 174 In these superb matched instruments -enjoy the foremost advances in High- Fidelity- startling realism - lowest distortion - precision function is "In," however, the speaker craftsmanship -gleaming polished chromium appears to be very sensitive to the chassis. least vibration, like walking across the room, or tapping on the equipment cabinet. This sensitivity is character- 1 N tERELECTROSICS ized by a popping sound. The set "Coronation 400" seems to be picking up and reproducing the same rhythm made by the WATT AMPLIFIER vibration. Different level -control set- 40 tings do not seem to help eliminate the trouble, and it is accentuated when the bass control is boosted. Am I overloading this speaker when the loudness control is "In "? The popping sound occurs only while a record is being played, and when the FM dial is moved across the tuning cabinet 5Zit scale. It doesn't occur while the set LICENSED BY is tuned into a particular station, however. $10950 Ted Marcone Greatest amplifier buy today! COMPLETELY Jensen NEW, NON -RINGING NEGATIVE FEEDBACK New York, N. Y. CIRCUITRY -over 50 DB feedback. CUSTOM CRAFTED - sealed transformers, encapsulated 8900 The popping noise you get from your networks, finest molded components on Bake- lite terminal board DISTORTION -FREE - less than 0.05% at 30 watts. POWER RESPONSE Your dream of owning an loudspeaker under certain operating ±0.1 DB 16 to 35,000 cycles at 30 watts. Sur- "IMPERIAL" can now become conditions is probably, as you sug- passes FCC requirements for FM broadcasting. a reality - at a price you gested, due to gross overload of the 5 to 200,000 cycle response. 40 WATT WIDE - wouldn't believe possible. This RANGE OUTPUT TRANSFORMER, sealed multi- superlative reproducer is now speaker, which causes the speaker's ple section windings, thin strip core. FOOL- mode available in amazingly simplified "KIT voice coil to bottom. PROOF DAMPING CONTROL for startling hit speaker performance. BUILT -IN POWER for FORM ". The cabinet Kit consists of pre -cut Apparently your loudness control is preamplifiers and newest electrostatic tweeters. and pre -drilled 3/4" lumber, screws, glue and easy -to- follow step by step instructions for introducing far too much bass com- assembling the cabinet and installing the pensation, either because of a defect Jensen KT -31 IMPERIAL KIT -1 ALL YOU NEED in one of its associated components or IS A SCREW DRIVER! All exposed surfaces are suitable for any type of finish. because of a misadjustment of preamp INTERELECTRONICS CABINET KIT also available unfinished or power amplifier input level -set con- "Coronation 85" in ASSEMBLED form. $148.00 trols. If the loudness circuits are oper- CONSOLETTE PREAMPLIFIER- ASSEMBLED and FINISHED in blond, ating normally, then the input level- EQUALIZER mahogany or ebony satin fin'shes. $189.00 set controls are probably set too high, are Cabinet Kit and assembled forms forcing the loudness control to be LICENSED UNDER JENSEN PATENT NO. 2,338,262. operated too far down in its boost Dimensions: 321/2"w, 54 "h, 24 "d. Ship- range. The control boosts bass auto- ping weight approx. 110 lbs. Suitable matically as it is turned down, but the for corner or side wall installation. actual amount of boost that takes Jensen KT -31 IMPERIAL KIT includes P15 -LL Special Woofer, M.F /H -F Unit place depends upon the setting of the Assembly, A -61 and A -402 Crossover net- control, rather than upon the volume works, M -1131 Intrarange Equalizer plus of sound in the room. Incomparable companion to the "CORONA- all Color- coded, connecting wires, balance TION 400 ". EXCLUSIVE NEGATIVE FEEDBACK controls With the loudness control intro- and assembling accessories. Ship- CIRCUITRY. Over 50 DB- virtually eliminates ping weight 43 lbs. $184.50 ducing as much bass boost as yours distortion. Surpasses FCC requirements for FM "TM Reg. Jensen Mfg. Co. apparently is, you may well be driving Broadcasting. 5 to 200,000 cycle response. CUSTOM CRAFTED -polished chromium chassis, ORDER DIRECTLY your speaker at the full rated power satin gold front panel. Encapsulated precision FROM of the amplifier below 5o cycles. Very networks, molded components on Bakelite panel. LOUDNESS CONTROL, continuously vari- low frequencies, such as are created by able. FIVE INPUT SELECTIONS, 16 PRECISION JÁe DB - an off- center record or by the trans- PLAYBACK CURVES. FULL 20 DISTORTION FREE Bass and Treble compensation. Phenom- ÑÈtiÉR mitted vibration of footsteps in the enal lowest noise Z -729 input tube HUM IN- be your AUDIBLE with all controls on full. Highest room, would then driving gain. Built -in power for motion picture photo- e0. speaker cone through tremendous ex- cells, FM phono cartridges, condenser micro- MIRER cursions even though the higher fre- phones. Ultra compact, easy front mounting. 4146 WESTERN AVE., quency range is not driving more than Now at your local dealer.' Write Dept. II for literature WESTERN SPRINGS, ILL. I watt from the amplifier. Your trouble should be eliminated INTERELECTRONICS VISIT US AT THE CHICAGO SHOW IN by setting the input level-set controls 2432 Grand Concourse THE PALMER HOUSE, ROOM 791. New York 58, New York Continued on page 178 110111

176 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com If you're looking for a top quality high fidelity system that will give you years of

enjoyment, that is fine furniture, can be proudly displayed on a table or bookshelf, and

is kind to your budget, here it is. The Maestro Hi -Fi system will surpass the most critical New Craftsmen Maestro examination of the audiophile. Here are the components:

CRAFTSMEN AMPLIFIER-PREAMP WITH EQUALIZATION, LOUDNESS, AND FULL -RANGE

Complete Hl -FI System TONE CONTROL, 10 WATTS OUTPUT. FOUR -SPEED RECORD CHANGER WITH 4-POLE

MOTOR. G.E. VARIABLE RELUCTANCE CARTRIDGE. 1 MIL DIAMOND STYLUS,

Priced under $200 3 MIL SAPPHIRE STYLUS.

All the above components housed in two beautiful cabinets available in mahogany or

comb grained oak. One cabinet contains the famous Craftsmen CS -16 complete speaker system. It is well known that no single speaker can adequately reproduce every

sound from one end of the audio range to the other. The CS -16 contains three speakers.

There is an 8 inch woofer, an 8 inch mid -range speaker, a 3 inch tweeter, to ensure the ultimate in sound reproduction.

From a specifications standpoint the Craftsmen Maestro is the outstanding buy in high fidelity. But you must see and hear it to discover why audio experts throughout the

country have hailed the Maestro as a milestone in the development of high fidelity. Visit your Craftsmen dealer today or write for new illustrated Craftsmen catalog.

RADIO craftsmen div. of PRECISION RADIATION INSTRUMENTS, INC.

4223F WEST JEFFERSON BOULEVARD, LOS ANGELES 16, CALIFORNIA

OCTOBER 1956 177

www.americanradiohistory.com AUDIO FORUM Continued from page 176 fl4lildnd GOLDEN SERIES'' on the rear of your control unit so that you get comfortable room volume HIGH FIDELITY from input sources with the front - panel volume control knob (with the /te,4,! Loudness switch turned oft) turned to the 1 or 2 o'clock position. This will permit the loudness control to operate in its correct range, will greatly reduce Report from the distortion originating in the early stages of the control unit, and will LABORATORY eliminate your speaker overload at very low frequencies. The 2 o'clock Z"óre ,Audio Report* League setting will still leave plenty of room Fig. 5 Acoustic Output it 30 CPS for turning the system up loud when desired. If you have trouble with hum FM -AM HI -FI TUNER AR-1W or microphonics at the higher volume Here is FM (response ± 0.5 db, The League's ref quality erence standard control setting, the input level control 20 to 20,000 cps) and improved AM, on the power amplifier should be both most perfectly realized for finest turned down slightly. reception in a unit only 4" high -at a very reasonable price. Outstanding fea- 15" speaker v system X tures: Sensitivity, FM -3 microvolts for 20 db of quieting; AM -5 microvolts for 1.5 volts output; separate RF stage on FM and AM; discriminator with 12" speaker SIR: dual limiters; cathode follower with 2 system 1 When does an FM tuner need align- outputs; AFC; flywheel tuning, FM ment? Since FM uses VHF, any slight di -pole antenna, etc. change in capacity anywhere in the 15" speaker r NEW! HI -FI SOUND FOR TVI system Z circuit may cause a major change in Now, make your TV sound "come So, will mis- alive ". Just plug the new RAULAND receiving characteristics. TV55 Tuner into the unit above and alignment occur with aging of tubes, enjoy TV sound through your hi -fi system. Exclusive with RAULAND. See it- Vo . No. 9, Oct., '55. Authorized quotation 408. when tube GM drops to below an hear it soon. For he complete technical and subjective report on the AR -I consult Vol. 1 No. il, The Audio League acceptable figure, with change of Report, Pleasantville, Y. N. tubes, or with aging of components? Will slight misalignment cause dis- Report from the tortion? Can the original 'hot' sensi- WORLD of MUSIC tivity of a tuner be fully restored by alignment? Will eventual misalignment occur in the best of tuners? Can a good serviceman do a job approaching factory standards? Mailing a tuner back to the manufacturer is quite a 20 -WATT HI -FI AMPLIFIER chore. Designed for those who appreciate the Samuel Weissman finest in Hi -Fi reproduction -the very best for less. Features: Full 20 watts New York, N. Y. output; response, ± 0.5 db, 20 to 40,000 cps; 6 response curves (compen- An FM tuner will tend to go out of sation for all record types); 5 inputs for The Aeolian-Skinner Organ Co. uses an AR complete hi -fi versatility; separate bass, woofer (with a Janssen electrostatic tweeter) alignment with aging of tubes, change treble controls; contour and volume in their sound studio. Joseph S. Whiteford, vice - of tubes, or aging of components. controls; variable damping control; pres., writes us: More specifically, a tube takes rumble filter, plus many other deluxe "Your AR -1W speaker has been of features. In compact cabinet, 4" high. inestimable value in the production of our re- about 48 hours use in a particular tube carding series 'The King of Instruments'. No its socket before it has reached plateau HANDSOME "SPACE- SAVER" DESIGN other system I hove ever heard does justice to of performance, so whenever a tube is RAULAND matching "Space- Saver" the intent of our recordings. Your speaker, with units are decorator -styled in smart char- its even bass line and lack of distortion, has so replaced, the tuner should be trimmed coal black with marbleized gold finish, closely approached the truth' that it validates control panels in soft brushed brass. No up after the rleu' tube has been in use cabinets required beautifully to -fit any- itself immediately those who. are concerned for about this long. where. (Extension shafts available for with musical values." behind -panel mount.) AR speaker systems (2 -way, or woof- Over a period of about the first Soo er-only) ore priced from $132 to $185. Cabinet hours of use, tubes and components Hear these size 14" x I134" x 25"; suggested driving power will age to the point where another RAULAND HI -Fl 30 watts or more. Illustrated brochure on units at your request. trimming up of the alignment would dealer's, or write not be out of place. Then after the for full details ACOUSTIC RESEARCH, INC. tuner has been in use for about r,000 25 Thorndike St_ Cambridge 41. Mass RAULAND -BORG CORPORATION Room 544 N. Y. High Fidelity Show hours, all tubes should be checked, 3 515 W. Addison St., Dept. F, Chicago 18, Ill'

I7S HIGH FIDELITY MAGAZINE

www.americanradiohistory.com replaced if need be, and the set re- aligned. Outside of these general sug- s 98.8% of gestions, a tuner should have its alignment checked if it seems to tune too critically, if it is unable to pull in sta- PRESS COMMENT High Fidelity's tions that it used to receive well, or if the sound seems to have a slightly subscribers regularly dirty edge to it. To answer your other questions in read the turn: slight misalignment will cause distortion in some tuners; not in ADVERTISEMENTS others. The original sensitivity of a tuner can definitely be restored by changing any tubes and components "'Atlantic and by realign- "The AR -1W woofer gives the cleanest this to be that have deteriorated, A reader survey has shown bass response I ever have heard." true. They read them because they ment. The best tuners are stabilized want to know what products are to the extent that realignment should available to add to their enjoyment tubes are AUDIO (Edward Tatnall Canby) They read them be required only when of home music. impressed me immediately with confidence because they feel changed. All others will tend to drift "... the highs very lovely, smooth, unprepossessing, mu- implicit trust in HIGH FIDELITY's out of adjustment with use. A really as integrity, knowing full well that sical (for music) and unusually natural. No every effort is made to back up top -notch serviceman with high stand- super-hi -fi screech and scratch ... As to the advertisements with facts. ards for his own work can do as good lows ... I was no end impressed, from the a job as the factory, when working on first time I ran my finger over a pickup stylus There is another side to this story. instructions sup- and got that hearty, wall- shaking thump that It is important, of course, that sub- a good tuner from betokens real bottom bass to the time when feel confident of the basic scribers plied by the manufacturer, and when I had played records and tapes on the speaker ideology behind the publication of a test instru- magazine. IT IS EQUALLY IM- using laboratory -quality for some months on end." PORTANT THAT ADVERTISERS, ments for the alignment operation. TOO, ENJOY A FEELING OF SATISFACTION IN THE KNOW- Z"ke Audio ,Ceague Report* LEDGE THAT THEY ARE BUY- SIR: ING EXACTLY WHAT THEY The thin vinyl used in today's record- "Speaker systems that will develop much less than 30% distortion at 30 cycles are PAY FOR - PRODUCTIVE AD- ings aggravates the warp problem to a VERTISING SPACE, CIRCULATED few and far between. Our standard reference AS PROMISED. very great extent. I've tried sandwich- speaker system,t the best we've ever seen, ing a warped disk between two plates has about 5% distortion at 30 cycles." Circulations The Audit Bureau of - 25 lbs. weight known as ABC stands of glass and keeping of *Vol. 1 No. 9, Oct., '55. Authorized quotation #30. familiarly - report for the FACTS that make it possible on it for 4 or 5 days, but that doesn't For the complete technical and subjective on right the AR -1 consult Vol. 1 No. 11, The Audio League for advertisers to select the seem to help. Report, Pleasantville, N. Y. media and to know what they get I for their money when they invest in Can you suggest what else might tThe AR-11f'/ publication advertising. It is the try ? recognized symbol for universally Murray Harkavy TIeSaturdyyReQI-.. (R. S. Lanier) integrity of circulation, the first consideration of experienced space - Lindenhurst, L. I., N. Y. ' ... goes down into the low, low bass with buyers. exemplary smoothness and low distortion. It About the only thing you can do about is startling to hear the fundamentals of low Publishing integrity works both pure and undefiled, record warpage is to heat the record organ notes come out, ways. Readers and advertisers alike from a box that is two feet long and about their money's worth. must be given slowly over a stove burner until it be- a foot high." HIGH FIDELITY's editorial policy own weight, and protects its readers as far as such gins to sag under its protection is possible. ABC mem- then place it between two pre -warmed High Jitlelity (Roy Allison) bership protects advertisers where sheets of glass, with a stack of books . a woofer that works exceptionally is concerned. Both fac- circulation not in tors contribute to the success of on top of them. Leave overnight or well because of its small size, spite until thoroughly cool. of it . I have heard clean extended bass like this only from enclosures that were at scarp returns, you have no If the least six or seven times its size." alternative but to return the disk to the dealer or manufacturer for replace- THE at/Orr (B. H. Haggin) a satisfactory one. High 3idelity ment with .. achieves the seemingly impossible; a The Magazine for Music Listeners real and clearly defined bass in a cabinet only SIR: 14 by 113/8 by 25 inches in size." `nc ED Hi -fi is beyond my means; however, there is too much free music on the audiocraft air in this area to miss, so I equipped "The reproduced sound* so perfectly dup- O myself with a small FM radio receiver licated that of the organ that no one could be and connected it to a 6 -inch replace- sure which was playing." ment type speaker in a homemade *At a demonstration of live vs. recorded pipe e organ, in which the reproducing system included ,p\ bass reflex cabinet. four AR -l't. CVLA Recently, I was fortunate enough to be listening to WITH -FM in Balti- ACOUSTIC RESEARCH, INC. Member Audit Bureau of Circulations 25 Thorndike St., Cambridge 41, Mass. Continued on page 181 Room 544 N. Y. High Fidelity Show

OCTOBER T956 179

www.americanradiohistory.com PROFESSIONAL DIRECTORY CALIFORNIA NEBRASKA TRADER'S MARKETPLACE In Omaha it's the EVERYTHING IN HI -FI SOUND EQUIPMENT ... Here's the place to buy, swap, or sell "House of Hi -Fi" audio equipment. Rates are only Sot~ a word (including address) WORLD'S i/ Fine High Fidelity Components and your ad- FEATURING FINEST 7/ Custom Installation vertisement will reach (10,000 to 000,000 PEX TAPE Guidance IMAGNETIC ISCOIDSY RECORDERS 001 Personalized Recording Service music listeners. Remittance must ac- "House of Hi -Fi" company copy and insertion instructions. SANTA MONICA SOUND 4628 Dodge Street 12436 Santa Monica Blvd. Omaha, Nebraska Phone GLendale 4434 West Los Angeles 25 GRanite 8 -2834 .' FOR SALE: Lincoln three speed automatic record OR STOP AT WORLD RADIO LABORATORIES changer with GE diamond stylus. $150.00. J. M. 34th 8 BROADWAY COUNCIL BLUFFS, IOWA Edelman, M.D., Commerce Bldg., Baton Rouge, La. NEW YORK AUTHORIZED DISTRIBUTOR for all leading high the finest in Hi-Fi fidelity component manufacturers, we offer ex- DON'T EXPERIMENT . cellent demonstration facilities. Custom installa- .. tions. Reliable service dept. For the finest in featuring gket S7CC CONSULT A SPECIALIST IN sound equipment, it's CAMBRIDGE ELECTRONICS COMPANY, 530 Westcott St., Syracuse, N. Y. HIGH FIDELITY COMPONENTS 72 -9991. TRUE HIGH FIDELITY SYSTEMS DESIGNED BY MAIL TAPE RECORDERS, tapes, hi -fi components at SOUND WHOLESALE prices! FREE catalogue. CLARSTON, 215 E. 88 St., New C O R P O R A T I O N TO YOUR NEEDS AND BUDGET. York City 28. BOHN MUSIC SYSTEMS CO. 820 W. Olympic Blvd. L.A. 15, Calif. RI 7.0211 LEARN WHILE 550 Fifth Ave., New York ASLEEP with your recorder. Amaz- 36, N. Y. ing book gives full instructions. $2.00. Guaran- teed. Research Association, Box 610, Omaha. OHIO Since 1944 TRADE - Goodmans Axiom "80 ", perfect on un- IN CINCINNATI AND TIIE used Dynakit Mark II amplifier kit - Interelec- tronics "Coronation 85" preamplifier. Will an- TRI -STATE AREA swer. Nelville H. Smith, CMR4, Athens, Tenn. * Cl1MPETENT EN(;INEERINC HOLLYWOOD ELECTRONICS * COMPONENTS AT NET PRICES HI -FI COMPONENTS SELL Hartsfield speaker EXCLUSIVELY * SERVICE ON ALL HI FI COMPONENTS components. Best offer, separate or all together. Pictures available. Tom featuring Groom, Murfreesboro, Tenn. g"Lepy071.L ® eustO.v,./A.44, ELECTRO -VOICE GEORGIAN, less finished cabi- 2259 Gilbert Ave., CA 1 -3153- 2 7460 MELROSE AVENUE Cincinnati Oho net, $195.00. Long, Box 943, Lafayette, La. Los Angeles 46, Calif. WE 3 -8208 " A Gnnp,ne, t or a Complctr $srem 6 ELEMENT BROAD BAND FM antennas. All seam- PENNSYLVANIA less aluminum, $10.95 ppd. Wholesale Supply Co., Lunenburg, Mass.

in the PHILADELPHIA area HIGH FIDELITY, numbers: 1 -36, 38 -43, $20.00. HIGH -FIDELITY HOUSE Wyllys, 613 South Quincy, Arlington, Va. YOUR COMPLETE SUPPLIER is

Most complete stock of Audio TAPE RECORDERS, TAPE. Unusual value. Free catalog. Dressner, 69 -02K 174 St., Flushing 65, components in the West SERVICE CO. OF PENNA., INC. N. Y.

Phone: RYan 1 -8171 HIGH FIDELITY & COMMERCIAL SOUND STUDIO HI -Fl SALESMAN. Leading audio outlet in one of 536 S. Fair Oaks, Pasadena 1, Calif. South's largest cities needs hi -fi manager to allow 709 Arch St., Philadelphia 6, Pa. owners to put more time on commercial sound. Phone: LOmbard 3 -7390 Must be amiable, aggressive, and have instinctive ILLINOIS sales ability. Working interest possible later date. Wonderful opportunity in ideal set -up for young man with ambition. Hospitalization, paid vaca- tion, pleasant surroundings. Any salary request 4 ALLIED HIGH FIDELITY STUDIOS In PITTSBURGH and the in line with ability considered. Send full resume immediately. Box BC, Publishing House, Gt. Bar- ALLIED RADIO CORP. TRI -STATE AREA rington, Mass. 100 N. Western Ave., Chicago 80, III., HAymarket 1 -6800 ALTEC M -11 CONDENSER MICROPHONE ALLIED HIGH FIDELITY STORES, INC. Coeityllanf in GI/i-1i SYSTEM: 21 -B microphone, 150A base, P -519A power sup- 602 Davis St., Evanston. III., DAvis 8 -88221 ply, two 25 -foot cables no. 152A and 153A. New WOLK'S HIGH FIDELITY CENTER condition; guaranteed to meet manufacturer's EVERGREEN ALLIED HIGH FIDELITY, INC. specifications. Save over $100; will sell entire 2025 W. 95th St.. Chicago 43, III., BEverly 8 -1067 right next to lhrtlh's Kamera E.rc /tame system for $150. Also sell Cook ultimate amplifier, $100. Box RS, The Publishing House, Gt. 306 Diamond Street, Pittsburgh (22), Pa. WEST SUBURBAN ALLIED HIGH FIDELITY, INC. Barrington, Mass. 7055 W. North Ave., Oak Park, III., EStebrook 9 -4281 EXpress I -0220 CANADA CANADA CANADA'S FIRST Custom design and manu- IN CANADA - facture of cabinets for high - HIGH -FIDELITY fidelity systems. There's acne place Tchen vl can tied - and RADIO, PHONOGRAPH, RECORD AND High- fidelity hear -- yoor hi,;h- hd,-Its rquipmrnt ne,d.. systems engi- TELEVISION CENTRE neered. 5k, carry a acnplrte_ tuck arme io, er St nun herg,Carlsm -Custom 4nr1" .c rItr in, for a chat. a and a listen. High- fidelity custom instal- Brocincr -- Frced-EI.cmann - Bocce lations. Fichar Radio - Concertnne Tape Recorder All Makes of High Fidelity Records ßLECTRO.1)O10E aitalitt &wad aid qi d 012 Ltd. A U D I O M 8 SOUND SYSTEMS 390 EGLINTON WEST TORONTO, ONT. 4109 W. Armitage Ave. Chicago 39, III. Phone HUdson 9.2117 141 Dundas St., West, TORONTO

ISO HIGH FIDELITY MAGAZINE

www.americanradiohistory.com N . COMPACT AUDIO FORUM -sonic v/a Continued from page 179 Ortho TONE ARM more, when they broadcast a series of tones of various frequencies for a receiver response test. First they gave a i,000 -cycle tone for reference level. Then this is what my radio did on the other tones: 18,000 and 15,000 cycles - no sound; 12,000 and io,000 cycles - approximately 4 db down; 5,000, 1,000, and 500 cycles- flat; loo cycles and 5o cycles - approximately 2 db down; 3o and 20 cycles - approximately 4 db down. I realize that harmonics can be mistaken for true tones at very low frequencies, but at 20 cycles I could .ictually distinguish the individual peaks; that is, the sound was be- :;inning to resemble a buzz rather Recreate "live performance" realism - than a tone. right in your own living room - with MODEL 100 the incomparable presence and per- And yet all the rules of design say formance of the W/B Stentorians! it's impossible. Perhaps you can give NO¼'0i by world - Manufactured in England me an famous Whiteley Electrical Radio explanation. insistent demand of audiophiles Company - originators of the first B. Frank Lampton BYand dealers, comes the new, abridged commercial permanent magnet loud- Fairfax, Va. ORTHO -SONIC V /4. This new model speakers in 1927 - STENTORIAN retains all of the 10 incomparable fea- reproducers provide a quality of per- of ORTHO- and superiority of sound It is impossible for the human ear tures the professional formance SONIC V/4 transcription model. While which has won the unprecedented to measure the relative levels of in- major audio the arm measures only 71/4 ", it plays all acclaim of virtually every in of decibels, critic and user, both here and abroad! dividual tones terms recordings up to and including the 12 ". Hear the incomparable W/B Sten- because when these tones occur sep- torians at your earliest opportunity .. . arately (rather than in combination units of similar OVERSIZED TRANSCRIPTION ARMS UNNECESSARY judge them alongside with other tones distributed widely size and price . convince yourself arms are a thing of is and the audible spectrum), the Awkward, oversized that here, truly, the finest sound throughout by value available anywhere. the past! The purpose served these ear automatically compensates for dif- conventional "Transcription" arms was ferences in loudness, making soft 15" Stentorian Full Range to minimize distortion due to tracking Duplex Loudspeaker sounds louder and loud sounds softer. error. This is automatically accom- Response, 20 - 20,000 cps.; bass ORTHO- resonance, 35 cps.; power rating, Also, the harmonics generated by plished by the revolutionary 25 watts; 16 lb. Alcomax Series $159.50 at low frequencies are SONIC V/4 principle, which eliminates Magnet System; built -in crossover a small speaker tracking error by following the course network at 1,500 cps. so intense and at so many harmonic 12" Stentorian Full Range of the original cutting stylus. Duplex Loudspeaker multiples of the fundamental that it Response, 20 - 20,000 cps.; bass resonance, 35 cps.; power rating, is truly very difficult to distinguish PERFORMANCE ACCLAIMED 15 watts; 111/2 lb. Alcomax Series $119.00 UNMATCHED Magnet System; built -in crossover them from the fundamentals unless network at 3,000 cps. you are very familiar with the sounds The cartridge carrier is supported on a Stentorian 15" Woofer original form. multiple ball bearing trolley ... lateral Model HF 1514 themselves in their friction is virtually eliminated. While Response, 25 - 4,000 cps.; bass a resonance, 35 cps.; power rating, $89.50 Many loudspeakers will produce the conventional arm, due to inertia, 25 watts; 10 lb. Alcomax Series 20 cycles Magnet System. great deal of output at per throws the stylus against the side of Stentorian Extended Range second, but an analysis of the output the groove, ORTHO -SONIC V/4 keeps Loudspeaker, Model HF 1214 from them will reveal that this sound the stylus in the center of the groove. Response, 25 - 14,000 cps.; bass This adds up to perfect, distortion -free resonance, 39 cps.; power rating, $49.50 consists of little more than distortion 15 watts; 51/2 lb. Alcomax Series reproduction so that worn records sound Magnet System. components, mostly lying above 8o or as when they were new. Stentorian Super Tweeter Model T -12 Response, 3,000 - 20,000 cps.; zoo cycles. The fact that a speaker Testing laboratories, audio engineers power rating, 15 watts; 9 lb. $58.50 a Alcomax Series Magnet System. will "make noise" when fed by very and hi -fi editors attest to the superi- Stentorian Cone Tweeter Model T 816 deep signal is, sadly, no indication of ority of the ORTHO -SONIC V /4; users Response, 1500 - 17,000 cps.; $29.50 power rating, 15 watts; 31/2 lb. its ability to reproduce what is being rave about its unequalled performance. 16,000 gauss Alcomax Series Mag- $49.50 (Original quotes on request.) net System. In Cabinet fed into it. 1Vhat you experienced listening to MODEL #100 $35.95 For complete literature on these and many other famous lower priced Stentorian loud - the frequency test on your FM radio MODEL #200 (Transcription) $44.50 speakers and audio accessories, see your dealer or write: is by no means unique. Many small MODEL #300 (Binaural) Company receivers will behave similarly on such Barker Sales AT BETTER DEALERS EVERYWHERE 996-8 Edgewater Avenue, Ridgefield, N. J., U.S.A. a test, but it still takes large and Exclusive Sales Agents for the U.S.A. and South America Charter Member: Inst. of High Fidelity Mfrs., Inc. If your dealer cannot supply your 17M Whiteley Electrical Rodio Company needs, send your order direct to Continued on next page ...

ORTHO -SONIC INSTRUMENTS, Inc.

- . -. N.Y. www.americanradiohistory.com 66c Keep Your AUDIO FORUM Continued from preceding page Records Young! fa, FOR HI -FI AND expensive equipment No more brushing, spraying to be able to reproduce all of the audible spectrum FANS! or wiping records TAPE RECORDER cleanly and smoothly. HOW TO SELECT 8 USE YOUR TAPE Use the new RECORDER by David Mark SIR: Written for the user of magnetic tape recorders DIS- Is there some method of varying the -and to serve as a guide in selecting a ma chine that most suitably meets his or her in- CHARGER. speed of a standard transcription turn- dividual requmrements. For all those who have little or no formal training in the science of table? I have and continue to get electronics. Now l00% better lots It's a book which "shows you how! Illustrates than ever! of old acoustic vocal records which actual "set-ups" for the many different applica I'm positive were not recorded at tions of tape recorders ... Read this hook before you buy a tape recorder . It will save you 78.26 rpm. They sound terrible unless many dollars! NO OTHER BOOK LIKE IT! Imitated but not duplicated. No. 179. 150 pages 51/2x8' /2 in. 152 illus. Soft they can be played at anywhere from cover $2.95 This tiny plastic device contains 75 to 8o rpm. HI -FI LOUDSPEAKERS and ENCLOSURES a radioactive material which con- by Abraham B. Cohen My turntable has a 4 -pole induction stantly ionizes the air in its vicinity, THE "CLASSIC" IN HI -FI LITERATURE!

drawing off the static electricity motor. Will line voltage variations Here is a long - needed book. Every question generated by your records. which any hi -fi fan may ask about hi- fidelity speed or slow up this type of motor? loudspeakers and enclosures is answered. Static electricity causes records to This is If so, do you think the use of a power - book supremely authoritative and brit, attract and hold dust. Use of the liantly written! The author is a recognized au, Dis- Charger* eliminates the static stat between the tic) volt AC line and thurity - musician - an engineer. electricity and allows the stylus to pick Room acoustics are explained and advice is the motor will give the desired speed given . . A MUST hook for all hi-fi and audio up the dust and clean the record in a enthusiasts and technicians. control? Or will too radical a change few plays. Records now no longer at- No. 176. 360 pages, iy x Si/2 in. Leather tract dust and stay clean and noise free. in voltage cause the motor to malfunc- finish MARCO cover. Hundreds of illustra tiems Only $4.60 gram - clips to any pickup arm. tion? I have seen some powerstats in No. 176 -H. C''oth Bond Only $5.50 RIDER BOOKS ARE AVAILABLE See your local distributor, the catalogues (around $8 to $ 1 o ) AT ELEC- $4.50 TRONIC PARTS DISTRIBUTORS AND IN or shipped postpaid, only . . with continuous voltage control, o -I35 TECHNICAL BOOK STORES. IF UNAVAIL- Each ABLE THERE, ORDER DIRECT. MERCURY SCIENTIFIC volts. PRODUCTS Samuel Weissman JOHN F. RIDER Publisher, Inc. CORP. 480 Canal Street, New York 13, N. Y. 1725 W. 7th ST. New York, N. Y. In Canada: LOS ANGELES 17, CALIF. Charles W. Pointon, Ltd. *Bat. App. For 6 Alclna Avenue, Toronto, Ontario If the turntable has a standard induction motor, a powerstat will enable you to vary its speed over a fairly narrow range. It will be perfectly safe to STYLI use the powerstat to reduce the speed INSPECTION HI -FI of the turntable, but using it to in- MICROSCOPES crease the speed by a considerable YEAR amount over long periods of time (say, GSS MS1 for longer than a half hour) will tend STYLI to overheat the motor and may INSPECTION BOOK do it MICROSCOPE permanent damage. 2 objectives, 75X and 125X, "Society If your turntable has a synchronous Threads ", all brass drive motor, you will tubes and cells, cast not be able to aluminum base, 8 watt, vary its speed without varying the 2,000 Hr. rated GE lamp, UL approved The book that has set a new high stan- frequency of the AC supply. cord set. Reagent re- dard in the Audio World. sistant, baked dark blue Certainly the best solution would plastic enamel finish. 2 yr. free service The book that is selling 1,000's in all be to get a variable -speed turntable. guarantee. Natural parts of the world. Cedar Wood Case. Each Perhaps you would be wise to put $25.00, postpaid. Hailed by novices, experts, traders and your powerstat money into such an designers everywhere. investment, rather than trying to GSS MS2 modify your turntable. STYLI Percy Wilson (in "The Gramophone ") INSPECTION writes of: "I know of no other book like MICROSCOPE it, or one that is so full of up -to -date SIR: Smaller frame than matter, either in this country (England) What is the optimum setting of the M$1, single objective, or in the volumes that have been sent 75X, all brass tube input and cells, gray baked . . level -set to me by my friends in America . control on my power plastic enamel finish. amplifier? What is the correct rela- Identical electrical PRICE IN U.S.A. & CANADA $2.25 equipment. Paper Case. Each $12.50, postpaid. from Sole American Agents: High Fidelity tionship between the setting of this Magazine, Great Barrington, Mass. control and the setting of my pre-

amplifier's volume control? All GSS microscopes, 2 yr. free service Over 200 illustrations: Chapters on guarantee. $1.00 charge only for pack- Grooves, styli, pickups, control units, David Fonseca ing and postage on return trip. amplifiers, speakers, tuners, recorders, stereophony, home construction. Chattanooga, Tenn. Over 77,000 GSS Microscopes in U. S. Schools.

MILES HENSLOW PUBLICATIONS LTD. The purpose of the input level -set THE GENERAL SCIENCE SERVICE CO. 99, Mortimer Street, London, W.I. control on your P.O. BOX 8423 - St. Louis Park Station power amplifier chas- MINNEAPOLIS 16, MINNESOTA

TS2 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com sis is to reduce the audibility of any noise or hum that may originate in the latter stages of the control unit. stylus worries! It should be operated in its full - Stop volume position unless you find there is too much hum, hiss, or microphonic LIFETIME MAGNILIC trCOt DING iFrr noise with the control unit's volume control turned all the way down. If this is the case, turn the amplifier's control down slightly until these noises are reduced or until you reach that point where you are no longer able to DOES THE IMPORTANT JOBS get enough volume from the system. NO OTHER TAPE CAN DO! The power amplifier's control should be down more than 1/3 of Revolutionary new Soundcraft LIFETIMES never turned Magnetic Recording Tape takes over where the way, regardless of how much noise others fail. This high -fidelity tape: Ban- may remain. Noise from the preamp ishes program timing problems due to tape. all the way Preserves priceless recorded material for (with its volume control a lifetime. Stores perfectly in any cli- down) should not be audible with the mate. Is a third as strong as machine power amplifier's control 1/3 of the steel. Will never break, cup, curl, tear, . records stylus hours dry out or grow brittle. way down. If it is, the preamp should To the best of engineering knowledge, be checked for subnormal operation. automatically LIFETIME Tape will last forever. Newest in Soundcraft's quality tape line, its remark- NOW you can re- your able Micro -Polished® oxide coating an- SIR: place worn styli in time. Save prized records. Easy to install. Polished chored to DuPont "Mylar" polyester base In the July Audio Forum, Ian R. Hart makes it the finest tape money can buy. At walnut or maple cabinet. dealers everywhere. Start using it today. mentions that when he turns on his Size app. 3 %2" x 3 1/a" amplifier he hears a loud buzz from Buy Phono -Timer at your Hi -Fi For Every Sound Reason dealers or order direct. Money back its chassis. My problem is somewhat guarantee. REEVES SOUNDCRAFTCORP. similar in that when I turn on my system a humming comes from my DEPT. B -1 ;/C I/V Jl//1!` speaker, and lasts for about fifteen 10 E. 52nd St., New York 22, N. Y. 556 Madison Ave., Memphis, Tenn seconds. I wonder if this is caused by the same thing that causes Mr. Hart's am- The New Ed -Kay Corner Mount plifier chassis to buzz? LINEAR 3-UNIT SYSTEM Joel Slater PRESENTS THE FINEST IN Elmhurst, N. Y. HIGH FIDELITY COMPONENTS

1 The buzz that Mr. Hart heard from his amplifier when it was turned on was purely mechanical in origin, and was caused by vibration of some of the metal parts on the chassis. The hum you hear from your system during warm -up is, however, electrical, and is due to the fact that the electro- lytic capacitors in the power supply always take several seconds to become fully charged, and hence fully effective. This initial hum surge is very common in amplifiers, and is not an in- A superbly blended unit with expanded RADIOcra tsmenn dication of either an equipment defect projection. clarity, depth, and character. "CONCERTO" Q As carefully designed for smoothness and or incipient trouble. The only time linearity as the very best amplifiers. AMPLIFIER- PREAMP you should raise a question about this A sparkling brilliance that only a sensi- The "Concerto" produces 10 watts sort of thing is when it fails to go tive speaker possesses. The increments of of clean power over an extremely sound from pianissimo to fortissimo are wide range. Its versatility of con- ) 50 away as the amplifier fully warms up. trols and more than adequate power natural in degree, never inaudibly soft nor make it an ideal amplifier for home Even then it would not usually be due painfully loud. Uniquely corner -mounted hifi use. Model CA -11. canse for worry; it would just be a eliminating costly cabinetry bass boom and AVAILABLE AT ALL ALMO STORES floor space. '56. source of annoyance. See TITH September Specifications: Corner- mounted, 15" - 19" from mid- RADIO CO. ceiling. 1 hook. 3 units -12" woofer, 8" range horn. 3" tweeter. 16 ohmns. 25 watt DOWNTOWA PHILA. SIR: 35 peak. fret'. range 50- 17500, substantially 509 ARCH ST., flat. 35r," high. 354" wide, natural Birch. BRANCHES: Camden, N. J. Trerton, N. J. In recent years there seem to have sealed, hand- rubbed, and waxed. Atlantic City, N. J. Norristown, 'Pa. been many good articles published on Wilmington, Del. Salisbury, Md. Ed -Kay SPEAKER CO. SEND FOR FREE - HI -FI" HANDBOOK & CATALOGUE Continued on next page 429A Park Ave., Worcester 10, Mass.

OCTOBER 1956 I 83

www.americanradiohistory.com AUDIO FORUM HI -FI at Low Cost Continued from preceding page First release FINE IMPORTED AMPLIFIERS the theory and use of phase inverter $49.50 or "reflex" type speaker enclosures. 110V -ac FOB, DC All the articles that I have seen have assumed, though, that only a single woofer unit was being used. The trend in hi -fi circles today seems to be toward the use of multiple 1llttUri>1 drivers in reflex or infinite baffles. ANTENNAE nf Ennbon Where the speakers are identical, the problem is comparatively straightfor- N FLAWLESS REPRODUCTION girAputal MefreatavaidtlA ward. In my own experience, how- 3 channel ever, and in that of several of my L. F. B. Carini, Ph.D. 5 watt (Brt.); 7 w. (USA) Noted F.M. Authority friends, the 3 SEPARATE TONE CONTROLS speakers are neither iden- Both for optimum sensitivity and quality of construction, the h'M /Q Antennae offer PLUS SCRATCH CUT! tical as to make, type, or purpose. It truly outstanding performance that is un- Flat Response most often resolves itself into a situa- surpassed by any other. Don't limit your tuner's sensitivity by Guaranteed 12 mos. tion where a high -quality coaxial using an inefficient antenna. Listen to the Priced with tubes many other Good Music Stations on the speaker is used to cover the entire fre- air and enjoy the full capabilities now Jacks for tape recording and quency range, and then it becomes de- dormant in your FM tuner. Obtain in- playback. creased signal strength and the long sirable to add a woofer to aid the distance reception that only an "FM /Q" Jack for tuner System can provide. coaxial on the low end 1 MARK Ill MODEL of the spec- ALSO For advice and information write our con- for more power trum. This raises several questions. sulting correspondent who will be happy to ORDER TODAY BY MAIL ONLY advise you regarding the solution of your EXCLUSIVE USA DISTRIBUTOR Is it desirable to have the woofer particular problem. Send twenty -five cents for our valuable book, entitled "All About cut off at the crossover frequency of FM Antennae and Their Installation," AMERICAN BRITISH ELECTRONICS which also includes a complete Directory the coaxial unit? In the interests of of All FM Broadcast Stations. 2416 39TH ST. NORTH WEST smoothness, it seems more logical to WASHINGTON 7, D.C. peg it either above or below this APPARATUS DEVELOPMENT Sales Agents Invited point. The woofer and the woofer Encircle mailing card number 10 -6 in COMPANY,INC. reverse of magazine. section of the coaxial will in all prob- WETHERSFIELD 9, CONNECTICUT ability have different natural resonant See us at the Audio Show ... booth 322. frequencies. This sounds desirable to me, but how should one rune an enclosure so equipped? Should it be CALBEST CABINETS tuned below, in between, or above CUSTOM A complete line of Concert Cabinetry the two resonant frequencies? TURNTABLE BASES F. Steinway by Trans -Tel New York, N. Y. THREE Styles TWO Sizes Attempts to use different types of Felt mounted Leveling woofers in the same reflex enclosure Priced from $16.50 to $24.90 generally create worse sound than any "Composer" one of the woofers alone. If a better woofer must be added, COMPONENT CABINET then the For TURNTABLES or woofer section of the previous speaker RECORD CHANGERS should be cut off at around 400 cycles, and ALL COMPONENTS Truly a masterpiece and the sub -woofer should cut in at Choice of finishes $195. that point. Famous - Original It is impossible to tune a bass reflex Rack 55 enclosure to two frequencies simul- COMPONENT CABINET taneously, which is the main reason Many outstanding desirable Automatic FM reception why identical woofers should always Reception features of selected FM stations on be used if they are expected to cover unused TV channel positions (optional). Deluxe model $54.50 the same range. Unimatic Remote Control Std. (unfinished) $39.50 Full remote control (channel selector and fine tuning, volume, contrast, and off - - "Companion" an) in convenient hand size case. Rever- COMPONENT CABINET sible motor for two -way operation. Has changer drawer For 21 ", 24 ", or 27" Tubes and component space. 90 degree deflection yoke, permanent Practical, hinged doors sn+r magnet Focomag for edge to edge focus: have magnetic catches. Easy -to- install chassis for built -in TV. Available with $84.50 to $108.50 V or without remote control. Write for details and name of distributors. E. and R. SCHELLER 1630 West Granville Ave. TRANS -TEL CORP. CHICAGO 26, ILLINOIS 736 North Highland Ave., Hollywood 38, Calif.

184 HIGH FIDELITY MAGAZINE