High Fidelity Magazine November 1959

ICD

1 high60 CENTS THE MAGAZINE FOR MUSIC LISTENERSCl NOVEMBER ®

. . . its music . . . its orchestra . . . its landmarks

www.americanradiohistory.com leading consumer products testing lab` for hi -fi industry reports on Glaser -Steers GS -77

.__ lift ique_.. .._ foolproof... "Another unique feature of the GS -77 ... the Speedminder is the fact that the turntable stops feature makes it rotating during the change cycle... virtually impossible to This eliminates the possibility of play a record at the damage to a record by scraping wrong speed with or against a rotating record ..." the wrong stylus. It is hard to imagine a more foolproof system of record playing." ...ingenious design... "All of this ingenious design I... flexible... would be to no avail if the changer failed to meet the "lt appears that Glaser - performance Steers has tried to make requirements of a high fidelity it does the GS -77 as nearly fool- stereo system. Happily, meet them with room to proof and flexible as spare." possible. They have suc- ceeded admirably."

"The GS -77 comes about as close to perfection in a changer design as anything we have seen. Its mechanical performance is comparable to that of many other turntables and it has nearly removed the possibility of human error from its operation."

Glaser -Steers GS -77 high fidelity record changer, superb for stereo... and your present records. $59.50 less base and cartridge at your dealer. 'Audiolob test report in August High Fidelity Magazine -for a copy of the complete report, and illustrated brochure, write: Deportment HF -I I, GLASER- STEERS CORPORATION IS5 Oroton Street, Newark 4, New Jersey www.americanradiohistory.com TWO TINY SATELLITES ... ONE SMALL CABINET...

IT'S YOUR DECOR- DESIGNED STEREO SPEAKER SYSTEM! the exciting new ( I I A Jensen The stereo speaker system designed with your home in mind.

i You've never seen a stereo speaker system like this ... an inspired merging of function

with decor.. , that takes less than a square foot of floor space (or can be off- the -floor entirely) ... yet gives you big speaker dual 3 -way system performance with wide panoramic stereo sound for an entirely new listening thrill! For living room, or any room in your home ... Jensen Galaxy 11 is the most livable stereo speaker system ever. WRITE FOR BROCHURE GV 950 complete In Choice of Walnut, *16 Mahogany or Tawny Ash

GALAXY II is the equivalent of two complete 3 -way speaker systems with the added feature of a "derived third channel" for center -fill. Bookshelf -size Bass- Center Unit in handsome fine hardwood cabinet, contains the new dual channel 8' FLEXAIR' woofer (which handles all bass and center -fill middle frequencies from both stereo channels), dividing networks for both channels and terminal -receptacle panel. Two Satellite Units each with yokes and wall -mounting hardware, plus 20 -foot cord, plug into terminal -receptacle panel on Bass- Center Unit. Satellites may be mounted high or low on end, side or adjacent walls or placed on horizontal surfaces up to 20 or more feet apart for wide panoramic stereo sound. o QUQs gQuu MANUFACTURING COMPANY /6601 South Laramie Avenue Chicago 38, Illinois

DIV.. Of tut INUT[It CO. In Canada: Renfrew Eleatic Co., Ltd., Toronto In Mexico: Radios Y Television, S.A., Mexico O.F. `T. M.

NovE .t1 u 1959 1

www.americanradiohistory.com an extra / measure of quality I li llÌll IIjtlIIliil III 111 111111! j1111 i i1

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1 111 1 1 11 lli 111 111 fi1i11111 -111 11l -!1 ,Shown is PICKERING's Collectors' Ense,nble, Model 360E with 3 slyli for stereo- nicrogroove-7d's

The extra measure of quality in every PICKERING product adds extra value... extra convenience... to any high fidelity system! The beautifully simple sculptured lines...the low, sleek profile... the new look in quality stereophonic pickups -this is the shape of good things to come -this is the PICKERING Collectors' Series. Without question, the 380 is the finest - with more features and more flexibility than any other stereo pickup in the world. For example- the 380 is fully encapsulated in precious mu -metal for absolutely hum -free performance.

Visit your dealer for a demonstration today, you will love the live, eager response to every nuance in the record groove...you will find yourself listening to a bright, delightful quality.., second only to the original live performance. The only true way to judge a high fidelity component

Only the Stanton Stereo FLUXVALVE features the safe. is to compare it with another... measure comfortable, easily replaceable stylus assembly. its performance with the most vital instrument of all...the ear. Those who can hear the difference,.. choose PICKERING'.

COLLECTORS' SERIES Totally new and unique to high fidelity is the "Collectors' Ensemble" ...a complete quality "pickup- package" for reproduction of all records -stereo -microgroove -78's. Model 380E -Collectors' Ensemble, includes the Stanton Stereo FLUXVALVE with 3 "V.GUARD" styli for stereo, microgroove and 78 rpm records 160.00 Model 380A- Includes Stanton Stereo FLUXVALVE with 03807A "V- GUARD" stylus fur transcription arms $34.50 Model 380C- Includes Stanton Stereo FLUXVALVE with D3807C "V- GUARD" *PICKERING - for more than a decade - stylus for auto-changer arms $29.85 the world's most experienced manufacturer PRO- STANDARD SERIES of high fidelity pickups ... supplier to the recording industry. It may Interest you to know that in one short year, PICKERING'S Pro. Standard Series has become an industry standard...the universal choice of professionals. Now. the new and revolutionary PAC' technique developed by PICKERING has effected economies in manufacture which permit a reduction In the price of the Pro.Standard Series. FOR THOSE WHO CAN HEAR THE DIFFERENCE Model 371 A Mk II Stanton Stereo FLUXVALVE Pickup now $26.40 Model 371C Mk II Stanton Stereo FLUXVALVE Pickup now $24.00 Model 196 Mk II UNIPOISE Arm with integrated Stanton Stereo FLUXVALVE ickering Pickup now 149.50 VICKERING AUTOMATED CRAFTSMANSHIP PICKERING & CO., INC., PLAINVIEW, NEW YORK ILUEVALV4. "Y-CUARD. TPUARD: UNIeOISE.rAC e

Hrcir FIDELITY MAGAZINE

www.americanradiohistory.com high fideli NOVEMBER 1959 volume 9 number 1I including AUDIOCRAFT and HI -FI MUSIC AT HOME

ARTICLES Roland Gelait Editor The Ancient and Honorable Philharmonic 54 John M. Conty Miriam D. Manning Managing Editor Long known to record ciel /cetors, the Vienna Joan Griffiths Philharmonic comer to American concert stages Victor Rangel-Ribeiro t/tlsjnl/. litre's a personal letter ofinirochretio,,. Associote Editors Roy Lindstrom An Director Wurst and Beethoven 58 H. C. Robbins Landon F A. Newbury Manager, Book Division In Vienna. the place; where the great composers /feed and worked still stand. An evocation in pictures, by Erich l.cssiug, and trie Editorial Board John M. Conly Flittermice and Merry Widows 64 Joseph Wechsberg Chairman Viennese operetta is an art critique rind- -it's E. Power Riggs to seem Nathan Broder bcginniig -immortal. R. D. Darrell Alfred Frankenstein Night Lights in the Konzerthaus 67 Hans Herzog Howard Hanson For some Years, Austria's capital has breit a Julian Hirsch paradise for recording companies. Robert Charles Marsh Francis Robinson Joseph Szigeti How To Buy a Stereo Tuner 70 Charles Fowler

Charles Fowler Publisher Warren B. Syer Gen.:ral Manager REPORTS Claire N. geldings Advertising Soles Manager Notes from Abroad 30 Charles Reid Walter F. Grueninger Circulation Dirac tot Andrew J. Csida Books in Review 41 R. D. Darrell Marketing and Merchandising Manager Musk Makers 73 Roland Gelait Joseph W. Pace Circulation Fulfillment Records in Review 77 Manager Tape Deck 123

A D V E R T I S I N G Main Office Coke N. Eildings, The Publishing House Great Barrington, Mast. Telephone 1300 AUDIOCRAFT New York 1564 Broadway, New York 36 Telephoner Ploco 7.2800 From the High -Fidelity Newsfronts 137 Bari Covi!, Sy Resnick Chicago HF Equipment Reports 138 188 W. Randolph Sr., Chicago 1 Radio Shack Electrostat 3 Electrostatic Tweeter Telephone: Central 6.9818 Andy Spanberger Moronic Stereo Preomp and Amplifier Z -400 Speaker System with Woofer and JansZen Los Angeles Electrostatic Tweeters 1520 North Gower, Hollywood 28 Lafayette KT -315 Stereo Adapter Telephone: Hollywood 9-62:19 George Kelley Regency HET-1 Preamplifier The Gray HSK -33 Turntable 142 A Kit Report Audionews 145

AUTHORitatively Speaking 4 Letters 9 As the Editors See It 53

Trader's Marketplace 162 Professional Directory 169 Advertising Index 170

Published monthly by Audlocom, Inc.. Great Barrington, Mass. Copyright © 1959 by Audiocorn, Inc. The design and content: of High fidelity Mogorine are fully protected by copyrights and must not be reproduced in any Conner. Secondcloss postage paid at Great Bonington and al additional mailing offices. One -year subscrpdon in U. S., Possessions, and Cenado $6.00. Elsewhere $7.00.

www.americanradiohistory.com AUTHORitatively Speaking a ágefe Superior Quality Hi -Fi Kits Last winter someone gave John M. Conly ( formerly Editor of this publication. now OUTSTANDING DESIGN - INCOMPARABLE PERFORMANCE Chairman of its Editorial Board) an especially clashing Tyrolean hat. First thing the knew, he was off to Austria -but spend- KT -250 50 WATT INTE- ing more time in Vienna's Hofburg and environs than on the ski slopes. One re- GRATED STEREO AMPLIFIER sult: the article on the Vienna Philhar- monic which leads off this issue ( p. 541. A completely now stereo high fidelity empli tier Among other results: while still dutifully with a high quality of reproduction, versatility of operation, and distinctive styling. performing his regular stints as music A full range of controls enables you to enjoy the critic for the Atlantic Monthly, writer on utmost in listening pleasure in any situation. De- luxe features include: unique "Blend" control music and audio topics for various other KT -250 LA -250 Tor ontinuously vorioble channel seporotion- journals, and member of the Selection from c full minnow& to full stereo, 4- position IN KIT FORM COMPLETELY WIRED Selector, Node, Loudness and Phase switches. Panel of the RCA Victor Society of Great Also arovlded ore outputs fer 4, 8 and 16 ohm Music, he's taken to substituting white 64.50 89.50 tpeaFers. Hum -free operation is insured by the Martinis. \Ve would - 0 o: DC on all preamp and lone control tubes, wines for lunch -time Harmonic distortion, lest than 0.25 %. IM distor- ñ t be surprised if he were found stroll- MONAURALLY 25 WATTS 50 WATTS - tion. less than 1%. Hum and noise, 74 db below ing in the Prater again any day now. EACH STEREO CHANNEL RESPONSE 17- fun output. Designed with the kit builder In mind, assembly it impie special skills or CPS DB listening -no 21,000 :-.1 (at normal tools required. Complete with deluxe cabinet and H. C. Robbins Landon really does have "BLEND" CONTROL level) UNIQUE legs, all ports, tubes and detailed instruction employ other than happily wandering PREMIUM EL86 OUTPUT TUBES SEPA- manual Shag. Wt., 26 lbs. ._ of the musical past, RATE BASS AND TREBLE CONTROLS KT -250 Stereo Amplifier Kit 6.45 Down around landmarks NU 64.50 even though readers of his account of CLUTCH- OPERATED VOLUME CONTROL LA -250 Stereo Amplifier, wired 8.95 Down 3rd CHANNEL OUT Net 80.50 Esterh;íz,1 ( August ) and of the present guide (p. 58 ) to musical Vienna might imagine otherwise. He is perhaps the KT -500 FM -AM authority on Haydn and a specialist on \lo7.art, too. Ill any case, we knew of no STEREO TUNER KIT one better al,le to describe the scenes photographed Lessing. More than a year of re arch, planning and e by Erich ginocri ng went into they making el the Lafayette Stereo Tuner. FM specifics-Ilion, include grounded. Joseph Wechsherg, tt'hose history of Vien- grid triode low noise front end with triode mixer, doublo-1 uned duol limiters with foster- Seeley dis- nese operetta we present herewith, is un- criminator, lest than 1 °/, harmonic distortion, full doubtedly familiar to HICH FIDELITY 200 kc bandwidth and sensitivity of 2 microvolts KT -500 LT -50 for 30 db quieting with full limiting at one mi readers through his contributions to Holi- (revolt. IN KIT FORM I COMPLETELY WIRED day, Esquire, and The New Yorker. They The AM and FM sections have separate 3.gaeg tuning condenser, separate flywheel tuning and might not know, however, that he has 74.50 124.50 separate volume control. Automatic frequency been a dedicated amateur of chamber mu- control "locks in" FM signal permanently. Two he first up separate primed circuit boards make construction sic and opera since took the Multiplex Output for Now Stereo FM and wiring simple. Complete kit Includes all parts fiddle at the age of eight. For reasons un- 11 4 dual -purpose) metal cover, a step-by-step man- Tubes (including + and instruction clear to us. Mr. \Vechsherg doesn't care to Tuning Eye -- Selenium rectifier Provide 17 ual, schematic and pictorial diagrams. Size Is 13' /.` W x 10 %" D x 4%" H. Shpg. wt., 22 lbs. publicize his professional appearances, but Tube Performance Pre -aligned IF's KT -500 7.45 Down Net 74,50 the dossier dues reveal that he played with Tuned Cascade FM Dual Cathode LT-S0. Same as above, completely factory wired Follower Output and tested 12.45 Down Net 124.50 ship's orchestras on certain vessels of the French Line. It seems possible that our author's experience of "Flittennice and KT -600 PROFESSIONAL Merry Widows" ( see p. 64 ) may not have been solely from the audience. STEREO CONTROL CENTER As Assistant Editor of Welt ant :Montag i Solves Every Stereo /Monaural ( \'iennai largest weekly newspaper ), Control Problem! record reviewer, and press manager for Provides such unusual features as o Bridge Con Vienna's biggest record shop. Hans Her- trot, for variable cross -channel signal feed for elimination of "ping -pang" (exaggerated separa- zog has excellent qualifications for the tion) effects. Also has full input mixing of monau- piece of detective work you'll find on ral program sources, special "null" stereo bal- p. 67. KT -600 ; LA -600 ancing and calibrating system. Also has 24 equal. See why there are "Night Lights in tuition posllions, allconcentric controls, rumble the Konzertllatts." IN KIT FORM I COMPLETELY WIRED and scratch filters, loudness twitch. Clutch type volume controls for balancing or as I Master 79.50 i 134.50 Volume Control. Has channel reverse. electronic phasing, input level controls. Sensitivity 2.2 mil- High Fidelity, Nos -ember. 1959; Vol. 9. livolts for 1 volt out. Dual Yew- impedance out. No. 11. Published monthly by Audiocom, A REVOLUTIONARY DEVELOPMENT puts (plate followers), 1500 ohms. Response 5- Inc., Great Barrington. Mass.. n subsidiary IN STEREO HIGH FIDELITY. 40,000 cps ± I db. Less than .03% IM distar- of The Billboard Publishing o.. publish- lion. Uses 7 new 7025 low.noite dual triodes. ers of The Vend. UNIQUE STEREO & MONAURAL CONTROL Billboard, Funspot and Size- 14" x 4 1/s" x 10 % ". Shpg- wt., 16 lbs. The Billboard International. Telephone: FEATURES AMAZING NEW BRIDGE CIR- Complete with printed circuit board, cage, pro- Great Barrington 1300. Member Audit CUITRY fOR VARIABLE 3d CHANNEL OUTPUT fusely illustrated Irutfuctions, ell necessary parts. Bureau of Circvintfons. LAFAYETTE CROSS- CHANNEL FEED PRECISE KT- 600- 51ereo Preamplifier kit - "NULL" 7.95 Down Net 79.50 Editorial Correspondence should he ad- BALANCING SYSTEM RESPONSE 5- 40,000 LAFAYETTE 1A- 600 -Stereo Preampli9a, Wired dressed to The Editor. Great Barrington. CPS 1 DB -12.45 Down Net 134.80 Mass. Editorial contributions will he wel- - comed. Payment for articles accepted will be arranged prior to publication. Unsolicit- P.O. BOX 222 ed manuscripts should be accompanied by DEPT. WK -91 return postage. e4t,f JAMAICA 31, N. Y. Send FREE LAFAYETTE Catalog Subscriptions, change of address notices. 600 undeliverable espies, milers for subscrip- CUT OUT tions should he addressed to High Fidelity Magazine, 2160 Patterson Street. Cin- Name AND cinnati 22. Ohio. PASTE ON Address Subscription rules: United States. Posses- POSTCARD sions and Canada, I veer, $6; 2 years, SI I; 3 years, 513. Elsewhere 51.00 per year sec- j City Zone. State Single copies 60 cents.

4 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com IN A TRIAL SUBSCRIPTiON...to start you on the systematic collection ofa well -balanced library of classical records...

2. BEETHOVEN 10. MOZART Symphony Jupiter L5ymphonies No. 5 Symphony SCHUBERT AND Symphony Unfinished No. 40 Symphony Chicago Syn . Boston Symphony Reiner Society Stanch Tie RCA Victor of Great Music 11. PROKOFIEFF *4. BEETHOVEN 7. BRAHMS Symphony Classical Symphony Symphony AND No. 7 AND No. 3 AND Fidelio Concerto No. 3 Tragic Crafrman. pianist Overture Overture OFFERS YOU Chi. Sym.. Reiner .AN .RAN. ash. Cl,i. Sim.. Reiner Jorela 5. BERLIOZ *8. FRANCK *1. BEETHOVEN Symphony I2. TCHAIROYSRT Eroica Symphonie Symphony Symphony Fan bstique in D minor nySix Boston Symphony Rotten Symphen. Boston Symphony RottenJSvn, il o nlbndl Munch Mund, I - *9. MENDELSSOHN }Innleer 3. BEETHOVEN 6. BRAHMS Italian and * 13. TCHAIKOVSKY REGULAR LONG -PLAYING 00 Pastoral Symphony Reformation Pathétique $ Symphony No. 1 Symphonies Symphony Delon Symphony Roston Symphony Boston S>DHCbaoe Chicago Sy,,. OR STEREOPHONIC RECORDS: EACH Munch Munch Sloucl, Heiner ...if you agree to buy six selections within the next year * 15. BEETHOVEN from at least 100 that will be made available Concertos Emperor Concerto THE RECORDS STARRED ( ARE AVAILABLE IN STEREO AS WELL AS REGULAR L. P. Rnhinetein, *) pianist * 17. BRAHMS 21. R ACHMANI. flit. or me MS noFF Concerto 2 Concerto No. 2 Krins 19. CHOPIN 20. GRIEG and 22. RACHMANINOFF Chi. Sym.. Itciner GSM.. pianist * 14. BEETHOVEN Concerto 2 MENDELSSOHN Concerto 1 LISZT Chi. Sym.. Reiner * 23. TCHAIKOVSKY* 16. BEETHOVEN Concerto No. 3 SAINT-SAENS Concertos R. STRAUSS * 24. TCHAIKOVSKY D Concerto 1 * 18. BRAHMS Concerto No. 1 Concerto In D Rubinstein. Concerto No. 4 No. 1 Burleske Concerto in RCA V clou sT ti. Concerto in D Cliburn. pianist Heileta, eiolinist pianist B railowsk, . pianist Donn Tanis, pianist If ifetx, violinirr Wolienslein Ileifete.,infinite Kondrashin Bolton Samphon. SYUmlowY or TNT Boston Symphony RORIS Bons m:Lr. Chicago Sym. Chicago Syn,. Rubinstein. pianist Chi. S. n,.. Weiner condurmr %lunch AIR. Krip. SLmeh neat.. Leinsrlorf Heiner Reiner

*27. COPLAND 37. STRAVINSKY *36. e. STRAUSS Billy the Kid Petrouchka Till Eulen - TILL EULFxSPIEGa AND Rodeo ANO The Fire - spiegelANo MEN Suite and Otl'ier Orchestral Works Merton Gould bird Death óÿoÁ. ANI/ Ills OIIC11. YARri CONSERVA, Transfigura- ORrn., Maidens tion BERLIOZ DEBUSSY RAVEL *26- *28. 29. GERSHWIN *34. VIE.NN.A r' lE . La Mer IBERT Bolero; Raps. STRAVINSKY Harold in Italy An American in *38. ltriner l eimnnr, r :o).ii Ports of Call Paris Porgy Espagnole; The Rite of Dolto Shnpi,ony La Valse Spring Healnn Strn. and Bess Suite 31. ouzo 39. TCHAIKOVSKY Winch Munch Merton Gould DEBUSSY ream ON tEnTA. 41. WAGNER Romeo and Peer Gynt and of *33. OFFENBACH AND III. ORCI, Afternoon oncrt.. Monteux Tannhäuser Juliet ANO Lyric Suites a Faun Gaine 30. Over.; Venus- Francesca ^^ ouues nftTON POTS Roston Symphony Parisienne The Red Poppy Fie,ller berg Music; da Rimini KHACHATURIAN M uech ='oÍ Sieg. Bo,onSym. Mnurh IPPOLITOV- Rhine *25. BARTOK Gayne Ballet . IVANOY *32. Moussoaa *35. RIMSKY- Journey; *40. TCHAIKOVSKY Concerto for Suite ers s . ' Caucasian SKY -RAVEL KORSAKOFF Magic Fire The Sleeping Orchestra (Excerpts) i°.Reieiis Sketches Pictures at Scheherazade Music Beauty Chien. Sy.. .: LONIION rntrn BAT. an Exhibition LNnOs Rotten Symphony (Excerpts) Reiner FFiedler rs .t Fi.tioulari Chi. Sym., iteiner Slonlruxl Munch LONDON SYMPHONY Monteux

48. MOZART 49. MOZART 50. SCHUBERT 47. MOZART Quartets in G Sonatas Trout Quintet Clarinet K.387 and in Nos. 4 and 9 na rgeTIVAl. L.Solo and Chamber JVíusic 46. HAYON Quintet and C, K.465 and Country QUARTET wilt Quartets Concerto JOn.LIAlln Dances, K.606 Sankey T wsk s. bast 42. BACH 43. BACH 44. BEETHOVEN 45. BEETHOVEN Op. 74, No. 1 Gon,rnnn .tTIIING QUAntet ..anelo pinetis: doubts Brandenburg Brandenburg Pathétique and Trios Opus 9, and Op. 77, Roston Sent. Concertos Concertos Appassionata Nos. 1 and 3 No. 1 Su. Querset 1. 2 4, J nrcl.I Alto Bon On Sym. RCA VICTOR Society of Great Musse V12.11 Nos. and 3 Nos. 5 and 6 Sonatas Ueifrta. Print 345 Hudson Street. New York lt. N. Y. Boston Sf m. Munch Roston Ss n,. NI uneh Rubinstein rose, l'iatigonky STRING QUARTET Munch e/O OOb.Ol.AfO-Mnnth Club. Ine. Please register me as a member of The RCA Victor Society o/ Great stunt and send me Immediately the six RCA VICTOR albums Indicated below. billing me build editor, The MOO for each record (plus a small charge for post- MOST MUSIC-LOVERS certainly intend to M. CONLY, music Atlantic; AARON age and handlingl. I agree to buy six additional a representative record library of the COPLAND, composer; ALFRED FRANKENSTEIN, records within twelve months from those made available by the Society. for each of whl.h I will be World's Great Music. Unfortunately, almost music editor, San Ira ciscu Chronicle; DOUGLAS billed the manufacturer's nationally advertised price always they are haphazard about this. Because MOORE, composer and Professor of Music, Co- -S4.08 for monaural recordings, $5.98 for stereophonic recordings. depending on which box I have of more systematic collection, operating costs can lumbia; WILLIAM SCHUMAN, composer and presi- checked below. A small charge for postage. handling, and sales tax is added, Thereafter, I need buy only be reduced and marked savings can be passed on dent of Jttilliard School of Music; CARLETON four such records in any twelve -month period to to record collectors. The introductory Offer above SPRAGUE SMITH, former Chief of Music Divi- maintain membership. I may cancel my membership tiny time after buying six records from the Society is a dramatic demonstration. In the first year it sion, N. Y. Public Library; G. WALLACE (In addition to those Included in this introductory oiler). After my sixth purchase. for every two represents a saving of AS MUCH AS 40% over WOODWORTH, Professor of Music, Harvard. records T buy from the Society I will receive A third the manufacturer's nationally advertised price. SCO View* Red seal record free. write Below the Numbers or the sta Albums You Want After purchasing the six records called for in HOW THE SOCIETY OPERATES this trial membership, members who continue will he building their record libraries at almost a month, three or more 12 -inch 33% R.P.M. Cheek the veralen yens want: I] O MONAURAL ONE -THIRD SAVING, since for every two records EACHRCA VICTOR Red Seal records are announced ant. purchased (from a group of at least 100 made to members. One is singled out as the record -of. MR4 STIRS (Tente peint plainly) available annually by the Society) members will the-Pt nnntb and, unless the Society is otherwise receive a third RCA VtcroR Red Seal record FREE. instructed (on a simple form always provided), AniRKSS A cardinal featltre of the plan is GUIDANCE. this record is sent. If the member dots not want CITY Zn \K STATR..... NOTE: I(yeusewish suur emherahlb Ili l to an The Society has a Selection Panel whose sole it he may specify an alternate, or instruct the authorised 1UrA VICTOR dealer. please ÓlÌ In here: function is to recommend "must -have" works for Society to send nothing. For every record pur- DEALER'S NAME members. The panel includes DEEMS TAYLOR, chased, members pay only the nationally adver- ADDRESS composer and commentator, Chairman; SAMUEL tised prices: $4.98 for regular L. P.s; 55.93 for U.R only In entsB of Srandrit. lerrlinrie., CHOTZINOFF, General Music Director, xRc; Stereo versions. (For every shipment a small Records (or Canadian n embers are made Ir. Canada and /re/ reno, Ontario. JACQUES BARZUN, author and music critic; JOHN charge for postage and handling is added.) .Nbne,l Oui,,

N- Ot'EhíBEA 1959 5

www.americanradiohistory.com Collaro

stereo Y record players with typical British precision steadfastly guard your records and stylus from wear and accidental damage

The Constellation, Model TC- 99- $59.50 The Continental I1, Model TSC840- $49,50 The Coronation II, Model TSC- 740 -=42.50 The Conquest II, Model TSC- 640 -408.50

RO CKBAR

Transcription Turntable, Model 41R -200- $49.50 Manual Player, Model TP59- $29.95

Every Collaro stereo record prayer is built with typical British attention to every detail. They are precision engineered and rigidly tested to give truly professional performance and the ultimate in operating convenience. Here are some of the important features that make Collaro the logical choice for stereo or monophonic records. Performance specifications exceed NARTB standards for wow, flutter and rumble -with actual performance test reports accompanying each model TC -99. Extra- heavy, die -cast, non -magnetic turntables (weighing up to 81/2 lbs.). Extra -heavy weight is carefully distributed for flywheel effect and smooth, constant rotation. Shielded four -pole motors are precision balanced, screened with triple interleaved shields to provide extra 25 db reduction in magnetic hum pickup. Detachable five -terminal plug -in head shells (on TC -99, TSC -840, TSC -740, TP -59) provide two completely independent circuits, guaran- teeing ultimate in noise reduction circuitry. Transcription -type stereo tonearms are spring- damped and dynamically counterbalanced to permit the last record on a stack to be played with virtually the same low stylus pressure as the first. All units are handsomely styled, available with optional walnut, blond and mahogany finished bases or unfinished utility base. There's a 4 -speed Collaro stereo record player for every need and budget! Prices slightly higher in the West. For free catalog on the Collaro line, write to Rockbar Corporation, Dept. HF -II. Mamaroneck, N. Y. ('Not shown. Similar in appearance to The Coronation.) www.americanradiohistory.com To you to THE RCA VICTOR POPULAR ALBUM introduce CLUB MUSIC FOR RELAXATION for MELAMINE ORCHESTRA aPËTÉR ANY FIVE / GUNN NATIONALLY ADVERTISED PRICES TOTL UP 10 S21.90I on I j$398 HENRY MANCINI

EITHER STEREO or REGULAR L.P. 1. Mela hrino playa 2. littlest album of 3. Ulu types, 4. Origin,! sound- Autumn cI ayes, Star year! All -stir mod. rhethin eó track recording from ...it you agree to buy six albums from the Club during Dust, While D'ere era nod" jazz Dóndujah I Loie Rodgers anal Ilain- Young, Estrdlita. Iron. NBC -1V (cries, ller So, II others. mersteio film bit. the next year from more than 150 to be made available N(W SOUND.,. 1CNYROYSKY. SHOW HIS EXCITING NEW PLAN Offers and I NEW RCCOROIN S you stereo albums. You may choose CONCERTO KO. BOAT the finest stereo hi -fi music 33)-S I or afr.. twelve -inch R.P.M. regu- VAN CLIBURN ICTORY JEANETTE being recorded today for far less lar L.P. or stereo album (depending MacDONALD AT SEA d NELSON money than you would pay other- on which division you enroll in) with VOLUME ONE EDDY wise. Now you may join either the every two you buy. TAVOBRrt IN Ni! Stereophonic Division or the Regu- Every month you are offered a lar L.P. Division of Thc RCA Victor wide variety of albums. One will be Popular Album Club in a short trial singled out as the album- of -the- 5. All'ti,.,e elastic,] 7. Boxalh- taking new 8. New recording 9. Operetta film receive five al- best,eller by most recording of hest - of Korn- llemnier- Sta n make their membership -and month. If you want it, you do tdkedabout pianist selling unite from aeìn classic. Gogi 12 higgal hita. In- bums of your choice for the single nothing; it will come to you auto- of the generation. dramatic TV score. Grant, Howard Keel. dian Love Can. etc. low price of only S3.98! The plan matically. If you prefer an alternate also helps you build your record -or nothing at all- simply state IIIE NEW I_G. carefully, confidently, com- wishes on a always GLUM %ILLER ORCHESTRA. library your form pro- III RIO pletely. vided. For regular L.P. albums you rw anMing to You say. up 40% with this will pay the nationally advertised Le FranNle ;4, C introductory offer alone. Thereafter, price -usually $3.98, at times 54.98. ,.'a Carle if you continue membership, through For stereo albums you will pay the the Club's Record- Dividend Plan nationally advertised price of $4.98, MNNINtEr you will says about one-third of the at times S5.98 (plus all cases -in - 10. Liam sings 12 11. Miller- styled 12. New remakes of 13. Ibis latest and manufacturer's nationally advertised a small charge for postage and Italian classics. modern repertoire. their biggest hits. 051 dancctbh:.et prices of RCA Victor regular L.P. handling). Funicoli' Funicula', Ray McKinley. Died- Jalousie, Skaters yet. Ballads. Lindy., Santa Lucia, more. land, 11 others, Walt Liebestraum. walue,. Latin, etc.

Off STRAUSS TCHAIKUVSKYfi® LENA HORNE' "`'" PAT SUtUKrs l"^ WALTZES THE NUTCRACKER ?`t AT THE T AMES BROTHERS VMAOOREASTOA THE MELACAIRINO OROS. BROADWAY 'SL SING FAMOUS HITS f " OF FAMOUS QUARTETS

,`1 11\ 1 GEORGE f(R ROaCK- MELACHRIRO vara. ras asanas 14. fresh versions 16. Lilting version. 18. Key hiphlihr 17. Onabe -spot re- 19. Lush. rhythmic. 20. His 12 biggest 21. Comlamo( Latin 22. Now Broadway of 12 harmony hits. of The Blue Danube, from 'l'dtaikovskr', cording. l'es, in. exotic inolrumen hit., newly remade. rhythms, cha chas, star. top tutte. from Paper Dol!, To Each Artists' !4e. Emperor enchanting master- eludes Day la -Day tal.. Yaltlrtin, GIs. Green Eyes, Linda jars. Lullaby of Bird- top musicals. Flouer His Own, Coo! Water. Walt; 9 others. piece for ballet. Out plu. 14 others. nada, hediondo. Mujer, ddlos, eta. land. 10 more. Del= Song, etc. Wass You - 1 HIGHLAND 1_=`--1 THE WILD Comen: 'I.d. mnuJC to(ha Cadet the .0 r PA WIRY WILD WEST Music for Dining THE LOVE OF GOD

NELMe:Lnnlnmsn arroses

24. 12 pop favorite, 28. La hlacKcnyie 27. 12 lanes/onion/ 33. Rich baritone of 34,Fantastic sound. 36. My Aran. Young 38. 12 meaningful and light classics. sings 12 bolteJa. Hey fa VOrite, hY trio plue Ulaek üFIch Ua nil in the Graham Crusade realistic atmosphere, and Foolish, They mange. Whither Thor Rib - Septeml'nrSong, War. There. Ebb Tide. Too fringe. l'!l Get Dy, a sock sonic treat! sings sonie most. familiar songs, virile Sty It'a Wonderful, Coca, Scarlet saw Concerto, Diane. Young, bfoonglow. Dream, etc. Marches. Polt songs. requested songs. Singh g. Different! Yesterdays, 8 more. Eons, Only One.

°rs¡sl l^'L=Ly MARCHES me9 IN HI-FI DEEP RIVER km= CHET THE ARTHUR FIEDLER and Other Sp,du.la; TDUGH BOSTON POPS tin THE ROBERT SHAW ATKINS . DE CHORALE E001[ ,NEYWO00 GIGI GOBI GRANT - °- In "Mon- wood ToNY MARLIN Y 37. Pianist's trio 40. Wacky, banjo. 42. Modern big- 48. Riotous musical 50. Tony Martin, 54.15 varied 'trot- 58. 16 magnificent 58. Stood guitar Eteel- playa Summertime, Makin' country c m- band jara; to((, Weal satire. slapstick: wry Gogi Crawl enhance tern. 76 Trombones, ',pi ri tua is : Swing with strings. nap Sian I L«, All raise havoc with Coast stars. Chances commentary the Academy Award Scarper Fidelis, Col- low, .Sweet Chariot; li(a, The Three Bells, of You, Cherry, etc. bits and specials. Are, other hit..js Ilenry Morgan. winning film score. one! Bogey, others. Dry Dones. others. C r reruleeves,12 i n 'PIANO ROLL ALBUMS ARE 12 -INCH 331/4 R, P. M. The V SALL :DISCOVERIES el Walter P12-1I Goats TBE RCA VICTOR POPULAR ALBUM CLUB, P. 0. Box 80, YI11s0 Stillo., New York 14, N. Y. Behan Gaston. postage Please register me As a member of The ncA VICTOR sterco versions 5.1.98, at times $598. (A small Ido Popular Album Club And send me the five Alums and handling charge is added to all prices.) There- WHEN WE WNW in any twelve- whose numbers I hove circled below, for which 1 after. I need buy only four auch albums WERE may cancel Other will pay $3.98 (plus a .mall postage and handling month period to maintain membership. I YOUNG Club (in elargel. I Agree to buy six other albums offered by the env time after buying six albums from the : Club within the next year. for each of which] Wal he addition to those included in thia introductory offer), every One advertised but if 1 continue after my sixth pureLase. for 74. 12 shimmering Exciting, Gernhwin plays billed at manuf.cturer's nationally 89. csotic 97. two albums I buy I rimy choose a thin) album free. waltzes. Charmninc, Afrianrhythms.nd his own RAnp/rodv n price: regular I..I'..t uvnally $3.98, of times $4.98; Ramona. ,shvays, thmes. sometimes Igue in hi fl Oth r Chock which Division you wish to loin I REGULAR L. P. O STEREOPHONIC Would You, ere. bl de I with joss. vintage piano roll. O I 2 3 A 5 7 8 PORGY Afame 0 ANO BESS 9 10 11 12 13 14 15 IMPORTANT- PLEASE NOTE Address a Regular (monaural) long- playing 18 17 19 20 21 22 24 Zone Stair A. records can be played on stereo- City s LErJA HORNE NOTE: II you with your membership credited la an 28 27 30 33 34 35 36 phonic phonographs; in fact, autherbed RCA VICTOR dealer. please rill in below: HARRY they will sound better than ever, 42 40 50 54 56 BELAFONTE However, stereophonic records Dealer 37 40 Send n money. A Sill will be sent. Albums an be shipped only to o 100. 12 Gershwin are designed to be played ONLY residaels St the U. S, its Rodent, and Curate. Albums foe Canadian o D Ontario. 58 74 89 97 100 Remotes in fresh. ON STEREOPHONIC EQUIPMENT, member ate midi in Canada, and shipped duty Tree wpm modern manner.The heel 'cuing Porgy. .seeO0o0oaoO.00060vOODOOa9 0

NOVEMBER 1959

www.americanradiohistory.com Without touching a finger to it... PLAYS CONTINUOUSL, OR TURNS OFF AUTOMATICALL

MJL MCCO0a Plays continuous music. Repeats any passage. Rewinds or turns off automatically! Back spaces!

Incomparable listening luxury! Hours and hours of musical enjoyment, without any attention whatso- ever' Or, if you desire, the reel rewinds and recorder shuts itself off automatically. It's another "first" from Wollensak! You'll find equal pleasure in recording. Just a feather touch of a key electronically changes function of the recorder, instantly and etfortlessly. A "Back Space Bar" plays back a word or a sentence -an invaluable aid for correction and teaching. Exclusive "Balanced- Tone" emphasizes treble and bass, giving exquisite depth, more realistic high - fidelity quality. Full range of 40- 16,000 cps., simplified drop -in loading; dual speeds of 334 and 71/2105.: 2 -level record indicators; index counter; accepts 7' reels which play for four hours, using long play tape. Model T -1600 with ceramic -type Ultra -lightweight and portable remote control, .. carry it anywhere! microphone; two reels; tape and cords, $299.50. Letterhead -size, with full IN STEREO, TOO ... Model T -1616 with built -in 10 -watts of power- enough to fill an auditorium. pre -amp. Plugs directly into hi -fi system, radio, phonograph or TV which serves as a second speaker for magnificent, third- dimensional stereo sound.3329.50. WOLLENSAK "1600"

Lif Push -To-Talk Back Space Bar Illuminated HI- FIDELITY TAPE RECORDER switch on micro- provides instant "record" and phone permits replay of a word, "play" keys on Ask your Wollensak dealer to demonstrate these exciting new features! precise remote phrase, or musicat panel light up control of recorder, passage as desired. when pressed. WOLLENSAK OPTICAL COMPANY CHICAGO 16, ILLINOIS

8 HICH FinliLITY MACAZLNE

www.americanradiohistory.com The Very Best Now Costs You Less KN I C'TH T STEREO HI -FI A P R O D U C T O F A L L I E D R A D I O .. challenges comparison with the costliest components .. prove it for yourself on our 15 -day free home trial .. doubly teed: specifications meet or exceed published figures or we refund your money . unconditionally teed for one full year

Debt to the Past Sut: Your article on Thomas Edison [Sep- tember) was most entertaining. Though it was quite lengthy, it still was not long enough. The variety of information and the method with which the author presented it made me slip back into the time when I was a visitor at Menlo Park, a bystander in Washington, etc. When I finished the article I didn't feel quite satisfied. I wanted a few lines telling about Edi- deluxe 60 -watt complete stereo amplifier son's other inventions; Berliner and Fifteen stereophonic and monophonic controls 60 watts rated his phonograph and bow it concerned stereo output...76 watts usable... 152 watts peak -to -peak ± 0.5 db, Edison; but even so I still feel there 25.20,000 cps Third channel speaker output with new additive is something about Mr. .josephson's full-range circuit 5 pairs of stereo inputs...including auxiliary for new story that must capture the whole- cartridge tape playback Longlife silicon diode heat -free power supply hearted interest of all people who with oversize transformer Humless DC on all preamp tubes Vinyl-clad genuinely appreciate what has come metal case included in price Anodized front panel in brus:led gold and charcoal brown Shpg. wt., to be high fidelity. 35 lbs....oaly $149.95. $5.00 down. Yale Breeda Tampa, Fla.

Stereo Sanity SIR: Maybe 'revery regular reader of Hlcrl FIDELITY knows what true stereo is" hut here's one who didn't -until Charles Fowler's article came along in your September issue. Congratula- tions on bringing sanity to bear on sound and fury. I'm still among the monophonic incorrigibles, but con - version (in more than one sense) may deluxe stereo FM -AM tuner be on its war. Separate FM and AM sections for stereo reception . Adjustable DSR William A. Diftcrs corrective feedback for lowest distortion of FM . Front panel audio and Seattle, Wash. a.c. switching for multiplex Dual limiters on FM Tuned RF stage on both FM and AM 2.5 microvolt sensitivity on FM . ± 0.5 db, 20.20,000 cps . Cathode follower multiplex and tape output jacks Dual "Microbeam" A Yawn for the Id tuning indicators Illuminated 91' tuning scale Low -noise 50 -ohm extra antenna terminals Solid aluminum front panel, gold anodized, S1R: with vinyl -clad case. Shpg. wt., 21 lbs....only $139.95. $5.00 down. Isn't it a bit late in the day for you people to be playing the tired old order from game of the analyst's couch? Matthew New Easy Terms: ALLIED RADIO Only S5 down (or less) Arnold's beep dead a long time, and on orders up to $200. Up to 24 months to pay. who in this year of enlightenment ALLIED RADIO, Dept. e9 -1.9 doubts that "Beethoven I-Iad an Id, 100 N. Western Ave., Chicago 80, III. Too" [September]? In fact, who FREE 1960 Ship the following Knight components: cares? Mr. Lockspeiser's article plays ALLIED CATALOG KN760. (I understand your 15day trial nelmed and money -batk (unifies to the gallery -even housewives like Send for your complete, money KN125. applies to this purchase) myself get pretty bored by this stuff. saving guide to the world's largest selection of hi -fi corneo. Send FREE 1960 ALLIED Catalog And I said bored, not outraged. . . . nents and systems. See every Mary P. Grant thong in stereo: all the new Name KNIGHT components: all leading New Haven, Conn. mako lines. For everything In Address hi.!., foreverythingin Electronics, get the 1960 ALLIED Catalog. Continued on next page FREE -write for it today. City 2one_Stale

NOVEMBER 1950 LI

www.americanradiohistory.com LETTERS Now... from Sonotone- Continued from preceding page Threni Welcomed Sin: As one who has long deplored the indifference (if not contumely) with 4 Big which contemporary music is treated in much of the press. may I thank you, and Alfred Frankenstein, for the review of Stravinsky's Threni in your September issue? In general it is good Improvements to see the catholicity of taste exemplified in your record reviews, and the humility with which your critics tern- per their wisdom. in the quality stereo cartridge C. Randall Adams Tucson, Ariz. Sonotone 8TA cartridge ... higher than ever quality Request Seconded

Sin: The new Sonotone 8TA On page 12 of the September issue cartridge gives greater than of limit FIDELITY is a short letter of ever stereo performance... D. L. Weeks of Los Angeles.I most has 4 big extras: emphatically want to second his request for a Siegfried recording. I cherish an old Siegfried by RCA Vic- frequency response fuller, smoother ONLY tor (M S3 -78RM) which is totally higher compliance than ever before inadequate by recording standards of lighter tracking pressure today. practically eliminates dust pile -up 91450 Notwithstanding the shabby omis- sions of Wagner operas by Messrs. Rudolf Bing & Co. there is a definite New 10T cartridge at lowest price ever need for more Wagner. Wagnerian - easiest to install singers are available all over Europe, The 10T sells at record low price of $6.45. And it and performances are plentiful there. covers the complete high fidelity range. 10T's uni- Granted that the great length of tized construction makes it easiest to install, even these operas presents problems here in for the person with ten thumbs. Snaps right in or overtime pay for musicians and stage out. Cuts stereo conversion costs, too. hands, and the financiers and bene- factors of former clays are impoverished by exorbitant taxes, still a way SPECIFICATIONS should be found to produce these 8TA 1OT operas. Perhaps the new and larger Frequency Response Smooth 20 to 20,000 cycles. Flat from 20 to 15,000 cycles opera houses will be able to meet this Flat to 15,000 with gradual 2.5 db. rolloff beyond. problem. Europe is impoverished too. Channel Isolation 20 decibels 18 decibels but Wagner is a necessity there. In Compliance 3.0 x 10 -6 cm /dyne 1.5 x 10-6 cm /dyne Tracking Pressure 3-5 grams in professional 5.7 grams the meantime our only hope in this arms country is new recordings.... Please, 4-6 grams in changers Output Voltage 0.3 volt 0.5 volt oh, please, let us have a complete Cartridge Weight 7.5 grams 2.8 grams recording of Siegfried. How about you Recommended load 1.5 megohms 1.5 megohms Stylus Dual jewel tips, sapphire or Dual jewel tips, sapphire or Wagnerians: will you write letters, diamond. diamond. and more letters? Only in this way will we ever get what we want. including mounting. brackets Walter F. Kirsten Sonotone ceramic cartridges have more than impressive San Antonio, Tex. specifications...always give brilliant performance. You'll hear the difference with Sonotone. For highest stereo fidelity, use genuine Sonotone needles. Help Fight TB

Electronic Applications Division, Dept. CH -119 Sonotoneei ELMSFORO. NEW YORK

Use Christmas Seals

Leading makers of fine ceramic cartridges, speakers, microphones, electronic tubes.

10 HIGH FIDELIm MAGAZINE

www.americanradiohistory.com STEREO FM -AM TUNER and MASTER AUDIO CONTROL

The quality, the scope, the sheer capability of the FISHER 202 -T will strike you the instant you see it. Behind its beautifully brushed brass control panel are the three finest components ever conceived for the knowledgeable high fidelity enthusiast who is no longer content with 'second -best.' He has learned that it pays to buy the best first. That is why he is ready for FISHER ... and particularly for the FISHER 202 -T Stereo FM -AM Tuner and Master Audio Control. THE FM TUNER offers better than one microvolt sensitivity, four IF stages, automatic interstation noise suppression, MICRORAY tuning, and space and controls for the FISHER MPX -20 Multiplex Adaptor. THE AM TUNER has been equipped with a tuned R stage, temperature- compensated converter stage, 70 -Kc sharp cut -off filter, a rotatable antenna and a MICRORAY Tuning Indicator. THE MASTER AUDIO CONTROL provides the user with twenty -eight controls for every conceivable program source and application, including- MULTIPLEX, CENTER CHANNEL and REMOTE CONTROL operation! Naturally, hum, noise and distortion are inaudible. Frequency response 20 to 20,000 cps 1 db. $349.50

WRITE TODAY FOR COMPLETE FISHER STEREO LITERATURE

FISHER RADIO CORPORATION 21 -25 44th DRIVE LONG ISLAND CITY I, N. Y.

FOR DISTORTION -FREE POWER, add THE FISHER SA-300 THE FISHER XP -1 1.111010 -I 60 -Watt Stereo Power Amplifier Free -Piston Three -Way - world's only stereo amplifier Speaker System whose performance -first high -compliance specifications are guaranteed! plus high -efficiency system! $169.50 $129.50

Pates Slightly Higher In The far West

NOVEMBER 1959 11

www.americanradiohistory.com General Electric's all -new VR -22 Stereo Cartridge try it in your own home

money -back guarantee!

We believe that once you hear General Electric's all -new The VR -22 is outstanding in all four critical areas of VR -22 in the privacy of your own home, on your own stereo cartridge performance: Channel separation - equipment, you'll want to have this superb stereo cartridge Response -Freedom from hunt- Compliance. for your very own. We're so sure of it, in fact. that we are making you an VR -22.5 with .5 mil diamond stylus for professional quality tone offer virtually without precedent in the Hi -Fi field: Try arms, $27.95'. VR -22 -7 with .7 mil diamond stylus for profes- the VR -22 at home for 10 days. If you don't agree that this sional arms and record changers, $24.95'. TM-2G Tone Arm - is the stereo cartridge for you, bring it back and the full designed for use with General Electric stereo cartridges as an purchase price will he cheerfully refunded. l'ou have integrated pickup system, $29.95'. General Electric Co., Audio nothing to lose and a whole new world of enjoyment to Components Products Section, Auburn, N. Y. gain! See your participating General Electric Hi -Fi dealer. Manufoelurer's suggested resole prices.

Acclaimed Oliver P. Ferrell Wm. A. Macklin C. G. McPreud Editor Editor Editor Hi -Pi Review Electronics World Audio by as quoted as quoted as quoted the in issue in issue in issue of Aug. 1959 of Sept. 1959 of Sept. 1959

experts! . the VR227 is a rap performer. The free " . listening tests did not show up any . is even better thon its predecessor quency response is os flat as any cartridge Rows. Frequency response front 30 to 15,000 with respect to output, channel separation tested to dote. Channel -to- channel separa- cps (limits of our lest) was within 2.25 db of and extended frequency response and the two tion in the vital area between 700 cycles flot. Provides about the best channel sepa chonnels balance within ±2 db to 15,000 and 8000 cycles was equol lo the very best ration available of ony checked with the ex- cycles. The shielding hos been improved and stereo cartridges now offered the public." ception of (cartridge selling for 565.001 in the grounding of the shield and the method the frequency range from about 5000 to of shorting the two 'ground' terminals ore 9000 cps." well thought out."

GENERAL ELECTRIC

12 FltGtt FIDELITY \IncA-L1NE

www.americanradiohistory.com "The Aristocrat of stereo power amplifiers!"

- HI FI REVIEW

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O a r . O t.;S4r,;s.:,i;G: o_

'SA -300 60 -Watt Stereo Power Amplifier $169.50 Music Power: 90 Watts at 0.8% Harmonic Distortion! THE FISHER

In their October 1959 stereo amplifier report, the editors of HiFi Specifications Review said the following of the FISHER SA-300 : "This is undoubtedly the most 'sophisticated' stereo power amplifier available to the public at Guaranteed! this writing. The advertised claims of low hum and noise levels appear to Hum and noise less than be readily available in production models now on your dealers' shelves. 0.00001 part of full rated This is certainly the quietest amplifier likely to be found outside of a pro- output -100 db down ! fessional recording studio. The built -in `controlled- frequency -response- Distortion -free power at filter' is a quantum jump in thoughtful engineering design. It was all listening levels! especially developed to permit this amplifier to operate with electrostatic Optimum results with and may also immensely valuable where subsonic woofer all speakers! Wrote HiFi speakers, prove Review: "Results equalled and supersonic tweeter problems are to be encoun- manufacturer's highly ex- tered. All in all, the SA -300 is the Aristocrat of acting specifications.' stereo power amplifiers, and is a wise investment for superlative stereophonic hi -fi." Prices Slightly Higher In The Far West

WRITE TODAY FOR THE COMPLETE SA -300 STORY! FISHER RADIO CORPORATION 21 -25 44TH DRIVE L. I. CITY 1, N.Y. Export: Morhon Exporting Corp., 458 Broadway, New York 13, N. Y.

NOVEMBER 1959 13

www.americanradiohistory.com

for the first time.. a needle shaped to follow record grooves exactly.. pick up all the sound

It's here! The new Pyramid Point Diamond by Fidelitone - the only needle tip scientifically shaped to simulate the original recording stylus. 4frk1/1 It's designed to pick up all sound information - cleanly reproduces the highest highs - the vv vv vim/ v v lowest lows. The exclusive new pyramid shape minimizes pinch effect in the high frequency passages, lowers background noise - and reduces distortions as much as 85%! Now for the New Pyramid Point Diamond Ordinary Diamond first time the full pure tones of the original recorded sound are faithfully reproduced. Traces the centerline of the mi- Does not trace the centerline of And the greater surface contact between needle crogroove with more surface con- the groove. Has less surface con- and record prolongs your needle and record life. tact. Accurately contacts all fre- tact. Pinches and rides bumpily So hear the amazing difference yourself in quency areas. Assures minimum in high frequency areas - dis- sound quality - stereophonic or monophonic with distortion, maximum true sound. torts many sound impressions. the new Pyramid Point Diamond by Fidelitone.

Over 30 years of quality needles

Write today for free booklet of the complete Pyramid Point Diamond story. idelitone "Best buy on records" Chicago 26, Illinois

14 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com BEST IN EVERY STEREO HIGH FIDELITY CATEGORY THE FISHER RECEIVERS TUNERS MASTER AUDIO CONTROLS CONTROL AMPLIFIERS POWER AMPLIFIERS

THE FISHER 600 Stereo FM -AM Receiver is the world's first and finest complete stereo receiver. It contains everything you need on one magnificent chassis: a Stereo FM -AM Tuner, Stereo Master Audio Control, and a 40 -Watt Stereo Power Amplifier. Because of its ample power reserve, it is also the only receiver suitable for both high and low -efficiency speakers! FM sensitivity under one microvolt. Cascode RF stage on FM. Rotatable AM antenna. Nineteen operating controls, including separate, dual -channel Bass and Treble, plus facilities for center channel operation! Add two speakers (we recommend the FISHER XP -1) and a turntable, and you will have a stereo installation second to none. Ask your dealer for a demonstration - today! $349.50

l .... ® s ®: I . I THE FISHER 101 -R THE FISHER 400.CA THE FISHER X -101A Stereo FM -AM Tuner Stereo Master Audio Control Stereo Master Audio Control World's most sensitive Stereo FM -AM Tuner World's finest, most versatile stereo control and 40 -Watt Stereo Amplifier -0.75 microvolt FM sersiti'ity for 20 db center. Sixteen inputs for any combination Peak power, 75 watts. Twelve inputs for all quieting! Four IF stages. Independent tuners of stereo or mono applications - including stereo or mono program sources. Uniform for stereo or mono reception. Two Micro - remote control with the FISHER RK -1! Uni frequency response from 20 to 20,000 cps. Ray Tuning Indicators. Automatic FM inter - form frequency response 20 to 25,000 cps. Separate dual-channel Bass and Treble con- station noise suppression. $229.50 Hum and noise inaudible. $174.50 trols. Record -Monitor facilities. $194.50

Pricer Slightly Higher In The Par West WRITE TODAY FOR COMPLETE FISHER STEREO LITERATURE FISHER RADIO CORPORATION 21 -25 44th DRIVE LONG ISLAND CITY, NEW YORK

NOVEMBER 1.959 15

www.americanradiohistory.com Get this stereo tape bonus...

when you buy a BELL stereo tape transport

Four new 4- track,

71/2 ips Bel Canto Stereo Tapes free -to start your

library with a 4 -track Bell Tape Transport

I T-T L I I Stereo Trkpe Bonus Applies to Diode's T -223, T -228, T -23S.

With scores of brand new 4 -track stereo tapes . three motors for positive tape control ... auto- already available, now's the time to buy the tape matic stop mechanism . . . add -on pre -amps for transport you've wanted for your stereo system. stereo recording ... many more. Make sure it's a Bell ... because only Bell gives If you already own a Bell Tape Transport, ask you a STEREO BONUS of four new 4 -track stereo your Bell dealer about easy -to- install 4 -track -head tapes to help you start your tape library with a conversion kits for as little as $25.00. Bell Tape Transport. See and hear the Bell Stereo Tape Transport - These stereo bonus tapes have been carefully and get the bonus tapes shown on this page when selected from the complete Bel Canto library. you buy. Do it today at your Bell dealer's. Wonderful music. More than 2 hours of enjoyable listening. Worth nearly $32.00 to you! Bell dealers offer this stereo record bonus, too! But it's all yours, absolutely free, from your Four Mercury Stereo Records, worth nearly $24.00, Bell dealer when you buy a Bell 4 -track Stereo as a bonus when you buy a model 3030 Bell Tape Transport. Rated best for stereo recording, Stereo Amplifier - now priced at only $149.95 Bell gives you the best in performance and features slightly higher west of the Rockies

13 1=/_1 _ Sound Division Thompson Ramo Wooldridge Inc. Columbus 7, Ohio c- In Canada THOMPSON PRODUCTS, Ltd., Toronto

16 HIGH rIDLLITY MAGAZINE

www.americanradiohistory.com by H.H. SCOTT

Stereophonic AM -FM Tuner 5224.95*

mau `( A l J ,®; ` H. H. Scott FM Tuners Feature Design

Wide -Band FM tuner design is recognized as one of the most significant of H. H. Scott's many contributions to audio science. It assures you of absolutely drift -free and interference -free reception in even the weakest signal areas. It also results in ability to separate stations so close together on the dial that Important Features ordinary tuners would pass them by. In AM circuitry the unique H. H. Scott 330D Wide -Range detector is equally important. For the first time you can receive AM -FM Stereo Tuner full- frequency AM broadcasts with fidelity and frequency response comparable to FM. 1. Separate Silver -Sensitive FM Front End, heavily silver plated for maximum sensitivity and reliability. Meets all FCC radiation specifications. 2. Highly sensitive, separate AM AM -FM Tuner front -end. 1. Separate AM end FM professional tuning controls for precise station The many fine features built into this selection. 4. Wide -Band FM detector for superb AM -FM tuner have never be- distortion -free reception on all signals. 5. AIM Highly selective FM IF stages permit separa- fore been available for less than $200. tion of stations close together on dial. This tuner is equipped with Wide -Band for high 6. New wide -range AM detector where AM -FM fidelity performance on AM stations. 7. FM and Wide -Range AM. It has com- listener's requirements Selector switch with these positions: Off, plete facilities for simple addition of a Stereo reception is not available. Sen- Mono, Stereo, Stereo Phase Reverse. e. adaptor when available. This sitivity 2.5 µv. for 20 db quieting; Band switch with these positions: FM, AM multiplex Wide, AM Normal, AM Distant. 9. Illumi- sensitive tuner meets the discriminating IHFM sensitivity rating 3 139.95° nated professional signal strength and tuning meter. 10. Stereo output jacks. 11. Spe- cial jack for instant connection of accessory multiplex adaptor. 12. Separate stereo tape FM Tuner recorder output jacks. 13. Highly sensitive AM Ferrite Loop Antenna. 14. Chassis This professional tuner is the most sen- specially constructed of heavy topper bonded to aluminum to Insure reliablllty and high sitive and selective available. Its high sensitivity over many years of use. 15. Sepa- standards of performance, including rate level controls on AM and FM output sensitivity of 1.5 microvolts for 20 db channels. 16. 10 KC whistle filter eliminates heterodyne whistle on wide range AM recep- of quieting (IHFM rating 2 µv.), have tion. Specifications, FM sensitivity 2 micro- made it the choice of broadcast sta- volts for 20 db of quieting on 300 ohm For stronger signal areas where the antenna terminals (IHFM rating 2.5 µV.); FM tions, universities and government of the 310C is not detector bandwidth 2 megacycles; Automatic laboratories throughout the world. It ultimate sensitivity rejec- Gain control; 85 db cross-modulation is instantly adaptable to multiplex. required, the 31 I D rated at 2.5 micro- tion. $174.95* volts is recommended. $124.95'~

www.americanradiohistory.com high fidelity and what's in it for you

The Editors of High Fidelity have one -track minds. Their main concern is pleasing their readers ... giving you the most practical, entertaining and informative magazine possible.

The articles, features, reviews will greatly enhance your enjoyment and appreciation of all musk - live and recorded ... classical, popular and jazz.

The commentary on records - by the nation's leading reviewers - will help you build a truly outstanding library ... one that will continue giving you and your family pleasure through the years. Each High Fidelity reviewer (and there are more than a dozen! is an expert in his particular field. Nathan Broder, for example, reviews the Classical composers, Harold C. Schoenberg and Robert Charles Marsh the Romantics ... John S. Wilson covers jazz, etc. Thanks to this kind of authoritative reviewing, you'll save money on records, too - you need never be disappointed in a record purchase again!

The information and ideas you will get on building, adding to, maintaining your sound system will pay for your subscription many tithes over. High Fidelity's technical experts test -in- depth, at home and in the laboratories, new sound equipment you may be think - ing of buying. Their objective reports insure your owning a high fidelity system that represents the best value available for your particular budget.

So read High Fidelity . .. use High Fidelity .. . buy from High Fidelity's advertisers. You can't make a sounder investment of your time and money! high fidelity

NOW Qi MAGAZINES -IN -ONE, INCORPORATING high fidelity caudioc rem ft

hifi musk Audio League Reports

www.americanradiohistory.com press

comment on ie

The American RECORD

GUIDE (Lorry Zide)

"Given a good stereo source, a pair of AR -3's comes as close to musical

realism in the home, I believe, as the present state of the art permits ... In sum, until someone comes out with something better that doesn't take up the entire house, the AR -3 is for me the reference standard."

high fidelity (TMTH report)

"A major problem of tweeter design has been the beaming effect of very high frequencies ... The "fried egg" [nickname for the AR -3 tweeters] appears to be a major step forward in the smooth dispersion of sound at extreme high frequencies."

SYSTEM::

"In terms of bass response, these two speakers the acoustic suspension AR -1 and AR -21 represent a phenomenal improvement in the state of the art.

"The complete AR -3 speaker system, in addition to containing a superb acoustic suspension woofer, which Fas enjoyed wide acceptance by professionals as well as audiophiles, constitutes, in our opinion, a mid and high frequency system which is in every way complementary to the bass quality. The new AR -3 rivals in overall quality the very best woofers and combinations."

The AR -3 is priced from $203 to $231, depending on cabinet finish ($216 in mahogany or birch). Literature is available for the asking.

ACOUSTIC RESEARCH, INC. 24 Thorndike SI., Cambridge 41. Mass.

)\ OV LN f nlll 1959

www.americanradiohistory.com HOW TO BUILD A STEREO CONSOLE THAT REPRODUCES MUSIC AS FAITHFULLY AS SEPARATELY MOUNTED COMPONENTS

For many years, serious music lovers have we could bring you this new kind of console. searched for a way to enclose high quality high - fidelity equipment in a cabinet that would match PROJECT TM1 The first consideration was given their finest furniture. to our components. They had to have high quality Until now, there was no practical solution. You reproduction. The standards we set for them can be had to compromise. You had to sacrifice the best most simply described by the phrase "Integrity in possible music reproduction if you wanted a good Music Reproduction." If you are familiar with looking cabinet. If you insisted on high quality re- Stromberg- Carlson stereo tuners, amplifiers, turn- production, you chose components, some of which tables and speakers, we believe you will agree they earn this description. may not have been quite so appealing to the eye. If you dislike compromise, Stromberg- Carlson's PROJECT o Speaker systems were the next new kind of console will interest you. We call them important project. For our new kind of stereo con- Integrity Series Component Ensembles -and to an sole we needed two speaker systems of unquestion- uncompromising music lover each word in that able quality. We were fortunate here, because we name will be significant. had already devel- At the start, we faced the same problem that oped a system that every console manufacturer has tried to overcome: met the quality re- when full -range speakers were rigidly mounted in quirements, the well - the same console as high quality components, there regarded Acoustical was a serious loss of sound quality. Labyrinth Speaker This loss -most often recognized as muddy or , t System. Its quarter boomy noise -is caused by "feedback." It occurs wavelength duct enclosure, properly coupled to a because sensitive components can detect the speak- low-frequency radiator, achieved a system reso- er vibrations which are fed back through the body nance lower than the unbaffled free air cone reso- of the cabinet. These vibrations are amplified with nance of the radiator itself. This is the kind of the music and reproduced as noise. quality we knew you wanted, If you own a console now, but do not hear these noises, it is not because your ears are insensitive. PROJECT #3 To reduce the size of high quality You do not hear them because we and every speaker systems so that they would fit into a stereo other console manufacturer had to eliminate them console of reasonable dimensions. We were cer- by compromising the musical reproduction of your tain that component -quality sound in a console console. You do not hear them because the sound could only be achieved with speaker systems that you hear is not complete. did not depend on the console cabinet HOW TO BUILD A for their enclosure. CONSOLE THAT This meant that we ELIMINATES FEEDBACK NOISES 1_ had to reduce the As we analyzed the problem, we realized there were 1 size of the Acousti- seven projects that we had to accomplish before thlj cal Labyrinth enclo- 24 IIICn FIDELITY NIACwzr\-E

www.americanradiohistory.com sure so that we could fit two separate speaker en- styling. You choose from 16 basic models in these closures within a cabinet that had reasonable di- styles, in a choice of finishes. These cabinets, like mensions. It was not easy, but we did it. After a fine painting, best describe themselves. They many, many trials and tests we achieved the correct must be seen. size without sacrificing one iota of the extremely linear and extended response of the system. PROJECT #7 To give you maximum flexibility NOW THE MOST DIFFICULT in your enjoyment of an Integrity Series Ensemble. Every ensemble provides for your listening tastes PROBLEM HAD TO BE FACED and room acoustics by including the Stereo Choice PROJECT #4 To effectively eliminate feedback Switch for precise regulation of stereo separation, by effectively eliminating the mechanical coupling with or without separate matching speaker sys- that allows it to occur. Instead of treating the tems. All ensembles provide space for adding a symptoms, we treated the cause. We developed a tape deck. method of effectively isolating the speaker sys- You may select your own Stromberg- Carlson tems from the sensitive components. (As a result, stereo components or choose a recommended com- Stromberg-Carlson Integrity Series Ensembles are ponent complement -in any case Stromberg- the first successful uncompromised ensembles.) Carlson components are always interchangeable. The key development is what we call Iso -CousTic If you now own a console or components, we in- SPEAKER SYSTEM MOUNTING. This mounting, in vite you to exercise your critical judgment by lis- which the resistance and compliance to vertical tening to an Integrity Series Ensemble. (You will and horizontal pressures have find that the better component shops-as well as been carefully engineered, has the better department and music stores -have solved the problem. It allows chosen to feature this new kind of stereo console.) Stromberg- Carlson to create a Listen carefully. Look closely. Ask questions. Then cabinet -within -cabinet suspen- accept not our judgment, but your own. sion system which prevents transmission of speaker vibrations to the sensitive components. If you component owners could put your equipment into a cabinet whose speaker systems have our Iso- CovsTIG Mounting, the quality of the sound you'd hear would be as good as your component system is now. In fact, the components we use are the same ones you would choose for your separately mounted component system. They are interchangeable.

INTEGRITY SERIES WILL NEVER BECOME OBSOLETE PROJECT #5 To assure the purchaser of an Integrity Ensemble that his choice would never be INTEGRITY SERIES COMPONENT ENSEMBLES obsolete, we designed the units in accordance with a 'modular concept. All of the components are com- -three I Ired and fifty dollars to about six thou - pletely interchangeable. You can replace any com- sand dollars. You may choose front 16 models in ponent in the ensemble to Traditional, Contemporary and Period stylings, keep pace with new develop- each tastefully designed by Federico. You may se- ments- without ever re- lect your own Stromberg-Carlson components or placing your fine cabinetry. choose a recommended Stromberg-Carlson component complement -in any case Stromberg-Carl- son components are always interchangeable. For a complete color catalog of Integrity Series CABINETRY HAD TO BE Component Ensembles and components write EXCEPTIONAL, TOO STnOMBERG- CARLSON, Special Products Division, 1419 N. Goodman St., Rochester 3, New York. PROJECT #6 To design cabinets with the permanent beauty of fine furniture. Federico re- "There is nothing finer than a Stromberg- Carlson" sponded to the challenge by creating cabinetry in Traditional, Contemporary, Early American, Ital- STROMBERG- CAR LSDN ian Provincial, French Provincial and Oriental A DIVISION OF GENERAL DYNAMICS

NOVEMBER 1959 25

www.americanradiohistory.com For integrity in music... A NEW STROMBERG -CARLSON SINGLE -SPEED TURNTABLE ...in component systems ...in Integrity Series Ensembles

PR -500 SINGLE SPEED Here is a revolutionary concept in turntable design: a dual -drive system consisting of two hysteresis- synchronous motors operating one belt drive. The motors are spaced exactly 180° apart. Any variation of speed is automatically corrected by the interaction of the motors and the impregnated belt. Rumble and noise are virtually eliminated by the belt drive and a unique suspension system in which the tone arm and table, as a unit, are isolated from the mounting board. Single, 33I/3 speed. Includes tone arm. PR -500, black and brushed chrome $69.95=

PR -499 "PERFECTEMPO" ALL SPEEDS The "Perfectempo" incorporates every valid, time -proven design principle: belt drive; continuously variable cone drive (14 to 80 rpm); stroboscopic speed indicator; dynamically balanced, weighted table; precision motor; plus Stromberg- Carlson's original double- acting motor and table suspension system that effectively eliminates unwanted noise. Performance proves it: Wow 0.14% rms; Flutter 0.09% rrns; Rumble -55 db re 20 cmjsec at 1 kc. PR -499, morocco red with aluminum trim $99.95e

RA -498 TONE ARM The Stromberg- Carlson Tone Arm uses the most valid engineering concepts of tone arm design. Single pivot point suspension, true viscous damping and high moment of inertia result in extremely low resonance and consequently yield flat response below the limits of audibility. A calibrated counterweight is adjustable to provide any needle point force. For stereo operation, complete with mounting base, viscous fluid, rest, and cartridge clip. Fits all standard turntables. RA-498 $24.95°

'Prices audiophile net, turntables less boles. "THERE IS NOTHING FINER THAN A STROMBERG -CARLSON"

26 HICiI FIDELITY MAGAZINE

www.americanradiohistory.com For integrity in music... THREE NEW STROMBERG -CARLSON TUNERS ... in component systems ...in Integrity Series Ensembles

SR -455 AM -FM STEREO TUNER The SR -445 is actually two separate and complete units which have been placed together for convenience of mounting and use. They have individual circuitry in which no duplicate use of tubes or circuits is involved. Operate as an AM tuner, an FM tuner or together as an AM -FM stereo tuner. The SR -455 combines the separate AM and FM tuners described below. The specifications are exactly the same as listed for these two units. SR -455 .... $129.95= All three tuners ore available in gold and while or block and brushed chrome. Top cover in while, black, tan or red available at extra cost. SR-445

FM -443 FM TUNER Exceptionally sensitive, low noise reception due to the wide peak -to -peak separation (475 kc) and long, linear slope (350 kc) of the balanced ratio detector, and the grounded grid cascode front end. Sensitivity 1111 is 2 uy for 20 db quieting, 4 uy for 30 db quieting (300 ohm). Local-Distant Switch results in 2 uy for 40 db quiet- local I ing on stations. Dial station selector and "hair- trigger" 0 tuning eye. Temperature controlled circuits eliminate drift. Includes switched AFC circuit. Tuning Range: 88 -108 mc. Bandwidth: 200 kc. Frequency Response: 20- 20,000 cps. powered with power for -441 Provi- FM-443 Self- auxiliary AM tuner. sion for multiplex adapter- FM -443 $79.95'

AM -442 AM TUNER For exceptional AM reception, this tuner has a frequency response of 20 -7,000 cps, down 7 db at 7,000 cps. It features a tuned RF stage and 3 -gang variable tuning condenser. Its tuning range is 540 to 1.600 kc; Bandwidth is 9 kc. Local- Distant Switch adds 20 db quieting on local stations. Adjustable ferrite loop and external antenna. AM -442 $59.95" AM -441 AM TUNER Same as above, but without its own $49.95° AM-442/AM-441 power supply

'Prices audiophile net, zone 7, less cover STROM BERG -CARLSON A DIVISION OF GENERAL DYNAMICS

\'(VEMflEn 1959 17

www.americanradiohistory.com For integrity in music... STROMBERG -CARLSON STEREO CONTROL AMPLIFIERS ...for component systems ... for Integrity Series Ensembles

ASR -433 STEREO "24" CONTROL AMPLIFIER A dual channel amplifier with excellent performance and control features. Each channel provides 12 watts of exceptionally clean, balanced power. The exclusive "Stereo Tone Balance" signal permits you to adjust the two channels by a single tone. The deliberately conservative specifications include: frequency response 20. 20,000 cps; harmonic distortion less than 1% at full output; IM distortion less than 1% at program level; hum and noise 63 db down. Inputs: magnetic and ceramic phono; tuner; tapehead; auxiliary/tape. Available in gold and white or black and brushed chrome. ASR -433.. $129.95°

ASR -433

ASR -444 STEREO "60" CONTROL AMPLIFIER offers all desirable controls, plus high power. Each channel provides 30 watts of balanced power. It features separate bass, treble and volume controls for each channel, a master gain and loudness control, and the "Stereo Tone Balance" signal. Specifications: frequency response 20.20,C00 cps; harmonic distortion less than 0.7% at full output, IM distortion less than 1% at program level. Same inputs as ASR -433. In gold and white or black and brushed chrome. ASR -444 $169.95° ASR -444

ASR -333 STEREO CONTROL AMPLIFIER, and a fine ce ramic cartridge, give you quality performance at a low price. This amplifier-with 12 watts per channel -was designed for optimum reproduction with ceramic cartridges. It features tone and volume controls for each channel, plus a loudness control. Frequency response, noise level, distortion, same as ASR -433. Inputs: ceramic phono, tuner, tape /auxiliary. In black and brushed chrome. ASR -333 $99.95° ASR333

'Prices Audiophile nef, Zone I, less lop covers, which are available in white, black, ran or red. "THERE IS NOTHING FINER THAN A STROM BERG-CARLSON"

28 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com For integrity in music... STROMBERG- CARLSON SPEAKERS AND SYSTEMS ... for component systems ... for Integrity Series Ensembles

.iéirawrr wñliñ

x.sr¡wIyy^ 1 Stromberg- Carlson manufactures a full line -,,i41011 ,.f of wMh,NI speakers and the famous Acoustical LabyrínthH r.l n»I Speaker System. This system enclosure achieves a system resonance that is lower than the un. baffled free air cone resonance of the low fre o quency radiator. It utilizes mass loading and fric- tional damping as acoustical devices to extend the low frequency range of the system with extreme flatness of response. Five new complete speaker systems with a variety of decorator housings are now available. We suggest that you compare the quality of their performance with similar equipment. You be the judge.

DECORATOR HOUSING SPEAKER SYSTEM RH -469 RS -405

SPEAKERS Stromberg- Carlson loudspeakers include tweet. ers, woofers, coaxials and mid -range transducers. They are available in all popular sizes and price, ranges. The unusual Stromberg- Carlson "Slimline" feature allows maximum versatility in installation, and is made possible by another feature: the new "Barite" ceramic magnet, which is used to insure excellent transient response over the full effective frequency range.

RT-477

ENCLOSURE KITS Acoustical Labyrinth enclosures are

now available as unassembled kits. All pieces are precision - cut to size, ready to assemble. Nails, glue, complete instructions- everything you need is included. Enclosures are available for 8 ", 12" and 15" systems. The same decorator housings available for factory assembled systems may be used. Write for full details on speakers and housings available. RH-465 RH-467

For full details on Stromberg- Carlson components, write Stromberg- Carlson, a Division of General Dynamics, 1419 N. Goodman St., Rochester 3, N. Y. STROM BERG- CARLSON A DIVISION OF GENERAL DYNAMICS

NovENn ER 1959 29

www.americanradiohistory.com Traditional Serving a J%lo les OLD WORLD NEW WORLD Craftsmanship ERCONA of Sound! -r1

64/0/4"Atetee, TURNTABLE for the discriminating who demand the ultimate in NEW dteltea fiefortidactiog Abroad MODEL MADE IN ENGLAND B .sue Created by skilled hands of English LONDON -In fifteen sessions, at Wal- craftsmen working to tolerances of thamstow Town Hall on London's .0001 ", the Connoisseur turntable is constructed to assure you of re- outer rim, Sir Thomas Beecham, the markable silent operation. The hys- Royal Philharmonic Orchestra and Newly teresis synchronous motor - driven turntable is non -magnetic and Chorus, Jennifer Vyvyal, Monica Sin- Developed.' equipped with an illuminated strobe clair, Jon Vickers, and Giorgio Toni Automatic control arm and diamond disc to insure speed perfection. Wow completed for RCA a full, 250- minute stereo pickup must be seen and heard to is less than .16 % and Rumble is 50 be appreciated. Just one touch lifts or db down (7 cmrscc. at 500 cps). recording of Flanders Messiah. Owing lowers arm with perfect precision. Superb Mounting size: 1514" x 13','2 ". Only to a wealth of unprecedented orches- stereo! Only $59.50 net. net. 5119.50 tral effect, this production is sure to send the purists into a huff as soon as it hits the Christmas market. The eight sides are divided into two sections, one big, one small. The big section comprises a self -contained concert edi- time for tion of the oratorio which Beecham listening conducted. publicly for the first time in Redo the Kunsthaus at Lncerne's autumn STUDIO music festival. The small section is an i MICROPHONES VITAVOX appendix comprising all choral and England's m t honored MADE IN ENGLAND other numbers left out of the concert ( line of microphones to as- I sure the highest broadcast- 1Vhen ,uperintives pall ...and specifications edition. Beecham's orchestra took part :y etnndarde. ing quali no longer Imprets . s time to listen- - in )r Of rugged. compact design. lung and easefully. In this most exacting of the recording at the height of their each featares a durel ribbon audio tests. the Vitavos DUI20 Duplex Co. Glyndebourne Opera Festival commit- cartridge weieities LS mg said Sneaker emerges triumphant! Here's 0/960 or.) and triple full venge reproduction free of distortion ments, a circumstance involving screen protected. Ironed- them antes avnitible for professional or home and peaks. For proof, ask for a demonstra- in hectic cross -country shuttling and recording equipment. Three models; Sym- tion of the sew Vltavox Hallmark System phony. Celeste (with switch) or Avon super - which employs the UMW. You'll hear the many early mornings following Iate eardioid. From S59.50 net. difference and want either the DU120 or Hallmark as part of your own system. nights. 559.50 mi. The new orchestration is not Bee - chaun's handiwork but was, as he jocosely puts it, "instigated" by him. One day he said to Sir Eugene Coos - sens. the conductor- composer, °Would High priced speakers a "must "? you like to write the Messiah accompaniments as Handel. would have 700 SERIES -MARK II[ scored them if he had been living to- " Bfg" ipeoken don't have to hove big day ?" Goossens accepted the commis- peke fags. Hot with the famous R 6 Ar sion Made In England Here are speakers that bring true and spent five months on it. Han - high fidelity and luxury listening del's string parts remain untouched, -yet at a price unbelievably lower except that in this version they are than expected for such excellent allocated \\ performance. Your stereo speaker to a full symphony comple- investment can be minimized with- ment with eight string basses. For the out sacrificing quality if you add rest the specification inchides an R & A to your present speaker triple system. Conxial construction in voodwind (with a fourth oboe), con - 8 ", 10" and 12" models. Alcomax trabassoon, bass clarinet, four hones. iíl Anistropic Magnetic systems of 12,000 Gauss Flux density. From two trmnpets, three trombones, bass as low as $13,95 net. tuba, one harp (or more) and, in the "kitchen," triangle, cymbals, bass drum at selected Hi --Fi Dealers and tenor drum. Some of the details -e.g.. the hump - Specific literature on request ety -thump of the tenor drum in the "Glory to God" chorus and the triangle ERCONA CORPORATION trills that underline the "Wonderful! (Electronic Division) Counsellor!" outbursts-snake an odd Dept. 51, 16 West 46th Street, New York 36, New York Cohtimred on page 32 30 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Discover for yourself why Sherwood

is the most honored line of high

fidelity components in the field.

Sherwood Tuners (the first ever to achieve sensitivity under 0.95 microvolts) feature: Inter- Channel

Hush, a noise muting system which

makes FM tuning easier than ever

FM Multiplex Output "Feather -Ray"

Tuning Eye Automatic Frequency Control Flywheel Tuning. Combine

these tuners with either of Sherwood's

"mated" stereo amplifier choices; 20 +20 watts or 36+36 watts. And only Sherwood offers all these

features: Single /Dual Bass & Treble wr..é .I Controls Mid -Range Presence Rise Stereo -Mono Function Indicator Lights

Phase - Reverse Switch Damping Model S-1400, Stereo Proses, } 35W Amo -1159 50 mmowii,m.www.r- Factor selection. Sherwood also offers 0®é8® either 36 or 60 watt monaural

Model S5000. n+- 25W Stereo Dual Amoldmr -- 0189.50 amplifiers, FM Multiplex Adapters and

a complete decorator styled line of cabinetry and 3 -way speaker systems rt worm= E' -The finest in High Fidelity, Model S- 300011. FM Tuner - 5105.50 Sherwood Electronic Laboratories, Inc..

4300 N. California Avenue.

Chicago 18, Illinois.

Models 10001: 30W.M,euìfIT'Ampl,l.e7- 010950

a - Modal S- 200011. FM -AM Tuner -1

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4RERVÍOGD NIGH FIDELITY

For complete technical details write Dept. H -i I . All prices lei. trade.

NOVEMBER 1959 31

www.americanradiohistory.com TUBES NOTES FROM ABROAD CIRCUITS Continued from page 30 Mullard an early Waltham- initial impact. At engineered for high fidelity stow run-through the contralto looked over her shoulder with a startled ex- stereo pression, as though the roof were cav- am ing in, when the cymbalist carne in /fm with a crescendo roll under her up- television ward triplets on the repeated phrase "is risen." Perhaps the tenor was similarly disturbed by the plucked string basses doubled by soft hass -dram strokes which clog his steps in "Thou shalt break them." I must say, however, that on a second hearing I found this particular "realization" hair -raisingly dramatic. Goossens has here been creative; he actually acids something to Handel. There is much doubling and rein- forcing of choral strands by instrumental groups; much juxtaposing of solid blocks of woodwind, string, and brass tone one against the other. I am not certain that this is how Handel would have written for the oratorio if living today. It is certainly how he would have written for it if he bad lived in the age of Berlioz, Wagner, and Elgar or under their influence. During the Lucerne rehearsals I thought of the meager Messiah specifications that have come down to us from Handel's time (thirty -three players at the outside, plus organ) and of how scrupulously these vestiges are prized by the purists. MULLARD electron tubes, universally recognized "What are the purists going to say for their advanced designs and reliability, offer a about your version ?" I asked Sir selected range` of tubes for High Fidelity, AM /FM, Thomas. never think about the Television, and Industrial Applications. "I purists," he replied. "If Handel and many other This selected ronge ", which uses frame grids, composers were left to the purists, you would never hear them at all. The special glass, coiled heaters, biftlar windings, thing to remember is that no man special mica construction, low hum and microphony, knows how the oratorios were per- rugged construction, longer life are features formed. I have thought about it for sixty years, much longer than the gen- Mullard found in more expensive premium tubes. tlemen who write strange books and At MULLARD these extras are standard monographs on the subject. They leave out of account that I- Iandel, who Trade Naar L. in the regular commercial production - Mullard Led. played the organ or clavichord or AT NO EXTRA COST. harpsichord in these performances, Discover the advantages of MULLARD tubes was the greatest improuuisalore of his day." in your equipment now! - "\Voulcl you care to discuss any Detailed data and application engineering 'purist' Messiahs you have heard re- assistance available upon request. cen tiv ?" "My dear boy, I have clone 'purist'

"Circuits for Audio Amplifier." is w MULLARD publication in which the Messiahs myself. I have clone them all wide range of MULLARD high quality audio circuits is presented conveniently over the world. Invariably the public in one book. Four introductory chapters are devoted to theoretical and practical considerations of high quality sound reproduction with monophonic walk out. And for a simple reason. equipment or with stereophonic systems. The rest of the book comprises Until people heard Wagner and circuit descriptions, constructional details, and s e performance figures of 12 MULLARD circuits. These circuits include well -known MULLARD designs, Tchaikovsky they had no notion of the some modifications and improvements la these circuits, and a n umber of completely new ones. Only 52.50 from your dealer or by mail from our modern orchestra. Once they heard Technical Services Division. the modem orchestra they refused to listen to the old orchestra. They won't INTERNATIONAL ELECTRONICS CORP. tolerate two and a half hours of singing with archaic orchestral sounds." 81 SPRING ST., NEW YORK 12, N.Y. CHARLES REID

33 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com the "fourmost reasons" why Audax Paraflex' is not "just another speaker system."

George Silber, as President of Rek -O -Kut and its new Audax Division has been a pioneer in the manufacture of the highest quality components. In Audaz Speaker Systems. you will find the same uncompromising standards chat have made Rek -O -Kut StereoTables the most respected brand in high fidelity. Saul White, well known design engineer and writer on transducers and inventor of the patented Paraflex foam compound suspension, the greatest step towards the reproduction of natural sound. Tom Mulligan, representing the great Union Carbide Company who researched and developed the Dy'nel fabric adapted by Audax for its " Acous:iscreen." George Nelson, one of America's greatest industrial designers, brilliantly styled the enclosures and developed the Dyne' three -dimensional " Acousciscreen" grille.

TWO MODELS now at your dealer's CA80 System, 12" z 12" x.24 $99.95. CA -100 System, 15" a 12" x 25", ál39.95. - ran. n.. r,.n

Avenue, Toronto 19. Ontario RA -8 Export: Morhan Exporting Corp., 458 Broadway. New York 13, N. Y. Canada: Atlas Radio. 50 Wingold 33 NOVeNrnra 1959

www.americanradiohistory.com AUDIO EMPIRE

ANNOUNCES TWO NEW STEREOPHONIC HIGH FIDELITY COMPONENTS - THE FIRST TO ACHIEVE STEREO /BALANCE

MOST ESSENTIAL REQUIREMENT TO FULL -DIMENSIONAL STEREO PERFORMANCE

NEW empire 98 STEREO/ BALANCE TRANSCRIPTION ARM Stereo /balance through dynamic balance -the outstanding achievement of the new Empire 98 Transcription Arm. The geometry of the arm's design aligns the center of mass at the pivot point, so that the arm is in balance in all planes. The stylus exerts no greater pressure on either wall of the groove if the table is tilted at any angle -even upside down. Further, this balance is not disturbed with any required change in stylus pressure, because changing stylus pressure with the Empire 98 does not shift the center of mass as it does in arms where stylus pressure depends upon the position of the counterweight. The counterweight is only used to 'zero out' the cartridge. Stylus pressure is actually dialed with a calibrated knob. This knob adjusts the tension of a temperature compensated linear torsion spring which applies a torque force as close to the theoretical center of mass as is mechanically possible. This knob is calibrated in grams with an accuracy of 0.1 grams. The natural resonance of the Empire 98 is below the threshold of audibility (approximately 10 to 13 cycles). Precision ball- bearing races provide friction -free compliance in both vertical and lateral movements. The cartridge shell accepts all standard cartridges, is interchangeable, and is fitted with gold -plated, non oxidizing electrical contacts. Every detail of the Empire 98 substantiates the careful planning that went into its design, and gives ample evidence of its quality in action. EMPIRE 98 12 "transcription arm $34.50; EMPIRE 98P 16" transcription arm $38.50 NEW empire 88 STEREO /BALANCE CARTRIDGE The most impressive -the most dramatic feature of the new Empire 88 is the quality of its performance. It is difficult to equate and describe smoothness of response, clean, articulate reproduction, dimensional fullness and balance -yet. these are the sensations immediately evident with the first demonstration of this remarkable cartridge. The Empire 88 employs the much. acclaimed moving magnet principle, incorpo. rated in a new, improved design. Frequency response extends from 20 to 20.000 cycles. { 2 db. The outputs of the two channels are perfectly balanced within _.-- 1 db. Yet. interchannel isolation over the entire stereo frequency range is better than 20 db. Humfree operation is assured by the use of modern precautionary techniques: 4 -pole balanced 'humbucking' construction, mu -metal magnetic shielding and 4- terminal output. Aside from the noticeably superior performance of the Empire 88 over other cartridges playing the same monophonic or stereo records, there is virtually no groove wear. This is a result of the exclusive Empire 88 stylus lever design which achieves high compliance (5 x 10 -a cm /dyne vertically and laterally, and dynamic mass (less than 0.7 x 10' grams) diminishing to zero at high frequencies. EMPIRE 88 with diamond stylus $24.50; EMPIRE 88S with sapphire stylus $18.50

See and hear these quality stereophonic components et your high fdelily dealer today, or write for details: audio/empire Audio Empire -precision products of Dyna- Empire, Inc., 1075 Stewart Avenue, Garden City, N. Y. Attire & TV Ltd.. Taranto 2. Ont. Dept. HF -11 in Canada: Radio

31 Hicl-1 FIDELITY MAGAZINE

www.americanradiohistory.com hen the chips are down... tape is still king

, , and the SONY STERECORDER Srecorder is your best bet.' the finest complete STEREOPHONIC RECORDING Built-in stereo and PLAYBACK in one low cost SYSTEM* unit. preamplifiers and power amplifiers (can be used * All S1' RECORDER models are also available with on extra stereo play -back head with a frequency response of 30- 12,000 CPS to reproduce the new pre -recorded 4 -track stereo- for other components) phonic topes (Model 555 -A4). Separate head for 4 -track tapes

Two V. U. meters for prof essiona 1 level indication

Stereo outputs for loud speakers and external amplifiers NATIONALLY ADVERTISED '3 .ICE NOW Individual stereo tone and volume controls plus master volume

Inputs for live stereo and "off the air" stereo recording Automatic tape lifters (eliminates head wear in fast forward and rewind)

Tape Speeds fnstontaneous selection - 7y2 IPS or 33/, IPS Frequency Response (per Channel) 30-18000 CPS at 71/2 IPS ~ DK 555 -A 2 DB 50-15000 CPS at 71/2 IPS 30 -12000 CPS of 33/ IPS Ideal for "built -in" installations Signal to Noise Ratio (per Channel) 50 08 or more across line output Harmonic Distortion (measured by proposed NARTB Less than 2 / at 3 DB below standards) rated output recorder Flutter and Wow Tube Complement S less than 0.2% at 71/2 IPS 2 -EF86, 4- 12ÁZ7, 3.6A05 Finest components and constructmu Less than 0.3% of 33/ IPS 1 -5V4 -G assures pears of trouble free operation

For Free Descriptive Literature and Name of Nearest Franchised Dealer write SUPERSCOPE, INC., Audio Electronics Division / Sun Valley, California

NoN'r-,vLal::x 1959 35

www.americanradiohistory.com SPINET to CONC ERT GRAND

Every musician knows that a Spinet can never equal a Concert Grand, yet he recognizes that each has its place. For the finest quality and performance in his chosen size of instrument, he turns to a maker known for his integrity in design and craftsmanship.

B O Z A K D A R l E N C O N N E C T I C U T

36 HICrI FIDELITY MAGAZINE

www.americanradiohistory.com HOZAK is the Symbol of Quality-

In loudspeakers, too, no experienced listener expects any miniature to equal the performance of tvhich larger units are capable. For assurance of the finest craftsmanship and musical quality in the size of instrument suited to his needs, he turns to Bozak.

T H E V E R Y B E S T I N S O U N D 37 NOVEMBER 1959

www.americanradiohistory.com patented sheathed conductors flexible, foam -treated suspension 0. . i ., i micro -thin í rigid cast diaphragm -c aluminum frame

46--- molded styrene frame I .jr light-mass cone -t. weighted at apex

Cone Woofer for the lows The Model 350 woofer is specif- for Push -pull action ically designed to match the effi- precise control of diaphragm ciency, low distortion, and excel- JansZen Electrostatic for the mids and highs lent transient characteristics of push -pull electrostatics. Wide -range transparent treble brilliantly re- created by each JansZen Electrostatic element. i The 176 push -pull sheathed conductors give precise control over diaphragm movement. worth KNOWING the difference. .. worth HEARING the difference

The Z -300 console and the new Z -900 shelf speaker the clarity of the original recording or broadcast. systems are definitely not for those who've been lis- The secret is the sonic mating of the remarkable tening to shrilling trebles and booming basses for so JansZen Electrostatic mid -high range speaker with long they've forgotten what "live" music is really the Model 350 cone woofer - the low frequency like. speaker designed specifically to match the efficiency, For whatever the program- velvety strings, the low distortion, and excellent. transient character- human voice, percussion, full organ -the Z -300 and istics of an electrostatic. Z -400 reproduce with measurable precision the full Listen to these compact integrated speaker sys- audio spectrum from 30 to 30,000 cycles. Nothing tems . .. singly, or in pairs for stereo ... at leading escapes them ... nothing is added by them to mar high fidelity dealers.

Model 65 Electrostatic Iwo. Model 110 Electrostatic Four - Model 350 Cone Woofer Model Z -100 Shelf Speaker Mode Z -300 Console Speaker element MId/High Range element Mld/1flgh Range designed specifically for small System COmhines Model 55 System comb. nes Model 65 Tweeter gives absolutely Tweeter for those who demand enclosures ... undistorted eleclrastalic vn(h Model 350 electrostatic with Model 350 clean response to the ultimate in widely-dis- bass to 30 cycles, woofer ... total for stereo woofer ... exceptionally 30,000 cycles. cursed sound ... ideal far ...vertical or horizontal compact ... uniform response mulGvrooler systems ... Placement on shell. or floor. from 30 to 30,000 cycles. response to 30,000 cycles at less than 0.5% harmonic dialortion. Write for descriptive literature and prices.

* incorporating designs by Arthur A. Janssen made exclusively by Jans en NESHAMINY ELECTRONIC CORP. Neshaminy, Penna.

3S HIGH FIDELITY 'MAGAZINE

www.americanradiohistory.com AMPil-A 960 STEREOPHONIC RECORDER /REPRODUCER

ABOVE --960 PORTABLE STEREO RECORDER /REPRODUCER BELOW- .MODEL 2560 PORTABLE Stereo STEREO SYSTEM CONSISTING OF 900 AND PAIR OF 2010 Portable AMPLI FI ER.SPEA KERS PLUS! Guiding the Ampex engineers who created the 960 was a dual objective - that of building a machine which was nor only a superb example of engineering skill, but one which would also offer its user a range of capabilities far exceeding that of any other recorder made today. was merely The result not an improved stereo recorder, 440.E home , but an entirely new concept in entertainment The STEREO 960 fits into family life in literally dozens of ways, contributing many tangible benefits in musical, educational and recreational fun. You'll use it ro keep up the family correspondence by sending "letters in sound ", to cape stereo programs off the air, to preserve your best monaural and stereo discs on tape, and CO acquire new musical and language skills. You'll have endless fun exploring the 960's many fascinating recording capabilities, including sound -on- sound, echo chamber effects, and other advanced techniques.

AJVIPEX STEREO SIGNATURE OF PERFECTION IN SOUND www.americanradiohistory.com Relax and enjoy the show - let your Ampex do the narration! With the RECORDER /REPRODUCER commentary on tape, your color slide shows ore more SPECIFICATIONS professional, more complet 1. and more fun!

The true values of a recorder are best assessed through careful evaluation of its performance specifi- Your favorite LP's and Stereo cations and operating features. It is worthwhile noting here that these specifications are based not on Discs are at their exciting theoretical design parameters but on actual performance tests. They are specifications which the best while they're new and recorder not only meets or exceeds today, but which years from now will still hold true. unscrotched. That's when to The Ampex Model 960 Stereophonic Recorder /Reproducer is capable of essentially distonionless tape them on your Ampex, frequency response from 30 to 20,000 cycles per second at the operating speed of 71/2 inches per and preserve their original second, and from 30 to 15,000 cycles per second at 33/4 inches per second. Its precision- engineered quality for keeps! riming accuracy is such that it offers perfection of pitch held to tolerances of less than one -thud of a halftone. Playing times, using standard (.002 "), long play (.0015 "), and extralong play (.001") tapes are as follows: When you tope it "off the (a) 4 -Track (b) 2 -Track (c) Monaural Tapes, oir" your only cost is for Stereo Tapes Stereo Tapes halfIraek blank lope. Yet your musics

1 200 foot reel 33/4 ips - 2 hrs. 8 min. 334. ips - I hr. 4 min. 33/4 ips - 2 hrs. 8 min. repertoire can soon equal

71/2 ips 1 hr 4 min. 71/2 ips - 32 minutes 71/2 ips 1 hr 4 min. that of all the stations

800 foot reel 314 ips - 3 hrs. 12 min. 32/4 ips - 1 hr. 36 min. 334 ips 3 hrs. 12 min you hear!

71/2 ips - 1 hr 36 min. 71/2 ips - 48 minutes 71/2 ips - 1 hr 36 min.

400 foot reel 33/4 ips - 4 hrs. 16 min. 334 ips 2 hrs. 8 min. 33/4 ips 4 hrs. 16 min

711 ios - 2 hrs. B min. 71/2 ips - 1 hr. 4 min. 71/2 ips - 2 hrs. 8 min. There's o real future in family fun like this -with your RECORD INPUTS: High impedance line inputs (radio /TV /phono /auxiliary) 0.3V ems for program level; Ampex you con live such high impedance microphone inputs happy moments over and PLAYBACK OUTPUTS: Approximately 03V ems from cathode follower when playing program level tapes over again, with o quality so PLAYBACK FREQUENCY RESPONSE: 30- 20,000 cps at 71/2 ips; 30- 15.000 cps at 33/4 ips lifelike you're almost literally Within ±2 db 50.15,000 cps at 71/3 ips, 55 db dynamic range carried bock. Within ±2 db 50- 10,000 cps at 314 ips, 50 db dynamic range

FLUTTER AND WOW: Under 0.2a/o rets at 71/2 ips: under 0.25% ems at 33/4 ips In the Ampex "Speech Test HEADS: Manufactured to the same standards of precisionn that exist in Ampex broadcast and recording Game', you pit your wits studio equipment. Surfaces are lapped to an optical so precise that they reflect specified against the trigger-quick wavelengths of light, resulting in uniform performance characteristics and greatly minimizing the memory of the Ampex effects of head wear. Azimuth alignment of stereo head gaps in the same stack is held within 20 recorder /reproducer. You seconds of arc, equivalent to less than 10 millionths of an inch - a degree of precision achieved can't win, but it's fun tryin through use of a unique process involving micro- accurate optical measurements within a controlled environment. Head gap width is 90 millionths of an inch ±5 millionths of an inch.

Letter -writing is no longer a problem, with an Ampex in the house ... now it's o family project. And even KEY TO THE EXCITING FUN FEATURES OF THE 960 -- more fun than sending letters THE AMPEX STEREO -GRAPH in sound is receiving them!

!Here's the simplest, quickest answer For "letters in sound ", the to almost every question about how to 3' tape reel holds os much perform the operations illustrated at as a 10 -page letter, mails first doss anywhere in the right and numerous other recording United States for 8c. functions. The Ampex Stereo -Graph shows you, quickly and clearly, the proper dial settings to make for more A coin exclusively for rag W el er than a dozen of the most popular uses and other special effects. A convenient you prefer jazz, pops, or the 960 - tape footage tinte is for .. including sound -on- /playing indicator classical, the privacy of ound, language and music instruction, included on the reverse side. headphone listening is a unique pleasure. You don't disturb the rest of the family, God and they don't disturb you! MODEL 2010 The Ampex, in private MATCHING AMPLIFIER -SPEAKER rehearsal, can be a wonde confidence -builder for people who normally dove The Ampex Model 2010's ten -won (20 watts peak) ampli- rubber knees when faced fier section provides operating characteristics (unequalized) with the prospect of flot within =0.1 db, with total harmonic distortion less speaking before a group.

than 0.5 of 1 %, throughout the maximum range of human hearing ability, at rated output. Noise and hum ore 80 db Learning to speak a new below rated output, and input sensitivity is 0.18V to language is mode develop rated power. immeasuroobly easier on The specially designed 8" speaker provides smooth, peak- the Ampex; you can record free response throughout a remarkably wide audio range. your own phrases side -by -side Such superior design features as its massive die -cast frame with those of the instructor, and edgewise -wound ribbon ccil contribute effectively to and play them bock for higher levels of performance than ever before achieved comparison at any time. with o speaker this size.

When you strike up the bo in stereo, you don't need MODEL 960 DIMENSIONS: Portable coses 9" x 15" x 171/2". Unmounted recorder professional musicians to 13" x 15" x 61/2" depth below top plate, 13íe" above. Recorder weight 36 lbs., make a professional speaker amplifier 31 lbs. recording. Advanced techniques ore amazingly AMPEX AUDIO. INC. SUNNYVALE. CALIFORNIA trim; easy on the Ampex. www.americanradiohistory.com 1Boo1Ies in 1Zevií2W Is Your Stereo Thinking Upside Down? The Sense of Music. Although Vic- tor Zuckerkantll explicitly renounces the orthodox methods of music appreciation books, bis general purpose is 'V'S(l "ed 'aaowy;uemS "op leuo!;ewa;ul ualllp; 6q pam;ae;nuew aue;asiawoS g b;yaa!joala;S

much the same: to enhance the mnsi- ed 'aJOwy;JeMS 'S6 xos 6S11-A11 'Idas of 8oleleo alaldwoa Jo; aluM cal understanding of novice listeners. His approach, however, is distinctively dep 8ua1 ¡mewl alqisuas e le dl ¿t oaJals yoe3 new in that it is based solely on direct Zl aural experiences, minus uo algeliene oslY gradually progress- puela!x10 0; toes waJ; ing from single tones, melodies, and swnqie oaJa;s 00t JanO chords to complete compositions. 86 These are analyzed and explained in 'sJaylo ota ' ssappo0 ana ' uoo8el terms of dynamic tonal qualities pue o8u0-apeuaJaS 'sanaalsuaaJO P!yoJO and asnaoJas '1y8iN ay) yBnoJy1 ' aBepiA;ama 8u!pnpu! purls! ogox3 relationships pue si Jones rather than expressive IIV 8uipnloui Aep ay ;o saiqnoJl ay; fo !lads ay; am! ay; situ intentions or emotional reactions, and aseyo ol poow ln;Japuom 'ysnl ley; Jod Acids pue anbiun e fo oisnw si situ their technical terminology is provided eJtsayaJO s8u!J1S IOL, uawlinS aqi only after what actually happens in 00Z01-AS MOH 13010 00S01-1S ONY1SI 3110X3 sound and perception has been both perceived and comprehended. Noth- ing could be more sensible or lead more directly to a grasp of basic psy- choacoustical principles, as well as those of melodic structures, polyphonic and harmonic textures, and so- called musical theory in general. This. of course, provided that the reader follows the text line -by -line with the musical illustrations actually sounding in his ears. In Zuckerkandl's s;s!olos pue uaw 'II JEM PI10M u! V3S lV A80101A apis 8uiuuim-preme 'pa>laid pueq Aq own classes (at St. John's College, 8ugoidap saps Al a!wew(p 'Hui paAeld;uawuadxa punos 8u!teuiasef V Annapolis), his analyses and elucida- -!I!p91 at wolf o!snW ;lauuas Ilassna ' papJooaJ Jana pueq 2iq 8uinup;s2;eaJ8 tions must be exciting and immedi- ;Jaqoa Ag paBueJJe eas ;e AJO;aiA., at snld eJisayam AuoydwAs in V ately rewarding, but in book form sJaBpoa pJeyo!b woJ; s11180148iH eJtsayaJO 1e15 IIV oaP!A eJ;sayaJO a!uowJeyl!yd uopuol ayl 8uganpuo3 u!tJe;y they make heavy demands on atten- tliMS 00601-3S V3S 1V A11O101A 00L6-AS ZZViVH3H3H3S tion as %vell as require constant access to recordings of the examples (mostly available on LPs, but also in a special tape which can be obtained from the book's publisher). The listener with some ability to read the notated examples or to play them himself will, however, find these pages less laborious. For him there will be a wealth of new insights into familiar experiences and techniques - most particularly perhaps the "dynamic" qualities of individual tones aJaqMdJawa saJOas pJoaaJ Jallaq le aigelleAv and chords, the ancient ambiguities of consonance /dissonance, and the com- plexities of tonality. Readers of Zuck- erkandl's controversial Sound and Symbol: Music and the External DNIA]Ii]9 SI NIHV]H World (1957) should also find the ogone JO aoua.ia}a.id weaoad present work -much clarified in the- }uawuaaosip ory. less polemical, and far less tur- inJ+( jo ssalp.ie2aa spiooa.i oa.ials Joj saoi.id gidly written than the earlier volume -of very special interest. In at least ;ue}iq.ioxa Aed o>} J(.iessaoau 10N si sano.id breaking the way for more meaningful introductions to familiar music, the Sense of Music is an outstanding achievement indeed. (Princeton Uni- versity Press, $6.00).

Mozart and His Music, by John N. Burk, is a book of substantial merit,

Continued on next page

NOVEMBER 1959 41

www.americanradiohistory.com BOOKS IN REVIEW WEATHERS Continued from preceding page but one more likely to appeal to admirers of the well -known Beethoven biographer and Boston Symphony program annotator than to Mozarteans -simply because it is overshadowed by several earlier. more penetrating and subtle studies. It is to Burk's credit that he steadfastly eschews any touches of sensationalism or hon- eyed popularization. His "life" is so- THE SOUND THAT OUTMODES berly organized and sympathetically recounted, yet never romanticized; his analytical and descriptive notes for CONVENTIONAL STEREO! the works are notably inclusive and informative. There is little with which even the most finicky scholar can take exception and much to satisfy and stimulate the lay concertgoer and record collector -but unfortunately this book can be recommended only as supplementary to the richer masterpieces of the Mozartean literature by Turner, Einstein, Dent, el al., to say nothing of the composer's own letters (Random House, $4.7.5).

Encyclopedia of Concert Music is the latest in the interminable series of "family guides" which David Ewen has been producing since the early Thirties. The materials (mostly "ap- preciative" program notes) and the style (pedestrian) remain doggedly unchanged. The present example, which specifically complements an Encyclopedia of the Opera of 1955 and like it is cast in dictionary form, runs to some 550 pages of brief entries (plus a 12 -page bibliography) covering music -term definitions as well as program notes for well -known instrumental compositions and biographical sketches of their composers and interpreters. Apart from the most topical entries there is little here that cannot be found, usually in less sketchy form, in standard musical dictionaries and encyclopedias (Hill & Wang, $7.50; boxed with the Encyclopedia of the Opera, $I3.50). It took the engineering know -how of Weathers to discover this revolutionary electronic advancement in sound and size! TrioPhonic Stereo introduces the Jean Sibelius, listener for the first time to "Equalized Sound." Now you can sit anywhere in by Harold E. Johnson, is once the room and experience the same magnificent tonal realism and fidelity of at the long -needed more objective successor to Karl full -range stereo. "Equalized Sound" is produced by two book -size full range Ekman's quasi -authorized biography of 1935 -6 stereo speakers and a unique, non -directional hideaway bass. (now out -of-print in this country); a Ask your dealer today for a demonstration of Weathers startling new audio sober deflation, rather than debunk- TRIOPHONIC with You dimension- STEREO "Equalized Sound." must see it,, ing, of the fantastic and often self - hear it, compare it, to believe it! fostered Sibelian legends; and the first For the ultimate in TrioPhonic stereo listening, select the matched Weathers really convincing attempt I've ever synchronous turntable with StereoRamic pickup system, encountered to explain and mediate between the violently contradictory evaluations of Sibelius' music by his For more information of TrioPhonic Stereo write for FREE booklet, Dept. 11 -F. overenthusiastic partisans and his overprejudiced detractors. WEATHERS INDUSTRIES. 66 E. Gloucester Pike, Barrington, N.J. Few other Divicon of Advance fndurtr4,, Inc. Export. Jo,eph Plocenca, Inc., 401 Broadway, New York 13, N.Y . Continued on page 44

4? HIGH FIDELITY MAGAZINE

www.americanradiohistory.com .. . mar.. am 'WAN. . SASS . neint., ....

PRECISION INSTRUMENT:

A precision instrument performs flawlessly. It blends natu- fruitwood or copper and black enclosure. Especially noted rally into its proper setting and imparts a special distinction for ease of operation, functional design, unsurpassed re- to that setting. A sports car on the open road; a fine camera production of music. in the hands of a skilled photographer; a high fidelity Additional Features: HARMAN- EARDON FRICTION CLUTCH instrument in the home. The new Harman -Kardon Stereo TONE CONTROLS: permit adjustment of bass and treble tone Festival is just such an instrument. It is simple and precise controls separately for each: channel. Once adjusted, con- in its operation. It is straightforward and logical in its do- trols lock automatically to provide convenience of ganged sign. Its reproduction of music is incomparable. The Stereo operation. ILLUMINATED PUSH -BUTTON ON /OFF SWITCH: Per- Festival, timeless in its styling, free of frills or faddishness - mits Stereo Festival to be turned on and off without up- acids distinction and beauty to any home. setting careful prior setting of controls. Separate ELECTRONIC THE STEREO FESTIVAL TUNING BARS for AM and FM; AUTOMATIC FREQUENCY CON- TROL to insure accurate FM tuning every time; RUMBLE AND Species: STEREO FESTIVAL- member of a family of preci- SCRATCH FILTERS to eliminate annoying phonograph rumble sion -built stereo high fidelity instruments. A 30 watt stereo and record hiss; CONTOUR SELECTOR, MOUE SWITCH, BALANCE power amplifier, dual preamplifiers and stereo AM /FM CONTROL, RECORD -TAPE EQUALIZATION SWITCH and two high tuner all on one handsome chassis. gain magnetic inputs for each channel. Genus: HARMAN- KARUON - manufacturer of the finest The Stereo Festival, Model TA230....$259.95, Copper and quality stereo high fidelity instruments for your home. Black Enclosure, Model AC30....$12.95, Walnut or Fruit - Natural Habitat: YOUR HOME. wood Enclosure....$29.95. All prices slightly higher in the Distinguishing Characteristics: Brushed copper, satin West. For free catalog of all H -K high fidelity instruments chrome or brass sculptured escutcheon. Optional walnut, write: Dept. HF-II, Harman- Kardon, Inc., Westbury, N. Y.

harman kardon HIC :a

NOVEMBER 1959 43

www.americanradiohistory.com Outperforms Costliest Speaker Systems BOOKS IN REVIEW Continued front page 42 ENJOY THE BEST AT GREATEST SAVINGS composers have ever aroused such critical dichotomy. For that matter, perhaps César Franck is the only other E XCLUSIVE "great" composer who wrote so many potboilers and as few major works; and probably only Rossini offers a uuu/IU A PRODUCT OF ALLIED RADIO uul comparable example of abdication U uu11uuuuuwI/ from creative activity at the very peak UMW. High -Compliance uu/IMTh u®Iuu of a career. Johnson's task in making Iluuul 1#uu/aIu Electrostatic Speaker System understandable both the personal uuuuui. i111111u8111111 and artistic contradictions here well Iluu/u/Iiu/u O N LV Comparable to speaker sys- may have been one of the most formi- 12950 tems selling at 50% more! dable tackled by any musical biogra- Here's an Allied exclusive - pher. yet any impartial reader who ARTHUR JANSZEN DESIGN pat- SS Down the hi -fi speaker sensation of studies his pages will it ented dual electrostatic radia- carefully find tors... rated the best again and the year- combining patented Arthur hard to decide which is the more ad- Janszen again. Built -in power supply; design dual electrostatic tweeters mirable: the author's painstaking Finn - velvet- smooth response to be- with a new and revolutionary high- compli- yond 25,000 cps. ish researches in uncovering long -lost ance woofer. The results are amazing: Dis- or deliberately obscured facts and in- tortion is held to a mere 0.5% at full 50 watts input. Response is clean and level, fluences, or his rigorous refusal to suc- E X C L U S I V E 30-25,000 cps. You have to hear it to be- cumb to the temptations of special HIGH.COMPLIANCE lieve it- transparent high frequencies to pleading, either pro or con. Yet for all 12^ woofer featuring weighted cone beyond audible limits- smooth, honest this sobriety, his book has the hypnot- in solid cast- alumi- bass. The KN -3000 enclosure, of W wood ic fascination of a psychological thrill- num alloy frame... throughout, is finished on 4 sides; 14 x with heavy -duty er. And still more important than its sintered ceramic 261/2 x 13e; available in mahogany, limed power to command one's rapt atten- magnet for ex- oak or walnut. Impedance. 8 ohms. U. L. tion is the superb illumination it throws tremely dense flux. Approved. Shpg. wt., 50 lbs. not only on Sibelius, but on one's own EXCLUSIVE: Acoustically correct KN -3000. Only $5.00 Down. NET $129.50 enclosure of choice hardwoods. previously mixed reactions to the mu- finished on 4 sides... sic itself. Johnson surely would be the last to claim that he has solved the Sibelian enigma, but he unquestionably has uncovered the vital clues to many of the long -baffling problems posed by a composer who became a national monument in his own lifetime, while then and now presenting a Janus -like duality to the rest of the

world (Knopf, $5.00) .

The New Yearbook of Jazz. After taking a year out to produce his Book of Jazz: A Chide to the Entire Field (Horizon Press. 1957), the indefatigable Leonard Feather has returned to his documentary series begun with the monumental Encyclopedia of Jazz in 1955 and its supplementary Encyclo- 15 -Day Trial & Moneyback Guarantee. Try the pedia Yearbook of 1956. Like the lat- KN -3000 Speaker System in your home for 15 ter work, the present one is primarily days; if you are not completely satisfied, your a specialist's miscellany combining re- SEE YOUR ALLIED purchase price will be refunded by Allied upon 1960 CATALOG return of the equipment. ports on the latest developments in this for a detailed de- country and overseas with extensive scription of the order from additions to the biographical and clis- remarkable new cographical sketch entries, listings KN -600 HC high - ALLIED RADIO compliance 2- (with addresses) of various types of way speaker, with the sensa- jazz organizations, recording compa- tional 4.6 Ib. ceramic magnet ALLIED RADIO, Dept. 180 -L9 'LOO N. Western Ave., III. nies, etc. Again there is an excellent and Ye thick polystyrene cone. Chicago 80. See hundreds of other top Ship me KN -3000 Speaker pictorial section of some fifty well - buys on everything in Hi -Fi in System(s). LJ Mahog. Oak. Wal. chosen photographs, but probably the the 1960 Allied Catalog. Write S encl. (Shipped F.O.B. chicaµ) liveliest appeal lies in two brand -new for your FREE copy today. 1 am interested in saving money on everything features: a six -page "Meet the Critics" in Hi -Fi. Send me your FREE 1960 Catalog. New Easy Terms: Only $5 down section of biographical sketches of the (or less) on orders up to $200- Name leading writers and reviewers, and Up to 24 months to pay. Charles Graham's ten -page historical Addres survey of "Jazz and the Phonograph" City Zone -State (Horizon Press, $4.95). L J R. D. DARRELL

44 HIGII FIDELITY MAGAZINE

www.americanradiohistory.com must I remove this stack to play the other side?

not if you own a STEREOTABLE... the best way to play modern records!

Facts about the modern record prove this so. Fact 1- Today's made only by Rek- O -Kut. Only Rek -O -Kut STEREOTABLES "lp's" offer up to 30 minutes of music per side! Fact 2 -Most give you: silent, accurate rotation, hysteresis synchronous albums are recorded on 2 sides! Fact 3 -You must flip the motors, exclusive engineering and over 51 lab tests to insure record over to play the second side! Therefore, the record trouble -free operation. Choose your STEnEOTAILE from the changer now has virtually nothing to change -its one special world's largest selection ... the world's largest manufacturer feature is no longer essential! Why then choose this way to of high fidelity turntables ... Rek- O -Kut! STE REOTARLES from play both sides of your records? If you have stereo in mind, $39.95, STEREO TCNEARxIS from $28.95, Bases from $8.95. you can only obtain genuine high fidelity with a STEREOTABLE Write us for the complete STEREOTABLE story.

REK -O -KUT COMPANY, INC. llrGli"FIDELITY Dept. HF -l1, 38 -19 108th Street, Corona 68, New York

Export: Morhan Exporting Corp., 458 Broadway, N. Y. 13 Canada: Atlas Radio, 50 Wingold Ave., Toronto 19

NOVEMBER 1959 45

www.americanradiohistory.com A recording challenge! the magnetic tape engineered to help you meet it best is

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www.americanradiohistory.com NEW SOUND EXCITEMENT FOR THE HI-FI STEREO AGE!

ORENt

0 î, Ì

A%-A/eas- and 1ñe°rira/ta6& O NA EGA I For the connoisseur with an ear Never before, so many quality features in loudspeakers -yet priced for the modest budget I Dual NEW! for true fidelity -and an eye cones for breathtaking wide range performance! Twin voice coils in loudspeakers, for true value ! The Kingdom 12" with flex- KAL ible impedances of 4, 8 or 16 ohms, enabling you Lorenz all -new OMEGA I is a to select the impedance you require! Non - Compact for bookshelf masterpiece resonant cast aluminum girder constructed or table, this cabinet of engineering skill frames I Fully tropicalized for finest operation of high impedance and rare in any climate. For stereo or monaural-singly port construction be- decorator beauty -spe- or in matched pairs. comes a consolettc cially designed to be used in pairs simply by attaching matching brass legs. Houses a superb Lorenz 8" woofer, tweeter and cross - for stereo, or singly for brilliant NEW! Lorenz S -1288 over. Frequency response: 35- 18.000 cps. Imped- monaural. Value-packed basic 12" loud- ance: 8 ohms. Power rating: 18 watts peak. speaker of advanced design, Size: It" x 2334" x 10 ". Gross weight: 16 Iba. Modern with dunl eones and twin Brown or Blond Leatherette $49.50 slimline cabinet com- voice coils. Choice of imped- Matching pletely finished on four sides for ances of 4, 8 or 16 ohms on Brass Legs . 5.95 one speaker! 18 to 15.000 use horizontally or vertically - cps. Magnet assembly ideal weight: 61.5 oz. 30 watts for bookshelf, table top or peak, $44.50 NEW! floor. Constructed of 13" solid uu lumber core with selected face NEW! Lorenz S -1288 I) üUP M veneers of genuine African rib- A complete system - consists bon of Lorenz S -1258 with twin Big in small mahogany, American black tweeters on rigid metal performance space! Use singly and or pair for stereo. Completely finished on 4 sides walnut and other choice woods. bracket high pass cross- for use horizontally or vertically. Features over. Dual cones and voice Lorenz 8" woofer with matched quality tweeter Joints meticulously crafted for coils with 4, 8 or 16 ohm im- and high pass crossover. Frequency response: air-tight stability. pedanees. 18 to 18,000 cps. 30-18,000 cps. Impedance: 8 ohms. Power rating: 85 watts peak. A "system" 18 watts peak. Size: 11" x 231,1" x 10 ". Gross Inside in itself I $67.50 weight: 20 lbs. the OMEGA I is a bril- Unfinished Birch liantly matched combination of (sanded, ready for finishing) $57,50 NEW! Lorenz S888 Oiled Walnut, Mahogany, Walnut, advanced Lorenz speakers : a full - Spacious sound with real Blond economy I Outstanding 8" or Ebony 64.50 spectrum 12" woofer with two speaker Matching Brass Lega 5,95 with dual cones and quality tweeters and high efficiency B ohm voice high pass coil. 30 to 14,500 ens. crossover. The '`infinite baffle" 18 watts peak. Magnet assembly weight, 28.5 oz. principle provides a thrilling real- $21.50 ism found only in the largest most expensive systems. NEW! Lorenz S -388 SENIOR Armored horn -type 21,4" tweeter with plastic cone for 120 -degree A superior system of 18 to 18,000 cps 16 ohms high frequency sound dispersion. advanced audio engi- 40 New ferrite magnet hermetically neering and decorator watts peak 27" x 143/4" x sealed. beauty. Infinite battle 111/2" 46 lbs. At any price, 2.000 to 18.000 cps. 5.6 ohms. 2 watts construction for "big peak. The perfect mate for Lorenz 12" or R" system" performance, Complete with elegantly you simply can't buy better! speakers. $8.50 proportioned 4" legs. Contains famous Lorenz 8" woofer and tweeter with high pass crossover. HP -1 High Pass Crossover Frequency response: 30- 18,000 cps. Impedance: Unfinished Birch (sanded, Crosses over at 2.000 cps. at rate 8 ohms. Power rating: 20 watts peak. -Size: ready for finishing) __..$109.50 of 3 db per octave -feeds highs to 22'4" x 221" x 101/2". Gross weight: 37 lbs. tweeters. lows to woofer. Extends Satin Mahogany $69.50 Oiled Walnut, Mahogany, speaker system range to limit of Blond or Walnut 74.50 audibility. For use with 2or3 way Walnut, Blond or Ebony 119.50 systems. $4.95

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NOVEMBER 1959 47

www.americanradiohistory.com The verdict is in!

CONSUMER PUBLICATIONS TECHNICAL PUBLICATIONS Hi -Fi Systems Edward Tatnall Canby in Audio .best unit in its class, regard- .. the first time I saw it, I less of price ... must be seen to couldn't believe my eyes ... the be believed ... one of the gen- DUAL is nbsolutelysilent in use; tlest record drops we have ever the motor is so quiet you must seen ...electrical tests indicate DUAL -1006 put your ear to the table to hear rumble characteristics as good it ... rumble and pitch steadi- or better than those specified ness are absent and excellent re- for broadcast -type turntables." combination stereo spectively ... real manual auto- mation ...it will do more things Modern HI -FI turntable /changer that please nie... than any " .. the DUAL is an outstand- changer so far." ing machine ... it shows a uniformly high level of perform- TESTED Electronics World ance in every - respect...stand " .. one of the best stereo rec- ards were exceptionally high in ord changers we have seen to each critical testing area, espe- date the wow and flutter is cially in such vital aspects as AND ... as low as in some professional - wow, rumble, flutter and hum." type turntables ... we suggest QUALITY ACCLAIMED that anyone who is interested in CARTRIDGE MANUFACTURERS a changer for stereo hi -fi opera- Fairchild tion make sure that the dealer . we put your machine THROUGHOUT demonstrates this one for you." through an extensive laboratory check ... we congratulate you MUSIC PROFESSION on (its) excellence ... tracking THE PUBLICATIONS was perfect ... automatic oper- Downbeat ation consistent and reliable ... .. brand new sleeper ... very truly does justice to and amply HIGH high quality ... excellent facil- meets the requirements of top ities for manual operation ... quality stereo cartridges." arm adjustment easier than on any other machine ...well Pickering FIDELITY worked -out arrangement for off- "...tests included all customary on manual playing ... they seem measurements ... including to have thought of everything." `torture tests' designed to show AND MUSIC up any malfunctioning . it Billboard carne through with flying colors INDUSTRY "... I have been giving the play- . tracking is all we could ask er a real workout ... and I must for...trip mechanism functioned say that it passes every test. It's smoothly ...our unqualified ap- as good as I thought it was and proval ...you have a beautifully as good as you claim. In short, simple and efficient product." it is tops."

Full reprints of current and forthcoming You will find the DUAL -1006 only at selected evaluation reports will be sent upon request. united udio authorized United Audio dealers.

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48 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com SENSITIVE SPEAKERS EXCLUSIVELYA LT E C FOR THE TRUE REPRODUCTION OF SOUND

ALTEC BIFLEX AND DUPLEX SPEAKERS ALTEC DUPLEX® SPEAKERS are the world's finest single - ARE PRECISION BUILT FOR DURABILITY frame high fidelity reproducers, and are in wider use in professional recording and broadcast studios than any other ALTEC the leading high BIFLEX SPEAKERS arc fidelity type. Their superiority is achieved by mounting two mechani- single voice -coil speakers. They have a frequency response cally and electrically independent loudspeakers on a single greater far than any other type of single voice -coil speaker frame for compactness, point- source relation, phasing and and equal to or exceeding the majority of two or three -way installation simplicity. A special high compliance suspension units. Biflex speakers are selected as the bass speaker in many system, precision assembled, is used to achieve lowest possi- extended range systems. Alone or in conjunction with other ble resonance and distortion. This construction technique in speaker components, is an Altec Biflex the greatest value in combination with high quality materials maintains the supe- high fidelity loudspeakers. rior properties of the Duplex indefinitely. Listen and you will 412B BIFLEX -True high fidelity at moderate cost know why Altec Duplex speakers are chosen over all others by the discerning audiophile and as the listening standard in The Altec 412B is an extraordinary combination of true most professional studios. high fidelity reproduction, compact size and low price. This improvement on perfection 121/4 inch speaker has a guaranteed frequency response of 606A DUPLEX -An 40 to 15,000 cycles achieved through Altec's Biflex principle Unchallenged for 14 years as the finest high fidelity speaker of a viscous- damped mid -cone compliance that permits the in the world, the Altec 604D now steps aside for the new entire cone to propagate low frequencies while the inner sec- 605A Duplex speaker -a precision instrument that has no tion operates independently to reproduce the audible high peer in the faithful reproduction of sound. The 605A, with frequency tones. Listen to the superior frequency response Altec's exclusive controlled linear excursion principle, pro- and efficiency of the 412B, Compare its quality and price vides unequalled purity from 20 to 22,000 cycles : unusually with other speakers. We think you'll agree that the 412B is smooth response in the highs, extremely high linearity and a great value in high fidelity speakers. Priced at $51.00. clean transient response in the lows. Priced at $177.00, Other Other Biflex speakers: 408A 8"- 60-16,000 cps $31 415A Duplex speakers : 60113 12 " -40- 22,000 cps S120 602B 15 "- 30- 14,000 cps $67. 15"-30-22,000 cps $143.

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NOYL',MAEn 1959 49

www.americanradiohistory.com THE BIGGEST NEWS IN STEREO IN YEARS!

THE CON CERTONE

STEREO RECORDER

for the first lime.., a modestly priced stereo recorder with all the professional features found only in the finest instruments.

Check these outstanding quality features in such a low cost unit:

FEATHER TOUCH PUSH -DUTTON OPERATION

4 HEADS, INCLUDING SEPARATE 2- TRACK A 4 -TRACK PLAYBACK HEADS

3 MOTORS, INCLUDING HYSTERESIS DRIVE

MECHANICAL FLUTTER FILTER PLUS DYNAMIC BALANCED FLYWHEEL

INSTANT SOURCE /TAPE MONITORING lip. fief w SEPARATE RECORD /PLAYBACK PRE- AMPLIFIERS INSTANT START /STOP

AUTOMATIC CUT -OFF SWITCH

33,4-7% IPS SPEEDS

AUTOMATIC TAPE LIFTERS

STEREO RECORDER TAPE LOCATION INDICATOR

MONAURAL RECORDER SEPARATE MICROPHONE /LINE IN- SOUND ON SOUND RECORDER PUTS, EACH CHANNEL PLAYS MONAURAL AND STEREO 2 -TRACK These are only a few of the many AND 4 -TRACK TAPES features of the Concertone 505. See it and hear it demonstrated at your AMERICAN ELECTRONICS, INC. dealer.

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50 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Pilot 232 Basic 40 -Wall Stereophonic Amplifier $89.50

Pilot 260 Basic 80-Watt Stereophonio Amplifier $139.50

Pilot 580 Stereophonic FM -AM Tuner $179.50

Pilot 240 30 -Watt Stereophonic Preamplifier- Amplifier $129.50

Pilot 590 Stereophonic FM -AM Tuner. Dual Preamplifier $239.50

Pilot 216 -A Professional Stereophonic) Preamplifier $199.50 Don't fall victim to Pilot 210 the myth that some of your Stereophonic Preamplifier $89.50 stereo components can be weak links without Pilot 680 loss in performance. Deluxe Stereophonic FM -AM Tuner 5219.50 A boy sent to do a

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an instrument Pilot PSV -I you 5-Speaker, 3 -Way Bookshelf as could demand. System $139.50

The components shown are available as you see them, or in seven magnificent stereophonic consoles. Write for our 40th Anniversary Brochures, indicating whether you wish information on Pilot components, consoles, or both. PILOT RADIO CORPORATION, PILOT 37.02 36th St., Long Island City 1, N. Y. , FOUNDED 1919

51 NOVEMBER 1959 www.americanradiohistory.com "Our tests rti prove that Garrard Changers deliver the peak stereo performance built into the new FAIRCHILD SM -1 Cartridge,"

says Mr. George G. Cohen, Marketing Manager, Fairchild Recording Equipment Corporation.

"We pioneered in the development of stereo cartridges. From the very beginning we have used Garrard Changers in our testing laboratories. We are pleased to report that, thanks to the complete absence of any disturbing or distorting factors such as rumble or wow, the Garrard has met every requirement of our highly sensitive ion and compliant rotating magnet and moving coil typo cartridges."

We are grateful for Mr. Cohen's "Our service records show that the Garrard Changer

and Mr. O'Shaughnessy's and Fairchild Cartridge make a perfect team for stereo" comments which reflect the actual says Mr. George O'Shauglulessy. Service Manager, experience of the discriminating Fairchild Recording EQuipment Corporation. owners of Garrard Changers with "With us Garrard has an outstanding record of performance. We are gratified at how few complaints Fairchild Stereo Cartridges. This there are from owners of Garrard Changers with kind of superior performance is the Fairchild Stereo Cartridges. That is due to Garrard's non -resonant aluminum tone arm and its precise reason why more Garrard Changers tracking characteristics." are sold as components for the finest stereo systems than all other changers and turntables combined.

Here are the reasons why Garrard Changers are endorsed for stereo not only by Fairchild, but by all other manufacturers of fine stereo cartridges such as Pickering, Electro- Voice,

Shure, General Electric, etc. /7.... TuN Vertical and lateral rumble completely inaudible. Wow and flutter far below exacting "broadcast tolerance' standards. Exclusive aluminum tone arm. precision- mounted at engineering works for optimum tracking angle. perfect sound reproduction. Unrestricted choleaof stereo cartridges -any of them will track at the manufacturer's lightest specified weight. Record handling gentler than the surest human hand. The important convenience of manual play plus CHANGER completely automatic operation without compromiso The World's Finest! in performance. Send for tree Gerrard Comparcror Guide These are the FACTS, no one can deny them Your Noma. with authority -and they are backed by the 36 years of experience that have created Garrard's Address unique reputation for unsurpassed quality. City Srora Mod to Dept GS-29 nt address below

There's a Garrard for every high fidelity system...all engineered and wired for Stereo and Monaural records. s,-JrA 5C95 IIIW AWN 210 r.,r.. it net:tm- TPA/12 -\ soa Aar Yedrl T /f: wl... Emmen i rm+i. _ ; ., / r.....m.m i. n.nuuhen Mar.. - L'cwa., Nan, :.`A $59.50 T/ S9.3f1 stt50 '$19.50 689.00 `/- {59.50 $32.50 GARRARD SALES CORPORATION, Division of British Industrt,, Corporation, PORT WASHINGTON. N.Y.

www.americanradiohistory.com In Praise of a City

It has been said that every civilized man has two homes: his own and Paris. The civilized musical man, however, nary rightfully beg leave to differ. For him it is Vienna that asserts strongest claim to being his spiritual "other home." No rival capital can come close to equaling the multitude of musical associations established within Vienna's confines. In the course of forty -seven brilliant years-from 1781, when VIENNA Mozart took up residence in Vienna, to 1828, when Schubert died there -the city witnessed an abnost unbelievable eruption of musical masterpieces: Mozart's Figaro and Magic Flute, the quartets and oratorios of Haydn's maturity, Beethoven's symphonies and concertos, the songs and sonatas of Schubert ... you could continue the compilation indefinitely. Never again was there to be quite such a dazzling flare -up of creative accomplishment in Vienna; but the afterglow produced by Brahms, Johann Strauss. Bruckner, Mahler. and Berg was nevertheless far Jim: negligible. All of this happened, historically speaking, only yesterday. The Athens of Phidias, the Florence of Michelangelo, the London of Shakespeare are remote places, way off in the yonder of long. long ago. The Vienna of Beethoven seems much more accessible. You can still find people in Vienna who remember seeing Brahms on his daily walks in the Prater; and in Brahnu's day there were plenty of people who could remember seeing Beethoven on his walks round the city's ramparts. Amidst the streets and buildings frequented by Brahms and Beethoven, it requires no great ejhrt of the imagination to call back yesterday. This is an issue in salute to Vienna. Any month of any year would have sufficed as an occasion to bring it out. Vienna is perennially ripe for the devotion of musical enthusiasts. But November 1959, when the Vienna Philharmonic is visiting us on the American lap of its round-the- world tour, seems a particularly fitting moment to do her honor. If Vienna is the city of your dreams, read on. R. G.

www.americanradiohistory.com he Ancient and

by JOHN M. CONLY

The Vienna Philharmonic, probably the world's most independent orchestra, has been described by one of its leading members as a family with 124 heads. lt's a family you'd enjoy meeting.

VEND is a city in league with time. It is both old western world's capital of music for most of the centuries and young, wearing its age with a bright dignity and its we remember. Art must have a ready environment for youth with dash; on amiable terms with history, and its creation. especially art which is realized in perform- with progress. Its folk have a cordial conversance with ance. For four hundred years London has been the yesterday and an easy expectancy of tomorrow, spring- world's best theatre town; there is plainly some connec- ing mainly from a lively enjoyment of today. They arc tion there with the phenomena of Shakespeare and famous for this, of course. It is. however, something Shaw. In Vienna there is time for music; perhaps it is sometimes ill- described, as if it were a sort of shiftless- significant that, historically. Viennese concerts -im- ness. It is not. As instance, Vienna is a good deal cleaner portant ones -often were played in the early morning, than New York, London, or Paris. There is nothing because music was important and because it was a good contradictory about this. A New Yorker is always a thing to start a day with. little too busy and hustled to put his personal rubbish It belongs to everyone, too. A bartender in the Bristol in a trash container; a Viennese isn't, and he is also more Hotel will mention that his son -in -law is a concert conscious of his surroundings. New York and London pianist who has toured America and made recordings; arc good -hearted cities, helpful to strangers. A New the dining -car steward on the Austrian State Railways' Yorker or a Londoner will take the time to be pleasant. Rome Express informs you that his daughter has a violin The Viennese needn't take it: he has it. It's a gift. scholarship at the Academy. Vienna newspapers some- This quality, this atmosphere, is certainly not new, times relegate the latest acrimonies exchanged by Eisen- and it is one of the reasons -not the only one -why this hower and Khrushchev to page three, but if a new guest uniquely independent city on the Danube has been the conductor for the Staatsoper or the Philharmonic comes

54 Him FIDELITY \I.Ac.Azr.NE

www.americanradiohistory.com Honorable Philharmonic

to town. that you discover on page one -along with any people whose money they lived on. Private orchestras possible scandal going on in musical circles. (Vienna's were promiscuous luxury; therefore they were assem- star reporters concentrate on such affairs, describing bled no more. It is an ironic thing that Beethoven's them in the most vivid and colorful terms, which the revolutionary Emica, performed at the Lobkowitz pal- Viennese love.) ace, had one of the last truly great premieres given as an This kind of attitude may be different from that of invitation event. people in westward nations, but it isn't provincial. It In Vienna, for orchestral players, the jobs that held couldn't be. or it would not so thoroughly have infected out were those at the Royal Chapel, the Court Opera. the rest of the musical world. Be it remembered that and the Kärtnertor Theater. and the last was dubious: very many of the musical names associated with Vienna it depended on promotion, an art not well understood are those of men who weren't born in Vienna. They event in the early 1S00s. Beethoven's later life was wracked there. (Include among these one you wouldn't have with endeavors to assemble audiences and orchestras at thought of: the founder of the Boston Symphony, the sane time. Neither existed in any dependable shape, Henry Lee l-Iigginson, who surely had his inspiration at least in Vienna, and there wasn't anybody who knew from the Philharmonic concerts while he was studying how to get them together. London might have been piano as a youth in Vienna.) able to do a better job. Beethoven himself thought so, The second reason for Vienna's musical progenitivc- apparently, but still, for some reason, he couldn't leave nesS IS its geographical position. It sits athwart the main Vienna. Vienna was, for musicians, and for better or southerly thoroughfare from East to West, along which worse, home. have wandered through centuries Czechs, Turks, This is all an essential prelude to the story of the Slovenes, Magyars, Gypsies, Bulgars, and west- Eurasian Philharmonic. which becomes afterward mostly a tale of peoples with no name at all. All had their music. and all success, and compressible. At first, however, it is a tale of it came up the Danube. where on the Vienna wharf- of initiative, and of a change in the attitude of the artist sides the waltz was born, and many another musical toward his society which has a Beethovian complexion. folk -form captured. The flow of tunes and tempos was or perhaps even a Jeffersonian one, since it is a declaration endless and resistless. Its infinite variety we hear now in of independence. the minuets of Haydn, the Schubert trios, the dancing Between the need and the fulfillment came both boon finales of Brahms. The essence began in villages and and something sad enough to weep about. With the firclit encampments far away; the last refinements took vanishment of good princely orchestras, Beethoven their indestructible shape in Vienna, the mint and wrote his last sonatas and quartets. perhaps as noble treasury. Naturally this became the place to which born personal testaments as we have. But also, in this dark- musk makers made their way if they could. ened interior, Franz Peter Schubert put forth one of The city's acquisitive instinct for music seems to have the three tallest and most radiant symphonies of the begun with the tenth -century Babenberg dukes, who nineteenth century, and he never heard it himself at all, collected minnesingers. It flowered highest in the days because there was nobody to play it. "I think of this," of the later imperial Hapsburgs. whose courts collected said a member of the Philharmonic, "whenever we play princes. who in turn collected Mozarts and Ilaydns. the C Major." Then princely music ended, even before the great The Philharmonic organized itself fourteen years too Mozart and the great Haydn died. There was a chance late to do the living Schubert any good, though it has that all large -scale instrumental music would dic. The done him splendid service since. Its focal personalities, French Revolution, though technically a failure, had leaders in the assembly, were Karl Otto Nicolai, then wrought a drastic change in the roles of monarchs and only thirty-two, later to make his name by writing The the nobility. They felt themselves now answerable to the Merry Wives of Windsor, and Nikolaus Lenau, a poet

NOVEMBER 1959 55

www.americanradiohistory.com destined for the madhouse, meanwhile obsessed with the his First Concerto with the orchestra, but for some work of Beethoven. There was considerable overlap in reason the membership raised objections to the D Major the personnel of the three working Viennese orchestras. Serenade. Dcssoff, who had been hired after winning a The organizers seized upon that of the Kärtnertor large majority vote, quelled the dispute. Next came Theater as the most promising. Hans Richter, the first alumnus (he'd been first horn) There is some dispute as to which is the oldest per of the orchestra to serve as its conductor; others to manent professional orchestra in the world (third place follow hint were , \rtur Nikisch and the comp oser- k firmly held by the New York Philharmonic). revolv- conductor Franz Schmidt. Richter's main campaign was ing around the questions of permanency and profession- on behalf of Bruckner. Oddly, he was displaced finally, alism. It doesn't matter. The Viennese musicians who at both the Opera and the Philharmonic, by the man met to make themselves the Philharmonic early in 1842 whose name is most commonly coupled with Bruckner's, had no precedent. They simply voted for an esecutive Gustav Mahler. committee and asked it to secure the Redoutensaal (the Mahler had the appeal of what is called today a Imperial Formal Hall) for their first concert. They got "controversial" figure. Fascinated with sound -as his it. and their music making has not really stopped since, own works attest -he w:as forever experimenting with though it was interrupted by the revolution of 1848. tonal balances and orchestral placement. He even tried Parenthetically, it is possible that they were the first reorchestrating, not drastically, some of the Beethoven coöperative in history. The Rochdale Society (of weav- symphonies, on the ground that Beethoven had written ers and grocers) in England. commonly tendered this for older, smaller halls. This was undoubtedly a worth- distinction, slid not start until 1844. while experimentation (later Wcingartncr, Tovey, and Certainly they arc a coöperative now, and they have Toscanini all ventured into the same effort, without behaved like a coiiperative since the beginning. That is proclaiming it so loudly), but the Viennese didn't care to say, they began at once to squabble vigorously among for the way it was carried out. The ticket sales were themselves, while retaining outward unity. Nicolai very good. but a lot of people came to boo. Mahler fought unstintingly and impartially with everyone, stayed four years, which, at that. is longer than he until he took sick and died in 1849. Karl Eckert suc- lasted in New York. ceeded him, bringing with him a fine new bone of con- Thereafter the Philharmonic began taking on con- tention, Wagner, whose cause he had been fighting for ductors for one concert apiece. Their playing schedule also at the Opera. Eckert and Wagner won out. Then had settled into its present shape of eight subscription came Otto Dcssoff, promoting Brahms. Brahms played concerts a year, which afforded plenty of time between performances to negotiate. Among others. Richard Strauss, Karl \fuck. Nikisch. Felix Mott!, young Bruno Walter, and Felix Wcingartner helped see them through the turn of the century and into the first quarter of the next, the time of the First World \Var. Then, perhaps inconsistently, but respondent to circumstances, they once more tried a permanent conductor, \Veingartncr. He worked for them and lcd them nearly twenty years. He was called by Viennese their most elegant conductor; he took the Philharmonic on its first tours out of Austria (to great acclaim); and he made the orchestra famous, too, in places it never had been seen, by virtue of his epochal cycles of symphonic recordings. For English Columbia, he put on discs the entire symphonies of Beethoven and Brahms, in versions still treasured and deemed definitive by many a studious listener -and certainly studied by every wise aspirant conductor - down to the present day. At last he quit, nobody scents to know exactly why. Incidents don't explain it. It seems likeliest that the extreme vivacity of the orchestra, ex- pressed partly in internal politics, finally wound him down in his advancing age, so he went away to Switzer-

land. Many people t hink that the Philharmonic reached its highest and most durable style working with him. It is hard to describe this style. or say what constitutes it. It can be heard and sensed, though, in many current its unique style, "effortlessly nuifrd spoutrumity." recorded works. Take the nuptial march in Tic Marriage

56 HIGH rIDELITI' MAGAZINE

www.americanradiohistory.com of Figaro, in either the Kleiber (London) or Lcinsdorf all tickets are bought by subscribers, called "associate (Victor) versions. Probably no other orchestra can play members." The rest arc put on sale, as a series, and are this just the way the Vienna Philharmonic does, straightly always all gone within three hours. The Philharmonic joyous, and yet subtly but surely conveying Mozart's would love to play more concerts, but can't. As Boskov- implication of whimseys still to come. Or take the last sky points out, what with nightly performances at the movement of the Beethoven Fourth Concerto. recorded Staatsoper over a ten months' season, the summer Salz- with Clifford Curzon (London LL 1045). It is almost burg festival, and the heaviest recording schedule of false in this to identify the pianist as the soloist; it's any major orchestra in the world, everyone is doing too rather as if he were playing duets with the sundry orches- much work. " \Ve keep it up because we arc idealists. tral instruments, in musical repartee almost incredibly The Staatsoper is our livelihood. The Philharmonic is articulate. A listener can (hearing something like the our renown, and it is where, as an association, we do our Beethoven concerto) chink of the Philharmonic :is a musical duty. Some kinds of music we think we know huge chamber group, there is such effortlessly unified letter than anyone else. Furisvangler said once: 'Every - spontaneity. This springs from something as simple as where in the world there arc good musicians. but the it is uncommon: understanding of the music, and love Viennese don't believe it.' '" Boskovsky disavows this for it. Kindred is the orchestra's virtue in its other role, immodesty. but only in part: "Our dominion, with our as an opera orchestra. Nearly from the beginning, and sound, is Beethoven. Brahms, Bruckner, and the classics; continuously since 1869, when the Opera House was at this we are good. Perhaps American orchestras can built, the Philharmonic has doubled as the Opera or- play some of the newer music better." chestra -the Court Opera until 1918, the State Opera "However," he adds thoughtfully, "our style has since then. More than one new conductor. essaying grown for a hundred years. and is not yet static." Don Giovanni at the Staatsoper. has had his life saved The Philharmonic lives in symbiosis with the Staats- by the fact that the Orchestra players knew the music °per. Perhaps, indeed, if it didn't, it wouldn't live at better than he did. all. The New York Philharmonic also began as a cowp- It is a matter of justice. thus, that the Orchestra crativc and worked as one for a half century. whereafter should have had its life saved by a conductor. When it couldn't afford to continue. For one thing. it had the Hitler's Germany absorbed Austria, the Philharmonic perpetual problem of aging members, whom it couldn't was in trouble: the Berlin cultural ministry viewed it support in retirement, and thus kept on too long. The jealously and, in Tact. set up a rival orchestra to lure its VPO's survival owes to its unwritten contract with the players away. No VPO man succumbed. Further. the State Opera. The Opera actually hires its instrumental- players responded to purge orders by hiding their Jewish ists individually, and its active rolls contain about 150 colleagues and helping them out of the coutry. 'There musicians. Of these, 124 arc members of the Philhar- are no Jews now in the Orchestra, incidentally. but this monic and the rest hope to be, after they have played is not the Orchestra's fault; it is because Jews have not ont their probationary years to the satisfaction of the cared to return to a scene of past dread. The Orchestra Philharmonic's admissions committee. In other words. dealt in Austrian style with other Nazi nonsense. When the Philharmonic selects, trains, and maintains in readi- orders came to burn the non -Aryan scores of Mahler and ness an orchestra for the Opera. Continued on page 154 \Icndelssohn, the archivist Franz Schrcinzcr managed to get lost looking for the incinerator, and turned up instead at the house of the concertmaster, who had a cellar suitable for hiding manuscripts. The Philharmonic would have been dissolved, had it not been for Wilhelm Furtwängler, who became a one -man lobby on their behalf in Berlin, and won. Every year now the VPO gives two memorial concerts, one for Nicolai, one for Furt väuglcr. It has nine other concerts, the eight subscription evenings all played in the slusikvereinsaal, behind the

Imperial 1 -Hotel, and the New Year's Eve all -Strauss waltz concert which takes place in the Sofiensilc, the ballroom where the \Vale. King himself used to preside. Willy Boskovsk', senior concertmaster, conducts this now as Strauss used to, standing and playing his violin. One can either dance or sit, if one is fortunate enough to get in at all, which is pretty hard to do. Its hard to get in to any Philharmonic concert, or to any of the eight public rehearsals. Eighty per cent of Von Karajan, conductor for ¡he carrent world tour.

NovEMMBER 1959 JI

www.americanradiohistory.com by H. C. Robbins Landon

Vurst and Beethoven An un-Baedeker-like guide

REMEMBER, when I received the commission for this article, getting out a map of Vienna and marking the places I thought HIGH FIDELITY renders might like to know of; when I finished, 1 had a list impressively long -and as dull as a page out of Baedeker. The Gluck houses; the Schubert houses; the lovely villa in I-lictzing where Wagner began to write the text of Die tfeislersinger; the café in Hietzing where Johann Strauss used to play, and where I often drink a cup of morning cotice, looking over the Hietzing square; the house where Salomon came to fetch Haydn, and where, a few years later, Beethoven came to study counterpoint and composition; the enchanted garden in Perch - toldsdorf where Hugo Wolf, treading the narrow path between genius and sanity, wrote some of his most beautiful songs; the stately \Wchcrn villa in A4ähling; the Schoenberg and Berg houses; the café where Strauss, Hofmannsthal, and Clemens Krauss used to discuss a nt:w operatic production; the Redoutcnsaal, where Haydn, Mozart, and Beethoven performed some of their best dance music; the archives of the Gesell - schaft der Musikfreunde, where you can sec the autographs of Mozart's G minor Symphony, Schubert's Unfinished, or the dedication copy of the Eroica with Napoleon's name scratched out in terse, angry lines; the Theater an der Wien, where Beethoven's Eroica and Fidelio were first publicly performed; the stately Lobkowitz Plais, where the Eroica was first privately played before a small, invited audience; the Prunk saal of the Austrian National Library, that splendid wash of baroque color where Van Swieten held his Sunday morning concerts, and where Mozart arranged and conducted Handel and Bach; the Augartcn, formal gardens of measured elegance situated across the Danube Canal, where extravagant concerts were held, sometimes with fireworks, and where,

In Vienna the boundaries of time dissolve:

www.americanradiohistory.com Seen through the Imperial Castle Gate, above, is the house on the Michaelerplatz where Haydn lived as a young boy, after being expelled from the Choir of St.

Stephen's. The open window, shown also in the close - up at right, identifies the garret room he occupied. even the wallpaper radiates musical memories

www.americanradiohistory.com Musical. museums can he dead things, but in Vienna they are full of living presences. Above, at left, is the house on Haydngasse (in the eighteenth. century, Kleine Steingasse and in the suburb of Gum - pendorf) which Haydn bought in 1793 at his wife's request. Beyond its courtyard is a garden where the composer used to take his morning walks. At lower left is the house where Schubert was born, and above right is the handsome Baroque house on Schulerstra.se which Mozart rentedfor 460 Gulden a year and where he spent perhaps his happiest days, from September 1784 to April 1787. Here his father Leopold and Herr Haydn and the young Beethoven all visited him and ',lade music. Another Mozart house, on Domgasse, appears opposite.

www.americanradiohistory.com Seen through the Imperial Ca_tic Gate, above, is the house on the Michaelerplatz where Haydn lived as a young boy, after being expelled from the Choir of Si. Stephen's. The open window, shown also in the close- up at right, identifies the garret room he occupied. even the wallpaper radiates musical memories

www.americanradiohistory.com r/ry.Ì-_.- ':.

.Musical museums can he dead things, but in Vienna they are full of lining presences. Above, at left, is the house on Haydngasse (in the eighteenth century, Kleine Steingasse and in the suburb of Gum- pendorf) which Haydn bought in 1793 at his wife's request. Beyond its courtyard is a garden where the composer used to take his morning walks. At lower left is the house where Schubert was horn, and above right is the handsome Baroque house on Schulcrstrasse which Mozart rented for 460 Gulden a year and where he spent perhaps his happiest days, from September 1784 to April 1787. Here his father Leopold and Herr Haydn and the young Beethoven all visited him and made music. Another Mozart house, on Domgasse, appears opposite.

www.americanradiohistory.com in the 1780s, you could hear Mozart symphonies early on a Sunday morning; Brahn's's favorite restaurant on the Flcishmarkt, where you can still get some of Vienna's best food; the exotic orange gallery in Schönbmmm Castle, where Mozart's Schauspielrlirekror was first given: the hlusikverei n, that famous concert hall with an acoustical warmth which no other European hall quite approaches (here, the aging Bruckner witnessed a triumphal performance of one of his symphonies, and at the same concert the young Richard Strauss was introduced to Vienna's elite via his Till Eulenspiegel). My list suggested a bewildering array of famous works, famous composers. Photographs by Erich Lessing famous performers, all involved one with another - Brahms with Mozart, Gluck with Wagner, Haydn with Schoenberg, Beethoven with Webern. Yet, as one saw this vast parade of musical genius stretching back over the centuries, nothing appeared incongruous. nothing seemed impossible. It was one great and mighty river. flowing from one source: the city of Vienna. Never has any one city nourished so many great musicians, and never has any one city provided inspiration for so many widely differing musical geniuses. whether performers or composers. Vienna is not an outwardly fascinating city: it lacks the eternal grandeur of Rome. the warmth of Paris, the cosmopolitan brilliance cf London or Berlin. But it was Vienna to which, inev- itably, musicians flocked for the past three centuries. Faced %vith a roll call of the mightiest names in musical history -only a very few, such as Bach and Handel (who never visited .Austria) are physically absent - there seemed only one choice. I decided to concentrate on the three composers who formed and perfected the Viennese classical style and who thus shaped the face of Western music for nearly a hundred years: Haydn. Mozart, and Beethoven. Museums devoted to musicians are generally very boring. The case of a musician is radically different from that, say, of a painter. In a painter's birthplace you can hang one of his masterpieces. In a musician's home, the best you can offer is a portrait or two on the wall, the first page of an autograph, or the title of a first edition; compared to the sound of his music, this is a very poor substitute indeed. And yet there is a great deal of atmosphere in these Viennese museums and composers' houses, if you combine all the various circumstances, past and present. I have tried to take a very short tour in a very un- Baedeker -like manner through Haydn's, Mozart's, Beethoven's, and -in passing -our own, present -day Vienna. The dividing line between eighteenth- and twentieth- century Vienna is not, as any Austrian knows, that clear and definite anyway; on a warm summer night, over a glass of new wine, the line grows wavery and soon disappears entirely... .

On a wet November evening in 1955, the Vienna State Opera opened its doors again, after almost total destruction during the last days of the war (only the

www.americanradiohistory.com outer walls remained more or less intact). As it happened, I asked him what else he had seen. Apparently he had

1 was in London when this historic event occurred, and already gone to four performances. attended the new production of Fidelio, conducted by "Wozzeek," he said, meditatively, as we turned up the Karl Böhm, via radio broadcast, sitting comfortably Hietzinger- Hauptstrasse, in the quiet western part of before an open fire with friends in a cozy London house. the city where I live. "Now that's a difficult piece for One could somehow sense the joyous excitement, the us conservative Viennese. But my wife arid I thought it glittering audience, the electrical atmosphere; but of was a wonderful production. I don't understand all course it wasn't the same thing as being there. that ... all that new business ... that...." A fortnight later, I returned to Vienna on the Orient "Atonality ?" I put in. Express, arriving at the newly built Westbahnhof. As "Is that what it's called? Well, whatever it is, it's my taxi drove past Schönbrunn Castle, I asked the driver difficult. But my wife and I arc going back to sec Woti about the newly opened opera house. zeck again," he added, as we pulled up in front of my "1 drove two parties there the first evening," he said. apartment house.

"It was crazy, 1 tell you, simply crazy. Policemen all "You have to hear music like that many times before over the Ring, mobs of people fouling up traffic and you can understand it properly," he concluded. I thought making it almost impossible to drive up to the foyer. to myself: this is the kind of thing that's always happen- And the clothes! The jewels! Mautner- Markhof's ing to other people -Viennese taxi drivers talking about

wife...." And he launched into a reverent description J oaieeck. of one of Austria's richest beer- brewing families. Improbable events and improbable conversations are, The conversation continued, and it turned out that however, typical of Vienna's musical life. After twelve the cab driver was an ardent opera fan. years in Austria, nothing -either past or present -sur- "Fidelio was all right," he went on. "I heard it a week prises mc. Recently the Viennese papers were full of later with my wife, way up in the gallery. Of course just such an unlikely story. The other clay, it seemed, a it was all so exciting that you didn't really mind about dashing young Viennese with a curious past (including Mödl -she's not really a first -class Leonore," he added a prison sentence for rather "gray dealings" just after thoughtfully, skirting a fat blue Mercedes. the war) went up to a tall, Continued on page 160

it t Perchtoldsdo f not farfrom Vienna, the garden where Hugo Wolf wrote some of his most beautifitl songs still flourishes. And in the suburb of Heiligenstadt the courtyard of Beethoven's house is not a museum at all: the Viennese go there on long summer evenings to sit under the tall trees,

to drink the new wine and sing soft, sentimental songs . . . and to dream.

www.americanradiohistory.com At left, the so- called l'asqualati House (named for the Emperor's private physician), where Bee- thoven had a fiat on the top floor -shown in the photograph above for some ten years, from 1804 to 1815. Below, the Beethoven House in Hei- Iigenstadt, showing the big double doors that open to the courtyard we picture on the facing page.

www.americanradiohistory.com littermice and Merry Widows

by JOSEPH WECHSBERG

Austria's liveliest export, for a century, has been operetta, inimitably flavored by the gay city on the Danube.

WHEN A SPECIAL. BRAND Of entertainment has pro- to file it. Comic opera? Singspiel? Musical comedy? The duced world -wide smash hits for over a hundred years, Viennese critic Eduard Hanslick took a dim view of it, it's time to take notice. Ever since the night in 1860 but then he didn't like Meistersinger either. \lany oper- when an eighteen -year -old composer named Karl \1iI- ettas failed because they were too highbrow for Vienna's löcker made his Vienna debut with Das Pensionat, mil- petit bourgeois audiences and too lowbrow for the small lions of theatregoers have continued to be enchanted by group of musical snobs. The greatest Viennese operetta, the musical shows that go tender the generic title of Die Fledermaus. even baffled the local income tax col- Viennese operetta. lectors. In Vienna, where operettas arc taxed more All these people can't be wrong. The best Viennese highly than operas on the debatable theory that operet- operettas have been impervious to the finicky changes of tas are "luxury" and opera "culture," the authorities popular taste. Today they are appreciated by fastidious ruled in the Twenties that Fledermaus was an operetta. connoisseurs and they have not lost their popular appeal. This decidedly miffed the Staatsoper management, Longevity, if nothing else, creates respectability. where Fledermaus had been conducted by Mahler, Das Pensionat itself is forgotten -as arc most of the \Veingartner. Walter, and other accredited opera spe- seven hundred Viennese operettas written since -but at cialists who called it a "comic opera." Happily, every- least a dozen have proved indestructible: Johann body agreed that it was a masterpiece. Strauss's Fledermaus and Gyp.), Baron, Millöcker's Beggar Viennese operetta never pretended to be Art, though Student and Gasparine, Suppé's Boa-ocio, Richard the greatest operettas have outlived a good many "seri- Hculerger's The Opera Brill, LeMr's Merry Widow and ous" works; and it never tried to compete with grand Land of Smiles, Oscar Straus's Waltz Dream and Choco- opera. comedy, drama, or the revue. Its aim was simple late Soldier. Leo Fall's Dollar Princess, Emmerich Kad- and straight: all good operet tas from Millöcker to Robert man's Countess Maritsa. Stolz were written to entertain. Kalman. who thought a Viennese operetta did not spring full- grown. It evolved lot about his medium, wrote, "With an opera or sym- -slowly and tortuously. It was a mixture of various ele- phony you can pretend to create an 'important' work. ments which baffled the critics who didn't know where But a simple operetta melody must have a genuine spark

64 HIGH FIDELITY N1AC:rZISE

www.americanradiohistory.com or it will not catch on. Maybe one page of a Liszt score is been an unwritten law to put the great scene of comic worth more than all my operettas but, after all. there arc relief early in the last act. when it's getting late and the so many people who want a little Lticape and fun at the audience might begin to get tired.)

theatre... . The most important element, however, was the music In Vienna an evening's perfect entertainment had to itself -the sort of music that goes from heart to heart include laughter and tears. melody and dance, heartbreak and makes you happy or sad or both at the same time and hoopla. Operetta offered all that, and a lot more. (which is the best), genuine melody, singable tunes that Its libretto was a mixture of romantic nonsense and pre- are hummed as people walk out of the theatre. \ husk posterous intrigue, a tvcll- conceived hoax that, by That hoes Something to You. The perfect Viennese unspoken agreement between authors and public. no one operetta makes people happy. moves them to tears, took seriously. Plausibility was neither expected nor wraps them up in tuneful melody, exciting dances, provided. Around nine- thirty, at the end of the second colorful costumes, and pleasant concern about the fate act, the love affair between Hero and Heroine was on the of Him and Her. That is a complicated recipe and few rocks, and ladies of the audience were crying. On first have been able to follow it. A good many composers nights librettists and composers would anxiously watch have tried and failed -perhaps because they didn't the audience from their boxes. They knew that if tears knot' the shortcut to people's basic emotions. weren't shed at certain climaxes, the operetta was a flop. But there were nuances in weeping, as in everything else This mixture -as- before is not exactly a Viennese in- in Vienna. Obvious methods of tcarjerking were taboo vention. It was first created to near -perfection in Paris and might backfire. There had to be just the right air of by Jacques Offenbach, the son of a Jewish cantor in sentimentality. as light and fluffy as a well- beaten crown Cologne. Offenbach, a brilliant amalgam of Rhenish of Schlagobers topping your afternoon coffee. in the end exuberance and French esprit, took over a small the Schlagobers melted into the coffee-and the tears theatre in Paris, the "Bonbonnière." and in 1858 pro- dissolved into happiness. duced with sensational success his Orphée aua Enfers and The finest operettas were written by men who had the later La belle Hérene. His operettas were masterpieces of Austrian genius for ignoring life's minor troubles by musical parody and topical persiflage. full of wit and escaping into a pleasant haze of melody and song, women insinuation. A charming but merciless critic of the and romance. For two hours the little shopkeeper's wife Second Empire, he had respect neither for the gods on was able to escape into a never -never world of dashing Olympus nor the Emperor in the Tuileries Palace. No hussars and lovely princesses. Since it was a foregone one ever admitted that Menelaus was a caricature of conclusion that He would get Her in the end, it was a Napoleon III and that La belle l h lène was the Empress pleasure to cry. Eugenic --brut everybody sensed it. And there had to be comedy, too, to please the male Offenbach had great success in Vienna, where audi- animal in the audience. The humor was the responsibility ences loved his music and didn't understand his innu- of the buffo and the soubrette and it was not oversubtle; endo. The Viennese have always been more susceptible to but in the classic Viennese operetta it was also never charm and schmalz than to wit and irony. In Paris, Ofli n- off-color and never gauche. A Berlin critic wrote, "What bach's public were the sophisticated tipper- middle classes people want is lots of Paris dresses, beautiful women, and the aristocrats, who smiled slyly at his topical frivolity, and legs, legs. legs!" :Nlaybe the Berliners were innuendo. In Vienna the .Spiessburger like their operettas satisfied with that but the Viennese wanted more; they filled with make -believe. wanted sentiment and laughter at the sanie time. The Orphée aux Enfert was performed at the Theater an der humor might be created by a character or a situation or Wien in 1860, the year of Milliicker's first local success. by both, as in the third act of Fleelermaus. The immortal At that time Franz von Supp -who came from a Bel- antics of Frosch, the prison warden. have delighted gian family. was born in Ttaiy, and considered himself generations of operetta fans. (From Frosch's time, it has an Austrian-had begun to work on Die schöne Galathée.

NOVEMBER 1959 6.5

www.americanradiohistory.com Viennese Operetta on Discs

Emmerich Kalman: Countess Maritza. Pallesche, Prod, Wagner; Vienna Philharmonic Or- Richter, Rittman, Wcstmaycr, Zorn: Radio chestra and Chorus. Krauss, cond. (London Leipzig Symphony Orchestra, Kegel, cond. .\ -4207, Two LI'). Boheim, Christ. Dönch, (Urania 13 238, Two LP). Gedda, Krebs, Kunz, Majkut. Martini. Schwarzkopf, Streich; Philharmonia Orches- Franz Lehár: Count of Luxembourg (excerpts). tra and Chorus, Von Karajan, cond. (Angel Zurich Tonhalle Orchest ra, Reinshagen, 3539 B/L. Two LP). Kulhnan, Pons, Tucker, coned. (London 5352, LP). Welitch; Metropolitan Opera Orchestra and Franz Lehár: Giudica. Dickic, Gucden, Loose, Chorus, Orm ndy, cond. (Columbia 3SL 108, Kmcntt; Vienna State Opera Chorus and Two LP). Orchestra. Morali, cond. (London .1 4333, Johann Strauss: The Gypsy Baron. Gedda, Köth, Three LP; OSA 1301, Three SD). Kunz. Schwarzkopf; Philharmonia Orchestra Franz Lehár: Land of Smiles. Gedda. Kmcntt and Chorus, Ackermann, cond. (Angel 3566- Schwarzkopf; Kraus, Kunz, Loose, Nattonk, B/ L, Two LP). Anday, Bierbach, Dönch, Philharmonia Orchestra and Chorus, Acker- Jaresch, Lcucrenz, Ltxse, Patzak. l'rcgcr. mann, cond. (Angel 3507 B /L, Two LP). Prod!, Zadek; Vienna Philharmonic Orches- Franz Lehár: The Alaari. Widow. Dönch, Grun- tra and Chorus, Krauss, cond. (London Gucdcn, Kmcntt. Loose: Vienna State den. A 4208. Two LP). Fez. Kmcntt, Kunz. loose, Opera Chorus and Orchestra, Stolz, conci. Pregcr. Rössl- Majdan, Schreyer, Spani, (London A 4233, Two LP; OSA 1205, Two Wächter: Chorus Orchestra of the Vienna SD). Gedda, Kraus. Kunz, Loose, Nicssner, and Schmidingcr, Schwarzkopf: Philharmonia State Opera, Paulik, cond. (Vanguard 486;'7. Orchestra and Chorus, Ackermann, cond. Two LI'). B (Angel 3501 /L, Two LP). Johann Strauss: One Night in Venice. Gedda, Franz Lehár: Paganini(excerpts). Vienna Light Kunz, Loose, Schwarzkopf: Philharmonic Opera Company, Sandauer, cond. (Epic LC Orchestra and Chorus. Ackermann, cond. 3130, LP). (Angel 3530 B /L, Two LP). The Beggar Student. Anday, Karl Millöcker: Johann Strauss: Thousand and One Nights. Groh. Bierbach, Christ. Dönch, laresch, Kaufmann, Seegers: Radio Berlin Symphony Orchestra Lipp. Pregcr, Rethv. Sallaba, Wächter; Vienna Volksoper Chorus and Orchestra. and Chorus, Dobrindt, cond. (Urania 203, Paulik, cond. (Vanguard 474 '75, Two LP). Two LP). Oscar Straus: The Chocolate Soldier. Merrill, Johann Strauss: Wiener Blut. Gedda. Kunz, Palmer, Stevens; Orchestra (RCA Victor Schwarzkopf; Philharmonia Orchestra and LOP 6005. Two LP; 1.S0 6005, Two SD). Chorus, Ackermann, cond. (Angel 3519 3S /L, Oscar Straus: 4 IValt: Dream. Vienna Light Two LP). Opera Co., Straus, cond. (Period 1903, LP). Franz von Suppé: Die scheme Galathíe. Kmcntt, Johann Strauss: Die Fledermaus. Dermota, Rolm; Vienna State Opera Orchestra and Gueden, Jarcsch, Lipp, Patzak, Pregcr, Chorus, Paulik, cond. (Urania 7167, LI').

Suppé, Millöcker. and Johann Strauss the younger be- during lunch at the Goldenes Lamm, Offenbach insisted. came the heroes of the Golden Epoch of Viennese oper- "My dear Strauss, you've got to write an operetta!" etta. Strauss was the last of the three to take to writing But it was really his first wife, the singer jenny Treflz. operettas. The "waltz king" of Vienna, the celebrated who convinced him he could do it. She made him sit kaiserliclrkönigliehe Hofhall-Mttsikdirektor, had another down one afternoon in the dark, empty auditorium of domain: the ballroom. He knew nothing about the stage. the Theater an der Wien, and asked the orchestra to had no idea of plot and libretto -and perhaps he was play a couple of her husband's waltzes so that he could afraid of the sustained effort of writing a lengthy score: hru "how they sounded in a theatre." it wasn't like jotting down the Blue Danube waltz, They sounded so good that Strauss wrote his first which he'd finished in a few hours. operetta, Indigo and the Forst' Robbers. It was a flop. It The notion that he too might compose operetta was seems that there were more writers involved in its in part the result of a fortunate meeting with Offenbach libretto than in a Hollywood extravaganza. People said when both of them were writing special waltzes for the "Indigo" was by Strauss and the "forty robbers" were press ball of the Concordia. (Strauss's contribution was the librettists who had stolen from the whole of world Morgenblacer- Morning News -which has survived literature. But the music was beautiful, and the operetta Offenbach's .4/iendhbuter- Evening News.) One clay became a posthumous success Continued on page 151

66 HIGH FIDELITY \JAcwztr*E

www.americanradiohistory.com in the Konzerthaus

Ever since tape made it possible for the recording studio to go to the artist, reversing old procedures, Vienna has been the happy hunting ground of independent record companies.

A/ Y FIRST CONTACT with the recording world in "American recording company. Mozart wind -band /I Vienna was a rather curious one. Lite one evening music," he said rather curtly, and closed the door. in the Spring of 1950, when I was a cub reporter for the American- sponsored Wiener Kurier. I had been sent on some dreary assignment in the British district above the In the Autumn of 1949 and all through 1950 and 1951, Sehwarzenbergplatz (it was then called Stalinplatz), it was nothing out of the ordinary in Vienna for Mozart and was walking home along the Stadtpark and up past serenades to be recorded at two o'clock in the morning, the Konzerthaus, that monstrously ugly pile of stone or Strauss waltzes before breakfast. The city was witness- that constitutes one of Vienna's three principal musical ing one of the most interesting phases of its many -sided establishments. It was about two in the morning. and musical history: the invasion of the independent record- I noticed with some surprise that the lights in the building company from America. Unlike most invasions, how- ing were still on. Just as I went past, the sleepy porter ever, this one was most welcome to the Viennese; at a was opening the main doors, and out of the cavernous time when the economic situation was still precarious, depths poured a line of exhausted -looking men, their it brought work to every musician in Vienna who could eyes bleary with fatigue. Some of them had swollen fiddle his way professionally through a classical score. lips; almost all carried musical instruments. They said An official at the Austrian National Bank estimates that good -by to each other and went off in various directions. the total sum of money brought into Austria by record- The last two men out shook hands with the porter, ing companies from 1949 to 1952 was well over ten mil- crossed his palm with silver (or rather aluminum, since lion schillings, which is a lot of money in anybody's this was in the days when the Austrian schilling was still currency. CI'hc official rate of exchange is twenty -five rather shaky), and went off to an automobile, talking schillings to one American dollar; in those days, however, English. I caught the words "next session" and "knock the black market rate made the dollar worth considera- off the finale." As the porter was locking the door after bly more.) them, I pushed my nose through the gap and asked him The sudden emergence of the name "Vienna" on the what it. was all about. disc labels of the smaller American recording companies "Recordings," he said. "It's the only time when they was by no means accidental. Several factors contributed can get that many wind players together." to make Vienna a mecca for the "Independents," among "When who can get that many players together for which one of the most important was the use of tape. what ?" I asked him, not much wiser. During the war, the Germans perfected magnetic tape

NOVEMBER 1959 67

www.americanradiohistory.com to an extent where it was superior to any previous recording medium (e.g., wax masters, and so forth) in fidelity of sound and in technical range. By means cf tape, small companies could, for the first time in history, easily record a whole symphony in three hours. The possibility of correcting a bad spot in an otherwise flawless take was patently revolutionary. Furthermore, recording costs in Vienna were ridiculously low. Small companies could afford to record chamber music in America (or in Eng- land), but the cost of recording a full orchestra at home was beyond their means. Symphonic music was, of course. Vienna's principal commoclity, and it was one sold cheap. Vienna was, and is, blessed with a number of orchestras, most of which played a parr in the activities of American recording companies. Perhaps best known was the Vienna Philharmonic, which had done so much to spread the capital's musical fame throughout the world. Before the war, the name "Vienna" meant those delicious Bruno Walter recordings of Haydn and Mozart for HMV (Victor); it meant the \Vcingartner Beethoven Symphonies; it also came to mean Furtwiingler and Herbert- von Kara - jan. In a way, the small American companies vcrc trading on this reputation when they came to Vienna to make their first records. The Vienna Philharmonic Musicians ire nutter coats gather i» an unheated hall for one Orchestra was then under exclusive' contract to EMI of Vienna's first postwar recording sessions for 1111 American company. Conditions have changed somewhat since then. and (the records appeared on the Columbia label), and only loday Paul Badnra -Skoda and Joerg Demurs record in com- tlic Haydn Society managed to get permission to use it, fort in lightweight suits, while conductor Kart Rcde/ sports for recordings of The Creation and The Seasons. Subse- a sweater. Recording costs are still lower than in the U.S.A. quently, the Vienna Philharmonic went to Decca - and by extension to RCA Victor - under whose exclusive patronage it has remained ever since. The Vienna State Opera Orchestra is a body of nearly 150 members, of whom over a hundred are also members of the Vienna Philharmonic. In the first years after the war, it was possible to get round EMI's exclusive contract by hiring individual members of the Vienna Philharmonic and attaching to this pickup group the name "Vienna State Opera." Many United States record buyers are under the misapprehension that a/I records issued under the name of the Vienna State Opera Orchestra are really made by the Vienna Phil- harmonic. (Actually. more of them -at least in the past few years -have been made by the Volksoper Orchestra, which, though it is part of the Vienna State Opera, has no connection with the Philharmonic.) There are, in fact, comparatively few "Vienna State Opera Orches- tra" records which are the work of the bona fide Vienna Philharmonic; offhand. the only ones I know arc some Telefunken records (Tchaikovsky Serenade. etc.) which have since been withdrawn, one or two surly \Vest - minsters, and a few Haydn Society discs (Symphony No. 85 with Baltrcr and the Posthorn Serenade with Sternberg). The "Orchestra in the Volksoper" ( "People's Op- era") is a body of about eighty men. It is an orchestra

GS HIGH FIDELITY MAGAZINE

www.americanradiohistory.com who placed at my dis- that can be matte into a first -rate symphonic team if buron of the Vienna Symphony, sessions made given a conductor who knows his business. Almost all posal the bills for a number of recording Vanguard (Bach Guild) records use this group. The froni the Fall of 1949 through the next few years. When Volksoper has also made many releases for American the Haydn Society arrived in Vienna about ten years record clubs, though the name is often changed so as ago. they tvere alone on the scene except for Telefunken to make it unrecognizable. and, of course. EMi. in those days the Vienna Symphony The Vienna Symphony Orchestra, with some 125 charged 38 schillings per man per hoar (about 51.51)), permanent members. was the impetus for the first re- and the Tonkünstler the rock -bottom fee of $1.00 per cordings made by American companies in 1949. This man per hour. The accounts of the Vienna Symphony group not only played the music. but owned a recording show that the Alaria e/lernresse, recorded in June 1949, studio and a staff of technicians. and was thus able to cost the Haydn Society 8,608 schillings ($344) for the provide a customer with a package job if he so desired. total orchestral fee: per soloist they paid an almost it also advised on vocal soloists and choirs and would incredibly low 500 schillings ($20) -and that included engage such soloists if requested. Walter Berry, who has since become a State Opera The " Tonkünstler" Orchestra, almost never using its star; the chorus (the : \kadcmie Kam merchor) cost them legitimate name. has made innumerable records for firms about $250 and the conductor (Hans Gillesbergcr) such as Remington, and for clubs. It's a second -rate $80. Other expenses amounted to some $180. Thus. outfit on the whole. but provided with a conductor of the Haydn Society was able to produce a recording of the late Fritz Busch's caliber, it can turn out quite a a Haydn i\ lass for less than $1,000; an early i-Iaydn respectable Haydn or \iozart Symphony or provide Symphony, in those days, could be recorded for an decent accompaniments for operatic arias. and the like. average of $200. George London. Lisa Della Casa, Elisa- The Vienna Chamber Orchestra, with the backbreak- beth i- iöngen, and Horst Taubman') got what was then ing name of "Kammerorchcstcr der Wiener Konzert- considered the staggeringly large fee of 4,000 schillings hausgesellschaft," is (or was) mostly made up of women. each for singing the Haydn Nelson Mass; but with three it was formerly conducted by Franz Litschauer, and the full secsions. the orchestra cost only 13210 schillings advantage of using it was that, for the same recording (just over $500). The economics of being able to du fee as that charged by the Vienna Symphony, the ladies large -scale choral works, symphonies, and operas at would arrive fully rehearsed. The orchestra consists of these low prices made it possible for Westminster, the st rings only. and such wind players as tyerc required for 1 faydn Society, Vox, the Bach Guild (Vanguard), Concert a given session were borrowed from thé Vienna Sym- Hall. the : \merican Recording Continued on page 157 phony or State Opera Orchestras. In the spring of 1950. the Vienna Symphony signed an Hermann Scherches, conductor. discusses a score with harp- with the exclusive contract Philips. This meant that sichordist George Malcolm and a member of the Vienna name "Vienna Symphony" could no longer be used by State Opera Orchestra. Over a hundred members of ibis other companies, though United States makers were free group also belong to the Vienna Philharmonic, which bas led mari' music lovers to believe that a/I Stale Opera recordings to record with the orchestra if they invented a fictitious are made by the Philharmonic. in Jacta several have been name for it. The fertile imagination of many firms got made by the Volksoper (or People's Opera) Orchestra. a them into trouble: SPA thought tip the delightful group of some eighty amen iba!Jorms part of the State Opera but has no connection with the Philharmonic. Many of its "Vienna State Philharmonia Orch.," which the Vienna recordings go to U. S. record clubs under aficticiois name. Philharmonic made them change. Vox's "Pro Musica Orchestra. Vienna" is composed entirely of Vienna Symphony Orchestra members. This juggling with names had a rather demoralizing effect on some companies. Certain United States record clubs deliberately mixed up Dutch, German. Austrian, and Italian orchestras with five or six conductors. I remember, for instance, being played one American record -club disc listed as by

a Dutch orchestra and a German conductor; in fact it was made by Hans Swarowsky and the Volksoper Orches- tra. in the long run, it does not matter very much by whom the inferior records were made; but the historian will have quite a time sorting out all the spurious names. In any case, the prolific recording of Viennese orchestras -under whatever names -was too great an economic advantage to be given up by reason of such small difficulties as what to call the performing group. In compiling the following data I am much indebted to I-Icrr Josef

www.americanradiohistory.com HOW TO BUY A STEREO TUNER

by CHARLES FOWLER

SOMEONE SENT US a clipping recently in which credit FM -Aì f stereo tuner cannot be used for both halves for the invention of stereophonic high fidelity was given of an FM -FM transmission though it can. of course. to a man who got the idea after listening to his wife on pick up one of the FM stations. Nor will it work for one side and his mother -in -law on the other, both TV, except that some FM tuners can get down to the telling him the _same thing at the sane time. With but sound part of the Channel 6 signal. slight modification, this will serve as a definition of what Although F \f multiplexing is still officially in an we mean by a stereo tuner: it is one which can receive experimental stage. several stations arc transmitting FM on one side and AN'f on the other, simultaneously. stereo material regularly by this means. Since the Fed- The last word is important. There are plenty of tuners eral Communications Commission has not yet decided available that are FM-AM units but which can receive which one of twenty -odd multiplexing techniques will only one at a time.:\ stereo unit must be, in effect, two be adopted as final. manufacturers are moving slowly. separate tuners, separately tunable by means of two There are muliiplcx adapters on the market, and some tuning knobs. That is the easiest identification charac- tuner manufacturers have left space on the tuner chassis teristic: two separate tuning knobs. There will also be for such an adapter. Most manufacturers have provided two separate dial pointers. Two tuning scales, however. some method for adding a multiplex adapter. and a few arc not an identification characteristic; two are needed have made it passible to switch into the multiplex male

for any FM -AM tuner. of operation by means of a control on the front panel. Actually. stereo broadcasting takes several forms these There is no significant technical reason why a stereo days. Most common is the arrangement utilizing an FM tuner, on one chassis, should be any better than two transmitting facility for one channel and an AM transmitter for the second. These may be two halves cf the same station, as is the case in New York with broadcasts from WQ \R or in Boston from VCRB. Or two inde- NOTES pendent stations may form a coöperative arrangement for the broadcast. The tuners discussed in this article A Local /distance switch on AM 8 Local /distance switch on FM are intended for the reception of such broadcasts. C Local /distance switch affects both AM and FM D AM sensitivity continuously variable (Incidentally, a stereo F \1 -:\M tuner may be used to E Has adjustable Dynamic Sideband Regulation receive two entirely different programs. For example, F Hush or squelch circuit can be defeated one channel of the stereo setup might be tuned, for G Hush or squelch circuit continuously variable H Low- impedance antenna connection for coaxial cable family listening. to a local goal -music station. The Has tuning indicator or eye other channel could tune rock 'n' roll for the kids and J Has volume or level controls on front panel K Price as kit be piped. through the separate amplifier, to the rumpus L Space provided on chassis for multiplex adapter room or some other part of the house- preferably as far M Has tuning meter N AFC is continuously variable away from civilized society as possible.) o Omits AFC On the other hand, there are other combinations of p Phase reverse provided a AM bandwidth adjustable for brood /narrow transmitting facilities which are occasionally used for R AM bandwidth adjustable for broad /medium /norow stereo broadcasts. For example, two FM stations may V Has log serle w Price wired at factory work together or, rarely, a TV transmitter may be used in conjunction with either an AM or FM station. An

70 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com A typical stereo tuner. Two distinguishing characteristics are: separate tuning knobs and separate dial pointers, for FM and AM.

Some of the many features found on modern stereo tuners include- reading in the usual order -variable AM bandwidth, variable squelch or hush circuitry, and provision for operation as a multiplex receiver. The next three buttons select AM, FM, or off; the slide switch to the right is the AFC control.

SENSI- MAKE MODEL PRICE CASE TUNE LOG NOTES TIVITY

Ampex 503 249.50 -f- 3.0 Q

Arkay ST1 l K 49.95 4.0 N; Q; W $74.50

Bell 3070 139.95 6.0

6070 189.95 1.1 M Q 2222 109.95 6.0

Bogen TC322 109.50 _i_ 3.0

ST442 149.50 2.0 M H

ST662 189.50 -I- 1.5 I H DeWald N10008 99.95 3.0

Fisher lO1R 229.50 0.75 0; Q

Grommes 103GT 189.95 1.0 h1 Q

Harman - Kardon T230 119.95 3.5 ST360 199.95 0.95 L; Q

Heath Pii K 89.50 2.0 M Q

Knight (Allied) KN135 79.50 4.0 H

KN125 139.50 2.5 E; H; R

83YX731 K 87.50 2.5 E; Q

Lafayette LT77 74.50 1.5 M J KT500 K 74.50 1.0 J; W $124.50

Madison Fielding 380 160.00 2.0 J

Pilot 580 179.50 1.5 1 H 680 219.50 1.0 M F; H; Q

Sargent -Rayment SR1000 184.50 0.85 1 Q

Scott 330D 224.95 2.0 M 0; P; R

G; L; Q Sherwood 52200 179.50 0.95 1

Stromberg -Carlson SR445 129.95 -1- 2.0 A; B

www.americanradiohistory.com separate tuners. A stereo unit will be more convenient to achieve. There is less need for such precision if the

to install; its controls will be centralized and designed tuner incorporates . . . specifically for stereo operation. problems of hum, which might be encountered when two separate units are inter- Automatic Frequency Control, which is an electronic connected, will not exist. The cost to you will be lower; circuit designed to compensate for sloppy tuning! It only one power supply is necessary. instead of two, and will also compensate for a slight shifting in tuning com- certain production economies can be effected. ponents while the set warms up- drift. In this review. only stereo tuners are included. The AFC circuit simply centers. electronically, the Monophonic F\4 -A \1 tuners, and mono or stereo tuners tuning over a strong signal. It almost guarantees correct

combined on one chassis with prcamp- control or power tuning. and is -a feature on almost every tuner in the amplifier functions, are not covered. Stereo "combos" list. Also, manufacturers' specifications indicate that in will be checked out next month. every case it can be defeated when desired, by a front - panel control. Why defeat AFC? Because it automatically selects a strong station. If you want to tune in a weak station right next to a strong station. AFC may The table presents basic features of stereo tuners, such make it impossible; the AFC circuit will pull the tuner as make. model number, and price. Some makers charge over to the stronger station. Therefore it should be extra for a case; this is indicated with a + sign. defeatable, particularly in areas where weak stations are very close to strong ones. Sensitivity of the Fi\1 section is the only technical specification listed, and we have included it more or less The desirability of a logging scale is a matter of receiver front force of habit. Sensitivity is important, and it is a location and dial design. Some F \I dials have a fairly significant measure. But it used to have more signifi- finely divided megacycle scale. Others simply put a cance when variation from one model to another was figure at 96 mc, another at 98, and so on. In a metro- so much greater than it now is. The narrowing of the politan area where perhaps half a dozen strong signals range today is a tribute to engineering progress. are all that will be tuned to regularly, such a narking The sensitivity figure states the amount of F \4 signal, arrangement will be adequate. But in medium fringe in microvolts. needed to effect a 20 -db reduction in areas along the Gast coast it may be passible to tune in noise. Imagine, if you will, that you have adjusted an forty to sixty stations. Under crowded conditions of this F,\I tuner so that it is precisely on the frequency of a nature, it is next to impossible to go back to a station transmitter that is about to come on the air. If the without a finely divided logging scale for guidance. solume control is turned up, you will hear a certain amount of noise -from cars, lights, one thing and an- Beyond this ... there is a column of "Notes," and other. When the transmitter is turned on, and before here are indicated some of the many features which may the announcer speaks, the level of this background be included oil tuners. let's take them alphabetically: noise will drop substantially- probably to complete A: Local /distance switch -this is a good idea for leople silence. This is FM quieting. The amount of quieting is who live near powerful AM or FM transmitters. Many dependent on the strength of the signal reaching the tuners incorporate automatic volume control devices receiver. A typical graph will show that a signal of, for (such as AGC, Automatic Gain Control). but there is instance, 2.0 microvolts will lower the noise by 20 db. some danger that an overly strong signal may produce A signal of 3.0 microvolts would then quiet by 30 db: distortion or create spurious images. The latter is an beyond a certain point, the line on the graph reaches occasional problem for oversensitive FM tuners; the a plateau at which no more quieting can be achieved sane strong station may appear in two or three spots on (or is necessary). A signal of 20 microvolts would, in our the dial. example, put the line on the plateau with 40 db or more of quieting. B and C: Sec above. It is obvious that signal strength will decrease as the distance between transmitter and receiver increases. D: Same as a switch. except continuously variable. The

Hence a highly sensitive tuner is advisable in remote or efect is much like that of a volume control. fringe locations. Elsewhere. any modern, well- engineered stereo tuner will have more than adequate sensitivity. E: DSR is described by the manufacturer as a method of adjusting the modulation of an F \I carrier to com- The next column in the table shows whether or not the pensate for errors in this adjustment at the transmitter. tuner incorporates a tuning indicator or meter. A meter, or an eve or indicator device of some sort, is not a F and G: There are two basic types of FM circuits. the necessity. but precise tuning always helps the fidelity of ratio detector and the so- called Armstrong circuit. a tuner, and a meter or indicator makes precision easier Thousands of words have been Continuer/ on page .165

72 ITicat FIDELITY MIACAZINE

www.americanradiohistory.com EN ROUTE HOME from a late-sum- by contrast, is almost unknown outside Haitink got his start, in the classic mer holiday in France. we tarried for a the Netherlands; yet he is nevertheless manner, by substituting for an ailing few days in Holland to attend a recording the leading contender for the Con - colleague. In 1956 the Italian conductor session by the Concertgebouw Orchestra certgebouw post. The orchestra has al- Carlo Maria Giulini fell ill shortly before and renew acquaintances with our friends ways been directed by a native son, and a scheduled performance in Amsterdam at Philips Phonographic Industries. Haitink seems everywhere considered of the Cherubini Requiem. Haitink, who The Concertgebouw Orchestra is pass- Holland's most talented young conduc- had previously conducted the work in ing through some difficult days just now. tor. Utrecht, was asked to take over. During Since its founding in the 1880s it has had Unfortunately. we had no chance to one of the rehearsals, Eduard van Beinum only three permanent conductors: Wil- hear Bernard Haitink in action, though wandered into the auditorium of the km Kes, Willem Mengclbcrg, and Ed- we did have a pleasant talk with him at Concertgebouw and watched young uard van Beinum. The latter's sudden his home in Laren, a suburb of Amster- 1- laitink at work. A close relationship death last spring cast the orchestra some- dam much favored by :linters, writers, soon sprang up between the two musi- what adrift, for no official heir apparent and musicians. Despite his current guest cians. Van Beinum gave him no formal was waiting ready in the wings ro take engagements and his future prospects lessons in conducting, but he was -says over. Piet Heuwekcmever, erstwhile vio- with the Concertgebouw Orchestra, Haitink-"extremely helpful." Last year, linist in the Concertgebouw Orchestra Haitink's chief present devotion is his when a bout of ill health caused Van and now its manager, told us that Van own orchestra, the Radio Philharmonic, Beinum to curtail his appearances in Los Beinum's successor would not be named of which he has been permanent con- Angeles, it was Haitink whom he sent until October or November 1960. Until ductor for the past two years. This en- for to fill out the engagement. then, a number of guest conductors will semble works for Holland's four broad- In one respect Bernard Haitink feels preside. Heuwekemcyer strongly inti- casting companies, gives its own public himself less fortunately situated than mated that the orchestra's artistic direc- concert series, and regularly tours vari- either Mengelberg or Van Beinum. "A tion would henceforth devolve upon two ous European countries. Sometimes the conductor," he told us, "should lead the regular coconductors. The Concertge- Radio Philharmonic Orchestra plays as fight for new music. He must be a bouw's wide- ranging repertoire and many as three different concerts a week. spokesman for contemporary composers arduous schedule (at least 150 concerts Needless to say, Bernard Haitink does in whom he passionately believes. Men - per year) are more, it is felt, than any not conduct every program, but the gelberg fought for Strauss and Mahler, one conductor can comfortably handle. over-all musical direction of the orches- Van Beinum for Bartók. These cam- Although no official announcement tra is his sole responsibility. paigns provided a foetus for their careers. will be forthcoming for almost a year, it I spend hours of every week going would seem reasonable to suspect that through new music, looking for someone the choice of coconductors may ulti- whom I can fight for. I'm afraid I haven't mately fill on. the two musicians who found him yet. I keep up with all the have already been engaged for the Con - latest developments in serial music. It is certgebouw s nine -week American tour interesting, to be sure, but I'm not at all in the spring of 1961: German -born convinced I want to fight for Mr. Stock- Eugen Jochum, 57, and Dutch -born hausen cr Mr. Henze. Still, am I to Bernard Haitink, 31. Jochum has a solid spend my life playing what every other reputation in Europe as an interpreter of conductor in the world plays ?" the Bach -to- Bruckner repertoire and is San Franciscans will be able to hear familiar in countries he has never visited by virtue of many recordings. Haitink, Recording session in preparaliou. Conlin:red on page 75

NOVEMBER 1959 73

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74 H1Cli FIDELITY MAGAZINE

www.americanradiohistory.com pages an Bernard 1- laitink this coming spring, annotate the of orchestral when he guest- conducts their orchestra. score. Often he would break into the Meanwhile, the rest of us can sample his middle of a passage with a request for work with the Concertgebouw Orches- the conductor to begin again. "Most con- tra on Epic (i.e., Philips) records. First ductors," he explained, "are so used to release will probably be the Dvofftk hearing music from the podium that they Second Symphony, recorded this Sep- don't understand what is nccdcd for tember. proper reproduction in the living room. My job is nor to tamper with a musician's style but to tell him within that style what he should do." Dorati seemed indeed, at ANOTHER DVORAK SYMPHONY A dreamlike office al Baarn, Holland. to take none of this amiss: was being taped in the Concertgebouw lunch afterwards, he went out of his when we paid our visit to Amsterdam - "When I came to Philips as their first way to praise the meticulous care for the New World Symphony, under Antal recording director," he told us, "it was detail and apparent unconcern for costs Dorati's direction. The occasion pro- on condition that I could operate in this that prevail at Philips recording sessions. vided us with our first glimpse of the way. I had been trained as a musician at Concertgebouw, a square, spacious audi- the conservatory and for six years worked torium ornately decorated, and our first as a conductor with the Dutch radio opportunity to watch Philips' chief re- system and composed music in my spare PHILIPS Phonographic Industries has cording director, Jaap van Ginnekcn, at time. Then I became a producer of radio its headquarters in Baarn, a town 23 work. Van Ginnekcn (pronounce the programs, and for another six years I miles east of Amsterdam and as dream- "G" as lilt were an "H ") is an awesomely handled the knobs in the control room. like a place to work as we have ever ambidextrous man. Combining the tal- During the war, when it was impossible seen. We drove along its quiet streets. ents of professional sound engineer and for me to work, I wrote a book on the paved with red bricks and lined with professional musician, he sets up micro- future of music in an age of electronics. old trees, and saw no houses -unly phones himself, handles all controls at I do not believe that electronics and villas, palatial and sturdy, with beauti- the master console, monitors every "take" music should be divorced. As a musician, fully tended lawns and gardens. Philips' for musical imbalances and imprecisions, I have an intuitive feeling for micro- offices occupy one such villa, the "Hoog confers directly with the conductor dur- phone placement and balancing which I \Voldc," to which a modern wing has ing sessions and postscssion playbacks, could never communicate fully to an- been added. The setting is so spacious, and finally edits the master tapes. These other person. The minute you turn the the offices so light and airy, that the tasks are customarily divided between controls over to a technical man, you place has been nicknamed "The Sana- two men: an engineer responsible for lose something," torium." Elsewhere in Baarn is the electronics and a recording director re- At Concertgebouw sessions, Van Gin- pressing plant, whence records are sponsible for music. \'an Ginneken does neken works in the checkroom and shipped throughout the world. We found it all himself-nor because Philips is communicates with the conductor by it almost incredibly near and clean and short of competent personnel but be- telephone. Standing behind the control soothing. If you envisage factories as cause he feels this is the only way in console, he uses his left hand to turn ipso facto dank, dirty, and noisy. come which he can work at full efficiency. knobs and his right hand to turn and to Baarn and forever hold your peace.

Scenes at the Philips plant. At left: minute faults found in positive "mother" matrix can be corrected with aid of engraving tool under the microscope. At right: press operator trims edges of record, inspects it visually (and sometimes aurally) and slips it into inner sleeve.

NOVEMBER 1959 75

www.americanradiohistory.com AteikmA,

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HESSE- BUKOVJSKA BAKST KEDRA

Here are the first releases in Westminster's 150th Anniversary Edition of the complete piano works of Chopin.

SONATA NO. 1 in C MINOR, OP. 4; SONATA NO. 2 in B 51 MAZURKAS -Ryszard Bakst, piano. (Monophonic XWN FLAT MINOR, OP. 35; SONATA NO. 3 in B MINOR, OP. 58- 3313; also available singly XWN 18876/7/8) Wladyslaw Kedra, piano. (Monophonic XWN 18882) 19 NOCTURNES - Barbaro Hesse- Bukowska, piano. (Mono- SONATA NO. 2 in B FLAT MINOR, OP. 35; SONATA NO. 3 phonic XWN 2231; also ovailable singly XWN 18879/80) in B MINOR, OP. 58- Wladyslow Kedra, piano. (Stereo PIANO CONCERTO `1 in E MINOR, OP. 11- Barbara Hesse - WST 14072) Bvkowska, piano; Vienna State Opera Orchestra; Sir Adrian 14 WALTZES- Barbara Hesse- Bukowska, piano. (Monophonic Bowlt, cond. (Stereo WST 14048) XWN 18883- Stereo WST 14071) PIANO CONCERTO - 2 in F MINOR, OP. 21- Barbara Hesse - 24 PRELUDES, OP. 28- Ryszard Bakst, piano. (Monophonic Bukowska, piano; Vienna State Opera Orchestra; Sir Adrian XWN 18881 -Stereo WST 14073) Bowlt, cond. (Stereo WST 14089) MACE rf

VIVALDI: THE FOUR SEASONS -Julian (CONCERTI GROSSI, OP. 8, NOS. Olevsky, Violin; Vienna State Opera 1.12) -Julian Olevsky, Violin; Vienna ólmin/!ei A VIVALDI Orchestra; Hermann Scherchen, cond. State Opera Orchestra; Hermann Stereophonic WST 14087- Monophonic Scherchen, cond. Monophonic Album HI-FI MILESTONE XWN 18913. XWN 3315; also available singly XWN VIVALDI: IL CIMENTO DELL' ARMONIA 18914 (Nos. 5 -8), and XWN 18915 NATURAL E DELL' INVENZIONE (COMPLETE) (Nos. 9 -12).

For complete catalog, write Westminster, Dept. H F II, 275 7th Ave., N. Y. BALANCE

76 HIGH FIDELITYI'Y \IAGAZINL'

www.americanradiohistory.com PAUL AFPELDF.R NATHAN BRODER O. B. BRUM%IF..LL R. D. DARRELL RAT ERICSON reviewed by ALFRED FRANKENSTEIN JOHN P. 1NDCOX ROBERT CHARLES MARSH eecoiln CONRAD L. OSBORNE MIN \ JOHN S. WILSON Review 0-ZS

by CONRAD L. OSBORNE

For Angel's Newest Lucia . . .

La Callas Controlled and Calculating

In a Reading Invincibly Right

PTHE UBIQUITOUS REPORT of Maria Calla) tional NO points of a work, and arc not regard -in other words, by doing exactly I own request for another crack at record- usually produced by either the range or the those things we have cone not to expect ing Lucia is true, it substantiates a small power of her voice. In fact, she frequently of a prima donna. And all of this is achieved, theory of mine regarding La Callas, a theory falls short at precisely those places where not through fire or abandonment, but by lent further weight by her work on the Nye expect to be swept off our feet. She is the most painstaking attention to note val- present Angel recording. The theory runs not, for example. very exciting in the di- ues, vowel shadings, dynamic markings, something like this: Maria Callas, the mactic passages of a Puccini opera. because ornamentation. etc. It is this devilish preci- soprano who exists in the scribblings of her voice simply is not large enough or sion- emotional as well as musical -that publicists, program annotators, and maga- warm enough to dominate the orchestra. accounts, I think, for the unique atmosphere zine feature writers, is a very different singer In Lucia, she misses some of the juiciest of a Callas performance. It may also explain, from Maria Callas, the soprano who appears opportunities because she cannot hit a in part, the incredible critical and popular on some opera and concert stages and who high D natural with the steadiness and clar- attention devoted to miniscule details of can be heard on many recordings. The fic- ity that should be among the coloratura's her singing and acting -the interesting tional image is of a fiery, abandoned actress, basic assets. In short, the Callas instrument, fetishism concerning her use of the hands, gifted with a voice remarkable for its size whether classified as dramatic, spinto, or for example. and range, if not for its beauty; the woman coloratura, suffers from one or two elemen- So far as the new Lucia is concerned, there I have observed is a controlled, conscious tary failings, causing her to disappoint us is no point at all in comparing Callas' work actress, who by the most ingenious calcula- just when we arc prepared to fall com- with that of Pons or Peters; it would be like tions elicits astounding results from a voice pletely under her spell. comparing Dr. Kinsey's work with that of only moderate in size and practical range. On the other hand, she surprises us by D. H. Lawrence -same subject, but different Dine. Callas provides many thrilling mo- executing beautifully countless bars we had approaches towards different ends. There ments, but close listening reveals that these given up for lost, by lending point and may be a purpose served, though, in noting moments do not generally occur at the tradi- meaning to passages we had learned to dis- the features of the present Callas interpreta

Nol'EmHGR 1959 TT

www.americanradiohistory.com Lion as opposed to her own earlier one. There Scrafin combines a firm beat with enough unwieldy production make his Raimondo is an important vocal difference: the peculiar elasticity to allow his singers elbowroom. into a sort of beneficent Fafner. The two "hooded" quality of the voice is much more The choruses in particular (and the Phil - supporting tenors arc barely adequate: more - in evidence on the new recording, and with it harmonia Chorus is a fine one) bounce along over, Normanno s opening solo is drowned comes a more thoroughly "covered" ap- with a wonderful zest and lightness. by the orchestra. This may be part of new proach. Consequently, the voice is a bit less As for the rest of the cast, Ferruccio stereo opera house perspective, but since l open. a bit less powerful, and the very high Tagliayiní s appearance on a new recording regard a recording as die only time I shall rones are less rousing than formerly. Much calls for comment. inasmuch as this tenor - ever get to hear poor Normanno, I feel a of the harshness has been eliminated, how- who was once rated along with Caruso, Cigli, bit cheated at the effect. Margreta Elkins, ever, and the strong throb that afflicts her and other luminaries-has been toiling in the mezzo who sings Alisa, has a round, line upper register is less obtrusive. The line of relatively unimportant houses lately. On the tone, and it is a pleasure to hear her few lints "Regnant nel silenzio" is even more carefully whole, l ant surprised to lind him singing this given respectable treatment.

and subtly embroidered than before, and %cell. Not that there is nothing wrong with The sound is extremely clear and well - the runs. trills, and diminuendos throughout his performance: he treats us to a fair dose of balanced. Some "moving about" of the prin- the score arc even more perfectly executed. the sterile pianissimo with which he used to cipals is done during the Wedding Scene and Except for an excruciating wobble on B flat slip through large hunks of the lyric reper- Raimondo's narrative, but the real advan- M the Mad Scene, which I take is intended toire; the highef tones. as of yore, are rather tage of sterco here is in placing the chorus as a trill, and a couple of thin notes at the steely and tight: and he still cannot encoun- in three -dimensional alignment. conclusion of the two sections of this scene, ter words like "tongue," " gucrra. ' or simply There is room enough for reservation con- that entire number simply could not be "not" without resorting to larking. None. cerning this performance. but I think that in better. And there are so many long stretches theless, his voice sounds pleasant much of stun it is the best Luda on records. Mine. that are musically and psychologically right the time. Piero Cappuccilli is a warm, Callas has done everyone, herself included, a that it is impossible to begrudge her the smooth baritone, very like our old friend favor in re- recording it. high, hard one. Enzo Sordello (anathema sit!), he of the long - Next to the singing of Mme. Callas, the held high note. He does not quite have the DONIZETTI: Lucia di Lammermoor conducting of Tullio Serafin is the most poise to blend well with Callas in the second - Maria Callas (s), Lucia; Margreta Elkins (nu). interesting aspect of this performance. The act duet, but he does a straightforward Misa: Ferruccio'ragliavini (t). Edgardo; Lenard Donizetti and early Verdi operas arc gener- unobjectionable job -and sad as it is to say. del Ferro (t), Arturo; Renzo Caullato (t), Nor- ally assigned to hacks who drive their way his is the best Ashton on discs. Bernard manno: Piero Cappuccilli (b), lord Enrico: metronomically through the scores: and Lulysz, the Raimondo, has a black bass Iternard lads'sx fibs). Raimondo, l'hilbarmonia when they are assigned to first -line conduc- of good quality, and must be excellent as. Chorus and Orchestra, Tullis Serafin. cond. tors, these gentlemen often overlook the say, Baron Ochs: Ism the combination of his Axcet. 5601 tt /L. Two I.P. $10.96. necessity of giving a clear beat. Maestro pronounced Slavic accent and somewhat ANGEL 3601 B /L. Two SD. $12.96.

by ALFRED FRANKENSTEIN

Everest Presents Carlos Chávez:

The Composer Conducts Three Symphonies

In Their First Stereo Recordings

AMASTERPIECE can breed other master- monument to its influence in Latin America to point out that he was indebted to Picasso, pieces when the time is ripe, and no is Chávez's Sinfonia India, which has become and it only intensifies the significance of the man can tell what strange and distant echoes the musical symbol of Mexico as the murals Sinfonia India to point out that it could not a work of genius mac arouse. At least one of of Diego Rivera have become the symbols of have existed if Stravinsky's great ballet had Carlos Chlvez's compositions on this new Mexico in the plastic arts. The Sinfonia India not previously been composed. disc from Everest may be a case in point. In joined the world repertoire almost immedi- The work is based on five Mexican Indian 1913 Igor Stravinsky unlocked the world ately after its first performance, in 1936; it melodies, four of than employing gapped of the primitive in his Sacre du Printanps; has been played everywhere. and, what is scales of one kind or another and one using a twenty years later the music of Latin Amer- mort important. has been repeated every - gamut of only three notes. These five tunes ica carne into its own. In Mexico the Sane uhcte; uuw it uranes sut iu its lin st stereo- are deployed in a single- mitoscutcut sym- struck new fire just as the intellectual phonic recording under the composer's own phony of extraordinary rhythmic complex - renaissance fanned by the revolution of the direction. ity. blazing color, and monumental sinew. It 1920s reached its height. The most enduring It does not diminish the stature of Rivera handles the normal orchestral forces with

78 HIGH FtnFr.tn- \4ACAZICr.

www.americanradiohistory.com proper heroic accent, but its timbre is suf- by NATHAN BRODER fused throughout tvitt the pounding of drums, the crackling of raps and clappers, the shrilling of whistles. and the thin, edgy piping of flutes and clarinets transformed for the moment into Indian reeds. It is a sync phony from which sentimentality and con- descension alike are banished. Although it is derived from folk themes of the present day, Haydn's Seasons . . . it also evokes ancient Mexico in the tragic, fanatical intensity of its rhythms and in its adornment of a grandly simple outline with an infinitely complex surface tracery. This Sir Thomas and All rich surface texture is particularly well caught in stereo; no previous recording has been able to come CO grips with it. In Very Top Form Along with the Sinfonía India, Chavez provides here his Sn fonía de Antigone and his Sinfonía Ronantica. The Antigong was written in 1932 and is listed as the first symphony of Chavez. It was originally composed as incidental music to the Antigone of Sophocles as "contracted" YnN's The Seasons, his ora- integrated into the musical context. Haydn's for modern performance by Jean Cocteau. It "other" torio, has never been as popular as The "frisking lambkins" arc a delight each time is also a symphony in one movement, but it H"\ is we them, whereas Strauss's far is totally different in character from the Creation. Its neglect probably due in part encounter to reports about Haydn's own indifference to more realistic bleating sheep arc no longer Sinfonía India. Everything is spare, reserved, it: he is said not to have relished writing music very interesting after the second time. And and large in gesture. The orchestra as a imitating frogs, and other such "Frenchified the country folk in the drinking chorus hcrc, whole has the resonance of a gong. The trash." And in part it may be due to a dis- making merry and dancing to their bucolic themes are modal, and, as the composer inclination on the part conductors to instruments, arc, musically speaking, a very informs us, the harmonic and rhythmic of undertake practices employed hcrc are derived from the labor involved in preparing sophisticated peasantry indeed. a long work a has ancient Greek musical theory. The piece secular on subject that been Beecham seems to me to be at the top of out of style since eighteenth Aside a has a wonderfully archaic feeling about it; it the century. his form in this presentation. from But whatever the reasons, they the and compresses the sense of the Greek tragedy dwindle into cut in overture to Spring another in into ten immensely eloquent minutes, but insignificance when one hears the music, the aforementioned duct, there is no tamper- particularly in so warns and loving a pering with the printed score. Here arc reunited its stature is less than that of the Sinfonía formance as this new Capitol disc provides. the qualities that wort Sir Thomas his large India. for the Sinfonía India is one of the key works of our century. For this is the work of a great master, and faithful following: penetration to the dealing, to be sure, with everyday Everybody on this side of the Atlantic things, spirit of the music, sensitive line, superb but wrote one- movement symphonies in the lavishing upon them inventive powers balance, and constant vitality, in tranquil as and an imaginative craftsmanship sharpened well as passages. is 1930s. Today Chavez can write a three- in animated He aided by and by a movement symphony that fills an entire mellowed lifetime of successful an excellent chorus, rather large- sounding creativity. Some the choruses are and possessed record side and even be paid for doing so. of very but flexible of lovely tone. Of The Sinfonía Romantica was commissioned beautiful, others impress by their power. the soloists Michael Langdon, the bass, has a The hunting chorus in is by the Louisville Orchestra in 1952. Unlike Autumn the cul- well- focused voice of pleasing quality and mination of all the phrases a the India and the Antigora, it has no dra- music written about the spins out long in single breath. The chase in the eighteenth century; and the same is true Alexander Young, the matic or evocative target, and its title is an of tenor. spinning song and chorus in Winter left its whose air "Here stands the wand'rer afterthought. Except for a suggestion of now," mark on many similar musical scenes com- in Winter, is especially nicely done. Elsie a Spanish - Mexican march tune in its finale, posed it is devoid of folk color, but the treatment in the nineteenth century. The solo Morison is the least satisfactory of the three. vary of its materials, the construction of its vocal numbers from operatic. italianatc Although she sings her cavatina "Light and climaxes, and its entire communication of arias to songs of a folklikc cast but of elevated life," in II/inter, beautifully, elsewhere she is feeling, like some the music in The very secure masculine verve and life is in the same of Magic sometimes not technically. her That opera, in composed is as as tradition as the other works. Flute. fact. ten diction not clear that of the others. years earlier. sets the tone much the The recording is superb in both versions, for of and sic lacks the bravura required in the nonrepresentational thanks to excellent engineering and to the music in this oratorio, air "So reviving to the senses," in Sommer. and the beauties is magnificent response of the Stadium Sym- duct "You of the town" in The sound in general clean, full. and Autumn as phony Orchestra of New York to the com- sounds though it might have been spacious, though usually without obvious patterned after poser's direction, but, for reasons indicated Papageno's "Ein Mädchen separation. In the handsomely illustrated oder Weibchen." The fre- is above, the stereophonic edition is preferable. commentators booklet the English text, by Dennis quently speak Chavez, of course, has had vast experience of Haydn's simplicity and Arundel!, sung here, a version considerably naiveté in this Let us not be closer set as a conductor and is the final authority on music. deceived. to the German text by Haydn than the interpretation of his own works. The sixty -eight - year -old composer, admired is the English translation that is usually throughout Europe and with two successful printed. trips to England under his belt, was no art- CHAVEZ: Sinfonia india; Sinfonía de less provincial. He deploys his folklikc ma- HAYDN: 'The Seasons Antigona; Sinfonía Romantica terial with enormous skill. Even the instru- Elsie Morison, soprano; Alexander Young, tenor; mental tone painting a thunderstorm, Stadium Symphony Orchestra of New York, -of of Michael Langdon. hast; Beecham Choral So- Carlos Chavez, tonti. splashing fishes, swarming bees, fluttering ciety: Royal Philharmonic Orchestra, Sir Thomas EVEREST LPBR 6029. LI'. 54.98. birds, even the croaking frogs that were sup- Beecham. cond. EVEREST SDBR 3029. SD. S5.9S. posed to have so much pained him -is finely CAPITOL. SGCR 7184. Three SD. $17.94.

NOVEMBER 1959 79

www.americanradiohistory.com by PAUL AFFELDER

In a Commemorative Album

Capitol Pays Tribute to Thirty Years

Of the Art of Nathan Milstein

TWO DAYS after Christmas in 1947, 1 had vcrsary of the violinist's American debut. in appeared together on records, yet they forni an appointment with Nathan Milstein 1929, with Stokowski and the Philadelphia a first -rate sonata team. in the stereo version to supervise his recording of the Beethoven Orchestra -is, of course, the Tchaikovsky the piano is well reproduced. but the violin Spring Sonata. As irony would have it, that Concerto. This is the third time the violinist is a bit too close to the microphones, result- was the day when New York was just k- has essayed this work on records, and it is by ing in some ovcrmodulation and imbalance. ginning to shovel itself out from undcr one far the best. He displays brilliant technique In the shorter pieces in the set-music of the worst blizzards in its history. The throughout, yet technique is never exploited which, though not all written after 1900. is only means of transportation was by foot or for its own sake but always subjugated to by composers who lived in the twentieth subway, yet the violinist and his sonata the demands of the music. The violin tone century- Milstein's tone comes through partner. Artur Balsam, arrived in good time. is exquisite, and has been just as exquisitely with warmth and smoothness, while Leon As they thawed their icy hands before at- reproduced. Pommer? piano is well focused. Here, too, tempting to play, Milstein told us of his With the Tchaikovsky Concerto, there is the performances are all marked by that adventures the previous afternoon. always the problem of cuts. On records. only impeccable taste and finesse with which During the height of the storni, he had Grumiaux has played it complete. If memory \filstein invests all works cf this sort. taken a bow to a violin maker on 57th serves me correctly, both in concert and on Thirty years of public acclaim and artistic Street to have it rchaired. To pass the time his earlier discs Milstein made more cuts growth is a long time. it took several years until the bow was ready, he had walked up than he does here. He offers the first two for Milstein really to establish his reputation the street and dropped into Carnegie Hall movements in their entirety. and the third in this country. but once he became gen- to catch part of the regular Friday after- movement has only the brief excisions made erally known, his fame grew by leaps and noon concert by the New York Philhar- by most violinists and, i believe, first sanc- bounds. His artistry, high in the beginning. monic, at which one of his colleagues was tioned by Milstein's teacher. l.eopxld Auer. has never stopped growing. Capitol has playing the Beethoven Violin Concerto. It For me, the high point of this perform- seen to it that he has committed to micro- was this performance that Milstein wanted ance is the Canzonetta. Unlike almost every groove nearly all the standard nineteenth- to talk about. Everyone else in New York other violinist, Milstein follows the com- century concertos, several Beethoven and was busy relating his experiences in the poser's instructions and keeps his mute on Mozart sonatas, and -possibly his greatest Great Snow, but Milstein was completely throughout the movement. The effect is achievement on discs -all of the Bach engrossed in his account of the concert, one most beguiling. Besides, he gives it an ex- Sonatas and Partitas for Unaccompanied of the greatest performances of the Bee- ceptionally expressive interpretation, pre - Violin. With this new album we experience thoven Concerto he had ever heard. We cisely phrased and played with great in- again sounds that are always rich in texture, listened to the shower of praise -and after tensity of feeling, coupled with considerable warm in intensity, and perfectly balanced in that got down to the business of recording restraint. This is a difficult feat, carried off musicianship. Nathan Milstein and Capitol the sonata. here with tremendous effectiveness. deserve our gratitude. This incident of nearly twelve years back As in nearly all of Milstein's concerto came to mind as J listened to his new record- recordings for Capitol. he is supported by ing of the selfsame sonata, this time with William Steinberg and the Pittsburgh Sym- NATHAN MILSTEIN: "The Ari of Rudolf Firkusny as the collaborating pian- phony Orchestra. The support is a trifle Milstein" ist. Milstein's unstinted praise of another pedestrian in the first movement, but the artist was an example of his great humility. conductor catches the spirit of the soloist's Tchaikovskv: Coact-rm./Or Violin and Or,hrara. And his ultimate refusal to permit the re- interpretation in the remaining two sections. in D. Op. 3$. Beethoven: Sonata for Violin and lease of the earlier sonata recording -which The orchestral articulation is excellent all Piano. No. 5. in F. Op. 24 ("Spring"). Szymanow- had seemed to me an excellent performance the way through. Furthermore, the con- ski: La Fontaine d'Arethose. Debussy: Minstrels. Fauré: Apr?" an r i'e. Pizzctti: Canto No 3. -because it failed to come up to his uncom- certo has been treated to some very clear, Sarasa tc: Introduction and 'l Tarantella. promisingly high standards was an example well -defined sound. The stereo separation is of the ultimate artistic integrity that has good if not outstanding, and the soloist is Nathan Milstein, violin: Rudolf Pirkusny, piano made him a leader among the world's vio- well set off from the orchestra at the center (in the Beethoven): Leon Pommer, piano (in the linists and has kept him at top for years. the of the stage. short pieces): Pittsburgh Symphony Orchestra, The pièce de résistance of this new Capitol Both Milstein and Firkusny give a careful, William Steinberg, cond. (in the Tchaikovsky). album entitled "lYre Art of Milstein"- serious account of the Beethoven Sonata. CAPITOL PRR 8502. Two 1.P. 59.98. issued to commemorate the thirtieth anni- This is the first time these two artists have CArtroLSPBR 8502. Two SD. $11.98.

SO HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Rysanek and Warren (tieless) talk it over.

Verdi's Macbeth: An Early Masterpiece Impressively Revived

in RCA Victor's Stereo Recording of the Metropolitan Production

by CONRAD L. OSBORNE

IDARE SAY that at any time during the the melodies themselves, and in the form of the revised Macherh was not quite the 1940s, a suggestion for a Met production taken by their development. Verdi of Otello, as a comparison of the of any of Vcrdi's pre- Mphlto works would It is here that Macbeth runs into some Dagger Soliloquy ( "Mi si af)accia un pug- scarcely have been taken seriously. But difficulty. best demonstrated by the un- aal9 ") with the Moor's "Dio! Mi potrei within the last three years, we have had solved problem of the Witches' treatment. scagliar" will show; nevertheless, Macbeth's both &nani and Macbeth, the latter now In each of the scenes of prophecy. the instru- guilt, as well as bis dependence on Lady chosen by RCA Victor for one of its "Se- mental introductions and interludes are Macbeth, is beautifully illustrated in the lected by the Metropolitan Opera" pack- magnificently to the point, thanks largely whispered ducts of the Murder Scene and the ages. It is fitting that Macbeth should be the to the Verdi of 1865. But (to take a closet terrified outbursts and demented itandcrings first of the young Verdi's operas to be ac- look at the first scene) the mood is utterly of the Banquet Scene. His music at the end corded a major modern recording effort, wrecked when the hags launch into their has the noble, virile line required to give since it was a production of this work, in first set number, "M'e frallata nel pensier." him tragic stature (which is fortunate, since Germany back in the Twenties, that started It is slowly restored by the actual prophecy "Fling out the banners on the castle walls," the early -Verdi revival movement. and the carefully set recitative which follows, etc. becomes "Prodi all'armi" in Piave's In a sense, Macheih is not early Verdi at and is maintained throughout the messen- libretto, and only a Verdi could compensate all, which perhaps explains why it triumphed gers' chorus and the fine duct for Macbeth for that). Banquo and Mieduff have just (it is back in the Met repertory this season) and Banquo. "Due ralicini conrpiuli or sono." one aria apiece, but each is an effective where Evan failed. The first version dates only to be violated in the stretta, another number, sufficient to establish the charac- from 1847; chronologically, it was preceded concerted number for the Witches. It is not ter's place in the drama. by Attila and followed by I Masnadieri. The that these are bad choruses. They are good The recording is the Met production revision, written for the -Maitre Lyrique of choruses, but they belong in the salon of down to the smallest detail, with every stage Paris, was completed in 1865, which places Flora Bervoix, not in the antechamber of movement mirrored by the stereo direc- it between the first scorings of La Forza del the nether regions. Similarly, the final hymn tional effect. Leonard Warren's interpreta- drxtino and Don Carlos. One does not have of victory creates a feeling of banality and tion of the title role is, I think, more im- to be thoroughly familiar with the early bombast, and this is entirely due to the pressive on records than it is in the opera version to realize how extensive Verdi's puerile nature of the theme itself. house. He is not a visually convincing changes must have been. True, Verdi was Having registered these complaints, I Macbeth; more importantly, much of his inspired by the subject from the outset, and must allow that my impression is still that best work is done at a level lower than his melodic gift found freer expression here Macbeth is an opera of true greatness. The mezzo-forte, and was at least in part wasted than in any other opera before Rigolelto; but characters of i4acbeth and his Lady are in the huge Met auditorium -it was often , luida, written only a year earlier, is a gen- tellingly rendered. A few bars of introduc- unclear just what effect he was trying to uinely miserable opera. Those familiar with tion to the second scene tell us that Verdi achieve. The recording brings us every the later works, Fora and Don Carlos, will knows his heroine intimately, and his mas- nuance of his characterization, and a know- notice the subtle, dark shadings in orches- tery of characterization shows in a dozen ing, brilliantly executed job it is. In recent tration and the wonderful variety in the ways -the perturbed little figure which seasons I have heard an increasing shakiness accompaniments, in common with nearly all underlines the first section of "La lace in Warren's voice, particularly in declama- of Vcrdi's post- Ïraviam work. 'l'hcy will also !anger," the ostentatious glitter of the tory passages, and a certain "locked" effect feel at home with the exciting Battle Fugue, Brindisi, and finally the whole Sleepwalking which has robbed the upper- middle register new in the second version. Where they will Scene, as penetrating and mournful as any of some of its old volume and ring, but the mark a foreign clement is in the nature of in Italian opera. Of course, even the Verdi first problem is minimized and the second

N OVEN 'HER 1959 81

www.americanradiohistory.com eliminated completely on this recording. His ishes of this high-lying role, and shc modu- a slight, but annoying, bleat. The package voice retains its plump sound and remarks - lates her tone in sensitive fashion for the is another of Victor's Conspicuous Consump- bic capacity for tonal shading, and I vcry Sleepwalking Scene. Hines is a rich- sounding tion items, handsome and impractical. much doubt that any other baritone now Banquo, and Bergonzi brings a fine flow to singing could hold a candle to him in this "Ah, la paterna mono." VERDI: Afacbetb role. Leinsdorf gives the musk good impetus l.conie Rysanek (s), Lady Macbeth; Emilia Mme. Rysanek, on the other hand, was and considerable expansion, and the Met Cundan (s), A Hloody Child: Mildred Allen (s), somewhat more magnetic at the Metropoli- orchestra has seldom sounded this good. The A Crowned Child: Carlotta Ordassy (s), lady - tan than on these discs. The Lct that her chorus is incisive in attack and well bal- in.Attendance: Carlo Bergonzi (t). Macduf; voice can soar out above full chorus and anced. but those Witches arc needlessly William Olvis (t), Malcolm; Leonard Warren orchestra counts for relatively little on a offensive, being forced to sing with a nasal. (h). Macbeth: Calvin Marsh (b), A Warrior: recording, even in stereo, and the rather infantile sound and to cackle embarrassingly. Osie Hawkins (b). A Murderer: Jerome Hines (bs), Hanquo: Gerhard Pcchncr (bs). A Physi- undeveloped state of her low voice is not This is Apposed to be a draina, not a Hal- cian: Harold Sternberg (Ix). A Manservant. disguised by the engineers. In the main, lowe'en pageant. The sound, as I have indi- Metropolitan Opera Chorus and Orchestra, though, her work is extremely impressive. cated, is outstanding for directionality, and Erich Lcinsdorb tond. Her dark, dramatic voice is commanding is also reasonably clear and tonally faithful. RCA Vterou LSC 6147. Three SD. yet flexible enough for the runs and flour- The treble highs, however, bring with them SI 7.94.

interrupted by recitative), and two ducts Alan Loveday is a young New Zealander ( "Zweig' trod Aeste" for alto and tenor, who studied and lives in England. To CLASSICAL from Cantata 205 and "Gott, du hast es judge by this disc, he is an excellent vio- wohl gefüget" for soprano and bass, from linist, with an attractive tone, generally Cantata 63). Mr. Scheide's defense of the good intonation, and a serviceable tech- ALBENIZ: "Spanish Dances" piano as continuo instrument is not very nique. The Concerto is well performed, convincing, but it would he hard, I although there is no continuo instrument, Orquesta Lirica Audio Museum (Ma- think, to find the spirit of Bach's music and the Partita, aside from a bit of senti- drid), José Olmedo, cond. more faithfully conveyed on records than mentalizing towards the end of the TELEFUNIwEN TC 8027. LP. $1.98. it is here. N.B. Gavotte, proceeds in smooth and lively fashion. The sound here is live and free Unfailingly lyric and pleasing, these works Irons distortion. N.B. fall in the middle ground between light BACH: Brandenburg Concertos: No. 3, As music and more serious fare. realized in G, S. 1048; No. 4, in G, S. 1049. in the agreeably idiomatic manner of this Suite No. 2, in B minor, S. 1067 Spanish orchestra, they can be recom- BEETHOVEN: Mass in D, Op. 123 mended for those moments when music David Oistrakh, violin; Alexander Kor - ( "Missruf Salemnis ") is desired as a tranquilizer rather than a neyev, Naum Zeidel, flutes; Moscow stimulant. R.C.M. Chamber Orchestra, Rudnlf Barshai, Elisabeth Schwarzkopf, soprano; Christa cond. Ludwig, mezzo; Nicolai Gedda, tenor; MONITOR MC 2037. LP. $4.98. Nicola Zaccaria, bass. Chorus of the So- BACH: Arias ciety of Friends of Music (Vienna ); Phil - These, the first Soviet Russian perform- harmonia Orchestra, Herbert von Kara- H. Bach Aria Group, William Scheide, ances of any of Bach's purely orchestral jan, cond. coud. works to come our way on records, are ANGEL S 3595 B/L. Two SD. DECCA LP. DL 9405. $4.98. far superior to most of the previous Bach $12.96. DECCA DL 79405. SD. $5.98. recordings from the same source. In style, in technique, and in recording they are The reappearance of the Bach Aria Group 'The present Angel recording of Bee- first -rate. In the Brandenburg No. 4 the on records after a long absence is an oc- thoven's [plisse Soleninis, under the di- opening movement is taken at a rather casion for cheers. Seldom do artists of rection of Herbert von Karajan, is the lively pace, which makes the thirty -sec- tenth edition of this work to be available this caliber, instnunental as well as vocal, -note ond figures in the solo violin very in the United States or Western Europe address themselves to the performance of fast indeed, but they roll out effortlessly rare in the three decades of electrical record- Bach cantatas. Equally on records, from ixiw. is ur.dcr Oistrakh's Iie not es- ing, the fifth version in current American and especially striking, is the dedication pecially favored by conductor or record- its catalogue listings, and the second ap- apparent these performances. The ing engineer; he is simply one voice in a skill Eileen Farrell, pearance of the work in stereo. power and of the trio, but the tone of this voice has a One might say of it, in brief, that it is rich tones of Jan Peerce, the mellow beauty rare in recorded performances of voices a moving, interesting, and effectively of Carol Smith and Norman Far- the work. The performance of No. 3 is in realized performance, unfortunately none row are all wholly engaged the trans- almost as good, though Barshai plays only mission of Bach's musical message. too well recorded. But this description the two slow chords instead of a cadenza As with Mr. really leaves us nowhere, since usual Scheide's programs, and takes the finale a shade too speedily. every is edition of Alisse Solernnis has this one carefully chosen to provide If Konreyev usually plays as he does the been variety of color mood. seriously flawed in one way and There are two here, he would be an adornment to any or another. arias for ( \Ve will soprano the exulting "Mein major orchestra. His tone is round, his continue to listen to This music gfäulsiges NCrz" from Cantata 68 and the phrasing musicianly, his technique more anyhow, trusting that -especially with beautiful "Gott versorget alles Leben" than adequate, and his breathing inaudi- stereo- someone, sooner or later, is going from Cantata 187), one for alto justice (the ble. N.B. to do to the score both interpre- lovely melodic curve of "\Venn kommt tatively and sonically. Until then we must der Tag" from Cantata 70), two for tenor decide which failings are least incom- (the considerably embellished "Ich traue patible with a continuing realization that BACH: Concerto for Violin and Strings, seiner Cnadeis" from Cantata 97 and the this is probably the greatest of all set- in E, S. 1042; Partita for Unaccom- lighthearted "Jesus nimmt die Scinder tings of the Mass, providing a succes- panied Violin, No. 3, in S. an" from Cantata 113), one for bass E, 1006 sion of those unique musical achieve- ( "Ja, fa, ich halte Jesum teste" Irons Can- Alan Loveday, violin; Royal Danish Or- ments which rank Beethoven above all tata 157, a little operatic scene, in which chestra, George Hurst, cond. the repetition of the aria is three times FORUM F 70009. LP. $1.98. Continued on page 84

82 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com Square Carden, the master tapes appar- realized in details as \cell as larger out- ently provide a mixture of sound from lines; it depends also on the power of the two sets of microphones, one set placed conception to seize the listener's atten- near the stage for solo voices and the solo tion and sustain it. My own reaction was violin of the Benedictus, and another that, although completely different in placed up near the roof for the big orientation, this Eroica was quite as inter- choral and orchestral passages. The ef- esting as Scherchen's, and that both were fect is rather like having a good balcony more interesting than the majority of the scat from which you can swoop down safely orthodox readings which defend a over the stage for a more intimate ac- middle ground long acknowledged as the count of the proceedings. Yet, ironically, common property of all who wish to once you become accustomed to the fact claim its sanctuary. that your perspective is that of someone In this Keilberth reading one finds flapping around the ball on batlike wings, many things recalling the great experi- you become irritated only when the ap- ence the Eroica could be under the proach of a really loud passage drives baton of Wilhelm Furtwiingler; and al- you up under the roof. though Keilherth is too good a musician Close to the stage, you receive rela- to need to go in for conscious borrowing, tively precise stereo information, con- the association indicates the impact this veying a good likeness of the orchestra performance can have on those who see and solo sources, but the chorus always the work in this light. remains distant and, except in its quiet The recording is spacious and pleas- passages, blurred with hall resonances. ingly directional. R.C.V. Karajan: a Missa dramatically intense. In the distant position, you are mainly conscious of the size and very long re- BEETHOVEN: Symphonies: No. 8, in F, composers of the nineteenth -and other verberation period of the hall, and some Op. 93; No. 1, in C, Op. 21 possibly every other- century. of the climactic passages are ( for me, To elate, the two great recorded per- anyway) ruined by the echo and blast Hamburg State Philharmonic Orchestra, formances of the Missa Solenanis were which distort the sound before it ever Joseph Kcilberth, conci. those of Klemperer and Toscanini. As reaches the microphones. The extremes TELEFUN10EN TCS 18004. SD. $2.98. distinct from each other musically as of the frequency range. essential to any BEETHOVEN: Symphony No. 8, in F, their conductors were distinct in temper- true high- fidelity sound, arc, of course, Op. 93 ament, heritage, and point of view, these the most perishable part of such a scram- !Schubert: Symphony No. 8, in B minor editions nonetheless captured great bled passage. ( "Unfinished ") achievements in musicianship. In both Under these circumstances the obvious Hamburg State Philharmonic Orchestra cases the recording was confined in sound thing to say is that Karajan should ask (in the Beethoven); Bamberg Sym- and otherwise flawed, but to the imag- for an opportunity to re- record this work Schubert); Jo- inative listener it could, under optimum under more favorable circumstances. phony Orchestra (in the He seph Kcilberth, cond. conditions, present a vivid impression of and his musical colleagues have provided TELEFUNKEN TCS 8010. LP. $1.98. the original. the quality the public has a right to de- The initial stereo set, originally issued mand, but the engineers have failed to All three performances are convincing as a Concert Hall tape and then success- do their part. There are many things fully revamped for its current disc ap- examples of fine German musicianship here that make these records worth hav- well- The First is pearance on Urania, offered the first ap- and trained ensembles. ing in spite of sonic deficiencies, but the best of the ant, indeed, one of the proximate likeness of the score as it is the consumer should be aware that his high- most effective statements of that work we heard in concert. It had its oddities - est expectations will not be met. He has have, with particularly good stereo record- such as the placement of the soloists - a right to his disappointment. After all, ing to add to its appeal. The Eighth is but the sonic picture was closer to reality more difficult works than the Missa So- about a step behind, chiefly due to its than any we had known before. Unfortu- lemnis have been recorded -and with less refined conics, but Kcilberth observes nately the performance under Walter brilliant effect. R.C.M. the important repeat in the first move- Cochr's direction was not a great one. ment and is bested only by Klemperer Karajan is reported to have waited BEETHOVEN: Symphony No. 3, in E and Walter in the stereo field. In the some years before committing the ,Missa flat, Op. 55 ( "Eroica ") monophonic coupling with the Unfinished Solemni.s to records. His performance we have, however, a disc that is un- reflects careful preparation not only of Hamburg State Philharmonic Orchestra, Joseph Keilbcrth, cond. doubtedly a hest buy in its price range. himself hut his forces, and is surely R.C.M. worthy of "the General Musical Director TELEFUNKEN TCS 18003. SD. $2.98. of Europe." His own strongest character- Keilberth's approach to this score and the BOCCHERINI: Concerto for Cello and istics as a musician, already well estab- recent Scherchen be edition can taken as Orchestra, in B flat lished in our experience of his earlier the practical limits of alternative inter- }Haydn: Concerto for Cello and Orches- work, are dominant here, and they serve pretative approaches to this music. The tra, in D, Op. 101 to add dramatic intensity to the spiritual Scherchen is very fast, very intense, intensity of Beethoven's writing. in those sharply accented in line, creating its Janos Starker, cello; Philhannonia Or- sections in which the recording seems heroic drama through action and vitality. chestra, Carlo Maria Giulini, cond. hest to serve the music, the Agnus Dei To Keilherth a long line, sustained in the ANGEL S 35725. SD. $5.98. for example, this is a performance of ex- gradual unfolding of big, powerful ceptional beauty. distinguished for the phrases and unfailing melodic in charac- Although the authenticity of these two strength of its architecture and the mirac- ter, provides the key to the heroism concertos has always been in doubt, the ulous sonorities Karajan secures by the Beethoven wished to represent. question of authorship is of small impor- blending of organ, instrumental, and vo- Scherchen gets all the first movement tance. They remain the finest classical cal lines. (Karajan's solo quartet is one (including the repeat) and the whole of concertos in the all- too -limited repertoire of the hest ever heard in this work.) the funeral march on one side. Kcilberth for the instrment. Starker employs the Were it all of this quality, one could omits the repeat and only completes the usual Criitzmachcr edition of the Boc- gladly hail this version as the Missa introductory section of the second move- cherini, hut it is impossible to ascertain Solcnolls we have all been waiting to ment before the record must be turned what version he uses of the Haydn. The hear. over. album notes mention Gevaert, but the ex- Unfortunately, the quality is not at all The measure of a performance lies not tended version of the first movement is even. Recorded in what I should judge to merely in the interpretative point of be the European equivalent of Madison view and the consistency with which it is Continued on page 86

84 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com THE INCOMPARABLE CONDUCTS THE FIRST COMPLETE RECORDINGS BRUNO WALTER OF THE NINE SYMPHONIES OF

BEETHOVEN IN STEREOPHONIC SOUND... An event of unique importance, representing the cumulative experience of Dr. Walter's 66 years of conducting, and one of Columbia's proudest achievements in sound reproduction. Seven 12" (!à) records, handsomely packaged with an elaborate 48 -page booklet, containing analytical notes and thematic index to each symphony, previously unpublished photographs and drawings, reviews and anecdotes by Beethoven's contemporaries and present day critics. Dis 610 $41.98. Also available in regular high fidelity. Die 265 $34.98.

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www.americanradiohistory.com BRAHMS: Overtures: Academic Festival, sic springs into life. Here Giacomo Caris- Op. 80; Tragic, Op. 81. Variations on sinti displays power (Rs in the triple cho- a Theme by Haydn, Op. 56a ruses of The Last Judgment), invention, Amsterdam Concertgebouw Orchestra, and feeling, and makes it quite clear why Eduard van Beinum, cond. he was regarded by his contemporaries EPIC LC 3586. LP. $4.98. as one of their greatest masters. The soloists here do not transcend One of the most notable qualities of the mere acceptability, but the chorus does late Eduard van Beimmn's conducting well on the whole. Latin text and Eng- was the sanity of his interpretations. lish translation are provided ( the text These Brahms performances are more or given for Militia is incomplete). Sonic less typical of his work. This is especially twenty -four measures are cut off from the tote of the Haydn Variations, beautifully end of Judicium extremum, and there is proportioned and set forth. Much the some distortion towards the end of Militia. same characteristics imbue the Academic N.B. Festival Overture, though it is delivered in a more rousing fashion. Only the CHAVEZ: Sinfonía India; Sinfonía de Tragic Overture seems a little too de- Antigona; Sin/onto Romantica liberate, with an over -all tempo just slow enough to cause the music to drag from Stadium Symphony Orchestra of New time to time. As might be expected from York, Carlos Chaívez, cond. the Concertgebouw, the orchestral execu- EVEREST LPRR 6029. LP. $4.98. tion is superb, while the reproduction is EVEREST SDBR 3029. SD. $5.98. The late Eduard van Beinum. clear and well rounded. P.A. For review of titis recording, sec p. 78. closer to the original edition used by BRAHMS: Symphony No. 4, in E minor, Feuermann in his old and still admirable Op. 98 CHOPIN: Ballades: No. 1, in G minor, recording for Columbia. In both con- Op. 23; No. 2, in F, Op. 38; No. 3, in Royal Danish Orchestra, John Frandsen, A flat, Op. 47; No. 4. in F minor, Op. certos Starker has, unquestionably, in- cond. serted some changes of his own, includ- 52; Andante Spianalo and Grande Fonuat F 70002. LP. $1.98. ing all the cadenzas. In any case, he Polonaise brillante, in E fiat, Op. 22 performs both works in masterful fashion, Philhannonia Orchestra, Otto Klemperer, Gary Graffman, piano. while Ciulini and the orchestra support cond. RCA Vicron LM 2304. LP. $4.98. him with precision and finesse. The stereo ANGEL. S 35546. SD. $5.98. RCA Vrcron LSC 2304. SD. $5.98. sound is well dispersed, though the cello tone is not quite as bright as it has been The Fonun recording sounds as if it had Since Mr. Graffman is such a gifted, intel- on some other Starker releases. P.A. been made several years ago. The tonal ligent, and musically conscientious pian- range is quite limited, especially in the ist, it becomes a regrettable task to put highs. The middle register strongly pre- BRAHMS: Concerto for Piano and Or- this recording down as largely a failure. dominates, with a resulting imbalance chestra, No. 2, in 13 fiat, Op. 83 (It does not help to point out that no one that often pushes the middle voices - on LP discs has had equal Success with piano; RCA Victor Artur Rubinstein, particularly the horns -into an unde- all four Ballades.) He is at his best here Symphony Orchestra, Josef Krips, cond. is for served limelight. This a pity, when his outstanding virtuosity is brought RCA Vieron LM 2296. LP. $4.98. Frandsen's interpretation is marked into play, and there arc stunning mo- RCA VICTOR LSC 2296. SD. $5.98. throughout by fine sense of proportion and ments in the second and fourth Ballades. good taste. But the careful phrasing, clean texture, What a satisfactory recording this is! Stereo really fulfills its function by even the proper stressing of inner voices, With his ever - his technical command, adding depth, spaciousness, and perspec- odds with tone, his unforced yet elegant suggest an efficiency at the shining tive to Klempereis noble and eminently it phrasing, Rubinstein reduces this grandi- poetic nature of the music. Because de- alive reading. Moderately distant micro- pends more than the others on a supe- ose, complex to a work of sweet concerto phone placement creates the illusion that rior Ballade reasonableness. There may be nothing technique, the fourth comes the listener is seated halfway back in a off best. The Polonaise gets the finest per- special in this approach -not the demonic large concert hall, yet there is no sacri- formance of all, with a delightfully crisp energy of a Serkin, the febrile intensity fice of instrumental presence. P.A. rhythm and some lovely handling of the of a Horowitz, the massive simplicity of a florid lines above it. The piano tone is a Backhaus; but its serene beauty in sound CARISSI \fI: Oratorios: Judicium ex- pure one, never hard but having a cer- and shape provides I can only re- -and tremum; Suscitacif Dominus; tain coldness. The peat -the most satisfactory of recordings, Militia monophonic release eat vita hominis conveys this sound naturally, brat if not the one with the greatest excite- the version gives it ment or impact. Nino Aclami, tenor; Giuliano Fcrrcin, stereo an unwarranted penetrating quality. The recording surpasses in every way bass; Polyphonic Chorus of Turin; Angeli- R.E. the one previously made by Mr. Rubin- cum Orchestra (Milan), Aladar Janes, stein, with Charles Munch and the Bos- cond. DEBUSSY: Prélude è l'après -midi d'un ton Symphony: the piano and orchestra WESTMINSTER \\VN 18835. LP. $4.98. faune; La bier are heard more distinctly, so that subtle- ¡Ravel: Daphnis et Chloë: Symphonic Only the first of these works ties in both cases are more apparent; the corresponds, Suite No. 2 soloist gives a more rangy, flexible per- in its text, to any commonly accepted formance, more deliberate in the slow description of an oratorio. The others, Philadelphia Orchestra, Eugene Or- passages, more vigorous in the fast; and though they alternate between solos and mandy, cone. Josef Krips has a more vital conception choruses, lack the narrative and dramatic COLUMBIA ML 5397. LP. $4.98. of the orchestral score than did Munch. qualities characteristic of the genre. Mu- COLUMBIA MS 6077. SD. $5.98. Some listeners may find in the new sically, however, all three works are simi- monophonic release too much prominence lar in style. The recitative is like that of The Debussy Prélude and Ravel Suite given to the piano at some slight expense some of the earliest operas: slow- moving are the latest remakes of two longtime to the orchestra when both are going full in hannony and generally rather static. Ormandy favorites (most recently cou- tilt, but this criticism does not hold for Perhaps seventeenth -century players pro- pled in a 1956 LP, ML 5112, with the the stereo version, where every sound is vided more interesting accompaniments Debussy Nocturnes), here played more transcendently clear in Victor's best new than our continuo players can. But in the engineering style. R.E. concerted numbers and choruses the mu- Continued on page 88

86 Hicit FIDELITY MAGAZINE

www.americanradiohistory.com VIENNA PHILHARMONIC The gift -type album includes a 28 -page book, gravure -printed in Italy, contain- FESTIVAL, Herbert von Karajan of famous paintings, -record ing full -color plates conducting. A magnificent four the history of orchestra album specially recorded 70 photographs, commemorative and conductor, and six delightful essays by the celebrated orchestra and conductor by Joseph Wechsberg. to mark their triumphant 1959 world tour. Record I: Mozart Symphony in g, K550; The complete album is $21.98 on regular Haydn Symphony in D, No. 104. LP, $25.98 in Living Stereo. The four rec- Record II: Beethoven Symphony No. 7. ords are also sold individually: $4.98 on Record III: Brahms Symphony No. 1. regular LP, $5.98 in Living Stereo. (Manu-

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www.americanradiohistory.com sumptuously and recorded more thrill- fidelity standards; many of the upper but as the opera progresses there is no- ingly than ever before. La ,fifer, appar- frequencies and all the heavier passages ticeable improvement, and in the end she ently an Ormandy discographie first, also are marred by considerable distortion. won me over. Sargent leads a very buoy- reveals the Philadelphians and the Co- P.A. ant performance, and one played with lumbia engineers at the top of their form; considerable grace by the Pro Arte Or- pure and powerful in monophony, lumi- GILBERT and SULLIVAN: H.M.S. Pina- chestra. And although the wann and bril- nous and overwhelming in stereo. Yet, fore (or The Lass That Loved a Sailor) liantly dispersed stereo sound fails to sug- except perhaps in the sure -fire Daphnis gest much illusion of stage movement, I Morison et Chilë Suite ( which lacks only the Elsie (s), Josephine; Marjorie didn't find that lack much of a drawback. electrifying excitement unique to Kous- Thomas (c), liebe; Monica Sinclair (c), J.F.I. sevitzky), I'm sure that these perform- Little Buttercup; Richard Lewis ( t), Ralph Rackstraw; George Baker (b), The ances can never fully satisfy listeners HAYDN: Concerto for Cello and Orches- Rt. Hon. Sir Joseph Porter, K. C. B.; familiar with more idiomatic Gallic and tra, in D, Op. I0I -See Boccherini: John Cameron (b), Captain Corcoran; authentically impressionistic interpreta- Concerto for Cello and Orchestra, in B Owen ), Dick Deadeye. tions. This species of concert hall realism Bnumigan (bs flat. captures everything except the music's Glyndebourne Festival Chorus, Peter Mer par- Gellhorn, chorus master; Pro Arte Orches- essential magic. and in La in HAYDN: Concerto for Trumpet and ticular Ormandy vehemence rudely rips tra, Sir Malcolm Sargent, cond. Orchestra, in E Rat seamless fabric into jagged tatters. ANGEL 3589 B /L. Two SD. $12.96. the Concerto for Flute and Or- But what glorious sound to intoxicate }Mozart: After two well -sting, but otherwise undis- chestra, No 2, in D, K. 314 those +oho do not insist on stylistic sense tinguished, performances of The Mikado }Schumann: Adagio and Allegro for as well! R.D.D. and The Gondoliers, Angel's resident Gil- Horn, in A flat, Op. 70 (orch. Anser- bert and Sullivan Opera Company now met ) DONIZETTI: Lucia di Lammermoor come up with a zestful and stylish per- Paolo Longinotti, trumpet; André Pepin, Maria Callas (s), Lucia; Margreta Elkins formance of Sullivan's breezy nautical flute; Edmond Leloir, horn; Orchestre de (ms ). Alisa; Ferruccio Tagliavini (t ), opera, H.Al. S. Pinafore. Where the ear- la Suisse Romande, Ernest Ansermet, Edgardo; Lenard del Ferro (t). Arturo; lier recordings tended to sound almost cond. Renzo Casellato (t), Normanno; Piero oratorical, this new venture really begins LoNoox CS 6091. SD. $4.98. Cappuccilli (b), Lord Enrico; Bernard to sound like a D'Oyly Carte perform- Ladysz (bs), Raimondo. Philharmonia ance. Some of the credit, at least, must go The idea of coupling three concertos for Chorus and Orchestra, Tullio Scrafun, to the appearance in this cast of that instruments that are rarely heard in these conci. veteran singer George Baker. Though roles proves to be an attractive one, mak- ANcet. 3601 B /L. Two LP. $10.96. never a member of the D'Oyly Carte ing a delightfully unhackneyed addition ANGEL S 3601 B /L. Two SD. $12.96. Company, Baker is an illustrious Savoy- to the stereo catalogue. ard, at least by association. His very The best -known score of the three is For review of this album, see p. 77. phonogenic voice graced all the early re- probably the Haydn, written for the cordings of the Savoy operas, issued by classical E flat trumpet's home key, and H. M. V., from the 1917 version of The were FRANCK: Symphony in D minor sounding here very such as if it Mikado on. it could well be that he has being played on that instnumcnt rather New York Philharmonic, Leonard Bern- transmitted to the present group some than the familiar B flat trumpet of today. stein, cond. of his own considerable knowledge of The performance is one of burnished COLUMBIA \1L 5391. LP. $4.98. how these operas arc most effectively elegance, providing fine contrast to the COLUMBIA MS 6072. SD. $5.98. performed. Certainly his own perform- distinctive romantic flavor of the lovely - ance here, in the role of Sir Joseph Porter, and too nearly unknown- Schumann, 13crnstein's treatment is not the tradi- is outstanding -full of wry humor, crisp which Ansermet has orchestrated with a tional Franck Symphony reading, but at and biting. with an undercurrent of kind- real flair for the style. The Mozart h up many points his interpretation contributes liness always evident. And for a man of against heavier competition, but this re- to what is a very alive and dramatic ac- seventy -four, it is remarkably well sung. mains an appealing performance. count of this noble work. The Philhar- But the singing throughout this per- The soloists, whom i take to be princi- monic plays here in top form, and Co- pals from the orchestra, and the conduc- lumbia's reproduction, both in mono- tor seem in every case to collaborate on phonic and nicely pinpointed stereo, is the best of terms, and the engineering is bright and clearly defined. P.A. first -class. R.C.M. FRANCK: Variations symphoniques - HAYDN: The Seasons See D'Indy: Symphonic sur un chaut montagnard français, Op. 25. Elsie Morison, soprano; Alexander Young, tenor; Michael Langdon, bass; Beecham GERSHWIN: An American in Paris; Choral Society; Royal Philharmonic Or- cond. Rhapsody in Blue chestra, Sir Thomas Beecham, CAPIroL SCCR 7184. Thrcc SD. Joyce Hato, piano (in the Rhapsody); $17.94. Hamburg Pro Musica, George Byrd, conci. For review of this album, sec p. 79. FonUxt F 70008. LP. $1.98. Symphonie sur eue chant mon- The young American conductor George D'INDY: tagnard français, Op. 25 Byrd has some very musicianly ideas Sargent conducta a buoyant Pinafore. about An American in Paris, which he }Franck: Variations symphoniques puts across rather convincingly. There fonnance is pure joy, so much so that it Robert Casadesus, piano; Philadelphia may he a few retards and alterations of seems imvitlious to single out any par- Orchestra, Eugene Ormandy, comet. phrases here and there, but the essential ticular member of the cast. yet flu Ralph COLUMBIA ML 5388. LP. $4.98. Americanism of the score remains intact. Rackstraw of Richard Lewis and the COLUMBIA MS 6070. SD. $5.98. The saine applies to Byrd's joint efforts Josephine of Elsie Morison are both so with Joyce Hatto in the Rhapsody in good that they deserve special com- Preeminent in the interpretation of this Blue, though this work could profit by a mendation. Monica Sinclair's voice literature, Robert Casadesus does not dis- little more jazzlike freedom. Forum's sounds a trifle young and light for Little appoint here. Between his limpid, aristo- surfaces are beautifully silent, but its Buttercup, and I confess I found her reproduction is not up to present high- "I'm Called Little Buttercup" rather dull; Continued on page 91

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www.americanradiohistory.com cratic fingerwork and the gorgeous sound leash his swiftly flying fingers in glittering citai in Sofia, Bulgaria, on February of the Philadelphia Orchestra, both passagework. The contribution of Or- 25, 1958, and it has the expected virtues works arc as well performed as they are inanely and his Philadelphians is so good and faults. The farmer include the likely to he on records. With a style char- as almost to dominate the proceedings; i unique tension in a public performance acterized by a certain detachment, this do not know any other orchestral accom- where an artist of this stature is con- pianist also invests his playing with a paniments in these concertos that have cerned; the faults comprise the uneven vigor and momentum that keeps the mu- so much verve and flair, and the engi- balance of tone, considerable audience sic from lapsing into cloying sentiment. neering is faultless, in respective ways, in coughing and rustling, a piano tone that The D'Indy symphony is particularly re- both versions. Taking everything into grows tinny when it gets loud, and some warding for two reasons: the piano is consideration, this is the best available surface noise. But the Soviet artist's play- properly placed among the orchestral pressing of this concerto coupling. R.E. ing can always be heard clearly, and that forces, not obtruding like a solo instru- is all that matters. R.E. ment but precisely blended in the tonal LISZT: Etudes déxécution transcen- fabric as a supplemental color: and Or- danse: No. S, Feux follets; No. 11, malady is at his best in giving a highly Harmonies du Soir. Valses oubliées: MASSENET: Moron (excerpts) nuanced. glowingly colored reading of No. 1, in F sharp; No. 2, in A flat Je suis encore tout étourdie; Vouons, the score. Both monophonic and stereo {Schubert: Moments musicaux, Op. 94: Ittanan, plus de chimères; Duo de la releases are praiseworthy, but the con- No. 1, in C. impromptus, Op. 90: No. lettre; Adieu, noire petite table; Le reee: in No. in cert -hall, three -dimensional sound Co- 2, E flat; 4, A flat Suis -le gentille ainsi ?; Obéissons quand lumbia now gives its stereo discs makes Sviatoslav Richter, piano. leur cois appelle; Duo de Saint- Sulpice; the latter version outstanding. R.E. COLUMBIA NIL 5396. LP. $4.98. A nous les amours et les roses. The stylistic gap between Schubert and Ninon Vallin, soprano; Miguel Villabella, LASSUS: Sacred and Secular Works Liszt is wide, so that it is astonishing tenor; Orchestra. Dessoff Choirs, Paul Boepple, cond. when a pianist plays both as well as PArt+e PCX 5002. LP. $5.95. FANTASY 5006. LP. $4.98. Richter does here. There are superior Those who do not care to buy the only FANTAss. 8015. SD. $5.98. Schubert interpreters, it is true, but none plays Liszt this well. complete Marton now on the market Mr. Boepple has brought together here a The hauntingly beautiful tone, the ( with Monteux and De los Angeles), or magnificent program, which shows Las- singing melodies, the chords melting al- who wish to supplement that version sos' mastery in various styles of Renais- most imperceptibly into each other, the with sane characteristic excerpts, will do sance composition -the Latin motet, uninterrupted single rise and fall of well to investigate this collection, ren- the German Lied, sacred and secular, the sound that characterize Harmonies du dered by an exemplary Mallon and a French chanson, and the Italian madri- Soir make this a truly memorable per- worthy Des Grieux. Vallin has a few bad gal. Here are the powerful Timor et formance. Feux follets is a miracle of moments (in coloratura and staccato tremor and the grand De pro /midis-the gossamer tracery and deftness, so con- work ), but by and large she sings with sixth of the seven great Penitential trolled that the pace can be slackened appealing tone and unusual comprehen- Psalms; here the lovely Bon jour mon effortlessly for a tiny rubato. The two sion of the character; "Voyons, itlanon" and "Adieu, notre petite coeur, due exquisite La Nuit froide et Valses oubliées, among Liszt's most at- table" are particularly outstanding. Miguel sombre, with its sad first strophe and live- Villabetla's contributions are excellent, and it's ton ly second. But there is no space to item- bad that "Fuyez, douce image" and the ize; each of the sixteen pieces on the disc displays in worthy fashion some aspect of final duet could not have been included. Lassos' protean genius. The orchestral sound is faded, and there The Dessolf Choirs seem rather large are one or two frightful, if momentary. for this type of music, and the sound - slips in speed in the transfers. C.L.O. particularly of the sopranos -is not as round or as warm as in some other cho- MOZART: Concerto for Flute and Or- rses, but the balances are gond and the chestra, No. 2, in D, K. 314 -See singers' enthusiasm infectious. Sung by Haydn: Concerto for Trumpet and many voices, the secular pieces lose their Orchestra, in E flat. intimacy and become rather impersonal. This danger was foreseen by ulr. Boep- MUSSORGSKY: Pictures from rra Exhibi- pie, who writes disarmingly that he could tion not resist including such pieces "because {Rimsky- Korsakov: Capriccio espagnol, we felt we could communicate our strong Op. 34 feeling for their beauty to our audience." On the first side of the stereo version New York Philhannonic, Leonard Bern- stein, cond. there is some distortion; it is not present Cot.vunrA ML 5401. LP. $4.98. on the other side or in any part of the e COLUMBIA MS 6080. SD. monophonic recording. N.B. $5.98. While Bernstein misses no opportunities LECOCQ: La Fille de Mme. Angot (arr. to make the Mussorgsky -Ravel Pictures Jacot) -See Walton: Façade: Orches- as vivid as possible, his reading is most tra] Suites. Richter: "None plays Liszt this well." notable for the cohesion he gives to a nanny- segmented work and the supple tractive works, arc played with great re- he brings LISZT: Concertos for Piano beauty to the phrasing, particu- and Orches- finement, emphasizing most discerningly larly where the melodies are extended. tra: No. 1, in E flat; No. 2, in A the nostalgic element. He cannot be outdone here, but where Philippe Entremont, piano; Philadelphia In playing Schubert, Richter avoids the Capriccio estwgnol is concerned, he Orchestra, Eugene Omnandy, cond. subtleties and depth probings; he states has a master in Kuril Kondrashin, whose COLUMBIA ML 5389. LP. $4.98. the music plainly, with simplicity and recent recording for Victor has more COLUMBIA MS 6071. SD. $5.08. again with delicacy and refinement. For flamboyance without losing shape. the :tfornenl musical and the Impromptu Columbia's stereo sound for both Mr. Entremont has a brilliant, lithe style No. 4 he works precisely within a small works is not as hair -raisingly larger than that gives a lot of dash and sparkle to dynamic range. Only in the Impromptu life as Victor's is for the Reiner version these two war horses. Not that he cannot No. 2 does he let loose on a scale too of Pictures and for the above -mentioned turn a pretty melody with loving care, big for the music. Kondrashin recording, but it is still su- but he seems happiest when he can un- This recording was made during a re- perbly clear and considerably more nat-

NOVEMBER 1959 91

www.americanradiohistory.com ura1. The orchestra seems more of a to- No. 2, in E flat; No. 4, in A fiat -See young Frenchman. Though this may be tality, as it is in a concert hall, with the Liszt: Etudes d'éxécution transcen his Sibelius debut on discs, he must sure- instrumental sounds decently spaced dante. ly have presented some Sibelius music rather than strikingly separated. Still, in the concert hail. His account of this when Mr. Bernstein got to the Great SCHUBERT: Symphony No. 8, in B dramatic and often majestic score is Gate of Kiev it would have been nice if minor ("Unfinished")-See Beetho- meaty and most satisfying. If you like Columbia had let go with the decibels ven: Symphony No. 8, in F, Op. 93. your Sibelius broad and spacious, warn for a more rousing climax, after the Vic- and songful, Monteux is your man. He tor fashion. Columbia's excellent mono- has the London Symphony performing SCHUBERT: Symphony Nu. 9, in C phonic disc unfortunately sounds tame at its very best, too. Furthermore, the after the stereo version. R.E. Boston Symphony Orchestra, Charles engineers have turned in a top -flight job Munch, cond. in both versions; in stereo, the repro- RACHMANINOFF: Concerto for Piano RCA Vieron LM 2344. LP. $4.98. duction has depth, direction, and trans- RCA Vieron LSC 2344. SD. $5.98. and Orchestra, No. 2, in C minor, Op. parency. P.A. 18 There are times, particularly in the open- fTchaikovsky: Concerto for Piano and ing and closing movements of this sym- TCHAIKOVSKY: Concerto for Piano and Orchestra, No. in B flat minor, Op. I, phony, when Munch treats Schubert Orchestra, No. 1, in B flat minor, Op. 23 with the fire and brimstone that should 23 Felicja Blumental, piano; Orchestra of be reserved for Tchaikovsky, and his Eugene Istomin, piano; Philadelphia Or- the bhusikgescllschaft of Vienna, Michael reading in general is almost completely chestra, Eugene Ormandy, cond. Cielen, cond. devoid of lyricism. Still and all, this COLUMBIA ML 5399. LP. $4.98. Vox PL 11500. LP. $1.98. music does call for a certain amount of COLUMBIA MS 6079. SD. $5.98. Vox STPL 511500. Two SD. forcefulness in its presentation, and the $2.98 each. Bostonians play with lots of bite and Temperamentally, Istomin is not the spirit. All this has been stunningly repro- ideal interpreter for this concerto, but Felicja Blumental here gives a pas- duced in truly top-quality monophonic he is such a fine pianist that it is fasci- sionate headlong performance that is not and stereo versions, the latter being nating to see what he does with it. In unattractive, but the playing otherwise among the most realistic orchestral re- the first movement his big, solid tone, is no more than competent. In the mono- cordings to conic from RCA Victor thus his deliberate, thoughtful manner, and phonic edition, the piano has a highly far. P.A. the placement of the piano well to the resonant sound characteristic of Vox, but fore in this recording create a massive the orchestra sounds beautifully trans- SCHUMANN: Adagio and Allegro for effect. The slow movement begins parent and homogenous. Over an hour's Horn, in A flat, Op. 70 (orch. Anser- neither andantino nor semplice, as playing time is available on this disc at met) -Sec Haydn: Concerto for Trum- marked, but for most of the way the ex- an extremely low price. A casual lis- pet and Orchestra, in E fiat. actitude. of Istomin's treatment of the tener could do a lot worse for more double notes, the staccatos, the off -beat money. chords is refreshing. So is the unforced SCHUMANN: Carnaval, Op. 9; Con- In the stereo version, which gives an swiftness of the scherzo section, with a for Piano and in A entire disc to each concerto, the piano certo Orchestra, delicious waltz rhythm in the middle. Op. 54 sound conies from the far right at con- minor, Musical precision is also the hallmark of cert stage distance. The orchestra is Sergio Fiorentino, piano; Hamburg Pro the last movement, where so many pian- spaced out to the extreme and seemingly Musica, Erich Riede, cond. (in the Con- ists scramble notes for the sake of speed at a lesser distance from the auditor, so certo). and effect. Brio, momentum, and dynam- that one is startled by woodwinds bark- Fonu.t F 70007. LP. $1.98. ic contrast in greater quantities arc needing right beside one while the piano ed to make this performance equal to the echoes resoundingly far off. If the or- Sergio Fiorentino is a highly interesting best, but a reading of this integrity is chestral sound ever jelled, the stereo ef- newcomer to American records, who welcome among the surfeit of super- fect would be remarkable -but it never would make more of an impression if ficial ones. Conductor, orchestra, and does. R.E. he were not represented by two works engineers cannot be faulted in any way already recorded many times -and more for their part in the production. R.E. RAVEL: Daphnis et Chloë: Symphonic beautifully. His tone is a little liard, his Suite No. 2 Debussy: style occasionally brittle, but he has his -See Prélude ò TCHAIKOVSICY: Concerto for Piano and l'nprès -midi La Mer. occur intelligent ideas about using rhythm, d'un faune; Orchestra, No. 1, in B flat minor, Op. accent, a d phrasing to point np the mu- Concerto for sical characterizations in the Carnaval. 23 -See Rachmaninoff: RIMSKY- KORSAKOV: Capriccio espagn- Orchestra, No. 2, in C His playing is less individual in the Con- Piano and ol, Op. 34 -See Mussorgsky: Pictures minor, Op. 18. from an Exhibition. certo, hut it still maintains a personal sensitivity, and the tone, cushioned by the sounds more mellow. The SCHUBERT: Moments musicaux, Op. orchestra, TELEMANN: Concertos: for Four Vio- orchestra, able enough, sometimes makes 94: No. 1, in C. Impromptus, Op. 90: lins, in D; for Flute, Oboe d'Amore, inelegant sounds and the instruments arc Viola d'Aurore, and Strings, in E; for not in tune all of the time. The engi- Three Oboes, Three Violins, and Con- neering is satisfactory. R.E. tinuo, in B flat; for Recorder, Flute, and Strings, in E minor Soloists; Kammernn:sikkreis Emil Seiler. SIBELIUS: Symphony No. 2, in D, Op. Anc:tttvE ARC 3109. LP. $5.98. 43 TELEMANN: Concertos: for Trumpet London Symphony Orchestra, Pierre and Strings, in D; for Trumpet, Tiro Monteux, cond. Oboes, and Continuo, in D. Quartets: RCA Vieron LM 2342. LP. $4.98. for Flute, Oboe, Violin, and Continuo, RCA Vieron LSC 2.342. SD. $5.98. in G; for Recorder, Oboe, Violin, and Continuo, in G As far as I can ascertain, this is the very first Sibelius recording ever made by Adolf Sclicrbaum, trumpet; Heinz Nord - Pierre Monteux, Eighty -four may be a hnuch, Heinz Schwesiuger, oboes; Bach - trifle late in life for most conductors to Orchester Hamburg, Robert Stehli, cond. attack the Finnish master's music for Monteux makes Sibelius debut on discs. the first time, but not for the perennially Continued on page 94

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NOVr'.mTarn 1959 93

www.americanradiohistory.com VIOLIN . treble Instrument of viol dais. Fundamental in s Iroquoncy, 200 to 9,000 cps, Overland. e,lend to 16,000 apt. (in the concertos). Camerata Instrumen- as common a type nf writing Vivaldï tale Hamburg (in the quartets). works as might be supposed. This and the ARCHIVE ARC 3119. LP. $5.98. other concertos are all performed with the \fusici's customary vivacity, and the Georg Philipp Telemann, who was boni sound is first -rate. Also customary with four years before Bach and outlived him this group is the timidity of the harpsi- by seventeen, turned out a vast amount chord, which often cannot be beard at of music, including, it is said, some three all here. N.B. thousand cantatas. Only a tiny proportion of it ever achieved publication, 'hut the list of Telemann works on records is WAGNER: Parsifal: Good. Friday Spell; growing nicely. The eight compositions Symphonic Synthesis of Act III (arr. in the present group reveal some charac- Stokowski) teristic traits lightness of touch that -a Houston Symphony Orchestra, Leopold with the more progressive aligns hint Stokowski, cond. .pints of his time, a delight in all sorts EVEREST LPBR 6031. LP. $4.98. of instrumental combinations, a mastery EvenEsr SDBR 3031. SD. $5.98. of counterpoint when he feels like featuring that technique, and a fondness for In his sensuous enfolding of the music the rhythms and accents of peasant from this "consecrational festival stage Glances. draina," as Wagner called it, Stokowski The E minor Concerto is an especially leans toward the profane rather than the work, undercur- attractive with a deeper sacred. .As he revels in the sounds, he rent nf keeling than the others. Its open- often draws out phrases to inordinate ing Largo has some hrnmunic progres- lengths; but if your taste is for warm, sions of an almost Bachian intensity; it is sonorous Wagner, these rich -toned per- followed by a gay Allegro of transparent formances may please you, The only coritrapuntal texture. another Largo, thing unlikely to please is the sound of which begins like Handers "Where er the electronic chimes; their artificiality you walk" and continues in that lyric spoils the entire grand effect in the trans- vein, and a final Presto whose drone -baste formation music of the synthesis (in his Most passages evoke a country festival. earlier recording, macle many years ago of the other works have their special for RCA Victor, Stokowskd used standard points of interest, like the highly spiced tubular chimes). This synthesis, by the rhythms in finale of Polish dance the the way, is compounded of important pas- writ- E major Concerto, or the. brilliant sages from the. end of the first scene of ing, especially for the oboe, in the Flute l Act III, the transformation music to the HOW often have you wanted to study Quartet; only the trumpet concertos second scene, and excerpts from the final and fully enjoy the realism of a seem routine. Performance and recording moments of the music-drama. favorite violin passage and found it are first -class. N.B. Aside: from a small amount of distor- dulled by recording technique, a worn rection in heavy climaxes, the monophonic ord, room acoustics or perhaps, the charac- VERDI: Macbeth recording is very good; but stereo is bet- teristics of your own equipment? In such ter able to transmit the big sonorities instances, what a blessing a Blonder -Tongue Leonie Rysanek (s), Lady Macbeth; called for by the conductor. The advan- Audio Baton, for, just by a turn of a few Emilia Cundan (s), A Bloody Child; tages of the two-channel medium are selected knobs you control the fundamentals Mildred Allen (s), A Crowned Child; emphasized at the very outset of the and overtones of the violin, and the instru- Carlotta Ordassy (s), Lady- in- Attend- synthesis by the entrance of the brasses, ment suddenly emerges in all its original ance; Carlo Bergonzi ( t), Macduif; \Vil- which seem to emanate from the rear of beauty. Iimn Olvis (t), Malcolm; Leonard War- the stage. And if Stokowski had only The Audio Baton does this by dividing ren (b), Macbeth; Calvin Marsh (b), A used real chimes, they, 'too, could have the audible spectrum into 9 separately con- Warrior; Osie Hawkins (b), A Murderer; provided some big sonic moments. P.A. trollable octaves. Each octave can be inde. Jerome Hines (bs), Banqua; Gerhard pendently boosted or attenuated as much es Pechnet (bs). A Physician; Harold Stern- 14 db. By boosting the overtone frequencies berg (bs), A Manservant. Metropolitan WALTON: Façade: Orchestral Suites of a specific instrument you can enhance its Chorus and Orchestra, Erich LeinsdorF, fLecocq: La Fille de Mine. /ingot (arr. character and timbre. By boosting its funda- cond. Jacob) mentals as well, you can bring the instru- RCA VICTOR LSC 6147. Three Royal Opera House Orchestra, Covent forward in relation to the rest of the ment SD. $17.94. Anatole Fistoulari, cond. orchestra or ensemble. To make even the Garden, RCA LM 2285. LP. finest high system sound better add Vrcron $4.9S. fidelity For review of this album, see p. 31. SD. an Audio Baton. In modern enclosure RCA Vieron LSC 2285. $5.98. $119.95 at high fidelity dealers, or write for VIVALDI: Concertos In its original version. a set of poems by details: Blonder -Tongue Laboratories, Inc., Edith Sitwell recited to the accompani- 2, New Jersey. Concertos: Strings 9 Ailing Street, Newark in G, for and Con- ment of music for a handful of instru- Dept. HF -11 P. 143z-in B flat, Violin, tinuo, for Geller, ments, Façade is a major achievement Strings, and Continuo, P. 388; in C minor and one of the key works in modem for Strings and Continuo, P. 427; in C British music. (London and Columbia minor, for Cello, Strings, and Continuo, both have editions in the catalogue.) P. 434; in A Violins, minor, for Two Walton later macle a transcription of Strings, and Continuo, Op. 3, No. 8. sonne of the Façade pieces for symphony I Musici. orchestra; that version, also available in Eric LC 3565. LP. $4.98. several recordings, is amusing but far less fingertip control of the good. Finally, Frederick Ashton se- The only work new to microgroove on lected sonne of the pieces, in their sym- full orchestral range... this disc is P. 427. It is a fine orchestral phonic dress, to provide the score for u concerto: the first movement has a sing- ballet. It is this which is recorded here. octave by octave...new ing pathos and a delicate ending; the There are ten pieces all told, arranged in Largo is based on the same thematic Blonder-Tongue audio baton material; and the finale is a fugue, not Continued on page 96

94 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com THE ONLY MAJOR VIOLINIST ENTIRELY TRAINED IN THIS COUNTRY, ISAAC STERN HAS FEW PEERS AMONG MUSIC MAKERS, VIOLINISTS OR OTHER- WISE. HE HAS BEEN APPLAUDED ON FIVE CONTINENTS FOR HIS BIG SUMPTUOUS TONE, HIS FIERY TECHNIQUE, HIS COMPLETE GRASP OF THE EN- TIRE VIOLIN REPERTOIRE - BAROQUE, CLASSICAL, ROMANTIC AND MODERN. HE HAS CHOSEN TO RECORD HIS ART EXCLUSIVELY FOR COLUMBIA RECORDS. A SELECTED ISAAC STERN DISCOGRAPHY TCHAIKOVSKY: Concerto in D Major for Violin MOZART: Concerto No. 3 in G Major for Violin and Dimitri Mitropoulos and Leonard Bernstein, con. and Orchestra, Op. 35 MENDELSSOHN: Con- Orchestra, K. 216 HAYDN: Concerto No. 1 in C ductors. ML 5243 certo in E Minor for Violin and Orchestra, Op. 64- Major for Violin and String Orchestra -with the Co- SAENS: Introduction and Rondo Capric- with the Philadelphia Orchestra, Eugene Ormandy, lumbia Siring Orchestra, Alexander Zakin, cembalisl. SAINT- conductor. ML 5397 MS 6062' ML 5248 cioso RAVEL: Tzigane WIENIAWSKI, Con BARTOK, Concerto for Violin -with Leonard Bern. certo No. 2 in D Minor for Violin and Orchestra - stein conducting the New York Philharmonic. PROKOFIEV Violin Concertos Nos. 1 in O Major with the Philadelphia Orchestra, Eugene Ormandy, M L 5283 MS 6002' and 2 in G Minor -with the New York Philharmonic, conductor. ML 5208 'Stereo COLUMBIA MASTERWORKS Ma,terwwh," Muu, Rat. A division of Columbia Broadcasting intern, Inc ,t.lonbii Q(1 (

NOVEMBER 1959 95

www.americanradiohistory.com sequence for balletic purposes-which is not necessarily the best for musical purposes, and they are played as ballet music, which is to say with swoopier up- beats and heavier downbeats than are absolutely necessary. The recording is nice and the whole thing passes, but is not very important. Alaanzelle Angot, the ballet suite arranged by Gordon Jacob from the score of Charles Lecocq's comic opera, is a masterly example of nineteenth- century French light music- fluffy, chic, bane- ful. cynical, bright, ending with a ver- tiginous cancan. Its performance and recording here are as perfect as the delicious score itself. A.F.

RECITALS AND MISCELLANY

AMBROSIAN CHANTS Choir of the Polifonica Ambrosiana, Mons. Giuseppe Biella, cond. Vox DL 343. Three LP. $25. In the early centuries of Western Chris- tendom local churches often established their own rites, including collections of liturgical music. Of these only the Am- brosian music nF the Church of Milan THE its own against the Gregorian ART has held music that Rome decreed should be uni- TCHAfKOVSBMinor GRAF versally used. Fragments of other collec- uE CE of the SYMPhonY MOORE tions exist, while the known music ppïHE'TtQ indicates a third PhilharmoCRÓCh. Atozarabic rites in Spain Oslo dialect" together with those of OHDUOTOR "musical Dd Rome and Milan. By its name, Ambrosian music honors the great Church Father who was Bishop Giorgi Gerswln of Milan from 374 till bis death in 397. Yes,- S Among other things, St. Ambrose intro- ',teen crSS Western 9 A duced into liturgical music of the Church the use of hymnody and antiph- These it . .? onal psahnody in public worship. luxurious M_ involve extended singing by the congre- s gation, and, so it is said, the momentous additions innovations came as a result of his seek- ing ways to interest attendant crowds when he was in a state of siege in a to your basilica in 386. Ambrosien and Gregorian styles inter- acted, apparently, in succeeding centu- record ries, and they are basically similar. Cer- -i tainly, the nonspecialist will find little AT RCA CAMDEN'S LOW, LOW PRICES that is unique in listening to the records. rary... Students of plain song, however, will find REGULAR L. P., ONLY 81.98 EACH... LIVING STEREO, 82,98 EACH fascinating the freer Ambrosian use of modes, cadences, ulclismas, intervallic PORGY AND HESS Songs from Gershwin's celebrated folk opera, featuring two - leaps. This freedom has given Ambrosian outstanding soloists, Lawrence Tibbett and Helen Jepson. CAL500 chant a louver status than the more stylis- ARTIE SHAW SWINGS SHOW TUNES - Zigeuner, Bill, Can't Help Lovin' Dat Man, tically contained Gregorian music, in the They Didn't Believe NIe, Yesterdays and other show stoppers. CAL-515 view of many musicians. In any case, there THE ART OF GRACE MOORE - Favorite operatic arias, concert pieces and show songs, Ore many brief touches that stand out ha performed by the late beloved American soprano. CAL-519 the excerpts on these records -the curving descent of an Amen, the "gentle" prepara- TCHAIKOVSKY: SYMPHONY NO. s ( "Pathétique ") - Superb performance of a Russian is masterpiece of tragic beauty. Brilliant sound! Also in Living Stereo. CAL /CAS -503 tion of a chant ending as the final note approached deviously in a winding EZIO SINGS SONGS One of the trltly accomplished bassos, in concert PINZA ITALIAN - phrase, the Oriental effect- eloquent and selections from his homeland. Music of Scarlatti, Monteverdi, others. CAL -s39 mesmeric-of elaborately filigreed Alle- SELECTIONS FROM "GYPSY" & "FLOWER DRUM SONG " -Florence Henderson,brightnew luias. Broadway talent, in songs from two big musicals. Also in Living Stereo. CAL /CAS -Sao l'he sampling of the chants in this set is comprehensive, the performance by a RCA1 %MDEN choir of men and women wholly satis- -Optional With Dealer_ hfanulanruer's Nationally Advertised Prices Shown Continued on page 98

96 )-IIGH FTDf1.ITY 1\'IACAZTN7;

www.americanradiohistory.com MISCHA ELMAN with Vienna State Opera arch., Golschmanri cond. KHACHATURIAN: VIOLIN CONCERTO. SAINTSAENS: INTRODUCTION ANO RONDO CAPRIC- CIOSO. VRS -1049 (Stereolab VSD -2031) MENDELSSOHN: VIOLIN CONCERTO. LALO: SYMPHONIE ESPAGNOLE, VRS -1050 (Stereolab VSD -2047) MOGENS WOLDIKE conducting. BACH: THE ST. MATTHEW PASSION - Stich -Randall, Rossl- Majdan, Braun, Kmentt, Berry, Ebrelius, Choirs, Orchestra, 4d2" boxes), with illustrated booklet. A Bach Guild Anniversary Special. BC-594/7 $11.90 (Stereolab BGS- 5022/5 $17.65) I SOLISTI Di ZAGREB Antonio Janigro, conductor, AN lath CENTURY CHRISTMAS (Works of Corelli, Torelli, Bach and Haydn's Toy Symphony). BC -569 (Stereolab BGS -5006) VIVALDI; THE FOUR SEASONS. BG -564 ( Stereolab BGS500I) VLADIMIR GOLSCHMANN conducting the Vienna State Opera Orch. TCHAIKOVSKY; SYMPHONY NO. fi, "PATHETIOUE," Vanguard Demonstration Special. SRV -112 51.98 (Stereolab SRV -112 SO $2.98) ALFRED DELLER and The Deller Consort. THE HOLLY ANO THE IVY (English Carols), VRS - 499. PURCELL: WELCOME TO ALL THE PLEASURES. BLOW: ODE DN THE DEATH OF HENRY PURCELL. BC -590 (Stereolab BGS -5015) MONTEVERDI: MADRIGAL! AMOROSI. BG -579 (Stereolab BGS -5007) "One of the mort important recording' of the year ... a recording so gladden the bear:, the soul, the spirit, and the mind, es well as the ear." A nncricvn Record Guide ODETTA MY EYES HAVE SEEN. VRS -9059 (Stereotab VSD-2046) "One of America'' mort exciting young folk lingers." Serurday Review "Werra is e noble ',tut." N. Y. Herald- Tribune PAUL ROBESON HONOR ROBESON. VRS -9037 (Stereolab VSO-2015) ROBESON AT CARNEGIE HALL. VAS-9051 (Stereolab VSD -2035)

"One of the supreme, communicative or-fins of our rime. . . . A THY great recording. " Afusirai America NEIGHBOR THE WEAVERS If the sound of your hi -fi or stereo rig infiltrates AT CARNEGIE HALL. VRS -9010 AT HOME. VRS -9024 (Stereotab VSD -2030) ON TOUR. VRS -9013 TRAVELING ON, VAS -9043 ( Stereolab VSO-2022) his (or her) apartment, make certain it's from "A key forte in transforming folk music from a coterie cult Jo

popular parrirne . . grateful discovery at rbe riches of world folk a Vanguard record. If a gift is in prospect, "do unto mime." New York Times others," give the finest in recordings for the ERICH KUNZ GERMAN UNIVERSITY SONGS. Four volumes of enchanting student and connoisseur the record industry can offer, a folk songs, with chorus and orchestra. Vol. I: VRS -477. Vol. II: VRS - 1010 (Stereolah VSD -2009) Vol. III: VRS -1035 (Stereolab VSD-2020) Vanguard or Bach Guild disc. Featured are artists Vol. IV: VRS -1045 (Stereolab VSD -2040)

"An unqualified triumph of she recording arc . . . Kunz is in who, whether celebrities to the multitude or superb form." Higb Fidelity Magazine specialists for the cognoscenti, are chosen masters CAROL CHANNING Recorded on location. VRS -9056 (Stereolab VSD -2041) of their select repertory. For the music lover "The fastest, funniest fifty -ive minuter in 'how business." Variety interested in the Elizabethan or the space ship age, CHARLTON HESTON Reads the Holy Bible. FROM THE FIVE BOOKS OF MOSES. Vol. 1. In The the enchantment of the past or the lusty voice Beginnig. Vol. 2. Out of Egypt (with the Robert Gorman Chorale), 2-12" VRS- 9060/1 (Stereolab VSD -2049/50) Also available singly. of the present, the fascinating discovery or the fresh SIOBHAN McKENNA view of the familiar, Vanguard -Bach Guild finds (with All -Star Cast). DICKENS: A CHRISTMAS CAROL. VRS -9040 the right artist to bring his favorite music to life. Prices(eccept special priced items above) Monaural $4.98, Stereolab $5.95 And each disc, from the first to the last production step, is a labor of love. VANGUARDrecordings for the connoisseur Send for Catalogue to: Vanguard Recording Society, Inc., 154 West 14 Street, New York 11, N. Y.

1\roVE\IBF_Tt 1959 97

www.americanradiohistory.com factory, barring an occasional engagingly human variation in attack. The style is more straightforward, less subtle and ex- LONDON IS PROUD quisite, than that of the famous Solesmes Abbey monks in their recording of Grego- to present a great.recording by rian chant. This first recording of Ambrosian chants has been issued by Vox with appropriate splendor in a limited HERBERT VON KARAJAN edition of five hundred. The three discs come in a beautiful white album accompanied by a lengthy booklet prepared by Monsig. Ernesto Moneta Caglio. Included in it are a description of the chants' origins and an analysis of each excerpt - both sections given in English, French, THE VIENNA PHILHARMONIC and Italian; the Latin texts; and some reproduction in color and black and white of the illuminated manuscripts of the mu- ORCHESTRA sic. Published in Italy, the English text has some oddities, and the references to excerpts by disc and band number are confusing and at least on one occasion, STRAUSS wrong. But these arc minor matters in an unusually handsome presentation. R.E. Also Sprach Zarasthustra ALCEO GALLIERA: "Italian Opera In- Stereo: CS 6129 Mono: LL 3130 termezzos" Catalani: Loreley: Danza delle ondine; La Wally: Preludes, Acts III Z IV. Zandonai: Giulietta e Romeo: Interrate: zo. Wolf -Ferrari: 1 Gioielli della Madon- na: Serenata. Pick -Mangiagalli: Not- turno Romantico: Waltz. \Iascagni: Guglielmo Ratcliff: Sogno; Le Maschere: Overture. Philham3onic Orchestra, Alveo Calliera, conci. ANGEL S 35483. SD. $5.98.

The Catalani compositions are of the most interest here, especially the selections from La Wally -both arc hauntingly sad, and the second surges to a fine climax. Catalani, spurned by his con- 4001 temporaries and all but ignored by pos- terity, probably deserves a lengthier hearing. The familiar Giaietr delta Ma- donna intermezzo is always enjoyable, and Pick- Mangiagalli's waltz is exhilarat- ing. ?Iascagni's contributions are inoffen- sive but undistinguished, and Zandonai's Other fabulous recordings by this great orchestra piece is an exercise in sustained pounding -long, loud, and futile, but will be BOSKOVSKY KRIPS cherished by anyone who regards his VIENNESE BONBONS THE BLUE DANUBE stereo system as an instrument of retalia- Sloes C56004 thole:13026 memo: C56007 Move: LL3023 tion. VIENNA CARNIVAL Haydn: SYMPHONIES 94 and 99 Everything is played in fittingly Stereo: C16149 Stereo: C56027 Mona. LL1009 splashy fashion by the Philharmonia un- DON GIOVANNI (Complete Operar KNAPPERTSBUSCH stereo:0511401 Mano: 41406 der Gailiera, and the orchestra's plush is well served by rich, well -bal- THIS IS VIENNA Brahms: SYMPHONY No. 1 sound Stereo: C56014 Mono: 113011 Stereo: C06110 Mono: ít1606 anced stereo. The review copy had a Brahms: HAYON VARIATIONS, etc. slight surface hiss, disturbing only in Stereo: CS6030 Mono 111752 KLEIBER very subdued moments, of which there Wagner: DIE WALKURE (Act II MARRIAGE OF FIGARO are precious few. C.L.O. Stereo: 0600204 Mono: A4219 Stereo; OSA 1402 Mono: A4401

SOLTI JAIME LAREDO: Recital LONDON LEADS THE WORLD Wagner: DIE WALKÜRE (Act III) Vivaldi: Sonata for Violin and Piano, No. Stereo: 056120) Mono: 144225 2, in A, Op. 2, No. 2. Falla: Suite Popu- OAS RHEINGOLD (Complete) Stereo:OS61309 Mono: 64310 laire Espagnole: Nana; Jnta. Paradies- Dushkin: Sicilienne. Wieniawski: Scher- MUNCHINGER zo-Termite/le, Op. 16. Bach- \Vilhelmj: BEETHOVEN OVERTURES Air for the G String. Paganini: Caprice Stereo: CSOOSS ffss for Unaccompanied Violin, No. 13, in Haydn: SYMPHONIES ffrri 96 and 104 B flat. Debussy: La fille aux chcceux de Stereo: CS6003 Mono: w750 Write for free catolp0. Cao:. Tr, 539 W. 151h Sr.. N. Y. I Continued on page .100

98 HIGH FIDELITY MAGAZINE

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R C A T U B E S F O R H I - F I A L S O A V A I L A B L E AT Y O U R R C A T U B E D I S T R I B U T O R www.americanradiohistory.com lin. Sarasate- Zimbalist: Carmen Fan - haps all his admirable qualities are Steinberg, cond. (in the Tchaikovsky taisie. summed up in the dazzling but always concerto). musicianly performance of the Carmen CAPITOL PBR 8502. Two LP. $9.98. Vladimir Sokoloff, Jaime Laredo, violin; Fantaisie. Vladimir Sokoloff provides CAPITOL SPBR 8502. Two SD. piano. steady, tasteful accompaniments, and the $11.98. RCA VICTOR LM 2373. LP. $4.98. recording is clear and well balanced. RCA Vicron LSC 2373. SD. $5.98. For review of this album, see page 80. There is, however, no reason for issuing At eighteen, Jaime Laredo is the youngest a stereo edition of music for violin and artist ever to win the Queen Elisabeth of piano only. The difference between the NEW YORK PRO MUSICA: Elizabethan Belgium competition. Shortly after this stereo and mono versions is just about and Jacobean Ayres, Madrigals, and young Bolivian violinist's victory last nil. Laredo, however, is an up-and-corn- Dances May, RCA Victor signed him to a re- ing fiddler worth hearing. P.A. New York Pro Musica, Noah Greenberg, cording contract. If one is to judge from cond. his disc, here is a real find, an im- debut NATHAN MILSTEIN: "The Art of Mil- DECCA DL 9406. LP. $4.98. portant new artist. His technique is ab- DECCA DL 79406. SD. $5.98. solutely flawless, and he has an unusu- stein" ally big, fully rounded, pleasing tone. Nathan Milstein, violin; Rudolf Firkusny, An attractive collectión, which combines Even more unusual in one so young, he piano (in the Beethoven sonata); Leon well- known pieces, such as Dowland's has a fine sense of interpretative style, a Pommners, piano (in the short pieces); great Flow my teams, with relatively un- style adaptable to Vivaldi or Fella. Per- Pittsburgh Symphony Orchestra, William familiar ones like Captain Tobias Hume's song in praise of tobacco, Gibbons' Lon- don Street Crier, mxi three charming LEON FLEISHER- The virtuoso called "The dances by Coperario. Mr. Greenberg has ordered them with a keen car for con- pianistic find of the century," by Pierre Monteux, trast and variety, and he has been bold enough to employ instrumental accom- records exclusively for Epic Records. paniment for most of the "ballots" and other polyphonic vocal pieces, which are BEETHOVEN: Concerto No. 4 in G Major for Cleveland Orchestra, George Szell, Cond. usually performed a cappella nowadays. Piano and Orchestra, Op. 58 MOZART: LC 3484 BC 1003 (Stereorama) His procedure not only is historically jus- Concerto No. 25 in C Major for Piano and tifiable but renders some of the pieces Orchestra, K. 503 -with the Cleveland DEBUSSY: Suite Bergamasque RAVEL: Orchestra, George Szell, Cond. Sonatine; Valses Nobles et Sentimentales; even more enjoyable than they would be LC 3574 BC 1025 (Stereorama) Alborada del Gracioso LC 3554 without the instruments. These last comprise recorders, viols, and harpsichord, BRAHMS: Variations and Fugue on a Theme RACIIMANINOFF: Rhapsody on a Theme of hut no lute puzzling omission in a col- of Handel, Op. 24; Waltzes, Op. 39 Paganini, Op. 43 FRANCK: Symphonic -a . LC 3331 Variations DELIUS: irmelin- Prelude- lection that includes three pieces by BRAHMS: Concerto No. 1 in 120 Minor for with the Cleveland Orchestra, George Dowland, one of the greatest lutanists of Piano and Orchestra, Op. 15 -with the Szell, Conductor LC 3330 his time. MUM Other composers represented here arc it no[urr" Morley, Byrd, Robert Jones, John Farm- er, and Campion (or Campion); there THE WORLD OF WONDERFUL MUSIC IS YOURS ON EPIC = RECORDS ou, SOU/10 arc also the anonymous .Voodycock, played lucre by a hass viol, and three pieces from the ?ifulliner Book. All are satisfactorily performed and well recorded, the monophonic version being perhaps as pleasing as the stereo, except in Morley 's Philis, I faine would die now, where the two-channel version effectively juxtaposes the two "quiers" of per - fonners. N.B.

MADO ROBIN: "Airs de Coloratur" Thomas: Mignon: Je sais Titania. Massé: Les Noces de Jeannette: Au bord du chemin. Gountxl: Roméo et Juliette: Ah! Je veux cirre dans le rice. Offenbach: Les Contes d'Hoffmann: Les oiseaux dans la charmille. Massenet: Macon: Suirje gentille ainsi? Rossini: La Danza, Benedict: La Gitane et l'oiseau: Char- mant oiseau, ta cage est d'or. David: La perle du Brésil: Charmant oiseau qui sous l'ombrage. Pestalozza: Ciribirihin. Delibes: Les filles de Cadix: Trois gar- çons, trois fillettes. Ponce: Estrellita. Mario Robin, soprano; Orchestre du Théâtre National de l'Opéra de Paris, Pierre Dervaux, cond. PATHE DTX 276. LP. $3.95.

This is a disc that has you scurrying to the pitchpipc in disbelief, then setting the needle back a few grooves to make sure you heard aright. Of course, Mlle.

A MIODDCT OF CBS "Foie 'Wu aK.'CBS" T.M. Continued on page 102

100 Hicu FIDELITY MAGAZINE

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www.americanradiohistory.com Robin is not precisely a stranger to LP usual personalized twist, the ensemble of- collectors, but it is this record that es- fers on Vanguard's Travelling on with the tablishes the authenticity of her talent. FOLK MUSIC Weavers (VAS 9043, LP; VSD 2022, Although it is probably ungracious to SD) songs from Chile, Yugoslavia, Africa, take even the smallest exception to such and Spain. The mono edition is cleaner a virtuoso display, I must admit that a and crisper than its stereo counterpart. YEARS certain excitement is missing from her THEE FINEST single recording of Countertenor Alfred Deller has a soar- singing: after all, what terror can even music to elate is, in my opinion, ing voice that is perfectly secure in a the most exacting vehicle hold for a so- Warner Brothers' Sun's Gonna Shine startlingly high register. Since much pre - prano who trafficks in G sharps above (B 1251, LP; BS 1251, SD). in a well - eighteenth- century traditional material high C, and who chooses to practice her chosen collection of ballads, Elmerlee was first sung by countertenors, Dellcr's 'Hesse di voce on high D? Thomas, of San Francisco's Gateway appeal is particularly in the older songs. But if the delicious apprehension Singers, displays a burnished contralto of His Anglo- American program on Western which usually accompanies a coloratura deep emotional power that can, however, Wind (Vanguard VRS 1031. LP; VSD recital is absent, what a pleasure it is to turn light and gay whenever her material 2014, SD) spans the centuries as well as hear a voice that can soar into the highest demands. Stylistically, she follows a pure the seas, showing the singer at his plan- regions without thinning and becoming melodic line, scorning all mannerisms, all gent best. Avoid the noisy stereo edition wiry and that can make the turns in the affectations. This simplicity -combined in favor of the monophonic. upper -middle range sound like music, with her ability to project a mood- shapes While sonically not among the clean- and not like a gargling session. Robin's lovely, moving renditions of Turtle Dove, est Westminster discs, Folk Songs from tone is beautiful and strong from top to Ribbon Bow, and All the Pretty Little Erin (WP 1202.5, LP) gives us a superb bottom. She can expand, diminish, and Horses. Miss Thomas' insight and trained recital of ballads in English and Gaelic trill at least as high as the E flat in al- voice unlock new beauties in the songs by Deirdre O'Callaghan, who accom- tissimo-a sure sign of real vocal freedom. she has chosen. As far as sound goes, I panies herself on the harp. Miss O'Calla- The high G sharps and, in one case, A myself prefer the monophonic version. ghan's voice, light and rather delicate, natural, are clear and attractive, firmly A great American poet and folk song captures all the shifting moods and emo- connected to the rest of the voice, and in collector, Carl Sandburg, returns to the tional nuances of her enchanting songi. I no way freakish. Unless Pathé has record scene with Columbia's Flat Rock particularly admired her Shia! Aroon and evolved a new and highly deceptive re- The Spinning Wheel. cording technique, one is hearing here a Monitor's Songs of Old Russia (MP magnificent, perfectly controlled instru- 580, LP) arc sung, by a dazzling array of ment, of the sort one imagines the leg- Soviet vocalists, with the florid orchestra- endary nineteenth- centuy divas to have tion and operatic approach favored in the possessed. U.S.S.R. The songs seem to thrive on such As for the music, the standard show - treatment, and the translucent tenor of pieces certainly require no comment. the famous Sergei Lemcshcv -who sings The operetta selections are all engaging five of them -is a joy to the ear. Techni- await- numbers, one indistinguishable cally, the recording compares favorably from another. Such music, combined with with the Western mean. such faultless singing, makes for unal- On the ethnic front, Indian folklorist loyed pleasure. The orchestral accom- Deben Bhattacharya has recorded for paniments are adequate, the sound top- Westminster-under UNESCO auspices notch. C.L.O. -A Gypsy Festival (\VF 12030, LP), a documentary of the annual gypsy gather- RICHARD TAUBER: "Richard Tauber ing at Les Saintes Maries de la Mer in Chante . . France. In addition to fl :unencolike cantes Lehár: Frasquita: Serenade; Friederike: and guitar improvisations as impassioned ' - J bas O ,llüdchen, mein Dlüdchen; Paganini: as they are unpolished, Bhattacharya caught key parts of the accompanying Girl -s Were Made to Lace and Kiss; Ebnerlee Thomas and Gateway Singers. Die ceremonies and the gypsies' Lustige Witwe: Waltz Song; You Are My religious Heart's Delight; Röslein auf der Heiden; entre -eux entertainments. A stunning rec- Ballads (ML.5339, LP), taped at his ord of its kind, with annotation that The Czarevitch: Wolgalied. Lockton: North Carolina home. At eighty -one, Vienna. City Of throws a good deal of light on gypsy My Dreams. Schubert: Sandburg has a voice still soft, intense, Stiinrlchen. origins. flexible, and -magically- fresh, particular- Finally, on the farthest edge of re- Richard Tauber, tenor; Orchestra. ly in 1Vanrlerín' and Careless Love. spectability looms "country music." Folk- ODEON OD 1022. 10 -inch. LP. $2.98. Another noted collector, Alan Lomax, lorists generally decry these hillbilly appears to advantage as a singer on Tra- songs because they are composed in cold This is typical Tauber material, largely dition's Terns Folk Songs ('TLP 1029, blood, exploited to a fare -thee -well, and kitsch, replete with tremulous violins, LP). Lomax's somewhat tentative, Texas - are painfully contemporary. But, like it or balalaikas, and the great tenor's usual accented voice adapts well to these un- not, the barbarisms of Educated Mama blend of rich lyric tone, unparalleled varnished cowboy ballads. His singing of and Your Cheatin' Heart do express a rhythmic flair, ravishing pianissimos, and Dopey Gal, to an inspired harmonica ac- valid aspect of present -day American folk constricted high tones here and there. It companiment by John Cole, is, for exam- culture -or lack of it. Veteran "Grand Oh' is no wonder that two full generations ple, a haunting echo of loneliness. Lomax Opry" star Ernest Tubb's Decca pressing, placed him immediately beneath God. also teams with Peggy Seeger and Guy The Importance of Being Ernest (DL Several of the numbers are trotted forth Carawan on Kapp's Folk Song Saturday 8834, LP) -Stop spinning in that grave, shamelessly in outrageous Night English (in- (KL 1110, LP). in solos, duets, Oscar! -is a palatable -even enjoyable - cluding Vienna, City of trios, the an My Dreams and and three singers present excursion through the world of hanky - You Are My Heart's Delight: these arc earthy cross section of the American folk not Tauber's tonks, neon -bubbled jukeboxes, and best recordings of these heritage in performances that are short on whining sorrow. For implacable aficiona- songs ). The music has a definite charm, polish hut long on authenticity. dos, RCA Victor has released Train Whis- and Tauber's way with it is irresistible. After a period of shifting personnel and tle Blues (LP\I 1640, LP), a creditable \Vitlu the exception of the unspeakable descents into -save the mark-comic pat- repressing of the songs of Jimmie Rodgers, version of Schubert's Stündchen, any one ter, the famous Weavers have at last re- of twenty -six years dead, who fathered the these selections is well worth the price turned to their specialty, singing folk genre. of this little ten- incher. is The sound lis- songs better than any other quartet in the EDWARD L. RANDAL tenable, with some scratch in spots, and country. Ir. addition to a wide range of the transfers are accurate. C.L.O. home -grown ballads infused with their Reviews continued on page 105

102 HIGH FIDELITY MAGAZINE

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Venetian atmosphere, in the fonn of a Even though most of the arrangements Here at Home huge lagoon, Mike Todd's choice of A appear to have conic straight out of Night in Venice to open the Marine Mantovani's book, you would have to Theatre at Jones Beach in 1952 was al- go back to the great days of Joe Venuti most inevitable. Producers are seldom or Eddie South to recall such a fiddler "Once Around the Clock with Patricia offered such coöperation, and Todd was in the pop field. Like his famous prede- Scot." Patricia Scot; Creed Taylor Or- certainly too astute a showman to pass cessors, Zabach can literally make his in- chestra. ABC -Paramount ABC 301, it up. Although hardly in the same league strument talk, whether lies suggesting $3.98 (LP). with Die h'ledermaus or Der Zigeuner- the oldster singing When Your Hair Has i can't deckle whether to categorize Pa- baron, this merry operetta has a goodly Turned to Silver or a French chanteuse tricia Scot as club, pop, or jazz singer - share of ear -catching tunes, most in the singing I Married an Angel. His classical there are traces of all three here -but best Viennese tradition but some liber- background comes to the fore in a eon - I can tell you that she is an exciting ally splashed with an Italian coloration. certolike arrangement of the title num- artist, with an individuality of style quite If the entire score lacks the cohesion of ber, and a polite jazz touch is introduced unusual these days. Occasionally one de- its companion works, put this down to into both Ain't Misbehaviti and I Can't tects a very slight similarity to Lena the fact that it is a composite score from Give You Anything but Love. There is, Horne, but otherwise this is pure Scot. She a number of sources, and one rather thank goodness, a minimum of trickery is a singer of remarkable versatility, and hastily thrown together. in his performances, and what little is her program has been carefully chosen This performance, by the original introduced is invariably in good taste. to exploit every facet of her talent. She 1952 cast specially reassembled for the The stereo sound suffers from overvide can make a jump version of Romberg's recording, offers a bluff, good -natural separation, with soloist and rhythm sec- usually sedate Just Once Around the account of the music. The gentlemen tion in right speaker, the main string or- Clock positively tingle with excitement, sound virile -and occasionally bemused chestra in left, and little sound emerging yet just as easily wring the last moan (not particularly surprising in view of from center. from Coward's Mad About the Boy. She the numerous involvements of the li- can summon up a sexy, come- hither voice bretto). The ladies, thank heaven, do for Do It Again, yet be equally at home not sound overarch (a distressing aspect "The Gershwin Years." Richard Hayes; (oh, so very h at home) in her own of so many versions), nor do they overdo Paula Stewart; Lynn Roberts; Chorus song Let's Sit Down and Talk It Over. the high spirits. The singing is generally and Orchestra, George Bassman, cond. Maybe there's some song she couldn't agreeable, although only Laurel Hurley Decca DXZ 160, $13.98 (Three LP); handle -after all there are only twelve Decca DXSZ 7160, $16.98 ( Three SD). to the genius that was here -but I can't imagine what it might Decca's tribute be. With the small Creed Taylor group, Gershwin is the most comprehensive in unusual Bob Kenyon arrangements, survey of his show and film scores ever providing quality support. this is some- committed to records. In quantity of ma- thing of a triumph for a now artist. terial it completely overshadows both the old RCA Victor album ( reissued on RCA Camden CAL 177) and the fine two - "The Great Sound of Les Elgart." Les record set released by Walden ( Walden Elgart and His Orchestra. Columbia 302/3 ). But in quality, in the fine art of CL 1350, $3.98 (LP). presenting Gershwin songs as they should of Familiar as most the numbers may be be sung, it is decidedly inferior to both in this Elgart program, they seem to take the earlier issues. Where Camden and on new freshness when decked out in Walden made use of vocalists with at- the provocative arrangements that the tractive voices and sound theatrical leader has concocted. Here once more know -how, Decca has relied on two la- are the unusual instrumental voicings dies who appear to be lost in a medium that are Elgart s specialty, here too the completely unfamiliar to them. Nor are fat growling brass, the sweet smooth - their vaines attractive enough to make up toned reeds, carefully blended into a for the deficiency of style. Richard Hayes homogeneous musical whole. Here also is much better, but there are times when Les Elgart of the big, solid beat. is that big, solid beat that helps make he too sounds a little uneasy in the songs this such an excellent dance program. assigned him. I found the orchestral ar- The sound is, as the title says, "Great," and Thomas Hayward turn in outstanding performances. Though think some rangements rather puzzling. They start and Columbia's engineers, who always off quite promisingly, particularly in the seem to be in top form at Elgart sessions, of the orchestral work sounds rough, Thomas Martin keeps the work moving at 1916 rag Rialto Ripples, but quickly take have captured the full -blown orchestral modern a style, and certainly do a most sensible pace; and even if Everest's on too image to absolute perfection. rhythms stereo doesn't manage to convey much of nothing to suggest the zippy of 's in the arid- Twenties. the animated stage action, the sound is Gershwin music "A Night in Venice." Original cast record- extremely good. Decca offers a fine example of well - ing of the Michael Todd 1952 Produc- balanced, broad -range sound in the ster- tion. Everest SDBR 3028, $5.95 (SD). "'Till the End of Time." Florian Zabach, eo version, which is considerably superior With nature, and Robert Moses, oblig- violin; Orchestra. Mercury SR 60084, to its monophonic counterpart. The three ingly contributing half of the necessary $4.98 (SD). records are housed in a box -type album,

NOVEMBER 1959 105

www.americanradiohistory.com best. The special 'material containing not only a reproduction of her at her well enough handled, but Gershwin 's celebrated Self-Portrait in o numbers are too "special," and it Checkered Sweater but the best booklet they are a little that the bop chorus in Come of its kind I have ever encountered. In strikes me GRADO Runnin' is definitely not in her line. addition to Edward Jablonski's extreme- article on Gershwin, She has, however, the benefit of excel- ly informative conduc- illustrated with pictures from lent arrangements by the two profusely stereo Jablonski's recent book The Gershwin tors, plus fine Warner Brothers should be worth Years, it includes a complete guide to all sound. Her next record the shows and filins for which Gershwin waiting for. wrote music-individual songs, members . , , takes in length of pride announcing of the cast, theatre played and "Romance is la Mood." Pierre Chaille and a new Custom Series Stereo run. There is also further comment on The Grande Orchestre. ABC -Para- the numbers recorded in this set, plus a 280, $3.98 (LP). Cartridge. The "Cus- mount ABC Grado glowing tribute to Gershwin from Louis What distinguishes this disc from so tom" was designed for the Untermeyer. What a pity that all as- many similarly styled recordings is the were not equally selective audiophile who de- pects of this production inclusion of some once -popular, now al- fine. most forgotten items such as The Love sires excellent reproduction Nest, Dancing Tambourine, I've Got at a moderate cost. With its "The Flirty Thirties." Lew Raymond and Rings on My Fingers, and A Shine on excellent tracking ability and His Orchestra. Mayfair 9654S, $2.98 Your Shoes. Cisaille goes in for extreme- (SD). ly lush arrangements, and for optimum extremely low distortion, the As many listeners will have discovered, effect uses an orchestra of more than new Custom Stereo Cartridge a number of small companies are now fifty musicians. The Continental touch is a stereo product that compares purpose, and most of becomes a perfect compan- issuing applied to good favorably with that of the higher- priced these American numbers sound surpris- ion to the widely acclaimed labels. Among the former is Mayfair, ingly fresh and attractive. The sound is Grado "Master" Stereo Car- which appears to be an affiliate of Tops powerful, but on the whole not unpleas- Records. Here ten old favorites from the antly so. tridge. Because of small mov- Thirties make up an attractive program ing masses and iow tracking of dance music. You may feel that the Fishes or The Music Goes "All the King's Songs." Tcddi King; Or- forces, stylus wear is virtually Three Little 'Round and 'Round arc hardly worth re- chestra, Lew Douglas and Johnny Rich- nonexistent. Grado Labora- viving, but this still leaves you with eight ards, couds. Coral 57278, $3.98 tories now guarantees all of solid hits, neatly arranged and played (LP); Coral 757278, $4.98 (SD). with a good deal of bounce. The stereo Teddi King, who cause out of Boston with the stereo diamond stylii for sound is clean and realistic, of excellent an enviable reputation as a jazz singer. a period of 5 years from date depth and good directionality. In addi- now appears on her fourth -and decided- of manufacture. tion, Mayfair is using pure vinylite. with ly her best -record as a pops singer. In resultant very quiet surfaces. All told, striking contrast to current singers who A greatly improved Grado this is quite a bargain. try to impress the listener by practically Tone Arm is now available. It deafening hies, .Miss King uses her small, sweet voice with discretion and makes is dynamically balanced Perry Ray Charles and "Como Swings." Como; her effects by understatement. There is Mitchell Ayres's Orchestra. features a new micrometer Singers; still strong evidence of her feeling for Victor LPM 2010, $3.98 RCA (LP); jazz in several of these songs. And this tracking force adjustment. RCA Victor LSP 2010, (SD). $4.98 feeling is accentuated when she is By ordinary standards this record would Stylus force accuracy of hacked by Charlie Shavers' trumpet, be considered a rather mildly swinging tenths of grams may now be Jimmy Cleveland's trombone, and Phil affair, but coming from the usually un- Bodner's clarinet. Elsewhere the string achieved with complete sim- ruffled Como it be called "Wild, could backgrounds by Johnny Richards grace- man, wild." Actually, listening closely, I plicity. Also new is a stainless fully complement Miss King's waren sing- found the Como style was still pretty re- ing. Although all these songs are closely steel arm rest lock. All present laxed and that most of the excitement associated with male singers, there is Grado Tone Arms can was generated by Mitchell Ayres's ar- be nothing at all incongruous in Miss King rangements. One thing in its favor, apart modified. appropriating them, pro tern, and mak- from Comó s subdued animation, is the ing them her own. complete absence of the usual saccharine numbers Como thrives on. It will he Mosier Stereo Cartridge . . . $49.50 up to his many admirers to give their "Way Out Far." The Lewis Sisters. Lib- Custom Stereo Cartridoc . $32.50 approval to the switch. A good mono re- erty LST 7128, $4.98 (SD). Micrometer Stereo Tcne Arm $29.95 cording is hopelessly outclassed by the None of your old -fashioned two-part spectacular stereo version. harmony for the Lewis Sisters, a pair of vocalists who have set out to exploit ev- "Imported Carr, Americans Gas." Carole ery known and unknown vocal combina- Carr; Orchestra, Warren Barker and tion. They run the scale from outright Pete King, coeds. Warner Bros. WS dissonance to harmony so close that it is 1316, $4.98 (SD). barely distinguishable from the sound This newly arrived English singer has produced by a single voice. It's all ex- For lurlhcr deioile write to: already been dubbed, by some bright tremely complicated, puzzling -and dare Hollywood lad, as the girl with "The one say it -odd -ball. It is also completely GRADO LABORATORIES, INC. Pure Cashmere Voice." I'll concede that fascinating. To appreciate entirely the the voice is pleasantly wann, but it defi- subtle interweaving of vocal sounds calls 461.5 711. Avenue Brooklyn New 20, York nitely isn't woolly. Furthermore, it is vi- for a good deal of concentration. If you E.porlSirnontr,m.. 15 Warren St.. N.Y. C. brant and expressive, and ?uIiss Carr is can manage that, i think you will be obviously a singer who knows just what well rewarded. The imagination dis- she wants to do with a song and how played by the singers is well matched best to do it. Unfortunately, I don't think this program is designed to display Continued on page 108

106 HIGH l' IDELI-rY MAGAZINE

www.americanradiohistory.com This Christmas give high fidelity to your Very Special Friends

Much as we enjoy welcoming new subscribers, we don't suggest you choose HIGH FIDELITY for everyone on your gift list. Reserve HIGH FIDELITY for special friends and relatives of all ages who share with you the exaltation that comes from hearing memorable music peerlessly performed, recorded and reproduced at home. ran WM .I And, if they are adventurous souls eager to broaden their musical horizons, so much the better. They, most of all, will appreciate your gift of HIGH FIDELITY... they, most of all, will thank you not only on December 25, but every month of 1960. Use the handy envelope bound in this issue to order Christmas gifts of HIGH FIDELITY. The first subscription costs $6. -the second $5. -and each additional gift only $4. Your own subscription -new or DB renewal -may be included at these special rates. Act now to enable us to give your order the careful attention it deserves. If you wish, we'll send handsome gift announcement cards to your friends. give high fidelity for a Merry Christmas

Towar.L Ih and a Hi -Fi New Year slerr..phauk orche7aro :... THE PUBLISHING HOUSE, GREAT BARRINGTON, MASS. li

NOVEMBER 1959 107

www.americanradiohistory.com by that of the admirable small group of supporting musicians. FOreibil Fla. or

"My Heart Sings." Paul Anka; Orchestra, THE EAR Don Costa, cond. ABC -Paramount ABC 296, $3.98 (LP) . "Solo Flamenco ... The Fabulous THAT HAS k There are about three Hutnbcrs on Paul Sabicas." Sabicas, guitar. ABC -Para- Anká s program that arc sung with all mount ABC 304, $3.98 (LP). HEARD the dramatic fervor that has endeared The gypsy genius for flamenco flickers Canadian singer to the hearts through Sabicas' recital of ten of his own EVERYTHING, this young of American teen -agers. So far, so good. compositions in classical flamenco molds: HAS HEARD When he attempts to tackle more sophis- stately solelres, heartbroken siguiriyas, a ticated Parisian songs, however, he comes bouncy zambra. Sabicas-' technique de- NOTHING a cropper. There is neither subtlety nor fies description. His sure fingers shape shading in his delivery of these numbers; and reshape chords with incredible swift- UNTIL and if the lyrics mean anything at all to ness: what emerges is a kind of breath- him, you world never know what. Sur- taking chromatic cascade always con- IT HEARS rounding him with a choir and adding trolled but always emotionally supple. A one or two orchestral gimmicks hasn't blazing performance by a great guitarist. THE SWINGING helped much. ABC's sound is as pure as Sabicas' art.

LENY EVERSONG "Melis at Midnight." José telis, His \ "Piaf." Edith Piaf; Robert Chauvigny and Piano and Strings. Secco CELP 4140, Said to be The Most Extraordinary Voice of His Orchestra. Capitol T 10210, $3.98 $4.98 (SD). Our Time," she is one of the highest paid (LP). Backed by a group of string players, José performers in South America and Europe. It is now twelve years since Edith Piaf, A unique talent that must be heard to be \delis- musical director and pianist for tiny and unbeautiful, burst upon the described, Leny sings in her native Portuguese Jack Paar-Wins through a fine program American scene with songs such as Les as well as in English, French and Spanish. of selections that range from the delicate Trois Cloches and La Vie en Rose. Her Lilacs in the Rain to the exciting Cuban voice is an extraordinary combination of nR ....E..s L.FNY Concerto. Between these two extremes sweetness and toughness. No one can EVEIZSONG are some deft performances of pleasant PIERRE DORSEV and ,,:, RrUy,rR linen the lovelorn whore more effectively HI- FIDELITY background -music standards. The only than she; no one can capture the heart- trouble is that Mr. \delis' playing is too break of everyday life snore movingly. good to be comfortably ignored as unob- And her versatility continues to surprise: trusive background. I suggest that you you will not soon forget her hair- raising STEREOPHONIC RECORDS don't wait until midnight to put this on treatment of the marchlikc Les Gro- your machine. Stereo sound, as such, is guards on this release, or her bittersweet perfectly satisfactory, but there is an oc- CELP 435 La Foule. Piaf, a torcher who casional unpleasant edge to the strings. generates light as well as heat, reputedly receives SEECO RECORDS, 39 W. 60 St, N.Y.C. JOHN F. lxncox $1,000 a performance. By this measure, as well as any other, Capitol's brilliantly engineered disc is a rare bargain.

"Gigi." Original French Version. Maurice Chevalier, Sacha Distel, Marie- France, Jane Marken. Orchestra. Paul Baron, cond. Columbia WL 158, $4.98 (LP). WHERE \- Even in French -or, perhaps, even better in French -Alan Jay Lerner and Freder- ick Loewé s songs for Gigl impress one as superlative musical comedy. Chevalier is A FINE the whole show here, with his insouciant decadence delicately enhanced by the TAPE ak. droll overtones of the French idiom. Sacha Distel is a properly baffled neph- RECORDER ew, Marie-France a charming Cigi, and Paul Baron's work bubbles like champagne -and not the California variety.

"Blood 'Wedding Suite." Vicente Cornez, guitar. Decca DL 8918, $3.98 (LP); DL 78918, $.5.98 (SD). Vicente Gomez, a madrileho who plays a lithe-fingered, golden -toned guitar, has composed the music for several Holly- wood films. Here, in an obvious labor of -sheen ferro tape love, he has written a suite based upon Federico Garcia Lorca's darkling play Blood Wedding. note to VIKING owners In this death -shadowed draina, centered upon a mural blood fend, To insure optimum recording quality Lorca probes the Spanish obsessions with fecundity with your machine, the recom- and honor. Gomez s somber, intensely Spanish score echoes the brood- mended tape is Irish Long Play ing lyricism of Lorca's tragedy, and the #601. Send for technical bulletin. composer plays it with skill and economy. The lone guitar, with its hints of cante ORR INDUSTRIES INC. Opelika, Alabama Continued on page 110

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\OVEN(1311 1959 109

www.americanradiohistory.com fontlo, conveys perfectly the play's aura of doom, vengeance, and ultimate futil- ity. Cornez fills out the oversidc with several short compositions of his own as well as works of Sor, Tarrega, and his West Coast colleague, Victor Young. Lustrous sound.

The Swinging Leny Eversong." Leny Eversong; Pierre Dorsey and His Or- chestra. Sceco CELP 435, $3.98 (LP). Big sound, big songs, and a big woman with a big voice make -you guessed it- 5TH a big record. Brazilian Leny Eversong, a 280 -pound bleached blonde, sings here in four languages. Her voice -deep, rich, powerful- swings in a subtle approxima- HIGH FIDELITY ANNUAL lion of jazz that imparts new colors and new depths to international hits like Granada, Fascination, and In My Soli- tude. While superficially the two have 1959 little in common, I think timt admirers RECORDS IN REVIEW of Mahalia Jackson would readily appreciate the Eversong style. Lucid, well- Save a full dollar by taking advantage of this special balanced engineering. Audition this one: prepublication offer to HIGH FIDELITY readers. you won't regret it. "Continental Visa Renewed." Raoul Mey- nard and His Orchestra. Warner Bros. and practical book a record and tape Here is the most important WS 1320, $4.98 (SD). It will save you money save you time... collector can own. ... Once again Meynard displays his ability insure your building an outstanding library save you frustration- a new flavor to seasoned inter- you and your family maximum to impart of recorded music that will bring national staples. Although his arrange- listening enjoyment for years and years. ments are as ornate as the genre seems It's the fifth High Fidelity Annual - Records in Review 1959 - to demand, Meynard focuses attention containing reviews of classical and semiclassical music, and the upon both the melody and spirit of a spoken word, that appeared in High Fidelity from July 1958 song. He offers nothing profound, but his through June 1959. music is eminently listenable, particularly in the hull, three -dimensional sweep of Records in Review 1959 is the most complete and authoritative Warner Brothers' stereo. book of its kind published. Brings you lively, informative reviews of approximately "Latin Love." Bob Bain, guitar. Capitol 1. 1,000 releases -disc and tape, mono and stereo. T 1201, $3.98 (LP). A tour de force for Bob Bain who, by the Reviews are by High Fidelity's staff of eminent critics process of multiple recording, strums two- -each an expert in his particular field. guitar versions of standard Latin favorites Reviews cover the merits of performance, the quality -Bésame Mucho, Perfidia, Brazil, etc. of recording ...and make comparative evaluations with Refreshingly enough, Bain concentrates while releases of previous years. upon melody and subtle harmony; he by no means ignores rhythm, he does Records in Review 1959 is convenient to use, too. Reviews are not subordinate every other musical value organized for quick, easy reference - alphabetically by composer. to it. In these days when every Mudcat And there's a special performer index included. Band north of Yucatan whips these songs into a cha- cha -cha frenzy, Bain's lyrical in will and in Records Review be published November 15th sell approach is doubly enjoyable. Clear, book stores for $5.95. But you can order copies now -for delivery close sound. the minute books come off the press -at the special prepublication price of only S4.95 each. At this low price, you'll want to order extra copies, too -Records in Review is an ideal Christmas gift for "Songs of the British Isles." Norman every disc and tape collector on your list! Luhoff Choir. Columbia CL 1348, $3.98 (LP). Norman Luboff's talented vocal ensemble is Columbia's answer to RCA's Robert Satisfaction Guaranteed ... or Your Money Back! Shaw and Capitol's Roger Wagner. Lu- bof 's latest essay -in the realm of English, Scottish, and Welsh ballads -is suave, THE WYETH PRESS The Publishing House Great Barrington, Mass. shimmering, and sumptuously recorded. As with many of this conductor's finest I enclose S for which please send me copies of the new arrangements, several on this release RECORDS IN REVIEW 1959 at the special prepublication price of only ( among them, surprisingly but effective- $4.95 each. (No C.O.D.'s or charge orders please.) ly, The Girl 1 Left Behind Me) are redolent a fugitive melancholy that NAME of deepens their appeal. The performances ADDRESS are uniformly superior.

CITY ZONE STATE "Cavallaro with That Latin Beat." Car- Foreign orders sent at buyer's risk. Add 250 per book men Cavallaro, piano; instrumental ae- for postage on foreign orders except Canadian. This offer is good until November 1 Sth, 1959. only Continued on page 112

I ID HIGH FIDELITY MAGAZINE

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NOVEMBER 1959 111

www.americanradiohistory.com however "The 50th State." Charles Bud Dant, His a college group. Occasionally, - companiment. Decca DL 8864, $3.98 Ka Makani Kaili Chorus and Orchestra. Coral CRL as in the introduction to (LP). CRL 757270, Aloha -they evince a genuine potential. a sounding quartet, 57270, $3.98 (LP); Backed by solid- Perhaps the gem of the lot is Colum- Carmen Cavallaro caresses the ivories $4.98 (SD). invitations; Russ Garda bian My Hawaii, featuring Ed Kenney, with his habitual good taste. The em- "R.S.V.P." The LST 7117, star of Broadway's Flower Drum Song. A is on variegated Latin and His Orchestra. Liberty phasis here native of Hawaii, Kenney intersperses his rhythms -nothing new, God knows -but $4.98 (SD). Kenney; Luther Hen- songs with authentic chants. In true is- Cavallaro takes on the assignment with "My Hawaii." Ed land songs, such as Lilia E and Kalalea, romping through La Comparsa, derson and His Orchestra. Columbia zest, Kenney's flexible baritone and command Frenest, and Creen Eyes as though they CL 1333, $3.98 (LP). statehood has served no oth- of the idiom merit a lei, but he becomes were as fresh as this morning. A sophisti- if Hawaiian every downright saccharine in the likes of he provides a full measure er purpose, it has at least given cated pianist, Sweet Leitani and the ubiquitous Blue of entertainment, and Decea's engineers islander who can carry a tune, sound an the to Hawaii. Fine, full -bodied sound through - have mitred him with crisp clarity. A, or scrape a gourd opportunity cut a disc for a mainland label. Leading out. off this month's batch of musical poi are of "Russian Songs and Dances." Chorus Warner Brothers' Outriggers, a rather "Folk Songs from the Philippines." Ber- the Volga and Ensemble of Folk In- conventional, but extremely capable, nahe Roxas Solis and group, featuring struments, P. Miloslavov, cond. Moni- rhythm and steel guitar combo. Their Corbelita Astraquillo and A. Caviles, tor MF 319, $4.98 (LP). well -rounded repertory includes Blue Jr., soloists. Ultra 334 -1, $4.98 (LP). Still another Russian assemblage dis- Hawaii, The Hukilau Song, and Lovely One defect prevents this record from be- plays the power and vitality of their Hula Hands. Superior sound save for ing outstanding. The songs themselves of \loisheyev and Beryozka cousins. All small -scale shattering in the high fre- are little known and stunningly melodic. the Volga group's choral works have as quencies. The Solis Croup performs with sure skill, and its hin- their subject the great river Also in stereo (as well as monophonic), snot the soloists- particularly Miss Astra- as the terland; all are as deep and rolling and more cleanly engineered, is Coral's quillo in the haunting Ang Dalagang stream itself. Notably, The Broad Steppe The 50th State. Maestro Dant's choristers Bukid -are excellent. An accompanying and vigorous, while the is at once lovely do a bouncy job on both Pagan Love booklet contains full texts and transla- Song of the Volga chorus' a cappella Song and Hawaiian War Chant, but their tions of the songs. All in all, a rare com- chestnut a Boatmen transforms that into accents are of Ohio rather than Oahu. bination of diligence and artistry. How- magnificent listening experience. The Unfortunately, the program features sev- ever -and this is a king -sized however - is perfectly acceptable, but some- sound eral potboilers -Hawaii Is the 50th Star, the engineer has betrayed the entire pro- what brassier than Monitor has hereto- etc. -that must have been knocked out in ceeding: the reproduction is lamentable, fore from Soviet tapes. Russian derived the first twenty minutes of statehood. with distortion throughout its entire and English texts provided. Another robust -sounding two- channel range. Barely tolerable on good equip- disc, Liberty's R.S.V.P., introduces The ment, the disc gains acceptability on "Captivation." The Outriggers. Warner Invitations, a Hawaiian vocal quintet medium- and low -li systems, which tend Bros. WS 1314, $4.98 (SD). that, in general, sings with the naïveté of to blur its shortcomings.

LANIN A CHRISTMAS DANCE PARTY -tester Lenin IN 3617 BN 547

NEW POPULAR RECORDINGS HYMN SING WITH THE MARINERS IN 3615 BN 545' BAVARIAN POLKA PARTY -Theo Ferst! and his Orchestra IN 3618 BN 548' GYPSY FIRE -Veres Lajas and his Orchestra LN 3616 MONSIEUR GEORGES BRASSENS SINGS -with his Guitar LN 3619

JAMAL THE PIANO SCENE -Ahmad Jamol LN 3631

112 11ie.ti FIDELITY N I.\CA%IN E

www.americanradiohistory.com "Not Too Seriously." Mira, accompanying for its frankly Italianate readings, more herself on the guitar. Ultra 334 -2, $4.98 fervently emotional than we usually hear, (LP). of such war horses as the Traviata Prel- Mira precedes each of her seventeen hi- ; music udes, Cavalleria rusticana Intermezzo, ballads (sung in twelve -count them - Vespri Siciliani Overture, and Gioconda reasonably fluent languages) with a spo- Dance of the Hours -and for the one- ken précis of the content. Its a good idea, time child- prodigy conductor Pierino although the singer tends to overdrama- "March Steps in Stereo." Warner Brothers Camba's inclusion of the less familiar tize the import of her material. Unfortu- Band, Henry Mancini, cond. Warner melodramatic Cleopatra Overture by nately, Mira's vocal gifts equal neither Bros. WS 1312, $4.98 (SD). Mancinelli and the old- fashioned roman- her linguistic accomplishments nor her That the versatile Mr. ?,Mancini has not tic Notturno by ',lartucei ( although the diligence as a collector of songs. Her been beguiled by his "Peter Gunn" suc- last -named work is scarcely "operatic" soprano wobbles- sometimes rather bad- cesses into abandoning his first love, the except in its rich songfulness). Still, ly. her enthusiasm and sincerity military band, was indicated just a year along with the outstanding songs she has ago in his "Sousa in Hi -Fi" program and "Persuasive Percussion." Terry Snyder gathered on this disc-e.g., the Spanish confirmed now in the present miscellany El Vito, the Hebrew Lo Va Yana, the and the All Stars. Command RS 800 of Favorite American ( National Emblem, Russian Och Ti Sertze -merit attention. American Patrol, SD, $5.98 (SD). On the Mall, Marines' This new label's debut in the audiophile- The sound is harsh and lacks definition. Hymn, etc.) and European (Colonel showpiece stakes certainly lives up to its Bogey, Under the Double Eagle, and En- naine with its arresting black- and -white try "Reveillon No Estoril." Line Renaud; Or- of the Gladiators) marches. These too dotted cover and the bold claims of its chestra. Pathé ATX 130, $5.95 (LP). are all played with indefatigable vigor, album notes for the dynamic channel- This release, taped during actual per- zip, and drive in ultrabrilliant, wide- balancing and transient- response- check- formance in Portugal, documents Line spread, and rambunctious stercoism. ing virtues of its contents. And the fancy Renaud's appearances in Estoril. The Lew Davies novelty arrangements not French thrush is her usual vivacious sett, "Operatic Highlights for Orchestra, Vol. only effectively exploit the extraordinarily although her songs -all French, inciden- 5." London Symphony Orchestra, Pier - (even in these days) wide dynamic fre- tally, despite the album's Portuguese title inn Camba, cond. London CS 6087, quency range and marked channel differ- -arc second -rank. There is applause ad $4.98 (SD). entiations of the recording, but also - nauseant, and Mlle. Renaud engages in I lost touch with this series soon after its with the help of dramatic channel switch - some odd antics with her audience. debut nearly a decade ago, but the latest ing-do indeed provide useful and rigor- Patties engineering is excellent, but this example gives impressive testimony that ous playback system tests. disc is limited in appeal (as well as con - its high technical standards are still rigor- The performances themselves are most- tent-a skimpy nine songs). Few beside ously maintained in stereo notable for its ly overhard and glassily brilliant, but the the vocalist's most ardent aficionados wide dynamic range, beautifully blended driving versions of I Surrender Dear, I would play it more than once. channels, and warm, natural acoustics. Love Paris, Tabu, and Japanese Sandman O. B. BRUMMELL The present program also is interesting in particular do have considerable zest as

THE WORLD OF WONDERFUL MUSIC iS YOURS ON ÈaQC = RECORDS IROUL SOUND NEW CLASSICAL RECORDINGS (Dior Muds ht. "Cut' T.M. A PRODUCT OF NS SCHUMANN: Symphony No. 1 in 11-Flat Major, Op. 38 I "Spring ") Manfred Overture, Op. 115 -The Cleveland Orchestro; George SzelI, Conductor LC 3612 BC 1039' FLEISHER CHOPIN- Concerto No. 2 in F Minor for Piano and Orchestra, Op. 21 BEETHOVEN -Piano Con. No. 4 in G Major Polonaise Fantasia in A -Flot Major, Op. Uninksy, Piano; - 61- /MOZART -Piono Con. No. 25 in C Mojor- Hogue Philharmonic Orchestra; Van Otterloo, Cond. Fleisher; CLO; Szell LC 3.574 BC 1025' LC 3610 BC 1037 MOZART-Sonata in C Major LK. 330) SCHUBERT- Sonatina in D Major for Violin and Piano, Op. 137, No. 1 Sonata in E -Flot Major IK. 282) Sonatina in A Minor for Violin and Piano, Op. 137, No. 2 Rondo In D Major (K. 485) Sonatina in G Minor for Violin and Piano, 137, 3 Op. No. Leon Fleisher, Piano LC 3.584 Sonata in A Major for Violin and Piano, 162 ( ") Op. "Duo DEBUSSY -Suite Bergamosque/ Grumioux, Violin; Costagnone, Piano LC 3609 - RAVEL -Sonatines Valses Nobles The Romance of the Piono-Hans Richter- Hooser, Piano LC 3620 et Sentimentoles; Alborada del HANDEL- Dettingen Te Deum Netherlands Bach - Society Fleisher Grocioso- LC 3554 LC 3.540 BC 1042' BRANDENBURGS BACH- Brandenburg Concertos 'Complete) 'Stereoromo - Netherlands Chamber Orchestre; Goldberg SC 6032 BSC 105' Also available os singles:

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NOVEMBER 1959

www.americanradiohistory.com well as ultrarcalistic and transient -rich scratcher, cowbell, drum, marimba, and 8 Wonderful Gift especially Chinese bell -tree sonics (along with those of a far less attractive accordion, electronic organ, and electronic gui- Suggestions for tar). Among these infinite varieties of jin- gle- jangle, the omnivorous sound fancier will certainly find a few new sonic titilla- Record and Tape tions.

"Bahia." Arthur Lyman Ensemble. HIFI Recorder Owners Record R 815, $4.95 (LP); SR 815, $5.95 (SD). The fifth in Lyman 's best -selling series proves that his particular mine of Hawai- ian exoticism is far from exhausted and ROBINS that his engineers are still discovering new ways to exploit the superb acoustics of the Kaiser Aluminum -Dome audito- RECORD AND TAPE KARE KITS rium and the transient -rich sonorities of When you're out gift shopping for yourself or for someone else, if love of good music vibes, marimba, bongo drums, etc. Of the most capti- on either tapes or records is a consideration, these Robins Record Kare Kits and dozen present examples, the vating Jungle glit- Tale Icare Kits are the ideal gift solution. are the jingly Jalopy, tering Maui Chimes, catchy Tropical, and clattering Busy Port, but the eight others ROBINS ENGINEERED SOUND RECORD KARE KITS all have considerable sonic-if minimal The finest record reproducing system - stereo musical- interest, especially in the atmos- or Iii -fi - will sound even better if you ; av at- pheric and antiphonal stereo version. totaro tention to the little details - for example - uouavssc.c lirt on the record or dirt un the stylus causes both record and stylus wear: an uneven turntable causes the stylus to favor one side of the groove nearing out the groove and the stylus: Scots Guards Regimental Band and too notch stylus pressure causes record wear, too Massed Pipers: "Hi -Fi in the High- little distorted performance. 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Tells you at a glance when your turntable is not level. marches are musically less interesting ROBINS GIBSON GIRL* TAPE KARE KITS than those in previous Scots Guards re- Every tale reorder owner rill welcome these leases, is attractive. practical tape care kits that are a there the irresistible attraction of must for distortion -free stereo and monophonic a splendid Fantasy on Kennedy-Fraser's tape recording :eproduetion. They contain all the necessary, accessories for increased tape Songs of the Hebrides, as well as the de- recording enjoyment and longer life of your light of ringing sonorities captured in treasured tapes and equipment. The nominal stereo even more impressively than in the cost of these kits - there's one for every pocket- book - will be repaid many Bores by the re- LP. cording pleasure and protection it affords your crlaipnrent and tapes. 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HIGH FIDELITY MAGAZINE

www.americanradiohistory.com "Exotica, Vol. 3." Martin Donny Ensem- ble. Liberty LST 7116, 04.98 (SD). Buying a There is still a good deal of cocktail -hour sentimentality in the latest installment of Owna Denny's "Exotica" series, as well as insen- sate plugging of jungle effects, hut there also is far richer atmosphcrism in the present Harbor Lights, a glassily piquant Tape Limehou.re Blues, racing Congo Train, Tape and the glittering cross -channel antiphonal Caravan. And the markedly stereoistic recording itself is more dazzling and Recorder? smootlily spread than ever. Recorder?

"Highland Pageantry." l'ipes and Drums If so, you'll want a copy of the and Regimental Band of the Black If so, you'll want "Blood -and- 1959 -60 Tape Recorder Directory Watch. RCA Victor LSP 1525, $4.98 Thunder Classics," a 7" reel of -just off the press. Its 28 pages (SD). musical excitement that belongs list virtually every tape recorder Fiere there is certainly nn indication of in every tape library. The pro- sold in the U.S. -a total of 324 the brass "veiling" or "ragged edge to the gram includes seven great pas- models from 64 manufacturers. wailing pipes" mentioned in the February sages of fine classical music - Data on each model includes list 1958 review of the LP of this program. In selected for their emotional price, frequency response, speeds, the comparatively few and brief selec- impact - totaling a half -hour of wow and flutter, signal-to-noise tions for pipes and drums only, the rich stereo or a full hour of dual - ratio and many more mechanical marked channel separation gives them far track mono sound, both at 74 ips. and electronic specifications. better, and more dramatic, tonal authen- This exciting recording is The Tape Recorder Directory ticity; while the big-hand works, and es- available in a special bonus pack- is published by Audio Devices - pecially the long and well- varied med- age that contains one 1200 -foot makers of Audiotape, the world's ley of Harry Lander songs, have a fine reel of Audiotape (Type 1251, on finest magnetic recording tape - ringing sonority in extremely brnadspread 1t/ -mil acetate base) and the to help you select the tape re- stercoism. The rollicking Wee MacGreg- valuable "Blood and Thunder corder best suited to your needs. or patrol piece, however, is considerably Classics" program (profession- To get your copy, send only 104 less impressive than in its memorable ally recorded on standard Audio - (to cover the cost of mailing and Scots Guards performance for Angel. tape). For the entire package, handling) to Audio Devices, Inc., you pay only the price of two Box AR, 444 Madison Avenue, "The Singing Trumpet." boxes of Type 1251 Audiotape, New York 22, N. Y. Rafael Mendez; See Orchestra, Russ Garcia, coned. Decca plus $1. your Audiotape DL 8869, 03.98 (LP); DL 78869, dealer right away. Or write to 05.98 (SD). Audio Devices, Inc., Box AR, 444 22. Devotees of the virtuoso trumpet will de- Madison Ave., N.Y. N.Y. light in a full -length program in which one of its outstanding masters, Rafael Monufadured by AUDIO DEVICES, INC. Mendez, hogs the spotlight throughout. 444 Madison Ave., New York 22, New York Offices In Hollywood t: Chicago But neither the tops tunes (Sleepy La- goon, Body and Soul, cte.) he embellishes Manufactured by AUDIO DEVICES, INC. here, nor his transcriptions ("U, bel di" 444 Madison Ave., New York 22, New York from Madame Butterfly, Les Filles de Offices in Hollywood 6 Chicago Cadiz, and the. Waltz from Tchaikovsky's Serenade for Strings) arc really suitable materials for such unabashc

"Germany Overtures." Orchestra of the German Municipal Opera, Arne Both- er, cond. 'l'clefnnken 'l'C 8020, 01.98 (LP); 'l'CS 18020, 52.98 (SD). There is excellent musical value here, especially in the first stereo version of Cluck's 1phigénie en Aulide Overture (Wagner concert edition), which is played with noble dramatic breadth and power, and in the well -controlled and animated performances of \Veber s Ober - en and Nicolai's Merry Wices of Windsor ( the Hmnperdinck tfünael (Intl Grete! is rather too stolid for my taste). But the technology is less satisfactory, for in the rather exaggerated and separated stereo - ism, occasional woodwind soloist spot- lighting, and overdry acoustics, the or-

Novi 'iHEtt 1959 115

www.americanradiohistory.com chestral conics sewn thinned out and lacking in depth and warmth; while in JAZZ monophony the if high strings arc stri- dently sharp -edged.

"Subliminal Sounds." Leo Diamond and "The Birth of Jazz." Folkways FA 2964, his Orchestra. ABC -Paramount ABC $5.95 (LP). THE EAR 303, $3.98 (LP). The fourth volume in Samuel B. Char- The title is apparently metaphorical or ters' valuable "Music of New Orleans" THAT HAS if there is any concealed message here, series is colorful and has its merits but, it's just too subliminal for me to catch. because it contains relatively little music, HEARD And "orchestra' too is stretching things a it is not quite up to the level of the first bit since, besides a rhythm section, the Charters has at- EVERYTHING, 1 three volumes. This time ensemble consists mainly of harmonicas tempted to portray the setting in which HAS HEARD and what the notes describe only as the earliest forams of jazz were created. "kinstruments" (how many players are Louis Keppard (brother of Freddie) tries NOTHING actually concerned beyond the multi - to re- create with his voice the way a clubbed Mr. Diamond himself is not 1910 New Orleans band would play UNTIL clear). But at any rate the potentialities Bucket's Cut a Hole in It; Charlie Love of harmonica timbres are exploited and Buddy Bolden IT HEARS and Harrison Barnes recall transformed beyond belief -and perhaps and the Bohlen band; H. J. Boiusseau de- need. The tunes are mostly pops stand- scribes the early days of Storyvillc. The SHOSHANA DAMARI ards, but in their present tranmmogrifica- only music included is Boiusseau's few tions they -and Diamond's own four piano solos and a rugged, you two rather stumbling Israel's greatest singing star brings originals -become true sonic curios. of Afapic .unusual albums filled with romance and intensely deliberate performance mysticism. Shoshana Damari who represented Lea/ Rag by a group which includes Love Israel at the Brussels World Fair has just "Pops Caviar." Boston Pops Orchestra. on trumpet and Emile Barnes on clari- Completed a starring role in "Hatikvah," Arthur Fiedler, cond. RCA Victor LSC net. A picture emerges from this disc, but Israel's first technicolor film. 2202, $5.98 (SD). it could come as well, or possibly better Although quite obviously not of the latest (barring Maple Leaf Rag and Keppard's Hi-FIDELITY vintage, the recording here was consid- ingratiating reminiscence), from a written SHOSHAHA OAMAAI QI HA1FA in Mil MCI SONGS Of IS., ered outstanding when it first appeared report of these interviews. monophonically a year and a half ago, SMDSMIMI DmMQI and it now benefits considerably, espe- Count Basic and His Orchestra: "Break- STEREOPHONIC cially in its reverberant big -hall acous- fast Dance miel Barbecue." Roulette RECORDS -)< tics, from the present unexaggerated ster- 52028, $3.98 (LP); S 52028, 84.98 CELP :.0 CUP .115 eoism. The performances, however, which (SD). alternate violently between overexpres- The Basic band, playing at a dance for a SEECO RECORDS, 39 W. 60 ST., N.Y.C. sivity and slambang vehemence, do better convention of disc jockeys, holds to me- justice to the Pots Orchestra's bravura dium, easygoing tempos, skips any effort than to Rimsky- Korsakov s Russian East- to bring forward soloists, and concen- er Overture, and Borodin's In the Steppes trates on the present baud's superb saxo- of Central Asia, Prince Igor Overture and phone section. The result is one of the PoIm,tsian Dances, best discs the band has turned out -re- laxed, and full of some of the most stim- a Warner ulating saxophone ensembles recorded in New "You Ain't Heard Nothin' Yet!" Bros. XS 1307, $1.98 (SD). recent years. Even blues shouter Joe Wil- As befits its Hollywood origins, Warner liams sings with some signs of sensitivity. Brothers' demo -sampler is the brassiest World yet. Its introductory "Cavalcade of Buck Clayton and His All- Stars: "Songs Sound" enlists no less than four film and for Swingers." Columbia CL 1320, of' TV stars as cross -channel narrators (Ef- $3.98 (LP); CS 8123, $4.98 (SD). rem Zimbalist, Jr., Roger Smith, James Swing, in its best sense, will apparently Gardner, and Edd "Kookic" Byrnes) anti be with us at least as long as the Basie recounts the history of sound recording Alumni Association lasts. For this gener- Sound... from the first "talkie," The Jazz Singer ally productive session, Clayton has (produced by guess who), to the stereo of splendid company: Buddy Tate playing today; following which the latter is illus- tenor saxophone in a consistently strong, trated without commentary, by some doz- supple, and lifting fashion; Earl Warren, s4.jj11 en examples of current \VB pops releases, less consistent on alto hut, when he is i.iM all of them recorded with extreme bril- not playing too broadly, showing a hard- liance and channel separation. toned, driving style that rides with a grace suggestive of Benny Carter; Em- "Bouquet." Percy Faith Strings. Colum- mett Berry providing a sharp, edgy .....e . bia CL 1322, $3.98 (LP). tnnnpet contrast to Clayton's muted deli- . Even in LP, Faith's forty -eight strings cacy; and the lusty trombone of Dickie ( a .011111* plus harp, piano, guitar, and vibra- Wells. Backed by spirited rhythm sec- .N .. . phone) are Mantovanian-lush in elabo- tion (Al Williams, Cene Ramey, Heroic ' '1, rate arrangements of the title piece and Lavelle), the group comes out swinging ." - . eleven other pieces of the same emotional brilliantly on the opening selection, kind. But the whistling high-string for- Swinging at the Copper Bar, and main- tissimos are often almost too intense for tains a good swinging pace through both the ultrarich and high -level recording's ca- sides of the disc, pacities. I suspect that the simultaneously released stereo version, which I haven't Eddie Condon and His Chicagoans: DECCA yet heard, probably handles them with Bros. That Toddlin Town." Warner less obvious strain. W 1315, $3.98 (LP); \VS 1315, $4.98 Records R. D. DARIMELL (SD).

11G Hictt FIDELITY NIAGAZINE

www.americanradiohistory.com There are a couple of subtitles on this one -"Chicago Revisited" and "In Cele- bration of the 20th Anniversary of the First Jazz Album Ever Recorded." It is, in effect, a recreation of a recreation. In 193.9 George Avakian produced for Decca an album by Condon's gang, re- behind calling the records by that group made in the late Twenties and later identified every as "Chicago jazz." Now Avakian has produced another album by Condon's gang Bogen recalling both events. It boils down to performances of some sturdy tunes notable for Pee Wee Russell's breathy adven- component turousness in the low, quiet reaches of the clarinet, forthright, slashing tenor saxo- stands a phone work by Bud Freeman, and Max Kaminsky's clean and insistent trumpet. guarantee of Miles Davis: "Kind of Blue." Columbia satisfaction CL 1355, $3.98 (LP); CS 8163, $4.98 (SD). The effect of Davis' association with Gil Evans shows strongly in this set. Although Davis plays here with his own sextet and without Evans' arrangements, what we hear is the pure -toned, singing Davis first defined within the guidelines of Evans' arrangements. And while these are Davis' most consistent performances yet put on a single disc, they emphasize the limitations his of present group. Davis 91 ;1 Iv! 1: It íi 11 'n ill . :.I , .., l' III 'ill has sketched five out 1 1 1 1 1 attractive 1 1 1 1 1 pieces 1' 1 1 1 I 1 I"1"1 which provide good ensemble material leading to appealing solos by himself. Bill Evans occasionally adds further solo interest on piano, but the potential effectiveness of the pieces is invariably dissi- pated in the course of protracted solos by John Coltrane and Julian Adderley, who move as if by instinct away from ir, / / / I i \ \ the lyricism and strong sense of form Davis bequeaths his solos. that to them in ,ast. m.--s u:u itT3

Duke Ellington's Orchestra: "Anatomy of * I ---flat f, w. - .as-' ' a ' Murder." Columbia CL 1360, $3.98 ( LP); CS 8166, 84.98 (SD). ,6t ìeir. Ellington's first film score is also one of the more disciplined of his large -scale efforts. The padding frequently charac- ij teristic of his longer works is largely absent here -possibly because of the functional ( nature of the writing though HE'S ADMIRING TWO INVEST - Amplifier and you have versatility and the functional nature sometimes makes the performances annoyingly fragmen- ments well -made; investments engineering excellence that assure the tary). There is more strong, Clark, singing which guarantee him -and you -a world ultimate in faithful sound reproduction. Ellington here than the Duke has proof unending listening pleasure. The Bogen's B61 Turntable can add even duced in a long time, passages which can stand up with the work of the Ellington ST942 Stereo FM AM Tuner gives you further to your complete musical enjoy - band's finest days ( the Ellington band sensitivity and freedom from distortion ment. It's wonderful, too, that Bogen must always be considered as one of the that are unequaled at its remarkable components look just as handsome as they essential elements of an Ellington composition). The hand rises to the occasion, price. It also includes a tuning meter, sound. Hear them at your favorite hi -fi finding that blend of polish, elegance, provision for multiplex adapter and au- dealer now. and earthiness peculiar to the Duke or tomatic volume control on each channel, Write for information to: Dept. HF -I19, playing with a heel -kicking, joyful aban- don that no other band has approached. features usually found only in units cost- BOGEN- PRESTO, Paramus, N. J. Soloists weave in and out of the pro- ing much more. A Division of The Siegler Corporation. ceedings ( Johnny Hodges is particularly Combine the ST442 with the DB212 brilliant in a strong, gutty blues), but lucre the Duke is not depending on his Stereo Control Center /Dual 12 -Watt BP_-. BOGEN soloists to carry him. This time he is in the sound way to better stereo HIGH nreurr? complete control. ST442. Sensitivity: FM: 1.5 Sc -10 db quieting at 75 ohm Input. Alf: 9 /AV meter, 20 db 5 /N. FrequeneY aemtwme: FM: 20 to 13,000 rpm x0.5 db: AM: 20 to 4,500 cps CI.5 db. Antennas: F5(: bulls -In line antenna; AM: bulltIn ferrite Duke Ellington and Johnny Hodges: 'nonstick. Tubes: 9 (plu, 3 diodes). Controls: Selector. AFC Na, AM, FM Tuning, Parer, Pelee: $140.50. Encl . re "Back to Back." Verve 8317, $4.98 and Ices: $7.50. D8212. Power. 21 watts (two 12 -watt channels). Response: 20 tu 20.000 cps =1 db. Distortion: lest Man 1%. Controls: Selector, Function, Speaker Inversion. Volume. Balance, Bass, Treble, in Filter. Lo Filler. Speaker (LP). Phasing. lower. frier: $119.75. Enclosure and legs: $7.50. ,ln prices slightly higher In the oast.

NOVEMBER 1959 117

www.americanradiohistory.com Two past masters of the blues, joined by RECORD AUTHORITIES trumpeter Harry Edison and a rhythm section, put an enticingly fresh look on AGREE ... STYLUS AND several of the best -known commercial DOUBLED blues-Wabash, Basin Street, Beale Street, RECORD LIFE Weary, St. Louis, and Royal Garden plus Loveless Loue. Hodges plays with a BY USE OF THE lean virility that he does not often have a chance to show with the Ellington band, DIS- while the Duke is continually fascinating, poking around among odd chords, drift- CHARGER ing down sassy arpeggios, and pulling together the compelling ideas -sometimes No More Brushing, in and then again Spraying or Wiping stark their simplicity Records rich and steaming -so uniquely his own. to from time LEAVES NO RESIDUE Edison resorts banal bleats to time but manages to play some pun gent passages, too. JANUS IMITATED, BUT NOT NEW STEREO* RELEASES! Cu Evans Orchestra: "Great Jazz Stand- FST- 2OO1- CONCERT IN STEREO DUPLICATED ards." World Pacific \VP 1270, $4.98 carmen Holt, WI Ill um Toil, CIC. FST -2ò02 -11EE` HOVEN The Discharger controls static eloclrlclly (LP), Sympphoa '.n. 1. Lermore In Although the big -band settings that FST -2002-STIl.AITS8 IN STEREO generated by your records, a slallc -tree Flederruuur, Itmenlcoveller. eau. Evans has been writing for Miles Davit F$T0001- 51t'SIC IN alO'l'ION, Vol. 1 record cloys clean, quiol, and lasts for 1.onOS nennm unit hts i\aMl Columbia recordings have become rather FHT_Ons- \ITST(' IN MOTION, Vol. 11 longer. Discharger element never needs F HT- 2000- DnAlnfa repetitious, bis arrangements for his own Symphony No. I Iu C Minor replacing, FST -200--'rCInAFKOVS :Y Symphony No. I orchestra on World Pacific continue to F8T- 11009- t1CSIC IN' SI(YrION, VG!. Ill Lenny lrerman and his hand Clips on any arm be adventurous. As he did on his first FHT.2nun-- CONCERT IN STY.IIN,O, Vol. 11 DOkaa. Ilurodlw Monaanrgaky- tiro. World Pacific disc, Evans has chosen a CHT -2010-MOON AIVSI(` Lush popular limos Lasts indefinitely FIsT -2011 s'rlllpo SAMPLER program of selections well known in jazz, }'u l tracks from FST -3101 thto 2010 both traditional and FST- _n 0T` -Ml't A IIALE Oa' COTTON Weight ,A gram modern. But this Brownie afe(ihet Sunny Terry Folk concert FST -2013 LESIONS ON TOE HOCKS time, instead of building around a single DIrlelond 31172 ale Madison Avenue SEE YOUR LOCAL DISTRIBUTOR OR soloist (Julian Adderley) as he did pre- trim urallnhle monnunlly SHIPPED POSTPAID IN U.S A $4.50 viously, he wisely uses several featured soloists. One of the remarkable things 1159 Broad St. di% MERCURY SCIENTIFIC PRODS. CORP. about Evans' writing is that he gets equal- TQ Newark 2, N.l, Jtili V 1725 Wed 7th Sheet loo Angelo; 17, Colltornlo ly good results from traditional material ( Davenport Blues and Chant of the Weed on this disc) and modern (Django And Straight No Chaser). John Coles, a trumpeter in the Davis vein, is featured -new record u on Davenport Blues over a lazy-daisy all background that is soft not logy but as as some that Evans has written for Davis. The "Conniff" shuttle beat and that Billy Butterfield trumpet. These 12 all.time Don Redman 's old theme, Chant of the favorites sound better than ever when ... Weed, is ideal material fox Evans, who has turned it into a clarinet showcase for Budd Johnson, normally a saxophonist, CONNIFF MEETS BUTTERFIELD playing here with great warmth and Fay Connut and his Orchestra. Billy Butterfield. trumpet. CL 1346 CS 3135 (stereo assurance. Steve Lacey's soprano saxophone, the trombones of Curtis Fuller and Jimmy Cleveland (playing in an i1n- THE NORMAN LUBOFF CHOIR expectedly broad, smooth manner), and Evans himself on piano have other solo spots, but one's attention is always con- SONGS OF THE CARIBBEAN centrated on Evans as arranger. He is Norman Luboh trips to the Caribbean to bong back tantalizing Island rhythms and quoted in the liner notes as objecting to tropical chants. ;ls. almost like vacationing in the Caribert. Cl (357 comparisons with Dull Ellington; actually he is the only orchestrator in jazz iABUI00S HOLLYWOOD!.!*,1NF.ä who has approached Ellington's imag- FABULOUS HOLLYWOOD! inative mixtures of tonal colors. The Hollywood Sounds of FRANK DeVOL and his Orchestra The Gilbert and Sullivan Jazz Workshop: Here are a dozen top Hollywood melodies two Academy Award winners included) "The Coolest Mikado." Andes 28101, played by Frank DevIl (who has two Oscars to his credit) and his orchestra. 53.98 (LP); 27101, $4,98 (SD). CL 1371 CS Fl72 (stereo) As one who has objected strenuously to two recent jazz versions of Gilbert and Sullivan. f take particular pleasure in F,RANK SINATRA finding here some suggestion of the light- I.VI_tF tiORn/[ds ness, merriment, and melodiousness es- 6,, lt:tlYé TO NTii sential for such projects. Furthermore, Smooth and swinging all al one time' it's frank Sinatra singing some of the best this performance swings. Arranger Jack ! ballads ever, CL 1359 Fascinato obviously has sonic understanding of the point of the music, and his musicians -who include Milt Bern- COLUMBIAN RECORDS hart, Jcshn Craas, Cappy Lewis, Frank Celumbh ® op Motto Roc A dnalon or Colombo Broadcullna imam. Inc. Flynn, and Bobby Gibbons -have caught and projected an apposite spirit. A Savoy-

118 HTCEr Frner.rrSL MAGAZINE

www.americanradiohistory.com and can listen to this disc with equanim- ity and even pleasure.

Wynton Kelly: "Kelly Blue." Riverside 12298, $9.98 (LP) . A DISCRIMINATING Kelly plays piano both as part of a trio COLLECTION OF and with a sextet on this disc. Because he STEREO AND has a strongly rhythmic attack and an MONAURAL RECORDS approach that ranges from a wide orchestral use of the keyboard to a Jamal- like suggestiveness, his trio selections have both variety and content in greater de- HANS CONRIED grees than those of most of his contempo- PETER MEETS THE WOLF IN DIXIELAND raries. He emerges equally well from the Dixieland All Stars sextet surroundings, which include strong solos by Nat Adderley on cornet and featuring Pee Wee Erwin Hans Conned, that learned tragedian of the Benny Colson on tenor saxophone. TV after dark set and a success in every show business medium, takes you on a swingin' journey through two -beat country.... Peter, Grandpa and the Wolf become Merle Koch: "Shades of Jelly Roll." somethin' else when they knock heads with Carnival 102, $4.98 (LP). Pee Wee Erwin and the Dixieland All Stars. Koch is a pianist from the West Coast who SL 1001 was taken to New Orleans by clarinetist SLS 1001 (Sterile) Pete Fountain when the latter left Law- rence Welk to return to his home town. Although Jelly Roll Morton is the focal ® point of this set of solos, there is not much of Morton's style in Koch's playing. éílf,o He seems to come from that midwestern LEAVE IT TO JANE line of pianists exemplified by Jess Stacy. ORIGINAL OFF -BROADWAY CAST This style he plays well on its own terms, Composer Jerome Kern's early creative genius but in a Morton context it seems pro- is captured with authentic period charm. in this refreshing "off-Broadway" original cast nouncedly uninflected and raggy in con- recording.... Banjoes. campus cuties, and trast to Jelly's more flexible, blues - the "old college try" on songs like "LEAVE IT TO JANE," "CLEOPATTERER" and "THE touched manner. There are suggestions SIREN'S SONG" lend a nostalgic enchantment. in some of these selections that, given a SL 1002 situation where be does not have to bat- SLS 1002 (Stereo) tle as formidable a shadow as Morton's, Koch can he a convincing traditionalist pianist. As it is, be comes a lot closer to the meat of Morton than does Dr. Ed- mond Souchon, the indefatigable New Orleans jazz buff, who tries to sing four selections.

Humphrey Lyttelton and His Band STRINGS AND ALL THAT JAZZ "Humph Dedicates." London LL 3132, Mary Meredith and His Orchestre $3.98 (LP). Thelonious Monk, Matt Dennis, Erroll Garner" Once the leading figure in the traditional John Lewis and other working composers are jazz revival in England, trumpeter notable contributors to America's fast rising and only native art form. In a unique setting of Humphrey Lyttelton now leads an eight- lush strings, the truly great jazz ballads piece band which is swing -based and of this decade are dramatically end artfully showcased by the Mary Meredith Orchestra. rooted in the musical individualities of its ...Mood jazz for discerning moderns. own personnel. This dise is not a com- SLS 1003 pletely satisfactory representation of SIS 1003 (Stereo) present -day Lyttelton, however, because its programing is derivative (it consists of tunes associated with well-known jazz groups -Sleepy Time Down South, For Dancers Only, Marie, etc.) even though the performances are not, and because more than half the selections are per- POLYNESIAN PARADISE formed by expanded versions of Lyttel- PHIL MOORE end Nia Orchestra ton's regular band. Lyttelton himself ap- Strand Records takes you away on an escape pears to have been strongly influenced to a tropical holiday....The roar of the surf and the sounds of Polynesia enhance the natural by the Ellington trumpets (Cootie Wil- charm of island inspired music....Phil Moore liams and Rex Stewart) since he left his conducts a musico -geographical tour through Bali Ha'i; Polynesia and Manakoora in a setting Louis Armstrong days behind and be is of sensuous emotion and primitive beauty. extremely effective when he is biting and SL 1004 slashing through a mute. However, he SLS 1004 (Stereo) has sidemen who are more than a match for him -tenor saxophonist Jimmy Skid- more, who roars exhilaratingly through Marie; Tony Coe, an alto saxophonist who has achieved some suggestion of the floating ease of Johnny Hodges; and a brilliantly fluent baritone saxophonist, RECORDS Joe Temberley. Lyttelton 's octet is con- 680 5th Ave., N.Y. C.

NOVEI!BER 1959 1I9

www.americanradiohistory.com sistently stimulating and it is unfortunate that it has to share space on this disc with the far less satisfying larger groups. TWO J EWELS to enhance your listening pleasure Billy Masted and liis Manhattan Jazz Band: "Bourbon Street, Billy and the EI tes." Seeco 4380, $4.98 (SD). Masted heads a septet that depends for e$TATic mute; its material oo many of the standbys of traditional jazz, but his group approaches and your DIAMOND NEEDLE MUSIC EKOM THE WELSH MINES e+t.# 4411E iMU ax'Ur. then) in a smoother, less ragging fashion than one is accustomed to. 1k has an engaging trumpeter in Chuck Forsyth and an erratic but interesting clarinetist, MUSIC FROM Dan Tracey. But I must confess to a built -in prejudice against any record that THE WELSH MINES devotes almost nine. minutes to another "deeply felt performances by weary march with The Saints. these men from the Welsh Alines who bring to their Turk Murphy and His Band: "At the music a quality as distinctive Round Table." houlette R 25076, and individual as it is well $3.98 (LP); S 25076, $4.98 (SD).. The amazing STATICMASTER Record Brush known and rightly admired" Murphy's rhythm section may be heavy, but when it gets rolling you really know operates on a simple nuclear principle - The Gramophone Record Re- there's something pushing the band, This When the record is brushed, a shower of alpha particles neutralizes the static view. WR 416 disc is up of now as- made the standard charge. Sott jaguar hair bristles provide The Band and State Trumpoteta of sortment for Murphy of jazz hunes from the exact degree of stiffness to remove The Royal florae Gnarda WR III the the Twenties and originals, Bob Helm's static free dust and lint from the record Songs From Ireland, The Cunna. clarinet enlivens most of the selections, grooves. A few circular sweeps of a rota). The Singing Family of Dublin WR and a girl vocalist, Pat Yankee, tackles a Ing record make dust and lint vanish like 417 couple of Bessie Smith numbers with magic. STEREO AND MONAURAL RECORDS at better record stores or write commendable energy and seemingly with SOUND BETTER AND LAST LONGER. an equally commendable lack of illusion WASHINGTON Buy STATICMASTFRS from your local audio dealer RECORDS that she can hope to copy the Empress of or order direct -sent poslpo ld -rash with order. $4.98 postage paid. 1340 Connecti- the Blues. cut Ave., N.W., Washington 6, D. C. NUCLEAR PRODUCTS CO.

George Russell and His Orchestra: "New 10173 E. RUSH STREET. El MONTE 1 CALF York, N. Y." Decca DL 9216, $4.98 Introduce (LP); 79216, $5.98 (SD). The musical portrait of New York - Now Available YOUNG Listeners which almost always emerges as n chro- to the Old Masters! niìum, sound -track sound with generous 1958 a helpings of Aft/Own/in Tower and The Sidewalks of New York -is tackled from a new angle by composer -arranger George high fidelity Russell. He uses three familiar tunes (Afernhattan, Autumn in New fork, flow RECORD REVIEW About You) along with three of his own compositions as the basis for a tour of INDEX the cary presented in modern jazz terms, A complete index to all classical, a tour guided by a commentary couched semiclassical, jazz, and spakra in hip terms and briskly delivered by word record reviews which ap- Jon Hendricks. Russell's music is fresh peared in HIGH FIDELITY Maga- and often diverting. and he gets some zine in 1958. excellent solo performances from Bill Evans, Bob Brookmeyer, and John Col- Arranged alphabetically by com- SIRIlS trane. But Russell tends to linger ton long poser or by collection -title, with over each section, to milk it for more the issue and page ou which yarn Educational, entertaining, exciting! The life than it is worth. And even though Hen- will find the review you wish. stories and the music of the great com- dricks gives the commentary needed vi- posers...only $4.98 for each 12" VOX Ultra tality, il bas a narrow and self -conscious ONLY 65i EACH High Fidelity monophonic recording) outlook. BACH MM 350e 1954,1955,1956 and 1957 Indexes BEETHOVEN MM 3600 also availably nt 50¢ per copy. BERLIOZ ...... _ MM 3640 Teddy Wilson and His Trio: "Gypsy in BRAHMS _..,.,,, ,..,.._...... _ MM 3580 Jazz." Columbia CL. 1352, $3.98 (LP); CHOPIN MM 3520 STEPHEN FOSTER 8 SOUSA MM 3820 CS 8160, $4.98 (SD). MON FIDELITY Megejine GRIEG 8 SCHUMANN ...... 3550 Tlie life- giving qualities of Teddy Wil- Great Bcrdnglon, Moss. HANDEL ...... _...... _ M M 3560 son's piano have rarely been better Enclosed find Please rend me HAYDN ...... _.._ MM 3610 LISZT & PAGANIHI MM 3630 shown off than on this disc where he *spies of the 1954 Index MENDELSSOHN MM 3530 coaxes some spirit and vitality from the .copias of she 1955 Index MOZART ..,....._- ,....,.,_MM 3510 score of Gypsy, a score which seems to coptes of the 1956 Indes SCHUBERT ...... _...... _.,....MM 3540 he one. of Jule Styne's more arid ef- copies of the 1957 Index JOHANN STRAUSS MM 3590 copies of the 1958 Index TCHAIKOVSKY ... .:.._._ MM 3570 forts. In a signed liner statement, Styne Narrated by Arthur Hennes graciously expresses appreciation for Name write Dept. H to for complete catalog. what Wilson has done with his tunes- Address VOX PROpICTlON5. INC. and well he might, L -.234 Wear 55Th Street, New York 19, N. Joflx S. WI1.soN No C.O.D.s or charge orders pleb.

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Thé following reviews are of 4 -track 7.5- Air. Willis Page, cond. (in the Rhapsody); SHOSTAKOVICH: Symphony No. 5, in ips stereo tapes in normal reel form. Orchestra, Marty Gold, conci. (in the D, Op. 47 Song Transcriptions). Stadium Symphony Orchestra of New COPLAND: Billy the Kid: Ballet Suite; KAPt' KST 41008. 36 min. $7.95. York, Leopold Stokowski, cond. Statements EVEREST STBR 3010. 43 min. 1- Icindorls American in Paris is a bit London Symphony Orchestra, Aaron slapdash and overexpressive, but his $7.95. Copland, cond. Rhapsody is romantically lush and man- For all Stokowski's reputation for inter- EVEREST STBR 3015. 37 min. nered. with an almost complete lack of pretative eccentricities, he always has $7.95. individuality in Shelter's highly compe- played certain scores with scarcely a tent pianism. The prime appeal here lies trace of idiosyncratic quirks, as well as a These performances -first released six in the rightly brilliant, strongly stercoistic, plenitude of his most characteristic dra- months ago in LP and SD pressings- and quite closely miked stinks. matic eloquence. The Shostakovich Fifth represent Aaron Copland's debut as re- The Williams tape, however, is a is one of these; and although the con- wisely cording conductor, a debut he de- wholly delightful sleeper -the first re- had finer orchestras in the conductor has layed until he had acquired enough corded performance of the Rhapsody by past, he gets more out of the Stadium to join the thin ranks of cert experience a Popular pianist (other than Gerslnvin Symphony than anyone else has so far composers capable of truly definitive edi- himself ) which is entirely free from on records (or perhaps offl), in the clos- own works. Casual listeners tions of their mannerisms, sentimentality. and overin- est possible duplication of his fanions may miss some of the more overt drama llation. Williams himself plays with ad- Philadelphian reading which first intro- in the present of a Bernstein or Gould mirable straightforwardness and vivacity, duced the Russian composer's finest ballet music, but for real aficionados while Willis Page provides a no -less achievement to American listeners. In Copland's reading reveals a piquancy, straightforward and sympathetic accom- the present taping, his performance now wealth inner almost with point, and of detail paniment. The recording too, the is technically as completely satisfying exactly comparable to those which make soloist well to the right, is notably broad - and exciting as it always has been in- Stravinskÿ s readings of his works unique spread, rich, and completely faithful to terpretatively. I have seen some criti- and invaluable. the beautifully colored tonal qualities of cism of the disc version, but whatever Like Stravinsky, Copland demands re- both the soloist and the Symphony of justification that may have, it certainly and in cording qualities a bit drier tauter the Air. The smaller orchestra the is not applicable here, where the tape's than usual, less notable for their sheerly song transcriptions is much less distinc- moderate modulation level, wide dy- sensuous appeal than for their accuracy tive, and Williams (here apparently more namic and frequency ranges, well - to every nuance of phrasing and colora- nearly centered) chooses far too slow a marked yet unexaggerated stereoisni, tion in the score. The recording here, tempo for my taste in Someone To Watch and natural hall rcvcrlerance capture pm-hails even more than the stereo disc, Over Me. But his Lizzza, both catchy and flawlessly the dark yet piquant colors, meets the composer's demands complete- dazzlingly virtuosic, his highly original the brilliancy, tremendous low- spectnun ly and convinces attentive listeners that treatment of I Got Rhythm, his unac- power and solidity of this symphonic they are hearing exactly what Copland companied nocturnclikc Lnva Walked In, masterpiece. himself heard from the London Sym- the lilt of Bidin' My Time, and the the recording audi- of Maybe make this phony players in dreamy atmosphere Francesca da Rimini, other hands or in differ- no can resist. TCHAIKOVSKY: torium. In many a tape that Gershwinian Overture-Fantasia, ent souks, the concise Statements of Op. 32; Hamlet, Op. 67 1933 -3.5 would surely seem far less individual and more abstract than they do Stadium Symphony Orchestra of New here, where they reveal many little - York, Leopold Stokowski, conci. known aspects of the composer's person- EVEREST STBR 3011. 42 min. ality- particularly the brash humor of $7.95. "Jingo" and somewhat sinister mysticism of "Prophetic." These performances, reviewed last July (A two -track taping of these same per- in their two-track taping, sound well - formances is available at $10.95, and nigh identical in four -track form, and I sounds almost identical.) repeat my praise for both the remarkably restrained yet powerfully evocative the superbly big and an- An American in Paris; readings and GERSHWIN: sound of the stereo recordings. Rhapsody in Blue thentic Bert Shelter, piano (in the Rhapsody); Warner Brothers Symphony Orchestra, Ray Heindorf, cond. "The Broadway Bit." Marty Paich and WAr.xEn Bues. BST 1243. 32 min. His Orchestra. Warner Bros. WS'T $7.95. 1296, 35 min., $7.95. Since the notes provide no personnel in- GERSHWIN: Rhapsody in Blue; Song formation i can only assume that the Transcriptions: Someone to Watch soloists here are the stars they sound Over Me, Lich, Loce Walked In, Bid - like. Pianist -arranger-leader Paich has in My Time, Maybe, I Gat Rhythm flawlessly captured Continued on nett page Roger Williams, piano; Syanphony of the Shoatakovich: a Fifth 123 NOVEMBER 1959

www.americanradiohistory.com TAPE DECK abandoned frenzy of less sophisticated feet in such straight Gallic pops as A flamenco interpreters, and moreover are Paris, Valentine, and Song from the pieces (like Moulin Rouge -all captured in clean, Continued from preceding page most effective in the quieter Cana de los Cabales and Filigranes). bright recording notable for its smooth we have here is one of the most blend of markedly differentiated stereo that What mustered a topnotch ensemble persuasive and varied recorded intro- channels. plays with immense gusto. Particularly ductions to the gypsy arts of dancing, imaginative are his arrangements of Ive singing, and guitar playing, a model of "Porgy and Bess" Excerpts. Louis Arm- 1 Love Grown Accustomed to Her Face, stereo effectiveness both in its clean-cut strong; Ella Fitzgerald; Orchestra, Russ The Surrey Paris, Lazy Afternoon, and tonal differentiations and in the exceed- Garcia, cond. Verve VST4 206 (twin - with the Fringe on Top. Though all the of cross -chan- pack), 65 min., $11.95. treatments ingly ingenious exploitation pieces are pops standards, the nel antiphonies. are tore -and very buoyant -jazz. The What Ella and Louis do here may not recording, extremely brilliant, has chan- be exactly what Gershwin intended -'-and nel separation that would surely seem "Ligi." Recording from the sound track it's a bit startling to find the former tak- excessive for most types of music. but is of the film. André Devin, cord. M -C -M ing a chorus of l've Cot Plenty of Nuttin' surprisingly effective here. ST 3641, 30 min., $7.95. as well as the entire Buzzard Song -but The blustery overture and hit tunes from the composer himself certainly would Maurice Chevalier: "Sings Broadway" the Lerner & Loewe film score have be- agree that the letter of the score is in- and "Yesterday and Today." Orchestra, come so familiar since the first LP ap- consequential without the proper spirit, Glenn Osser, cond. M -C -M ST 3738, pearance of this sound -track recording a and that is prodigiously evident in this 26 min., $7.95. and ST 3702 -03 ( twin - year and a half ago, and they are more- performance. The long program lias a few pack), 48 min., $11.95. over so stylistically reminiscent of the clowns ( getting off to a particularly poor The ageless boulevardier, who can still authors' My Fair Lady, that it is a pleas- start with Garcia's now pretentious, now talk certain songs better than other stars ant surprise to find how much freshness sentimental Overture) as well as many can sing them, followed up his comeback and charm they acquire in the present ups, but at its frequent hest it is incom- on records with these programs on LP taping -a vivid example of big and bril- parable and rises to its peak in the su- earlier this year. In stereo they bring him liant, widespread stercoism and of the- perbly lilting final Oh Lewd, Yin on My even more realistically into one's living atrical immediacy and presence. Wray. Not the least of the delights here room, and it would be quibbling to en ti- is the presence (only too rare in tape cize the excessive channel separation releases) of the handsome illustrated here, with the soloist closely miked on "Let's Dance." David Carroll and His booklet of notes accompanying the origi- the right in what sounds like an acousti- Orchestra. Mercury STA 80001, 27 nal disc albums, which ( for those who cal environment dissimilar to that of Oss- min., $6.95. still think tape too costly) arc priced at er's modest but competent accompany- A Mercury two -track pops tape success of $9.96 (LP) and $11.90 (stereo). ing orchestra. And what matter if not nearly two years ago, this still commands all of the dozen Broadway tunes in the admiration for its bright and open, though "77 Sunset Strip." Orchestra and Chorus, shorter reel, and the no less than twenty - rather light, recording. It also remains a Warren Barker, cond. Warner Bros. virtue four old and new favorites in the "twin - sure best seller by of its toc -tick- WST I289, 32 min., $7.95. ling vivacity, especially in the title piece, pack," are best suited to the Chevalier A couple of the originals here (especially style, or that lie sings only occasionally in Late at Bailey's Pad and The Stu Bailey French? He is his incomparahle self, es- Blues) conie off effectively, as do the pecially in C'est Magnifique and Do 11 catchy arrangements of You Took Ad- Again (in ST 3738), Lioiti in the Sun- vantage of Ale and Lover Conne Back ta light, Valentine, Hello Beautiful, The Me. Still, having heard the "Peter Gunn Yankee Doodle Boy, Rainbow Round My and "More Peter Gunn" recordings, I Shoulder, You Made Ale Love You, and miss the greater gusto and drive of Man - many others (in ST 3702-03). That cini's scores and performances. The stereo should be more than enough for his in- recording there, however, is brilliant and numerable old and many new admirers. strong, and ninny of the settings make clever use of cross -channel-response po- Ella Fitzgerald: "Sings the Irving Berlin tentialities. Songbook." Paul Weston and His Or- chestra. Verve CST4 203 (twin -pack), "The Trombones. Inc." Warner Bros. 89 min., $11.95. WST 1272, 45 min., $7.95. Another tape bargain, with the longest I had no qualms about agreeing with running time I've yet encountered on John S. \Vilson on the West Coast men's any single tape reel, and a wealth of victory in this contest and the imagina- Ella's finest nonjazz performances - tive excellence of Warren Barker's ar- which often put to shame those of more rangements (Lassos Trombone and Old celebrated pops balladeers by their vocal Devi! Moon in particularr ), but i still got appeal, clarity of enunciation, rhythmic considerable pleasure from the less spec- Ella Fitzgerald, ever. lilt, and of course the captivating Fitz- captivating as tacular, but to niy ears far from "listless," gerald personality. The thirty -one songs East -Coast ( "A" -side) trombonists. This here are somewhat less absorbing to me Dancing Tambourine, A Ohs* to Remem- decidedly ingenious program should ap- than those in the Rodgers & Hart Song - ber, and the extremely diverting Dixie peal to ninny more listeners than trom- book, but I could listen to Ella singing Dawn Patrol. bone specialists alone, although perhaps anything. For good measure, she is dis- only the latter can best appreciate the creetly yet warmly accompanied and re- "Paris in Stereo." Raymond Lefèvre and virtues of the strongly stereoistic, corded throughout, and although her His "Grande" Orchestra. Kapp KT sound recording in differentiating so lu- mike seems fairly close, voice and or- 41009, 30 Mill., $7.95. cidly among the various soloists' tonal chestra arc beautifully balanced and in- qualities. Players are identified tegrated. The orchestra unfortunately just isn't in the ac- "grande" enough, especially in its string companying notes, but to experienced section, to cope successfully with dance cars these must be nearly superfluous. "Flamenco Fury." José Greco and Conn - versions of Offenbach's Cuité Parisienne, pany. M -C -M ST 3741, 46 min., $7.95. La helle Hélène, La. Vie Parisienne, and "Waltz 'Masterpieces." Stadium Sym- The "fury" in the title is slightly nnis- Apache Dance, but its obvious zest (and phony Orchestra of New York, Raoul leading, since, for all their verve and the playing of the oboe and accordion excitement, these performances lack the soloists) are revealed to much better ef- Continued on page I28

124 HIGH FIDELITY MAGAZINE

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Beethoven in stereo now on 4 -track tape for less than the identical AUDIO FIDELITY BEL CANTO CONCER-APES recordings on stereo discs a complete Beethoven concert: Symphony DOT ELEKTRA No. 3 (Eroica), Symphony No. 5, plus the Egmont and Coriolan Overtures, EVEREST HI FITAPES with Sir Adrian Boult conducting the Philharmonic Promenade Orchestra of KAPP M.G.M London on one reel of 4- track, 71/2 ips stereo tape offering permanent MERCURY 0 M EGATA PE master recording fidelity just one example of what is in store for you ROULETTE SMS VANGUARD among the more than 300 4 -track tapes now available from 19 leading re- VERVE VOX cording companies. For complete list of tapes and dealers in your a -ea, write WARNER BROS WESTMINSTER 1028 Kifer Road, Sunnyvale, California. UNITED STEREO TAPES WORLD PACIFIC

NOVEMBER 1959 125

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www.americanradiohistory.com A LIFETIME of MYLAR' your ".Vylor" is Da Pont's registered trademark for Its brood of polyester tages of these top tapes ... then ask dealer for film. Du Pont manufactures "Mylar", not finished magnetic recording a reel of your favorite brand of tape made of "Mylar ". tape. Tapes 0/ "Lylar" are made by all manufacturers. Once you've tried them, you'll be convinced that for fun -times recording or for any other recording situation tough, durable tapes of "Mylar" polyester aUPONT DU PONT film are the best tapes that you've ever used. BETTER THINGS FOR BETTER LIVING ... THROUGH CHEMISTRY MYLAR Be sure of superior performance ... look for the name "Mylar" on the box POLYESTER FILM NOVEMBER 1959 127

www.americanradiohistory.com TAPE DECK Continued from page 124 who can afford more, buy Even those Poliakin, conci. Everest STBR 3025, 38 min., .$7.95. The recording sounds even better here than in the recently reviewed stereo disc edition -which unfortunately merely ex- poses more candidly the deficiencies of performance and interpretation: orches- S T E R E O tral and acoustical coarseness, as well as the overintensity and heavy -handedness of Poliakin's readings. Roger Williams: "Near You." Piano; Or- chestra and Chorus, Hal Kanner, cond. Kapp KT 41002, 33 min., 8795. Roger Williams: "Songs of the Fabulous Forties "; "Songs of the Fabulous Cen- tury.'- Piano; Orchestra, Marty Gold and 1-Ial Kanner, mods. Kapp KT 45O1111 (twin-pack), 69 min.; KT 45006 (twin- pack), 74 min.; $11.95 each. If i was ever inclined to brush off Roger Even is no where price Williams as just another of innumerable object, Grommes is the competent but scarcely distinguished popular choice of many a cocktail -hour pianists, his recent Cersh- connoisseur. That's because win tape and the present batch of stand- Grommes has quality you ard song and hallad evocations showed me how much I've been missing and can hear ... performance misjudging. Although he is by no meatus far beyond its little price. another George Feyer, he has a hardly Why pay more? less winning way both with a good tune and florid pianistic embellishments. Less unerring in his taste and tempos than Fever, his prime virtue seems to me to be his powers of consistently maintaining whatever mood he first sets for a song transcription, and he usually picks one that persuasively justifies itself. He re- strains his obvious virtuosity from mean- ingless displays of dexterity, while still bringing notable éclat to his best performances. His small- orchestra accompaniments are generally less imaginative than his own playing, but they too are restrained. And although the frequent deliberate shifts of the solo instrument ( from one number to another) between a well - GROMMES 20LJ STEREOPHONIC AMPLIFIER to -the -right and more nearly centered location can he a bit disconcerting, the The "Little Jewel." a quality 20 watt high recording throughout is clean and nat- stereo pre -amplifier and power amplifier. ural. For the most part Williams pro- 20 watts Two 10 watt channels convert to vides first -rate musical entertainment, monophonic, 40 watts peak. Controls are ganged and not infrequently commands the gen- for simplified stereo operation Frequency uine magic of nostalgic sentiment. Even response ±0.5DB. 20- 20,000 CPS . Hum and though there are no less than sixty -one Noise 80DB below rated output - Selector for GROMMES CUSTOM 101GT transcriptions here (12 in KT 1002, 24 Aux. Tuner, NARTB Tape, RIAA Phono, FM TUNER and 25 in the two "twin- packs "), my Crystal Phono Treble. Bass, Loudness Outstanding performance, Elec- appetite is only whetted for more. Controls Inputs for records, tape or tuner tronic tuning eye and AFC simplify Outputs 4. 8 and 16 ohms Two AC outlets tuning. Foster Seeley discriminator and matched crystal diodes de- for associated components . Size only tector. Audiophile net. $79.95.' 14" x 4'/,- x 9-. Gold and oyster -white face plate. The following reviews are of 4 -track 3.75 - 'Handsome saddle tan simulated Audiophile net. only $69.95. fps stereo tapes in "cartridge" form. leather enclosure 510.00 extra. "Around the World." Frankie Carle and Ask your Hi- Fidelity Dealer to demonstrate GROMMES -the best buy in Stereo HiFi His Orchestra. RCA Victor KPS 3002, 31 min., 55.95. Except in the contrastingly slow and lyri-

Please send me FREE GROMMES DIVISION OF PRECISION ELECTRONICS, INC, cal Irish Lullaby, Canes piano playing full color catalog of Fa® 9101 -A King Street, Franktln Park, Illinois bounces emphatically through a lively the 1960 Grornmes line along with detailed international program ( Hindustan, South specifications. Name American Wag, Loch Lomond, etc. ), to which a rhythm section contributes a Street heavy, plugging heat and a small ensemble discreetly decorative backgrounds. City S1a'e Continued on page 130

128 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com TAPE DECK Continued from. page I28

What surprises me is how well the marked stereoism and authentic tonal qualities stand up in a recording which first appeared two full years ago; it even sounds better here than in its original 1957 hvo -traek taping. Band of the Coldstream Guards, Major why Douglas A. Pope, cond. RCA Victor KPS 3003, 31 min., $5.95. I commented favorably on the premature ruin release of this 3.75 -ips tape last March when I could play it only in a reel trans- fer; now that I can hear it in cartridge playback, I find that more accurate I your equalization adds a notably brilliant high end to the stereo spaciousness admired earlier. As a conscclucnce, the sizzling valuable cymbals and plangent brass sonorities of the British Band impressively augment the glitter and bite of Major Pope's rousing performances of A Frangesa, El Abanico, records? Père de la Victoire, and the Cobenhac- ner marches in particular. One of the hest of the cartridge releases so far both for sonic -demonstration effectiveness and unrestricted musical appeal. "Dancing with the Smart Set." Meyer Davis and His Orchestra. RCA Victor KPS 3032, 39 min., $5.95. Conventional dance materials, but hardly in the suave society vein one ctpects from Davis, since the arrangements (of The Carioca, Waltz at Maxims, medleys from Gigi, Oklahoma, Con -Can, etc.) arc surprisingly slapdash and both the doggedly brisk performances and strongly stereoistic recording Jack any real distinction. "Georges Fcyer Takes You to Rodgers dextrafix & Hammerstein's 'Oklahoma' and 'South Pacific.'" RCA. Victor KPS 3016, TONE.4RM CONTROL 33 min., $5.95. The same coupling of familiar hit tunes, If the tonearm slips out of your fingers and with Fcyer's pianistic embellishments and bounces over the record -the record is rhythm -section accompaniments. was con- lowers the ruined! If you're unlucky, you will also siderably less attractive sonically in last need a new stylus and possibly a new year's stereo disc version than in the cartridge. separate release on 7.5 -ips tapes (APS 145 and BPS 1.46), hut happily the new tonearm Why take a chance? DSXTnAFrNO TONE - taping recaptures all the warmth and ARM CONTROL prevents such accidents! It ringing piano tone of the earlier one. as places the stylus in the lead -in groove - well as -of course- Feyer's own inimi- gently and accurately, Then, at the end table vivacity and grace. into the of play or at any point on the record, it lifts the stylus from the record. And the "The Desert Song." Giorgio Tozzi, Kathy stylus cannot touch the record Barr, et ah; Chorus and Orchestra, until the Lehman Engel, cond. RCA Victor KPS lead-in lift bar is again lowered for the next play. 4000, 46 min., $5.95. The DEXTRAFIXIS TOXEARM CONTROL also The most faded of operettas is odd ma- facilitates "cueing" at any paint on the terial indeed for sumptuous stereo re- groove. a record. cording. It may well delight whatever A must for turntables -and record admirers ]lomberg'.s score still commands, changers with manual operation! but more sophisticated listeners are scarcely likely to be won over by the lifts it $495 inflation to wide- screen grandiloquence of the stylistic incongruities between su- Another quality product per masculine robustness (of Tozzi and play! by the manufacturers of Caljour in particular) and ingénuish war- after LEKTROSTATS bling (in which Kathy Bares pleasant Record Cleaning Kit small voice is forced into tremulous screams in the climaxes). 4 dext r chemical corp. consumer products div. 845 Edgewater Rd., N.Y. 59 6

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MODEL SC -1 (speaker enclosure) $3995 each Shpg. Wt. 42 lbs.(specify R. or L. also wood desired) Superbly designed cabinetry to house your complete stereo co31d sou, Qpitd system. Delivered with pre -cut panels to fit Hcathkit AM -FM tuner (PT -I), stereo preamplifier (SP -I & 2) and record changer (RP -3). Blank panels also supplied to cut out for any other equipment you may now own. Adequate space is also provided for tape deck, speakers, record storage and amplifiers. Speaker wings will hold Hcathkit SS -2 or other speaker units of similar size. Available in 1/4' solid core Philippine mahogany or select birch plywood suitable for finish of your choice. Entire top features a shaped edge. Hard- ware and trim are of brushed brass and gold finish. Rich tone grille cloth is flecked in gold and black. Maximum overall dimensions (all three pieces): 821/4' W. x 36(/2' H. x 20' D.

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MONAURAL -STEREO PREAMPLIFIER KIT MODEL SP -2 (stereo) (TWO CHANNEL MIXER) $5695 Shpá. WI. 15 lbs. Complete control of your entire stereo system in one compact package. Special "building block" design allows you to MODEL SP -1 (monaural) purchase instrument in monaural version and add stereo or Shp°. Wt. $3795 later desired. The SP -I monaural pre- 13 lbs. second channel if amplifier features six separate inputs with four input level MODEL C -SP -1 controls. A function selector switch on the SP -2 provides (converts SP -I to SP -2) two channel mixing as well as single or dual channel monaural Shop. Wt. and dual channel stereo. A 20' remote balance control is $2195 lbs. provided.

NOVEMBER 1959 131

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Every outstanding feature you could ask for in a record changer is provided in the Hcathkit RP -3, the most advanced changcr on the market today. A unique turntable pause dur. ing the change cycle saves wear and tear on your records by eliminating grinding action caused by records dropping on a moving turntable or disc. Record groove and stylus wear are also practically eliminated through proper weight distribution and low pivot point friction of the tone arm, which minimizes arm resonance and tracking error. Clean mechanical simplicity and precision parts give you turntable performance with the automatic convenience of a record changer. Flutter and wow, a major problem with automatic changers, is held to less than 0.18 %r, RMS. An automatic speed selector position allows intermixing 331/1 and 45 RPM records regardless of their sequence. Four speeds provided: 16, 331/3, 45 and 78 RPM. Other features include RC filter across the power switch preventing pop when turned offand muting switch to prevent noise on automatic or manual change cycle. Changer is supplied complete with GE -VR -11 cartridge with diamond LP and sapphire 78 stylus, changer base, stylus pressure gauge and 45 RPM spindle. Extremely easy to assemble. You simply mount a few mechanical components and connect the motor, switches and pickup leads. Shpg. 1Vt. 19 lbs. Model RP -3 -LP with MF -1 Pickup Cartridge $74.95

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MODEL TR -IAH: Half.trsek monophonic and stereo record /playback with last MODEL FM -3A $2695 forward and rewind functions. 5I Shoe. Wt. 35 lbs. 4996 For noise and static -free sound reception. this FM TR -IAH SPECIFICATIONS -Frequency response: 7.5 IPS -3 db <0- 15.000 cps. 3.75 tuner is your least expensive source of high fidelity IPS ±3 db 40a0.000cos. Signal- lo.noise ratio: <5 db below full output of 1 Soll tenon. net. Harmonic distortion: Less than 2% at full output. Bias erase frequency: coke material. Efficient circuit design features stablizcd (oushpull oscillator). oscillator circuit to eliminate drift after warm -up and MODEL TR -I AO: Ouarter.track monophonic and stereo with record /playback last broadband IF circuits for full fidelity with high sensi- forward anti rewind functions. tivity. All tunable components arc prealigned and Stipp. Wt. 35 lbs. 514995 front end is preasselnbled. Edge -illuminated slide rifle TRIAO SPECIFICATIONS-Frequency response: 7.5 !PS ±3 db .*015.000 cps. dial is clearly marked and covers complete FM band 3.75 IPS -3 ob 40.10,000 cos. Signal.tenoiso ratio: <0 db below lull output of .75 from 88 to 108 mc. Shpg. Wt. 8 lbs. volts )channel. Harmonic distortion: Less than 2% at foil output. Bias erase: 60 lb teushpull oscillato,).

132 Hlclt FIDELI'l'Y NIA(:AZINL

www.americanradiohistory.com 14 -WATT HI -FI ECONOMY AMPLIFIER (EA-3) Top performance at budget cost! From HEATHKIT audio labs comes an exciting new kit . . . New Styling, New Features, Brilliant Per- formance! Designed to function as the "heart" of your hi -fi system, the EA -3 combines the preamplifier and amplifier into one compact package. Providing a full 14 watts of high fidelity power, more than adequate for operating the average system, the EA -3 provides all the controls necessary for precise blending of musical reproduction to your individual taste. Clearly marked controls give you finger -tip command of bass and treble "boost" and "cut" action, switch selection of three separate inputs, "on -off" and volume control. A hum balance control is also provided. The convenient neon pilot light on the front panel shows when instrument is on. Styled to blend harmoniously into any room surroundings, the handsome cover is of black vinyl coated steel with gold design and features it--""4"- the new "eyebrow" effect over the front panel to match the other new Heathkit hi -fi instruments, The MODEL EA -3 .panel is satin black with brush -gold trim strip, while $2995 the control knobs arc black NOTE THESE OUTSTANDING SPECIFICATIONS: Power Output: with gold inserts. Ii walls. HFi; 12 watts. Professional; 16 watts. Utility. Power Response: Shpg. Wt. 15 lbs. I db from 20 cos to 20 ke at 14 walls output. Total Harmonic Distortion: I P. than 2 %. 30 cps to ' 5 kc at 14 watts output. Intermodulalion Distor- tion: less Than 1%at 16 watts output using 60 cps and 6 kc signal mind 4:1 Hum and Holm man. phono Input, 47 db below 14 watts; tuner and crystal phono, 63 db below 14 watts.

World's largest manufacturer of electronic instruments in kit form CHAIRSIDE ENCLOSURE KIT MODEL CE -2 TRADITIONAL: Mode HEATH COMPANY CE -2T ( mahonany) CONTEMPORARY: Model CE -2B (ouch) $4395 Benton Harbor, 40, Michigan Model CE -2M (mahogany) each Space saving and attractive, the CE -2 puts control of your a Subsidiary of Daystrom, Inc. entire hi -fi system right at your chairsidc. Designed to C,' house the Hcathkit AM and FM tuners (BC -IA, FM -3A, FM -4), WA -P2 preamplifier, RP-3 record changer, and any of the Heathkit power amplifiers. Supplied in beautiful furniture- grade, veneer- surfaced plywood suitable for the finish of your choice. Shpg. Wt. 46 lbs.

'46.4444.26 I

"UNIVERSAL" HI -FI 12 WATT AMPLIFIER KIT "EXTRA PERFORMANCE" 55 WATT HI -FI MODEL UA -1 52195 AMPLIFIER KIT Ideal for stereo or monaural applications. Teamed MODEL W7 -M $5495 with the Hcathkit WA -P2 preamplifier, the UA -1 provides an economical starting point for a hi -fi system. This hi -fi amplifier represents a remarkable value at less In stereo applications two UA -l's may be used along than a dollar a watt. Full audio output and maximum with the Heathkit SP-2. or your present system may damping is a truc 5S watts from 20 to 20,000 CPS with be converted to stereo by adding the UA -1. Harmonic less than 2% total harmonic distortion throughou: the distortion is less than 2% from 20 to 20,000 CPS at entire audio range. Features include level control and full 12 watt output. "On -off" switch located on chassis "on -off" switch right on the chassis. plus provision for and an octal plug is also provided to connect pre- remote control- Pilot light on chassis. Modern. functional amplifier for remote control operation. Shpg. Wt. design. Shpg. Wt. 28 lbs. 13 lbs.

"MASTER CONTROL" PREAMPLIFIER KIT MODEL WA -P2 $1976 All the controls you need to master a complete high fidelity home music system arc incorporated in this versatile instrument. Featuring five switch- selected inputs, each with level control. Provides tape recorder and cathode - follower outputs. Full frequency response is obtained within i I t/7 db from 15 to 35,000 CPS and will do full justice to the finest available program sources. Equaliza- tion is provided for LP, R1AA, AES and early 78 records. Dimensions are 12Vá L. x 3sA" H. x 5741` D. Shpg. Wt. 7 lbs.

\o\'P:MusEn 1959 133

www.americanradiohistory.com "ADVANCE DESIGN" 25 WATT HI -FI ® AMPLIFIER KIT HEATHKIT MODEL W5 -M $5975 Enjoy the distortion -free high fidelity sound reproduction from this outstanding hi -fi amplifier. The W5 -M incorporates advanced design features for the super - critical listener. Features include specially designed Peerless output transformer and KT66 tubes. The circuit is rated at 25 watts and will follow instantaneous power peaks of a full orchestra up to 42 watts. A "tweeter saver" suppresses high frequency oscillation and a unique balancing circuit facilitates adjustment of output tubes. Frequency response is -±I db [rom 5

to 160,000 CPS at I watt and within '_2 db 20 to 20,000 CPS at full 25 watts output. Harmonic distortion is less than 1% at 25 watts and 1M distortion is ' -J KIT jr, at 20 watts (60 and 3,000 CPS, 4:1). Hum and "HEAVY DUTY" 70 WATT HI -FI AMPLIFIER noise arc 99 db below 25 watts for truly quiet per- MODEL W6 -M $10995 formance. Shpg. Wt. 31 lbs. For real rugged duty called for by advance hi -fì systems or P.A. networks, this high powered amplifier more than fills the bill. Silicon -diode rectifiers arc used to assure long life and a heavy duty transformer gives you extremely good power supply regulation. Variable damping control provides optimum performance with any speaker system. Quick change plugselects 4, 8 and 16 ohm or 70 volt output and the correct feedback resistance. Frequency response at I watt is ±1 db from 5 CPS to 80 kc with controlled HF rolloff above 100 kc. At 70 watts output harmonic distortion is below 2 %. 20 to 20.000 CPS and IM distortion below It; 60 and 6,000 CPS. Hum and noise 88 db below full output. Shpg. Wt. 52 lbs.

YOU'RE NEVER OUT OF DATE WITH HEATHKITS

20 WATT HI -FI AMPLIFIER KIT MODEL W4 -AM $3975 This top quality amplifier offers you full fidelity at minimum cost. Features extended frequency response, low distortion and low hum level. Harmonic distor- Heathkil hi -fl systems are designed for maximum flexibility. Simple tion is less than 1.5% and IM distortion is below conversion from basic to complex systems or from monaural to stereo is easily accomplished by adding 10 already existing units. 2.7% at full 20 watt output. Frequency response HeathkIl engineering skill Is your guarantee against obseescence. extends from IO CPS to 100,000 CPS within ±I db Expand your hl -fl as your budget permits ... and, if you like, spread at 1 watt. Output transformer tapped at 4, 8 and 16 the payments over easy monthly installments with the Heath Time ohms. Easy to build and a pleasure to use. Shpg. Payment Plan. Wt. 28 lbs.

GENERAL -PURPOSE 20 WATT AMPLIFIER KIT MODEL A9 -C $3550 The model A9 -C combines a preamplifier, main amplifier and power supply all on one chassis, providing a compact unit to fill the need for a good amplifier with a moderate cash investment. Features four separate switch -selected inputs. Separate bass and treble tone controls offer 15 db boost and cut. Covers 20 to 20,000 CI'S within ±I db. A tine unit with which to start your own hi -ti system. Shpg. Wt. 23 lbs.

ELECTRONIC CROSSOVER KIT MODEL X0-I $1895 This unique instrument separates high and low frequencies and feeds then through two amplifiers to separate speakers. It is located ahead of the main amplifiers, thus. virtually eliminating IM distortion and matching problems. Crossover frequencies for each channel are at 100, 200, 400. 700, 1200, 2,000 and 3,500 CPS. This unit eliminates the need for conventional crossover circuits and provides amazing versatility at low cost. A unique answer to frequency division problems. Shpg. \Vt. 6 lbs.

134 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com "BASIC RANGE" HI -FI SPEAKER "LEGATO" HI -FI SPEAKER SYSTEM KIT SYSTEM KIT MODEL HH -1 $29996 MODEL SS -2 $3996 Words cannot describe the true magnificence of the "Legato" Legs optional extra. $4.95 speaker system , .. it's simply the nearest thing to perfection in Outstanding performance at modest cost make reproduced sound yet developed. Perfect balance, precise phasing, this speaker system a spectacular buy for any hi -fi and adequate driver design all combine to produce startling real- enthusiast. The specially designed enclosure and ism long sought after by the hi -11 perfectionist. Two 15' Altee high qulaity 8' mid -range woofer and compression - Lansing low frequency drivers and a specially designed exponential type tweeter cover the frequency range of 50 to horn with high frequency driver cover 25 to 20,000 CPS. A unique 12,000 CPS. Crossover circuit is built in with bal- crossover network is built in, Impedance is 16 ohms, power rating ance control. Impedance is 16 ohms, power rating 50 watts. Cabinet is constructed of j/4' veneer- surfaced plywood 25 watts. Cabinet is constructed of veneer- surfaced in either African mahogany or imported white birch suitable for furniture -grade t ' plywood suitable for light or the finish of your choice. All parts arc precut and predrilled for dark finish. Shpg. Wt. 26 lbs. easy assembly. Shpg. Wt. 195 lbs.

"RANGE EXTENDING" HI -FI DIAMOND SPEEDWINDER KIT SPEAKER SYSTEM KIT STYLUS HI -FI PICKUP MODEL SW -1 $2495 MODEL SS -1B $9995 CARTRIDGE Rewind tape and film at the rate of a complete Not speaker system in itself, the SS-1B MODEL MF -1 1200' in 40 seconds. Saves wear on is designed to extend the range of the basic SS -2 tape and recorder. Handles up to (or SS -1) speaker system. Employs a IS' woofer $2696 101/+° tape reels and 800' reels of and a super tweeter to Replace your present 8 or 16 millimeter film. Incorporates extend overall response pickup with the MF -1 automatic shutoff and braking de- front 35 to 16,000 CPS and enjoy the fullest vice. Shpg. Wt. 12 lbs. ± 5 d b. Crossover circuit fidelity your library is built-in with balance of LP's has to offer. control. Impedance is 16 Designed to Heath ohms, power rating 35 specifications to offer .._.. ._ watts. Constructed of you one of the finest )J' veneer-surfaced ply- % t'ÿ- cartridges available r.r;` wood suitable for light today. Nominally flat or dark finish. All parts response from 20 to precut and predrilled for 20,000 C'I'S. Shpg. easy assembly. Shpg. Wt.I lb. Wt. 80 lbs.

NEW! "DOWN -TO- EARTH" HEATH COMPANY BENTON HARBOR 8, MICH, High -Fidelity Book pioneer in iinsIdlary of Daysrfom, Inc. The "HOW AND WHY OF HIGH FI- C DELITY", by Milton Sleeper explains "do- it- yourseir' Please send the Free Heathkit catalog. what high fidelity is, and how you can electronics Enclosed is 25c for the Hi -Fi book. select and plan your own system.

This liberally -illustrated 48-page book Enclosed find S ...... tolls you the hi -fi story without fancy Please enclose postage name for parcel post- espress technical ¡argon or high -sounding orders are shioced de- terminology. 25e. Wier), Charges collect. All prices F.0.8. Benton address Heroor Mich. A 20 %° do posit is required on all SEND FOR FREE CATALOG C.O.D. orders. Prices subject to change with. city L state Wrlte4oday for free catalog describing out notice. ever 100 easy -to -build kits in hi -fi- test- marine and amateur radio fields. QUANTITY ITE MOOD. NO. PRICE Complete specifications, schematics, and detailed information to help you In your selection.

NOVE:AHER 1959 135

www.americanradiohistory.com Stereo Preamplifier HF85

0 and Mono Hi -Fi , .. the experts say oyour best buy is L7E/cOL7 70W Stereo Power Amplifier HFf 28W Stereo Power Amplifier HFE6

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

12W Mono Integrated Amplifier 111-12 Other Mono Integrated Amplifiers, 50, 30, 8 20W (use 2 for stereo) :"ebr SCI.

Stereo Amplifier-Preamplifier HF81

HF8I Stereo AmplifierPreamplifier selects, from 25 uy. IF bandwidth 260 Kr at 6 db points. amplifies, controls any stereo source 8 feeds it Both cathode follower 8 FM- mulliptex stereo thru setlcontained dual 14W amplifiers to a Outputs, prevent obsolescence. Very low distor- pair of speakers. Provides 28W monophonically. tion. "One of the best buys in high fidelity kits." Ganged level Controls. separate balance control. - AUDIOCRAFT. Kit $39.95'. Wired $65.95. independent bass 8 treble controls for each Cover $3.95. 'Less cover, F.E.T. Incl. channel. Identical Williamson -type, push-pull EL84 power amplifiers. "Excellent" - SATURDAY New AM Tuner HFT94. Matches HFT90. Selects REVIEW; HI -F1 MUSIC AT HOME. "hi-fi" wide (20c weak - "Outstanding - 9kc -3 db) or 2Way Bookshelf quality . extremely versatile. " -ELECTRONICS station narrow (20c - 5kc @(- -3 db) bandpass. WORLD LAB-TESTED. Kit $69.95. Wired $109.95. Tuned RF stage for high selectivity 8 sensitivity; Speaker System HFS1 Includes cover. precision eyetronic* tuning. Built-in ferrite 3 -Way Speaker System HFS3 HF1S Stereo Preamplifier is a complete. master loop. prealigned RF 8 IF coils. Sensitivity 3 uy 2 -Way Speaker System HFSS stereo preamplifier control unit. self -powered for @ 30% mod. for 1.0 V out, 20 db S /N. Very low flexibility 8 to avoid power-supply problems. Dis- noise 8 distortion. High-C1 10 kc whistle filter. Kit 539.95. Wired $65.95. Incl. Cover F.E.T. tortion borders on unmeasurable even at high 8 sion, 8" woofer (45 cps res.). 8 342" cone output levels. Level, bass. 8 treble controls inde- tweeter. 13/4 cu. ft. ducted -port enclosure. Sys- pendent for each chanr New 0-4 Stereo Amplifier provides clean 4W el or ganged for both per channel tem 0 of th for smoothest frequency 8 best channels. Inputs for phone.. tape head. mike, AM, or 8W total output. Inputs for ceramic /crystal stereo -ups, AM -FM transient response. 45- 14,000 cps clean. useful FM. 8 FM- multiplex. One each auxiliary A & pick stereo. B FM-multi stereo. response. HWD: 24", 121/a", 1042 ". Unfinished input in each channel. Switched-in loudness corn- 6- position stereo /mono selector. Clutch- concentric level birch $47.50. Walnut, mahogany or teak $59.50. pensatoi. "Extreme flexibility a bargain."- 8 tone controls. Use ... with a HFS HFSt Bookshelf Speaker System complete with HI-FI REVIEW. Kit $39.95. Wired $64.95. Includes pair of -5 Speaker Systems for good quality. low-cost stereo. Kit $38.95. Wired $64.95. factory-built cabinet. Jensen 8" woofer. match- cover. ing Jensen compression-driver exponential horn New HF87 70Watt Stereo Power Amplifier: Dual NF12 Mono Integrated Amplifier provides com- tweeter. Smooth clean bass; crisp extended 35W power amplifiers of the highest quality. plete "front -end' facilities and true high fidel- highs. 70- 12,000 cps range. 8 ohms. HWO: 23" x Uses top -quality output transformers for undis- ItY Performance. Inputs for phono, lape head, TV, It" x 9 ". Price 529.95. torted response across Ilse entire audio range at tuner and crystal /ceramic cartridge. Preferred LOS -f Brass Tip Matching 14" Legs - $3.95. lull power to provide utmost clarity on full variable crossover, feedback type tone control HFS2 OmniOirectional Speaker System (not illus.) orchestra 8 organ. IM distortion 1% at 70W. circuit. Highly stable Williamson -type power HWD: 36 ". 151,'s'. 1142 ". "Eminently musical" harmonic distortion less than 1% from 20 to amplifier circuit. Power output: 12W continuous. - HIGH FIDELITY. "Fine for stereo" - MODERN 20,000 1 cps within db of 70W. Ultra-linear con- 25W peak. Kit 534.95. Wired $57.95. Includes HI -Fl. Completely factory- built. Mahogany or wal- nected EL34 output stages A surgistor- protected Cover. nut $139.95. Blond $144.95. silicon diode rectifier power supply. Selector switch chooses mono or stereo service; New HFSS 3 -Way Speaker System Semi -Kit corn - 4, 8, EICO, 33.00 Northern Blvd., L.I.C. 1, N. Y. 16, and 32 ohm speaker taps, input level con- plete with factory -built 44" veneered plywood (4 trols: basic sensitivity 0.38 volts. Without exag- sides) caSinot. Bellows- suspension. full -inch excursion 12" woofer (22 cps res.), SHOW ME HOW TO SAVE 50% en 65 geration, one of the very finest stereo amplifiers 8" mid -range top available regardless speaker with high internal damping models of quality: of price. Use with self - cone for Hi -Ft Test Instruments smooth response, 31/a" cone powered stereo preamplifier-control unit (HF85 tweeter. 21,4 cu. ft. Free STEREO HI-FI Guide recommended). ducted -port enclosure. for "Ham" Gear Kit $74.95. Wired $114.95. System 0 of 42 smooth. Send FREE catalog 8 name of neigh- est frequency 8 best transient response. 1086 28w Stereo Power Amplifier Kit $43.95. 32- borhood EICO dealer. Wired $74.95. 14,000 cps clean, useful response. 16 ohms impedance. HWD: 261/2".137/.".143/a". Unfinished NAME ...... FM Tuner NFT90: Prewired, prealigned. tempera- birch $72.50. Walnut, mahogany or teak 587.50, HF -19 ture -compensated "front end" is driltfrce. Pre - ADDRESS wired exclusive precision eyetronic9 traveling New HFSS 2 -Way Speaker System Semi -Kit com- CITY ZONE...... STATE tuning indicator. Sensitivity: 1.5 uy for 20 db plete with factory -built a/s" veneered plywood (4 quieting; 2.5 no for 30 db quieting, full limiting sides) cabineL Bellows- suspension. 3/4" excur-

136 HIGII FIDELITY MAGAZINE

www.americanradiohistory.com cm Lad iocrcft November ' 1959

two 12 -watt channels -in mono and even more so in stereo- sound like more loudness than a single speaker hitched to a 24 -watt amplifier. Finally, attention should be drawn to the fact that the Heath Company has gone so far as to prcmulgate not only standards of measurement but standards of performance. As readers of advertisements are aware, it has set tip three amplifier power ratings: professional, high fidelity. and utility. In each category, five measurements are applied. Three are of harmonic distortion at different frequencies; the fourth is frequency response at specified powers; and the fifth is intcrmodulation srAND.s,m of measurement of the performance of distortion. high- fidc!ity equipment are gradually being accepted It is well worth while to make a careful study of the and could become common. Progress is slow; even though standards established by Heath, because they emphasize the Institute of High Fidelity Manufacturers announced the very important fact that what matters is not how standards for FM tuners many months ago, only a few much power an amplifier can deliver, but how clean or of the manufacturers who submitted data for our distortion -free that power may be. For example, Heath roundup elsewhere in this issue of HIGH FIDELITY used says 3% IM distortion ranks an amplifier in the utility the new sensitivity rating scale. This is to be expected. class; 2% is high fidelity (this. by the way, is a com- It takes time to convert. Equipment has to be carefully monly accepted level) and 1% is professional. Some rechecked. Sales and advertising literature has to be typical examples tabulated by Heath reveal that these reissued. The large mail -order houses, whose catalogues levels of distortion are reached, by one amplifier, at 19.5, arc so important to many major manufacturers, have to 18.9. and 18.0 watts, respectively, whereas in another be notified months in advance. Finally, the public has amplifier they arc reached at 11.6, 5.9, and 3.9 watts. to be educated. It may well be a year before a full-scale We would like to commend Heath for its decision. conversion can take place. There will be plenty of discussion about the validity of In the meantime, some salient points to remember the measurements and standards, and of their relation- arc, first, that there arc two (or more) methods of meas- ship to listening pleasure. But the least that can be said uring performance. Second, that the IHFM has said is that this company has taken a move in a direction nothing about performance itself. It has not said that worth following, and that it has publicized a good cause. .this is good performance, and that, bad. It has simply drawn up methods of measuring distortion and/or performance. and its members have agreed to use those A Ieanderings RCA Victor has been imbibing 317X, methods. Third, the important thing is -at the moment an ingredient that will be used in its discs to reduce static -to be sure the measurements are comparable. That's electricity A well -known department store in why we did not use IHFM sensitivity ratings, even when Chicago sells "hi fi under-gravel filters." For bird baths! available, for the stereo tuner article. ... More complete info on power amps, described in Fourth, it should be clear at all times what everyone September: EICO preamps are supplied self- powered is talking about. Amplifier power ratings can be con- only; no need for external power as implied in our fusing because of stereo watts, monophonic watts, and comment. Fisher 300 has feature E, which is convenience

peak watts. Just bear in mind that a stereo power ampli- outlets. . . . Morley Kahn, of H. H. Scott, says sepa- fier which delivers, for instance, 12 watts per channel rate tone controls are wise in stereo systems, even though may also be rated as a 24 -watt mono amplifier, by com- identical speakers are used, because room acoustics may bining the two channels. And either the per- channel or unbalance speaker tonality. "For instance," he says, "if combined figure may be doubled to give a reading in one speaker is located near drapes, the other near a fire- peak watts. All this is quite correct; no one is being place, the speaker near the fireplace will sound shriller." sneaky about anything. They may be a bit conservative. Truc, too true. But let's not make things so simple. Let's There is considerable listening evidence to prove that build another _fireplace. Stereo, sec? CHARLES FOWLER

NOVEMBER 1939 137

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

REPORT POLICY Most equipment reports appearing in this section are prepared for us by Hirsch -Houck Labora- tories, a completely independent organization whose staff was responsible for the original Audio League Reports. Their reports are signed: H. H. Labs. Reports are published exactly as they are received. Neither we nor the manufacturers of the equipment tested are permitted to delete information from or add to the reports, to amend them in any way, or to withhold them from publication. Manufacturers may add a short comment If they wish to do so. On equipment that demands more sublective appraisals (such as loudspeakers), the reports may be prepared by members of our own staff. Such reports do not carry a signature. The policy concerning report publication and amendment by the manufacturer Is the same as that for H. H. Reports.

Radio Shack Electrostat 3 The Electrostat 3 has a built -in ing the level of the woofer (or your Electrostatic Tweeter high -pass filter which reduces fre- present system) to match the output quencies below about 5,000 cycles. of the tweeter, which is fairly low in The use of a regular dividing network efficiency. With the level control full SPECIFICATIONS (furnished by manufacturer): o three. element, single -ended electrostatic (available wired from Radio Shack, up, the speaker seemed to match my tweeter. Frequency range: 5,000 cps to for 8- or 16 -ohm systems, at 86.95) AR -2; with other systems, I had to 20,000 cps. Output impedance: 8 or 16 provides more flexibility in balancing turn the control back a bit. ohms, adjustable. Dispersion: 120 degrees. tweeter and woofer. The -several models that I listened Polarizing voltage: built -in, AC supply. Cur- rent consumption: negligible. Size: 6 in. high This speaker is wired into the sys- to appeared to have more distortion by 12 wide by 41/2 deep. Finish: blond or tem just as any other tweeter would and to be less smooth than more ex- mahogany. Price: 527.50. DISTRIBUTOR: Ra- be. It has an input strip very much pensive electrostatic tweeters now on dio Shack Corporation, 730 Commonwealth like the output taps of a power ampli- the market. But is Ave., Boston 17, Mass. the Electrostat 3 fier. A common wire is connected from only a fraction of the cost of some of At a glance: Radio Shack's Electrostat the dividing network to the common these units. For its budget price of lug, and :3 will give additional high -end luster the other wire to the 8- or $27.50, it might %veil be a desirable to systems with cone tweeters and to 16 -ohm tap, depending upon the im- first step towards improvement. ' single -cone, extended -range pedance of the dividing network. One loudspeak- MANUFACTURER'S ers. further step is necessary before the COMMENT: Referring to speaker will function. To your remarks on the efficiency of the Electro- polarize the stat 3, it is essential to know that the input electrostatic plates, simply plug into In detail: The Electrostat 3 is designed circuit to the electrostatic elements is so de. the wall the ordinary household AC signed that the load as presented to the ampli- as an "add on" speaker for systems that plug provided and flip on a switch. fier output terminals is mainly resistive rather lack crispness and sheen at the very than capacitive, even at the highest frequencies. The Electrostat 3 is a fairly crisp- top of the audible spectrum. A rela- Consequently, the tendency towards disturbing tively small unit, it can he placed on the feedback loop and instability of the amplifier is minimized. Several imitations of the top of a speaker system already in- Electrostat 3, although they showed higher et. stalled; and as it comes in a variety of ficiency at the crossover froquency, will over- finishes, there is no problem of décor. load and upset the feedback loop of even the It is a three -element tweeter; that best amplifiers to the point where the output of is. it has the higher frequencies is reduced to a much three sound -generating sur- greater extent than the difference in efficiency faces angled slightly away from each at the crossover frequency. Some of the com- other in something like a semicircle petitive units tested at 20 kc showed an input around the front of the unit. Electro- impedance of 1/tn of that of nominal or statics often tend ---,- crossover frequency. Some, although the manu- to concentrate their facturens claimed they would not require o sound in a rather narrow beam, but the crossover, showed of the nominal imped- Radio Shack's 3- element tweeter. %o Radio Shack design helps spread the ance at 50 cps. The impedance of the Electro- sound around more evenly in front of sounding speaker. The level control on slat 3 at any frequency is never lowered by the speaker. any more than 25% of the nominal or input the dividing network permits adjust- impedance as marked on its terminal board.

138 HIGH FIDELITY \IACAZINE

www.americanradiohistory.com Marantt Stereo In addition to Stereo and Stereo Preemp and Amplifier Reverse, the Noon': switch offers three monophonic modes of operation. SPECIFICATIONS (furnished by manufac- Either channel A or channel B may be turer): The Model 7 preamplifier is a self - powered stereo unit providing complete ver- fed to both amplifiers. or their signals satility, with selector positions for microphone may be added in the A+B position, as well as two separate magnetic phono to eliminate vertical rumble when cartridges and tape head. The mode switch playing mono records. permits paralleling the two halves of o stereo cartridge for monophonic records. Frequency The balance control allows either response: ±0.5 db 20 Io 20,000 cycles. channel to be completely cut off, at Noise: 80 db below 10 my phono input in which time the level of the other chan- audible range. Price: 5249.; cabinet $24. nel is raised by 2.5 db. As a result, The Model 5 power amplifier is conservative- ly rated at 30 watts ultra- linear operation; 60 when the balance control is used there Alarani: quality-still outstanding. watts peak. Sensitivity: 1.3 volts for 30 watts is no change of level to be heard, output. Frequency response: at 30 watts, merely a shift of apparent sound fiers are used. These controls also re- --0.1 db 20 to 20,000 cycles. IM distortions source from left to right or vice versa. of o typical amplifier, 0.28% at 30 watts. duce the noise level of the signal sup- Feedback: 20 db over -all. Hum: 90 db below The two sections of the ganged vol- plied to the power amplifiers, though 30 walls. Price: 5147.; grille, 5750. MANU- ume control are individually tested by this seems to be a rather academic con- FACTURER: Mounds Co., 25-14 Broadway, Marantz for tracking, so that the bal- sideration in view of the performance Long Island City 6, N. Y. ance sloes not change by more than 2 of the Model 7. db down to 65 db attenuation. Finally, a binding post terminal is At a glance: The Marantz Model 7 The rumble filter provides an OFF provided on the rear of the Model 7 Stereo Console, like the original Ma- position and hvo positions of cutoff, at for making all system ground connec- rante monophonic control unit, is note- 50 and 100 cps. The hiss filter has an tions. This is a vital consideration in worthy for its extremely low distor- OFF position and two cutoff frequen- stereo systems to hum, tion and noise level, and its reduce yet so superior cies, 5 kc and 9 kc. The phono equali- we construction. far as know only Marantz has zation is inherently RIAA, but one of made it a simple matter to ground the The Model 5 Power Amplifier, like the front -panel lever switches allows turntable chassis, tone arm, etc. with- the well -known 40 -watt Marantz this to be changed to the old Columbia out additional soldering operations. power amplifier, has almost unmeas- LP characteristic, or to one having urably low distortion and noise levels, little high- frequency rolloff, for early Test Results very conservative power ratings, and 78 -rpm discs. In the tape head posi- The tone control characteristics are of a caliber of construction which sug- tion of the input selector, NARTB gests that it can operate almost in- the sliding inflection point type, which tape playback equalization is used. definitely without needing replace- have relatively little effect on mid - Each channel has an adjustment on ment or major service. frequencies when used in moderation. the rear of the unit to vary the tape Marantz recommends the use of the playback In detail: The Marantz Modell Stereo equalization around the tone controls for loudness compensa- Console, although it has practically ideal NARTB curve for tape machines tion, and no ordinary loudness con- requiring such every operating feature which might corrections. trol is provided. The switch -type tone be desired in a stereo control unit, is 10.0 controls offer the advantage of com- straightforward and easy to operate. plete re- settability, and the curves in On the left side of the panel are the the instruction booklet show the re- four basic controls: input selector, sponse for all positions of the con- mode selector, volume, and balance. trols. These curves agree perfectly On the right side of the panel are the with our measured data. four tone controls, which are eleven - RIAA and NARTB equalization position switches instead of the usual characteristics agree exactly, within continuously variable type. In the cen- the limits of measurement error, with 0.1 ter are four lever type switches for 0.1 o 100 100.0 the theoretical curves. The Columbia rumble and hiss filters, record equaliza- IM distortion vs. output worts. LP characteristic appeared to have tion, and tape playback monitor. A slightly more response at very low fre- + 30 -"001 heavy -duty slide switch, rated at 15 + Stapt i it should have. We were +3Step E quencies than amperes, controls power to the Model lo most impressed to find that all equali- 7 (which has a built -in power sup- Cent.. zation characteristics were matched ply), and to five of the six AC con - on the two channels to within 0.2 db venience outlets on the rear of the -10 at all frequencies. -3 Steps unit. The sixth outlet is permanently The IM distortion was about 0.1% energized to connect to a turntable so 100 300 SOD 1000 3K 50 100 200 to 3 volts which is close - Tone control range. up output, which should, of course, be turned off to the residual distortion in our meas- with its own switch. -I- 10 uring equipment. It rose gradually The selector switch has eight posi- ..-..i P6Ino,Lr above this output level, becoming _- 0 " t-..:._. tions, for microphone, two magnetic 0.2% at 10 volts. For al) practical pur- Phono: RIAA, phono cartridges, tape head, FM -AM to poses, the Model 7 is distortionless. tuner. FM multiplex input, TV sound, We checked the volume control 20 so 100 300 000 1000 30 SK 100 201( and A:,x'LIAnY. Full stereo operation Equalization error. tracking down to -40 db, and the is possible on all inputs. Two parallel - gains of the two channels never dif- connected amplifier outputs can be Each channel also has an output fered by more than 0.2 db. Here mixed to drive a third amplifier for level adjustment on the rear of the pre- again, as has so often happened when center-fill. A third pair of outputs is amplifier, to compensate for speaker we test Marantz equipment, we are taken off ahead of volume and tone systems of widely different efficiencies, limited by the normal errors inherent controls to make tape recordings. or when very high -gain power ampli- in test instruments.

NOVEMBER 1959 139

www.americanradiohistory.com 20. Instructions are given for making obtained down to below 20 cps :md o a simple change in the internal wir- that the 30 -watt rating is met at 20,000 -10 ing to obtain damping factors of 34, 1, cps as well. The power output of the Model 5 into a 3 -mid capacitive ó -70 or 2 if this is desired. As with the original Marantz 40- load (simulating a wide -range elec- 70 a is built in so trostatic speaker) was 20 watts at 10 o SO ioe 700 Soo 1000 76 SII 104 00K watt amplifier, meter Rumble and scratch fiher(s) response that the output tubes can be balanced kc. The fact that two -thirds of its ris required. As with the older unit, rated power was available tinder these The gain of the Model 7 is extreme- one must be careful to avoid getting conditions is noteworthy, since few if ly high, and only 50 millivolts are burned on the very hot output tubes, any amplifiers we have tested will de- 1 from needed to develop volt output as much as one-half rated power On clue to the location of the adjustments velop the .Aux or other high -level inputs. under this admittedly stringent test. the phono input a 0.4 millivolt input adjacent to the EL-34s. Fortunately this adjustment is not likely to be re- Measuring distortion in a Afarantz 1 volt output. At full gain develops input (which could not be used even with quired very often. The oil-filled amplifier has always been a challenge -quality the lowest output magnetic car- filter capacitor and telephone and the Model 5 is no exception. At tridges), the hum and noise level on electrolytic filter capacitor which char- 1 kc the harmonic distortion is below the 40 -watt amplifier are PROM) was about 50 db below 1 volt. acterized the residual of our test equipment in the -h This would be a respectably low hum also evidence on Model 5, and (0.08 %) up to 30 watts, after whic the level on almost any other preamplifier, they as well as tubes are operated it rises sharply, reaching 0.3% at 40 but when the gain is reduced to a well below ratings. Their life should watts. At 20 cps, our residual distor- more practical level the hum falls to be practically indefinite. tion was 0.1%, which was not ex- -78 db -which is totally inaudible ceeded until 7 watts output was under any listening conditions. On +10 reached. This. too, rose to 0.3% at 40 The iM was the high level inputs the hum is bet- 0 watts output. distortion ter than -80 db at any gain setting. measurable. but very low throughout 111 the range of outputs up to 30 watts. Model 5 Power Amplifier 70 SO 100 300 S00 1000 7K S0 where it reached 0.3%. At 50 watts F equency response. The Model 5 is a basic power am- output the IM was only 1%. Since plifier, with no controls other than The frequency response of the many amplifiers are power -rated at 2% screw -driver adjustments for bias on Model 5, between 20 and 20,000 cps, IM, one appreciates the conservatism the output tubes (a pair of EL -34s). is fiat enough to be drawn with a of the Model 5's 30 -watt rating. Two inputs are provided: one going straight edge. Less than I db of loss is The hum level was SS db below 10 directly to the grid of the input stage introduced at 20 cps when going watts output with open circuited in- and the other through a filter which through the filtered input. put, and better than 90 db below 10 rolls off response. below 20 cps to pre- The power response is practically watts with a low -impedance source vent speaker damage. duc to subsonic as flat as the frequency response. This driving the amplifier. The clamping signals such as switching transients. means that the full steady stated factor measured at I9. The amplifier The outputs are for 4 -, 8-, and 18- power Output Of about 32 watts with was rock -stable wider all conditions of ohm loads, with a damping factor of no clipping of the waveform can be capacitive loading. -H. H. Labs.

Z-400 Speaker System the Z -300 scaled down only in the has With Woofer and JansZen physical sense; it been reshaped to satisfy the current demand for book- Electrostatic Tweeters shelf speakers. The acoustic aspects of SPECIFICATIONS (furnished by manufacturer): the speaker's design remain the saine. o full -range bookshelf speaker system con- The interior is the same 2.2 cubic feet sisting of the JonsZen two- radiator electro- as the JansZen Z -300. The woofer is static tweeter and the Model 350 cone woofer, in o totally sealed enclosure. Frequency the saine Model 350 long-excursion range: 30 cps to beyond 30,000 cps. Cross- unit as in the Z -300. And the tweeter, over frequency: 1,000 to 2,000 cps. Type for which Neshaminy and JansZen of network: LRC high -pass filler for Tweeter; are perhaps best known, uses two of mechanical rolled! on woofer. High frequency dispersion: 60 degrees. Power the square electrostatic elements. consumption (tweeter power supply): 2 On the low end, the Z-100, like its watts. Impedance: 8 ohms. Power capabil- predecessor, is superb. The middle - A well-balanced speaker system. ity: 50 warts program. Finish: birch, ma- range response is smooth and evenly hogany, oil walnut, walnut, unfinished. Price: $13450 to 314950. MANUFACTURER: Ne- blended. Prom 2,000 cycles up the and crystalline throughout its range. shaminy Electronic Corp., Neshaminy, Po. sound of the Z -400 is crisp and sharp- Considered as a whole, the Z -400, ly defined. On sonie records, where when fed properly equalized source At a glance: The. Z -400 provides the the upper ranges have been exag- material, is excellently balanced, and same wide- range, low -distortion out- gerated for an enhanced high- fidelity sounds full and natural. put as JausZen's well -known Z -300, effect, the JansZen is a bit too bright, but is a more compact and versatile. even with the tweeter control set at MANUFACTURER'S COMMENT: Since the system. The Z-400 can be placed on a minimum. Bait this is certainly not a introduction of the first Model 130 tweeter shelf or on the floor -either along a fault of the speaker. and is a in 1955, the JansZen Electrostatic has been condi- designed and produced to deliver the full wall or in a corner. Two units, ).wired tion which usually can be corrected musical spectrum acoustically fiat from 1.000 for stereo. provide fine quality at a with tone controls. cycles to above 20,000 cycles with no attenua- reasonable price. On the most dependable of all lion and less than 34% distortion. In the source material -first generation Z -400, the same unusually wide, smooth range tapes is obtained in o complete loudspeaker system In detail: The Z -400 is a version of -the Z -400 sounds open, transparent, selling for less than the original tweeter alone.

140 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Lafayette KT -315 to its own output. An A-1-B position + le Stereo Adapter combines the two channels and feeds the mixed signal to both outputs. A f. sods Controls Maximum SPECIFICATIONS (furnished by manufacturer): second function switch, mounted con- The KT -315 is a self- powered remote control centrically with the first one, ÿo t "-rY t adapter which has posi- permits utilization of two mono- tion for normal and reversed One Channel phonic systems for stereo. It may be used up to stereo Down 10 db 50 feet from power amplifiers. A null circuit is operation. In the latter case the left -10 incorporated, to permit precise electrenie lei. signal is fed to the right channel and -le -30 -30 -40 aneing of the two channels. Individual volume vice versa. A unique and very desir- yn:u:re c_ntrn: : acking error. controls may be ganged through a clutch action. able I I feature, made possible by I Gain: 6 db, Distortion: less than 0.2% IM at the +10 II I 2 volts output. Crosstalk: better than 55 db tube circuitry of the KT -315, allows separation. Price: 527.50. MANUFACTURER: the phase of one channel to be re- _ e I I r. Lafayette Radio, 165-08 Liberty Ave., Jamaica I versed. This is much more convenient lo I I I I 33, N. Y. than the usual procedure of reversing I 1 i I I speaker leads on one channel. 20 so 103 300 500 1000 7z St He 200 At a glance: The Lafayette KT -315 Frequency response. provides complete stereo control func- area. With a normal two- speaker ster- tions for two monophonic amplifiers. eo installation. excessive channel sep- it offers greater flexibility of operation aration :nay be corrected with the than any other stereo adapter we bridging control by setting the func- know of. ft has no measurable effect tion switch to A+B. With the bridg- on the distortion and frequency re- ing control counterclockwise, this sponse characteristics of the system. gives a 14 -db channel separation. As it is rotated clockwise. the channel In detail: Most stereo adapters are separation is reduced, until in the passive devices. That is, they contain clockwise position the two channels neither tubes nor power supply, but are completely mixed. perform all their stereo control func- In our tests of the KT -315. the fre- tions with potentiometers and switches, Lafayette KT-3I5 adapter. quency response proved to be as flat Such adapters can introduce no distor- as our measuring equipment, or with- tion, and are simple to install, but are An interesting means is provided in about 0.1 db from 20 to 20,000 cps. somewhat limited in operating flexibil- for equalizing exactly the output levels The intermodulation distortion also ity and can cause an insertion loss. of the two channels. A CAL position of was almost immeasurable. since it ap- The Lafayette KT -315 incorpo- both function switches adds the hvo proached the inherent distortion of rates active networks, with two tubes channels, with a phase reversal on one the test equipment. The IM is not and a self- contained power supply. It channel. W\rlien the signal levels are more than 0.1% for Output voltages is essentially the output portion of the adjusted for a null, or minimum signal up to 4 volts. which is more than suf- Lafayette KT -600 stereo preamplifier. in the output, the channel gains are ficient to drive any amplifier. The A gain of 2 is provided, instead of the matched. This matching applies only volume control tracking error was less loss incurred by many passive adapt- to the electrical output of the control than plus or minus 2 db down to -40 ers. The output is from low- imped- unit, and does not take into account db (relative to maximum setting), ance amplifiers capable of delivering differences in the two amplifiers or which is quite satisfactory. When the several volts output with negligible speaker systems. gain settings of the two volume con- distortion. Concentrically mounted Another unusual feature of the KT- trols are initially displaced by 10 db, volume controls provide for balance 315 is the third channel or mixed out- the tracking error increases consider- adjustment. Once balanced, the two put. A bridge control supplies a com- ably. This points ont the desirability controls may be clutched together and bined channel A and channel B out- of equalizing the gains at the external operated as a single volume control. put, equally mixed, to an output jack mono amplifiers with the KT -315 con- The function switch selects either in the rear of the unit. This may be trols set to the same point. Minor ad- of the two inputs and feeds the se- used to drive a third amplifier and justments may be made at the KT -315 lected signal to both outputs. In the speaker midway between the two without trouble from tracking error. stereo position it feeds each channel stereo speakers, to fill in the center H. H. Labs.

Regency HFT -1 preamplifier. It has its own batteries. Preamplifier and operates with an extremely low noise level. On the other hand, its SPECIFICATIONS (furnished by manufocturer): gain is relatively low and its output This is o transistorized preamplifier- control in voltage capability is similarly low kit form. Provides phono equalization, separate with the final result that speaker vol- tone control Facilities, and input selection. Tone control range: bass, +15 db at 20 cycles; ume may be insufficient. Regency's new preamplifier. treble, +8 and -20 db at 20,000 cycles. Frequency response: ±0.5 db 20 to 20,000 In detail: The Regency HFT -1 is 9 -volt batteries may be used, but dis- cycles. Noise: 70 db below 1 volt output. Bat- available in kit form or ready-wired. tortion is substantially lower with 18 tery operation. Price: $34.95 less batteries. is strongly rec- MANUFACTURER: Regency Division I.D.E.A., The three transistors and most of the volts and this voltage Inc., 7900 Pendleton Pike, Indianapolis 26, Ind. components are mounted on a printed ommended. Some 500 hours of bat- wiring board. The over-all dimensions tery life should be obtained. At a glance: The Regency HFT-1 is a in its cabinet are 7;í by 2% by 3;ií This is a basic preamplifier and has fully transistorized, extremely com- inches. It weighs only 29 ounces in- pact, and completely self -contained cluding batteries. Either one or two Continued on page 158

NOVEMBER 1959 141

www.americanradiohistory.com high fidelity KIT REPORT

The GRAY IISK-33 Turntable

The Cray I-1SK -33 is a single -speed, 33% -rpm turntable, available in kit forni at the excellent price of $49.50. It employs a hysteresis -synchronous motor, is belt- driven, and has an aluminum (nonmagnetic) turntable platter. In about 25 minutes, you can Construction time is claimed to be 25 minutes, and this is within reason, though we. dawdled and took nearly an put together a unit that looks beautiful, hour and a half. A special belt is used, to provide optimum decoupling from motor shaft to turntable proper. works well, has little vibration, almost The motor shaft may be adjusted in three planes. A base is available from Gray, though it seems likely that the no noise, keeps constant speed home craftsman, intrigued with the idea of constructing a turntable from a kit, will be sufficiently intrigued to build his own base. Also available is a matching tone arm kit, costing 523.95; an outstanding feature is the viscous damping principle, used by Gray for many years. Assembly of the turntable kit involves mounting the motor to a support bracket and then to the mounting plate; attaching the turntable well, the starting capacitor, a line -cord clamp and a terminal strip to the mounting plate; clamping nine wires to the terminal strip, two

142 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com to a toggle switch, and one to the motor (which in turn is grounded to the frame); and making seven soldered connections. The rest of the project is adjustment of the motor to the correct distance from the mounting plate to keep the belt in its right place. This step would probably be needed even if you bought the turntable already assembled. From this point on you are involved in woodworking if you build your own base from scratch, or in a minor bit of hole drilling if you mount the turntable in one of Gray's ready -built bases. Most of the hole drilling has to do with mounting an arm, however, and has nothing to do with the HSK -33 kit. The only hole necessary for Motor is attached first to it's support bracket, then to mounting plate. the turntable is a half -inch in size, to mount the toggle switch. This hole can be dispensed with, if you. run a juniper across the terminal strip where the switch wires are connected and plug the line -cord into the switched AC outlet on the back of your control amplifier or preamp. 1f, however, you operate your system with. say, a tuner or tape recorder. you'll probably want some way to turn off the turntable while the other equipment is still operating, and the switch will be necessary. My personal feeling is that the toggle switch supplied is not esthetically a fitting companion to such a beautiful piece of equipment. "Ihe turntable, in flat black and aluminum, and the base, in lustrous wood- grained formica, are much too elegant for a common, garden - variety on -off switch. I'd prefer the type of switch that

turns on clockwise and that takes a knob, like the kind found on volume controls. (You can, of course, add your own switch, which is just what I plan to do.) now well does the I- ISK -33 perform? Very satisfactorily, indeed. It requires a bit of breaking in; the manual recommends ten hours. This is adequate, but my experience was that the longer it ran, the quieter Lover view of completed emit. The longer it works, the quieter it ruas. (mechanically) it became. The motor makes only a slight swish. There is very little vibration to it, and four quite large and very resilient damping spheres (they arc hollow) keep virtually all vibration away from the turntable itself. The noise which must be worked out comes primarily from the turntable well. Tolerances between well and turntable shaft are so slight that, until the two arc broken in to fit each other, the sound of metal rubbing on metal is noticeable. But this gradually dies down until the mechanism makes almost no noise at all. Rumble appears to be very low, though not as low as on some expensive turntables of professional quality I have used. Here again, it will probably get lower as the unit continues to operate. Speed constancy, as expected, is excellent. The turntable maintains its speed even when you try to slow it down by rubbing your finger against the edge of the platter. You can stop it completely, if you try hard enough, but for normal loads, it stays on speed without you to slow it. deviation. Belt - driven turntable keeps constant speed even when try

143 NOVEMBER 1959

www.americanradiohistory.com HELPFUL

HINTS

by John A. Comstock

When you suspect that the trouble with your system is a microphonic tube (one having loose elements), proceed gently. Don't pick up just any tool from the bench to use as o tube tapper. A good soft hammer for the job is simply a rubber wire feedthrough grommet, slipped over the tip of a screw driver's blade.

When you have several wire leads to fin, a spring made of coiled -up wire solder can be used to hold the leads as shown, while you tin their tips. After the job is done, you will find the spring of solder more convenient to use than a spool of solder. Make the spring by wrapping the solder around a pen or similar object.

To keep the AC line -plug of o high -fidelity system from slipping out of the socket of an extension cord when the other cords are pulled, tie a simple overhand knot in it. Just entwine the cords and insert the plug into the socket. This way the plug can't possibly slip out and disconnect the circuit.

144 fItcrr Fmmrry MAGAZINE

www.americanradiohistory.com Acro Roberts Recolder The Acrosound stereo preamplifier is An adapter is now available which The Recolder is an ingenious device available either as a kit or completely permits playing of tape cartridges on consisting essentially of two side factory -wired. Two magnetic car- Roberts reel -to -reel recorders. The pieces and two rods . one of the tridges may be connected to this pre- adapter is mounted directly over the side pieces sliding on the rods so that amplifier at the same time and select- feed -reel and take -up spindles and is ed by the front -panel selector switch. driven by a belt from the recorder Thus a changer and a turntable may capstan to a flywheel beneath the be used in the system. Other features adapter. A separate head is provided for playback. Tentative price for the entire unit is $75.

Knight -Kit Amplifier The Knight -Kit 83YX7 74 is a stereo control amplifier kit delivering 40 watts. It is rated at 0.3% distortion at include tape head equalization as well 20 watts per channel; frequency re- as input for microphone connections. sponse is -!-1 db 15 to 35,000 cycles at the record holder is expandable. The This may be faded into one channel 10 watts. A special feature is the cen- rods supplied with the unit are 10" for announcing. A third -channel out- ter channel output. Other features in- long, so the unit can hold 30 LPs. Ex- put is provided, as well as an output clude single -knob balance control; du- tensions are available; each pair in- to tape recorder. Phase of speakers creases capacity by 25 records. The may be reversed from the front panel. Recolder may be put anywhere; it has Scratch, rumble, and loudness con- felt feet. Price: $6.95. trols are included as well as separate bass and treble for each channel. Price: Grammes 240A as a kit, $79.50; laboratory -assembled This power amplifier has two separate 5129.50. 20 -watt channels with separate level controls and a meter to check cha n- nel balance. Can be used as a 40 -watt Concertone 505 monaural amplifier. This is a power This new American- Concertone tape al concentric, clutch type tone con- amplifier only. recorder will record and play back in trols; nimble and scratch filters. The 2 -track as well as play back in 4 -track price is $79.50. Bogen- Presto TC -322 methods. For 4 -track stereo a second The "Challenger" stereo tuner fea- head designed for slow speed s -track Heath AS -2 tures automatic volume control as is Separate record and tapes used. The Heath Company has been li- well as automatic frequency control heads, in 2- channel opera- It will playback censed by Acoustic Research to offer and an illuminated dial scale. tion, permit instant monitoring. Speeds -FM broadcasts as the AR Acoustic Suspension principle receive stereo AM are 3% and 7;i ips. Operation is by in kit form speaker system. The AS -2 push -button relay; 3 motors, including incorporates a 10" acoustic suspension a hysteresis drive unit, are incorpo- woofer and two tweeters. Response is rated. Each channel has separate mi- to be -!-5 db from 42 to 14,000 is stated crophone and line inputs. Output 8 ohms. indicators and cps at 10 watts. Impedance: low impedance. Level cabinet makes it nec- revolution counters are included. The prefinished tape essary only to mount the speakers. Price: $495. construct the crossover network, and line the cabinet with fiberglass. Di- be mensions: 24 by 13% by 11r. well as regular ones. Multiplex may obtained by the addition of an adapter. Sensitivity on FM is specified as 5 Robins Turntable -Leveling Kit microvolts for 30 db quieting. Price, cabinet, is $109.50. A new turntable- leveling kit has just including by Robins. It con- been announced 353A sists of four adjustable rubber feet and Altec a spirit level that can be mounted on This control amplifier's stereo program top of the base. peak power rating is 100 watts, with 145 NOVEMBER 1959

www.americanradiohistory.com 50 watts continuous or 25 watts nom- puts. Ganged volume controls as well inal per channel. Frequency response as a separate balance control and in- at 1 watt is specified as within % db dividual power amplifier level con- from 10 to 30,000 cycles. There are hrols are incorporated. Bass and treble seven inputs for each channel and six controls are separate for each channel. stereo or monophonic outputs. In ad- Finally, there is a dimension control. dition to the customary bass, treble, and volume controls, the unit features Heath SA -2 a loudness contour switch and a rum- Bogen- Presto AC -220 This stereo control amplifier is avail- ble filter. Price: $195. This stereo control amplifier provides able as a kit and provides 14 watts per channel. The four -position input Norelco Model 400 10 watts per channel. Separate bass and treble tone controls are ganged selector provides a choice of magnetic This self-contained tape recorder will crystal phono, high - for operation on each channel simul- phono, tuner, or record or play back in stereo or mon- taneously. Each channel has a sepa- level auxiliary input. Tone controls are aural, either 4 -track or 2 -track. It fea- rate volume control. Inputs are for dual and ganged; the volume control 7%, 3%, 1J ips. tures three speeds, and magnetic phono, radio, and auxiliary. is dual concentric. A loudness control switch is included. Price: $79.95. EICO HF -87 This stereo amplifier is rated at 35 GE Control Amplifiers watts per channel with 1M distortion Rated at 28 watts (HUM) per channel, this stereo control amplifier ac- commodates five input channels: tape, monophonic cartridge, stereo cartridge, tuner, and 1 auxiliary. Flex- ibility is also the keynote of the speaker mode selector which permits par- Inputs are provided for microphone, allel as well as stereo operation. The tuners and phonograph with facilities parallel mode is for stereo cartridges used for mixing microphone with tuners or on monophonic discs. Other controls include loudness, contour, bal- phono. An output jack for monitoring at 1% at 70 watts and frequency re- with stereo headphones is incorpo- ance, separate bass and treble controls, scratch and rumble filters. sponse at this power within 1 db from rated. The microphones are enclosed 20 to in kit The Model C -7600 is the same ex- 20,000 cycles. Available in one case, using the cross-fire tech- fac- cept that output rating is 20 watts and form at $74.95; prewired at the nique. A single speaker is incorporated tory, $114.95. in the carrying case. Frequency re- scratch filter and phasing switch are omitted. sponse at 7% ips is specified as 50 to Bogen Catalogue 18,000 cycles. There are ganged in- Connoisseur Pickup and Arm put volume controls on microphone The complete line of Bogen high -fidel- and on radio -phono channels, as well Ercona has announced importation of ity equipment is described and illus- as separate playback volume controls, a new 1011" arm equipped with a 0.6- trated in Catalogue 5I0, now availa- items and individual concentric but friction - ble. All new introduced during ganged tone controls. Output connec- the current season are included. tions from each channel may be made Catalogue 510 is available free of direct to stereo loudspeakers or to charge at Bogen dealers or directly power amplifiers. Also included is a from the company upon request. recording -level indicator (magic eye) and a four -digit reel revolution coun- Ferrograph 808 ter. Price: $399.50. Ercona has announced importation of the Ferrograph 808 series which pro- Fisher SA -100 vides complete stereo recording and This power amplifier's two stereo chan- playback facilities for either 2 -track nels or 4 -track systems. Each pair of together deliver 50 watts. Out- mil diamond stereo ceramic pickup. put impedances are 4, 8, and 16 tracks is served by dual inputs for low - ohms. The arm is lifted by means of a knob A jack and high -level sources such as micro- center channel permits addi- located above the pivot point of the tion of a third amplifier and speaker arm. Frequency response of the car- system. Harmonic distortion is rated at tridge is stated as ± 2 db from 20 to 20,000 cycles; channel separation is from 20 to 25 db. Prices: arm, $59.50; 11111111111111111111111111111111111 1111111'1111111111 11111111111111 r 111111 ' 1111111111111111111111 1 turntable, $119.90. 11111 III11I 1111111i1111111 Ì111111

11111111111 11111 111111111111111111 I cllld1111111111111111111111111

I 11111111111111111111111111111111111 111I I I I I I L I I I I I I I I 1111111:1111111 J I I I I I Heath SA -1 This stereo control amplifier provides 14 watts per channel and complete L-YY r- e , . preamplifier- control facilities. An im- 0.8% at 25 watts of music per chan- portant feature is two switch- selected nel; 1M distortion is 0.1% by CCIF phono inputs, one for monophonic standards. Each channel has bias con- cartridges and the other for stereo phones and tuners. Outputs are low - trols. Three externa] test point ter- cartridges. In addition there is a tape level, to feed amplifier- speaker sys- minals are included. Price: $119.50. head input and three high -level in- tems. Price: $595.

146 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com "The new Citation Kits represent for me the successful culmination of years of research and experimen- tolìon to achieve the ultimate in high fidelity design." Stewart Hegel/Ian, Director of Engineering, Citation Kit Division, Harman- Kardon, Inc. sparked the new Citation Kit Line: the, gram material for each amplifier is labora- incomparable Citation I, Stereophonic tory controlled. Preamplifier Control Center. Because of this vital consideration the The Citation I consists essentially of a Citation II is engineered to produce fre- group of circuit blocks termed active and quencies as low as 5 cycles virtually with- passive networks. Active networks incor- out phase shift. At the high end -the am- porate the vacuum tubes and furnish amplifier has a frequency response beyond plification; passive networks consist of 100,000 cycles without any evidence of resistors and condensers and provide pre- ringing or instability. cise equalization. The active networks are treated as one- or two -stage amplification AUDIO ENGINEERS have also found that units, flat over an extremely wide fre- the higher the degree of feedback -and quency range, and each one of these net- the consequent lower distortion -the more works is surrounded by a feedback loop. apparent the improvement in sound qual- This results in leoels of distortion so low as ity and the greater the reduction in listener to proue immeasurable. The passive net- fatigue. In order to increase the degree of works are constructed of precision com- feedback in the Citation II, a "multiple THESE ARE STRONG WORDS from ponents and are designed for minimum loop" technique is used in contrast to con- a conservative audio engineer. But phase shift. ventional "single loop" techniques. This the proof is overwhelming. All that's results in a 20/1 to 30/1 reduction in dis- necessary is a look at the technical speci- PROFESSIONAL STEP-TYPE tone tortion compared with the 10/1 to 20/1 fications of the new Citation I Stereo- controls are used on the new Citation reduction in conventional amplifiers. phonic Preamplifier Control Center and I. They overcome the limitations of Other important Citation II features in- Citation II 120 Watt Stereophonic Power continuously variable potentiometers; clude: video output pentodes in all low Amplifier.(We'll gladly send them to you.) each position on a step control can be level stages for exceptional wide frequency Hegeman is recognized as one of the engineered to perform a specific function response and low distortion; power supply world's great audio engineers. His original which is absolutely repeatable when nec- consisting of four silicon diode rectifiers, designs for the famous Brociner amplifier essary. The flat position of the controls choke and heavy duty electrolytics with and preamplifier, and the Hegeman -Low- by- passes all tone control circuitry, there- potted power transformer for superb regu- ther speakers, are still regarded as classics by eliminating transient distortion and lation and long life; bias meter to adjust by audio engineers and audiophiles. In phase shift. individually the plate current of each his capacity as head of the kit engineer- Other features include: The new Cita- KT88 for balance and lowest distortion. ing group at Harman -Kardon, he has again tion Blend Control which introduces a The Citation II is a handsomely styled created new classics. continuously variable amount of cross - brown and gold instrument with an op- feed between the two channels to elimi- tional Charcoal Brown protective cover. Easily Assembled - nate the "hole -in- the -middle" effect of The Citation 11... $159.95; Factory Wired Professional Performance many stereo records; DC heated preampli- ... $219.95; Charcoal Brown Enclosure, fier filaments; six silicon diode rectifiers to AC -2 ... $7.95. THERE ARE MANY exciting new concepts provide unexcelled B+ and filament regu- All prices slightly higher in the West. built into the Citation Kits. The engineer- lation; separate turnover and rolloff con- n complete report on the new kits write ing is so wonderfully precise the in- trols to provide precise equalization. For to that I-tnm um -Knrdnn. Inc.. Citation Kit Division, strument constructed by the kit builder The Citation I is available with an op- Dept 11F -t1, Westbury, N. Y. will duplicate the precision of the finest tional walnut hardwood enclosure which factory -assembled products. Here are sets off its magnificent sculptured satin - some of the remarkable new assembly gold escutcheon. The Citation I... features that distinguish the Citation Kits: $139.95, Factory Wired ... $239.95; Wal- Military Type Construction: For ease of nut Enclosure, WW- 1...$29.95. assembly and durability, rigid phenolic boards are used. Special Cable Harness: The Citation II Unique harness template enables builder 120 Watt Stereophonic to make a professional cable harness to Power Amplifier facilitate wiring and insure accuracy. Spe- cial Aids: Resistors and condensers are ERE IS ALL the power required filed individually on special component from a stereophonic amplifier. Two cards so that they can be quickly identi- 60 Watt Channels -with a combined fied. \Vire strippers are supplied free with peak power output of 260 Watts! each kit to produce clean wire junctions. The Citation H reflects a dramatic new approach to amplifier design. Audio en- The Citation I gineers have discovered that the charac- Stereophonic Preamplifier teristics of an amplifier in the non -audible Control Center range strongly influence sound quality in HERE Is THE FIRST brilliant expression of the audible range. This can be determined the advanced design concepts which in critical listening tests where the pro-

Build the Very Best CITATION KITS

by harman kardon I

NOVEMBER 1959 147

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its HIGH rIDELITY MAGAZINE

www.americanradiohistory.com These are the folks who work in the farm- The Rumford Press, outstanding craftsmen.

house, and feed Peter, the cat, and write You'll learn .. . and edit and illustrate and produce your And before we're through, we'll be tell- magazine. ing you how our general manager lost his Thanksgiving turkey in the East Boston Issue by issue, as you read these special tunnel ... we'll introduce you to our lady messages from us to you, you're going to advertising manager who's never been get to know each of these men and women known to wear her hat in the office ... show (and others) a whole lot better. You'll you our business manager in action as Amer- know who they are and what they do . ica's champion fly- swatter. their education, background, special talents But more than anything else, we want ... how warmly they live with their work. you to come away feeling that we enjoy making Whether you know it or nor, it takes a lot this magazine every bit as much as we hope of living, and a lot of loving to get out your you enjoy reading it. And that, in turn, special kind of a magazine each month, and when you are so benefited, it works out per- just for you. fectly peachy for your favorite record and You'll learn how they go about discovering equipment dealer's business ... and that what you want to read most, and how they conscientious manufacturers, in their turn, spare no effort to find the one right author - make lots more sales, and go on to develop .authority to write it for you. And how gen- new and improved products. uinely pleased these men are to do a story In short, there are an awful lot of people for the readers of High Fidelity. You'll learn who care about satisfying your special more aboùr our 9 -man editorial advisory wants ... and especially the folks at ... board, and their zealous interest in keeping this the finest publication of its kind. You'll learn how these pages are actually put to- igh fideli gether, how we work with our printer, THE MAGAZINE FOR MUSIC LISTENERS

NOVEMBER 1959 - 149

www.americanradiohistory.com 4 Dr. Kenneth Eldredge, noted Electronic Consultant end Research Director. puts SARkENT-RAYM A'r eidUlpr»ent

through an intensive series " "bf pertor,nance tests in one oP the;W(Y,.as' Coastfalinost advanced electronic lnborafories.

From an enna to o minals .. . SARGENT - PAYMENT has the LOWEST COMBINED DISTORTION of any stereo system available today, at any price

It is easy to claim superiority- difficult to prove it. But there is one proof that passes every test -the proof of performance. This is what SARGENT - RAYMENT has to offer, and is why SARGENT - RAYMENT components are fast becoming the stereo standard of comparison. To engineer and music lover alike, SARGENT- RAYMENT Stereo offers performance all out of proportion to its price. Judge it yourself, with the one test that's undisputable -your own ears. Hear it at your Component Hi -Fi Dealer's today. SARGENT RAYMENT GO. 4926 East 12th Street, Oakland 1, California Please send FREE 12 -page technical brochure HI -FI's BEST GUARANTEE describing S -R Stereo Reproducers. S -R Stereo Reproducers are backed Name by the industry's best Guarantee... 15 MONTHS Address City & Stato

150 I-Itcl-i FIDELITY MAGAZINE

www.americanradiohistory.com MERRY WIDOWS NEW! Continued from page 66 sensation I. in 1907 when it was renamed 1001 Nights. of Strauss had better luck on his nest try, when he was offered the adapta- TWO tion of a book by Henri Meilhac and 0 Ludovic Halévy, Offenbach's libret- 20 20 tists. Their comedy Réceillon eventual- Illl. Ill CY ICYO KC K ly became Die Fledernuni.s, written in FREQUENCY IN CYCLES PER SECOND forty-two nights and given its first per- FM distortion through entire formance on April 5, 1874. It was pre- audio band at full modulation slows sented only sixteen times in its first season, but since then it has been per- If you're a stereo connoisseur formed thousands of times all over the with a limited budget, you deserve world -the perfect operetta, witty and the sensation of the New York sentimental, with beautiful music and and Chicago high fidelity shows: great songs, exquisite taste and genuine the superb new ESL C -99 Micro /flex stereo cartridge. 0.5% humor. Johannes Brahms compared it to The Marriage of Figara and never Years of advanced transducer missed a performance. Together with technology have culminated in a o Mozart's opera buffo, Wagner's Meis- cartridge which equals the astonishing performance specifi- O 20 40 60 80 100% tersinger, Verdi's Falstaff. and Richard cations of the international PERCENTAGE OF MODULATION Strauss's Rosenkavalier, it belongs to stereo standard, the ESL C -100 AM distortion of special the small group of genuine Comic mas- Gyro /jewel. S -R two -tube detectcfr terpieces in music. Strauss never recouped his happy Like the world -famed C -100, the inspiration. The Gypsy Baron, based new C -99 utilizes two patented Ix D'Arsonval generating assemblies on the novel Sabi by the 1-m ugarian -the most linear transducer - - - -- 0.8% poet Maurer Jokai. has beautiful music elements known. Instead of the - - - -. 0.6% (the income tax collectors might be C -100's jeweled separating more justified in calling it a comic elements, the C -99 pioneers the 0.4 x - -- opera), but it doesn't have the certain exclusive new Micro /flex - -' molded coupling --- 0.2% spark that makes people do the sort of fFictionless --u.. things they regret the next morning. system. o But this opera for the first time brought O IV 2V 3v 4V 5V IM. DISTORTION VS VOLTAGE OUTPUT off the successful marriage between Viennese waltz and Hungarian melody Tone control, high voltage -low- which later became a phenomenon of distortion cathode follower output many Viennese Operettas. Another phenomenon is that the action of 1x Viennese operetta almost never takes place in Vienna. 09% Romantic complica- tions occur at Maxim's, on the Italian 0.6% Riviera, in the Hungarian puszta, in 0.496 the Alps, on anonymous lakes, and in unspecified night clubs but never in 02x Vienna. o It must have been a great time, O 10 20 30 40 5OWATTS that Golden Epoch of the Vienna op- I.M. DISTORTION VS WATTS OUTPUT eretta. Stipp& and Millückei' used polkas and galops in their works, Amplifier output with all tubes Strauss introduced the waltz. The cartridge is within recommended Suppe resulting being driven to everything operating voltages scored with Boccaccio (the libretto distinctly superior had been offered to Strauss and re- except the ESL C -100 and P100, jected), and 4lilkicker wrote The yet costs only half the price.* At new C99 is Beggar Student. There were fine per- a mere $49.50, the the lowest price ever for authentic formers available, among them ?1line. Photo at left and curves above refer to ESL stereo superiority. SARGENT- RAYMENT SR -1000 AM -FM Maria Ceistinger and the celebrated Stereo Tuner (3181.50), SR -2000 Master comedian Alexander Cirardi, for Stereo Preamplifier ($163.50), and SR- whorl many parts were especially FOR LISTENING AT ITS BEST 5100 dual 50 -wall Stereo Power Ampli- written. But nothing lasts forever. The fier ($183.60). These and other S -R Golden Epoch ended on the last day Electro -Sonic stereo equipment fully described in free of 1899 with the death of Milliicker. Laboratories, Inc. 12 -page brochure available through had died earlier, in June, and coupon at left. Strauss Dept H - 35 -54 36th Street Suppé had been dead since 1S95. Long Island City 6, NY The critics buried the Viennese operetta. It was all over, they said. Net price for the C -100 is now $100, and the P -100 is $110, Continued on next page including transformers.

NOVEMBER 1959 151

www.americanradiohistory.com MERRY WIDOWS Continued from preceding page THORENS TD -124 lets you And almost exactly six years later, on December 29, 1905, a young man named Franz Lehár, from Komorn, concentrate on music... Hungary, made his Viennese debut with The Merry Widow. At the end of the performance everybody was not on cheering; the next morning people everywhere sang the "Maxim's" song and the critics celebrated the resur- mechanics rection of the Viennese operetta. True. it was only a Silver Epoch. but there was plenty of 24 -carat gold. too. Le- hair wrote a score of operettas, among them The Count of Luxembourg and Land of Smiles; a gifted young man named Oscar Stratus (nn relation, one "s ") contributed A Waltz Dream and The Chocolate Soldier; Leo Fall did Dollar Princess and Madame Pom- padour, Kalman wrote The Gypsy Princess and Countess Maritsa; and there were Zeller's l3irdseller, Eysler's Brother Straubinger, Abraham's Vic- toria and Her Hussar, to name only the biggest successes. (In America, The ?Merry Widow and The Choco- late Soldier are the most frequently performed Viennese operettas. followed by Fledermaus and Gypsy Bar- on.) By the time the Habsburg Mon- archy had broken up into the succes- sion states, Viennese operetta was one of the very few things that everybody everywhere liked about Vienna. Op- eretta became an industry -and quantity of output didn't improve quality. An army of librettists, gagmen, composers, orchestrators, singers, hangers - Finest Swiss -precision craftsmanship, famous for on, and promoters promenaded be- generations, is embodied in the Thoreus TD -lá4. tween the Café Museum (headquar- It's the one turntable that lets you forget ters of the various operetta cliques). who technical problems - rumble, wow, flutter, the Hotel Sacher (home of those had and lovely old Thea- incorrect speed and consequent arrived). the ter an der Wien, where Beethoven's reproduction "off- pitch" ... all Fidelio had first been performed in the rest of them, as if they never 1805 and where most of the classic existed. Relax. Concentrate solely Viennese operettas have had their on music as it was meant to be heard. premieres. The theatre is now closed See, hear this world- renowned tran- because no one wants to pay for its scription turntable at your Thorens fran- restoration -a sad letdown for the house the greatest tradition of chised dealer's today. 9.17 $99.75 net. with all theatres in Vienna. Thorens TD.124. Finer craftsmanship, more features, The decline and fall of Viennese than any other turntable anywhere. Acclaimed by critics throughout the world. operetta began in the early Twenties. Plots became strictly a matter of for- AND THESE OUTSTANDING VALUES COMPLETE THE "TD" FAMILY OF FINE TURNTABLES: mula. Typical is Countess Maritza Thorens TD -194, $75.00 net. A Thorens TD -134, ;60.00 net. A Thorens TDK -101, $47.50 net. (1926), written by the master libret- "TD" transcription table with manually -operated transcrip- "TD" precision in kit form.' tists of the time. Julius Brammer and integral arm, "Dial -o- matic" tion table with stereo -wired arm Simple to assemble with no Alfred Grunwald. (Librettists always operation. Arm wired for any gives you superlative quality special tools for superlative rec. seem to come in pairs, vide Meilhac standard stereo pickup. with minimum expense. ord reproduction. and Halévy, Leon and Stein.) Count- Sold only through carefully selected franchised dealers ess Maritza, a rich lady about town whom every man wants to marry SWISS MADE PRODUCTS "after a ten minutes' acquaintance," HI -FI COMPONENTS LIGHTERS in the big and SPR INGPOWERED SHAVERS gets tired of life city EHO MUSIC BOXES goes back to her estates in Hungary. NEW HYDE PARK, NEW YORK (There is a chance for folklore dances

152 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com and harvest songs and colorful native costumes.) Naturally she falls in love new madison fielding series 440 with the one man who doesn't want to marry her after ten minutes; in fact. he's her penniless administrator, and she couldn't marry him because he's a commoner (she thinks). There are some side -plots involving a fictitious fiancée. Great climax towards the end of the second act when the lack' and her employee split off. Great finale half an hour later when they find out that they are made for each other. Incidentally, it isn't a mésalli- ance after all, became he turns out to be a count himself and he's got it'll do plenty of money. Curtain. Obviously. there's no social aware- ness in this type of operetta. The everything but hero, a bankrupt prince, may briefly fall in love with a peasant, but he marries only in his own circle. Its mostly a case of mistaken identity, and everybody is deadly serious about the whole thing: unlike the Parisian And if you're one to be transported on wings of song, then operetta, its Viennese sister has never this is truly hi -fi to fly by. All puns aside, though, Madison laughed about itself. Fielding's new Series 440 is a triumph of stereophonic com- There area few ponent design. A powerful AM tuner and a high sensitivity solo arias for the stars, and there are FM tuner are combined on the same chassis with a dual far too many dances in moments when channel 40watt stereo preamp amplifier. The result? they have no business being there. Amazing flexibility! And the knowledge that there is nothing fidelity will stymie this fabulous Oscar Straus and Kalman worried a in high reproduction that piece of equipment. lot about getting too many dance Item: Automatic third channel stereo. A true mixing of both numbers in the wrong places, but they channels, Perfect for a three channel system or for stereo were not alvays. successful. The cli- in one room and a monaural source in other rooms. chés began to deteriorate. Item: Output for stereo headset. Just plug in and listen in These were the clays when at the complete privacy. Café Museum you met characters who Item: Push buttons and lights. Mix from six program sources had struck it rich with a little inspira- on each channel with push button selectors. Jewelled indication in waltz and lyrics. Every month tor lights eliminate any possible ambiguity. there was another premiere. The press Item: Aural Zero Null (AZN) Circuit. Push a button and tune was for silence. When the sound disappears both channels are corrupt and the critics indulgent. in perfect electronic stereo balance. There were speeches and encores and Item: Separate bass, treble and volume controls for each banquets, but they couldn't change channel. Nulling, phasing, noise, rumble, tape monitor and the fact that operetta was dying even loudness switches. Other controls include FM tuning, AM in its native habitat. And it has never tuning, master volume, stereo / monaural switch and stereo traveled very rvell. Non -Viennese or- reverse. Power switch is push / push button. Permits all dial settings to remain untouched while set is not in use. chestras don't know abort its subtle- Item: The Series 440 is fully described in a specifications ties, such as the ever -so- slight accent brochure we have prepared. Write for it or see your Madison on the second beat of its waltz themes. Fielding dealer for a comprehensive demonstration. Somehow in being transported the bubbles go out of the champagne. The advent of Nazism signed off the end officially. The Café Museum became the hangout of brownshirts and blaekshirts. People who create operettas and want to make other people happy have never worn such shirts. Hitler is said to have loved The Merry Widow but he was no inspiration to the operetta composers of his time. The Silver Epoch of Vien- nese operetta. too, is ended. But we have the musical legacy -and who Series 440 $325.00 knows when a new Golden Age may Matching cabinet $30.00 PRICES SLIGIIILY :1HG11ER iu TIME WELT. be around the corner? madison fielding by Crosby Electronics, Inc. =BRAND PRODUCTS, INC. Dept. HF119, 39 West 55th St., N. Y. )9, N. Y, Marketing organization for Madison Fielding

NovENnwit 1959 153

www.americanradiohistory.com PHILHARMONIC The Orchestra is, in point of (act, a BEYOND COMPARE fairly good living proof that artists can Continued from page 57 be businessmen. "Everyone you see around here," said Wobisch between The bulk of each man's earnings phone calls in his very busy office in comes from work at the Opera, and the Musikverein building, "is a musi- so does the bulk of his retirement pen - cian in the orchestra. Dr. Otto Stras- sion (remember that the Opera is a ser, the irresident, is a violinist, as are governmental institution). From the the librarian, Professor Franz Slawi- Opera and the Philharmonic together. cek. and the treasurer, Professor \Val - all alumnus receives a pension of ter \Veller, and I am a trumpeter. Ev- more than seventy per cent of his ac- eryone plays an instrument except the tive salary. The active salary (of the accountant. We are elected for three - average member) is, according to year terms. Usually there are more Helmut \Vobisch, trumpeter and busi- jobs than people who want them, but ness manager, about 80.000 schillings the work gets done." The work was ma raniz Q console a year. Translated at the official ex- getting done as he talked, since ar- Consumer Net $249 change rate, this comes to something rangements were being made for the Cabinet 24 like 53.200, and might seem small Vienna Philharmonic to undertake the Slightly higher In West pay. The official exchange rate, how- first around- the -world tour ever made ever. has small observable connection by a major symphony orchestra. In pre -amplifiers and power ampli- with the way Austrians live. Pictured (They will be crossing North America fiers, Marantz has set today's highest as practical purchasing power, the as you read this.) The route was to standard of Quality. wage figure probably should be mul- be southerly: New Delhi, Bombay, San Francisco, Consider the Marantz Stereo Console. tiplied by two. Hongkong, Manila. Here is the essence of uncompli- Leading members also do consider - Provo (Utah), Chicago, Cleveland, cated, beautiful styling. So simple to able chamber music work. The Vien- New York, Boston, Atlanta, Montreal, use, even the most non -technical na Octet, the Barylli Quartet, the and back to Europe. ° "Much detail," person can easily achieve matchless Konzerthaus Quartet, and the Vienna he explained apologetically. as the tele- reproduction Quality. Yet, this fine Woodwind Ensemble all consist of phone rang for the third time in eight instrument offers an order of versa- VPO members, and will be names fa- minutes. `\Vobisch hier," he said, into tility that pleases the most discriminating professional users. Carefully miliar to American record buyers. the instrument, then, waiting said: "All planned circuitryand wiring layout And. of course, the senior instrumen- go by airplane, 118 men with instru- result in unsurpassed freedom from talists do a great deal of teaching. ments. We could not include Russia, distortion, hum and noise. Nearly all the first -desk men teach at they wanted us three weeks, too long. the famous Academy, preparing the Perhaps we will go there another time. Dedication to quality in every detail - is the reason why the Marantz 30- next generation of Philharmonic mein While we are gone we must pay sala- watt power amplifier, too, is in a bers. Incidentally the title of Profes- ries for substitutes at the Staatsoper, class by itself. The Marantz circuit sor. borne by fifty -hvo members of so we cannot be away too long." permits this superb amplifier to re- the Orchestra, does not necessarily Should the business offices on the cover instantaneously from sharp, imply a doctorate or a teaching job. It second floor of the Musikverein build- musical transients - to effortlessly is given out annually by the President ing seem inordinately businesslike loudspeakers all types to drive of - of the Republic to distinguished art- (though they are dark and carpeted consistently outperform amplifiers of considerably higher ratings. ists and scholars. Furthermore, it's and altogether charming), one can al- used. Helmut Wobisch will accept ways go upstairs to the realm of Dr. For both stereophonic and mono- "Herr Wuhisch" from an ignorant for- Slawicek, which is purely antic and phonic programs, Marantz is your eigner. but woe to the Austrian who scholarly. Every square foot of the assurance of long, carefree operation doesn't say Professor \Vobisch. Or walls is taken tip with autographed and unprecedented performance. better yet, Herr Professor. photographs and sketches. except Professor Wobisch calls the Phil- those occupied by bound volumes of harmonic the world's most democratic concert programs, going back a cen- musical organization. in tones of mixed tury. and collections of letters signed, pride and irritation. "This is a family." in ink now fading, with such names as he says, "with 124 heads." Everything Johannes Brahms, Richard Wagner, is voted on, by secret ballot when nec- Gustav Mahler, and Richard Strauss. essary. The Philharmonic's earnings \4ore than that, one can hold and from concerts, tours, and recordings handle (not twirl) a light. strong are divided equitably no matter who walking stick that once belonged to a plays when. This spring. For example, confirmed Viennese sh-oller named in successive weeks the Orchestra re- Ludwig van Beethoven. In an ordi- corded Also Sprach Zarathustra, for nary museum this sort of thing would London, and Haydn's 104th Sym- be bolted clown in a glass case. but 30 -WATT AMPLIFIER phony, for RCA Victor. Naturally the not in the Library of the Vienna Phil- Net $147 Grill 7.50 latter required fewer players than the harmonic Orchestra. Perhaps, in fact, Slightly higher In West former, but the trombonists and per- not anywhere in Vienna, n-hich is part cussionists shared in the fee just the of the town's timeless quality. The * Selected for demonstration at the same. Before World War I the Or- room in the Heiligenstadt inn where American Natl. Exhibition in Moscow chestra banked its savings; hence it the Pastoral Symphony was con- lost them in the postwar inflation. m1LrnIAK Now it buys apartment buildings (it C O M P A N Y owns two), which would seem a good °Management for the American tour: Na- tional Artists Corporation, 711 Fifth Avenue. 25.14 BROADWAY. LONG ISLAND CITY 6. N. Y. investment in housing -short Vienna. New York.

154 HIGH FIDELr1Y MACAZI\E

www.americanradiohistory.com ceived is not a musetun. The tavern is still in business. You may drink new white wine there now, under trellised sy the $ritisli Im4L,Uost/ vines thick and gnarled enough to date from Beethoven's day, in the In these days of factory mechan- courtyard. The main difference is, isation on the grand scale - probably, that you will pay a little where success so often is mea- more for the wine than he did. And sured only in terms of ever - that what was countryside for him is expanding output -people tell countryside no longer; down the street us that it is refreshing are cooperative apartment houses. to meet a But some of them do have mosaics on manufacturer imbued with the the strcctside walls. Vienna. quaint idea of refusing to grow Being a self -governing coöperative, big. the Philharmonic has no musical di- But is rector; it still engages conductors for it quite true. The success individual events. It has to be diplo- of the Ferrograph during the matic in its dealings with the musical past ten years has been duc director of the Opera, of course, since entirely to our deliberate decision he is the members' boss when they to make quality rather than function as Staatsoper Orkester. hut quantity our sole objective. Not the dealings are carried on as between for us models to suit all pockets equals. Currently the musical chief at or Tape Recorders the Opera is I-Ierbert von Karajan, built down whom the Orchestra happens to get to a price to compete in world along with very well. (He is conduct - markets. Instead, to maintain our bigh those who use the Ferrograph pro- ing on the world tour.) In fact. they'd standards without compromise we have fessionally in scientific and industrial like him as concert conductor more chosen to restrict our output. research, in the teaching of music, often, but he has so many other jobs drama and languages, in the manu- -notably those We believe that a Tape Recorder, being at Berlin and La Scala facture of gramophone records, in the -that he limits himself to two sub- an instrument of high mechanical pre- exploration of far -away places, in scription concerts. With other conduc- cision, needs a great deal of critical and radio and home entertainment -know tors, admits Professor Boskovsky, the unhurried supervision at every stage of orchestra sometimes has had that Fcrrograph equipment is the best to be "a its manufacture which it would be little cross." Dr. Fritz Vtetznik, direc- that money can buy. difficult to carry out in a factory geared tor of the Austrian Federal Press Serv- to large scale production. ice, recalls once receiving an anxious Ferrograph Series 4A letter from an arriving conductor, ask- This then is the Ferrograph tradition. Fitted with three independent motors. including ing if he might borrow photographs of synchronous main drive co capstan, with record- It is based upon a policy of utilising the principal players in the Orchestra, ing level meter and interchangeable plug -in to the full the wealth of technical heads. Two speeds (3t/7} or 71/ IS i.p.s.) with auto- so that he could memorize their names matic changeover to correct comp ion net- and faces before his first rehearsal knowledge and craftsmanship that is work. Fitted with Brief Stop. gear-driven Turns G and with provision for additional and thus make a good impression still part of Britain's heritage. stacked Head for stereo playback conversion. on them. Today all who are seriously interested 21 watts of undistorted output through high The Philharmonic makes recording quality elliptical speaker. Auto Stop instantly contracts in its own corporate in tape recording -and this includes stops motor drive when spool capaci- is empty or tape breaks. $399.50 ty. All its recording is done, these clays, in the Sofiensiile, which is Ferrograph Stereo 808 quiet and acoustically kind to micro- An all- purpose instrument permitting full Ferrograph Stereo 808/4 phones. Since World War II the VPO honic recording and playback together Model 808/4 records two-track stereo and mono- with conventional half track monophonic record- phonic tapes and plays four-track stereo, two - has recorded exclusively for London - ing end playback. The output of all channels track stereo and monophonic tapes. As with Decca, until recently when London ( and mono) ends at low level so that Model BOB the output of all channels ends at owner can conveniently make use of his existing low level thus permitting existing high fidelity and RCA Victor worked out a sort of hi -fi amplifiers and loud speaker systems. amplifiers and loud speaker systems to be used. subcontracting exchange agreement. G I specification and mechanical (595 G I specification and mechanical t fps Its Victor records thus far, accord- features similar to F graph Series 4A. + ..77Jd features as Ferrograph Series 4A above. ipsl ingly, have been macle by the regular London location crew. This consists of recording director John Culshaw, his assistant Ray Minshull. and three en- 4711- //f,e,oitit2 gineers, Cordon Parry, Jim Brown, and Karl Brugger. Actually these comprise two crews, at least when they are working for Decca- London, since stereo and monophonic tapings are macla separately. errap Culshaw says that recording with Manufactured in England by the Philharmonic is not like working LTD with any other group in the world. BRITISH FERROGRAPH RECORDER CO. They are very fast: sometimes he has 131 SLOANE STREET, LONDON, S.W.I and SOUTH SHIELDS, ENGLAND U.S. DISTRIBUTORS: Ercona Corporation. 16 West 46th Street. New York 36. N.Y. Continued on next page CANADIAN DISTRIBUTORS: Astral Electric Co. Ltd. 44 Denforth Road, Toronto 13

NOVEMBER 1959 155

www.americanradiohistory.com PHILHARï\4ONIC

Continued from preceding page been able to record an entire work played without halt, with only a few retakes for safety's sake. However, the members would rather be caught dead than looking efficient. Only a few go to listen to the playbacks at break time; the rest fish newspapers from their pockets and turn to the scandal columns or racing results. (Of course, newspaper reading is the great Viennese recreation; when you go into a café, the waiter brings you a choice of newspapers along with the menu.) There is commonly also some small and endearing show of either independence or temperament, it is hard to say which. One day last April, when Zarathustra was being recorded, the old ballroom's curtains had to be parted, since on the stage had been mounted an enormous 2,400 -pound NOT FOR EVERYONE bronze church bell. rented from a ...perhaps for you foundry by Culshalv's tireless fi -men for a climactic effect towards the end of the tone poem. There were also photographers present, preparing pub- licity for the world tour. Into the control room came one player, in a stout wool sweater. The hall was too cold, he said, there was a draft from the stage. As he left, in came another, in shirt sleeves, wiping his brow. He was bothered by the heat, he said, from the floodlights. "They sit about five feet apart," said Culshaw later, "but now they've had their say, and they can play." Indeed, they were already tuning up. Taudlwry They were not, may it be said here, a-SPEED. 4 -TRACK tuning to an A -note of 447 cycles, as STEREO RECORDER they have been charged with doing PLAYBACK in the press. This is a canard, says Dr. The Tandberg 5 is not everyman's Strasser. It may have been started by tape recorder. It is an instrument singers who bobbled high notes and built to incredibly rigid standards of wanted to lay the blame elsewhere. perfection. designed to provide the discriminating listener with a life- The orchestra varies its pitch upward time of listening pleasure. To the somewhat from the 440 -cps of the In- educated car, the difference be- ternational A, according to where it's tween Tandbcrg reproduction and playing, but seldom above 444. In re- conventional recorder playback is cording it holds rigidly to 443. immediately apparent. In any case, the secret of the fa- Yet. the difference is subtle. It is re- mous Vienna tone is not pure bril- flected in shadings and nuances that liance. It is a sort of transparent depth, most recorders ignore. If your car is which comes simply from long knowl- finely attuned to musical perfection if von relish certainty that edge among the players of the sounds ... the you own the finest . . . then the each other make. Rarely does a play- Tandbcrg 5 will give you more er leave the Philharmonic, and it is pleasure- per-dollar than any other not unusual for a member to be train- tape recorder, anywhere. ing his son to succeed him; this is hap- See and hear the Tandberg 5 at your high pening now in the horn and flute sec- fidelity dealer. The instrument Illustrated here is the Tandberg Model 5.2. Complete with two tions. Hence the extraordinary em- TM -2 microphones for home stereophonic re- pathic give -and cordings, input-output cords, feels and hand- -take that informs their some Transport luggage case. 5513.95. Other work, and hence the high unlikeli- Tandberg models from $249.50. hood that anyone will imitate their For full Information, write Dept.H11 formula successfully. It would take 117 years. Tandberg of America, Inc. 8 Third Avenue Pelham, New York r:alzifeD

HIGH rIDELI'n' !\'IACAZIVE

www.americanradiohistory.com NIGHT LIGHTS

Continued from page 69 When you Society, SPA, and a number of others to enter the recording field on a hither- YOUR PRESENT HI -FI convert to to undreamt -of scale. Nor were artists' fees the only bargain. The fanions EQUIPMENT for Musikverein, where the Vienna Phil- the new harmonic always recorded, rented for 1,800 schillings per session in 1950 (it STEREO now costs just double); the Konzert- haus charged 900 schillings a session for the beautiful hloz:u-tsaal and 1,500 schillings for a session in the large hall. The Kornzerthaus studio cost $3.20 au hour in 1999, and it was here S -3000 II that the Nelson ?,lass, the Vox St. John FM TUNER Pasrion, and the first Bach Guild records were made. The Vienna Sym- phony's technical outfit, called "Sym- 0.95 [IV FM SencitivIty phonic," charged $9.00 an FM Multiplex Output hour for "Fnolher -Ray" Tuning Eyo their technicians in 1999. Telefunken Cocaode Balanced Input Automatic Frequency Control Studios, which was under the super- "Local -Diaani" Switch vision of a brilliant engineer named Otto Leihher, had delightful facilities in the suburb Of Dornbach; there, amidst green trees, you could record for the saine price as in town, and there o'as Specify the the additional advantage that the Dornbach studios were right round the corner from a lleuriger, who did new low cost a brisk business sending up frosty BUY SHERWOOD glasses of white wine to thirsty tech- AT AUDIO EXCHANGE AND nicians. IIerr Lcitner says he made his TAKE ADVANTAGE OF best records after the third or fourth AUDIO EXCHANGE'S UNIQUE glass. SERVICES SUCH AS: STERIEO Prices in Vienna are not so fabulous- IANEW COMPONENTS ly low nowadays: the Vienna Sym- lowest competitive prices phony has gone up double its price EfUSED COMPONENTS - for 8 years largest cartridge since 1949, but even at $3.00 per man supplier of fully guaranteed components per session, it is still an attractive TRADING OUR SPECIALTY The newest thing in exciting ster- proposition to come and record in Highest prices. Trade up to Stereo eophonic sound reproduction is Vienna. Herr Duron, at least, isn't COMPLETE STOCK -all major manufacturers Erie's STERIEO cartridge. It can worried. be the inexpensive first step to TA KNOW HOW - Hi Fi is our only business. achieving full dimensional sound "it's not like 1950, of course," he u Our people are experts in soles and service from your present hi fi set. said. "But it was too much then. We You get these important stereo- CAMAIL ORDER SPECIALISTS -We boost of phonic benefits for only $8.95: couldn't have kept it up all these satisfied customers in 49 states and abroad years. And look at our orders for this BALANCED CHANNEL OUTPUTS ...in- REPAIR AND CUSTOM INSTALLATIONS because a fall. ." I -le showed me huge herent in STERIEO of the t I by Hi Fi Experts-90 day warranty single ceramic element tally sheet on which recording sessions EFFECTIVE CHANNEL SEPARATION... were charted. Writo Dept. HFS for our unique Imdebatk plan and 20 db- because of the unique con- trading information. ductor- insulator element design "Now that they've gone through most the symphonies FULL FREQUENCY RESPONSE ... 20 to of Haydn and i 16,000 cps Bach cantatas, what do you expect to LOW RECORD WEAR ... tracking force do next ?" I asked. of only 5 -6 grams Duron leaned back and laughed. SIMPLE TO INSTALL merely plug it into any standard tone arm - " \Ve'll do them all over stgain in adapter included stereo," he said, pointing through the COMPATIBLE WITH MONAURAL... excel- window. On the other side two tech- lent reproduction from regular Registered Component Dealers microgroove records as well as nicians were busily setting up the stereophonic equipment. 0117.1,7( Available with dual stylus - HIGH sapphire /sapphire or diamond/ RRRRR sapphire (at slightly higher cost) IOC -from your local Erie distributor. The Hi Fi Trading Organization For his name or for complete liter- 153 -21 Hillside Ave., Jamaica 32, N.Y. ature write to: Closed Mondays Parking al all stores Branches: Brooklyn 836 Flatbush Avenue. ERIE Electronics Distributor Division White Plains 367 Mamaroneck Ave. V/ ERIE RESISTOR CORPORATION Manhasset 451 Plandome Road Erie. Pennsylvania

157 NOVEMBER 1950

www.americanradiohistory.com HF REPORTS Acknowledged Continued from page 141 EXCELLENCE BASED ON RESEARCH a minimum of controls and operating New flexibility. Nevertheless, its flexibility should be quite adequate for most home installations. An input selector PROFESSIONAL 55 offers a choice of magnetic phono, microphone, tuner, and crystal phono tone the Ultimate inputs. Separate bass and treble controls supply the usual boost or cut STEREO CARTRIDGE characteristics. The level control is combined with the ON -OFF switch. The phono equalization (RIAA) is designed for the GE RPX series of monophonic cartridges, and makes use of the inductance of the cartridge coil to roll off the high frequencies. Satisfactory results should also be obtained with the Pickering 350S Flux - valve pickup. Instructions are provided for the simple modifications LEAKPROOF needed when the preamplifier is used CHROME PROTECTED with the Audiogersh MST -1S and SEALED -in -STEEL Fairchild 225 series cartridges. GUARANTEED? We measured the equalization error both from a low impedance (600 - ohm) source and through a GE CC -5 Radaaligr/1,t stereo cartridge. In the latter case the COLUMBIA equalization was within 3 db of the CORROSION -PROOF RIAA curve from 20 to 10,000 cps, PORTABLE LIGHTS Professional 55 ... while there was pronounced rise in Cost $28.95 high- frequency response when a low - BURGESS BATTERY COMPANY This new transparent cartridge is impedance source was used. Fortu- the professional's version of the nately, the tone control characteristics FREEPORT. ILL. NIAGARA FALLS. GANAn popular Columbia CD. A high -com. pliance model with excellent tran- are such that this rise can be com- sient response, it uses a .5 -mil dia- pensated for easily by the use of treble mond stylus and is designed for cut. The NARTII tape playback transcription turntables. Comes char- "BUCK complete with 4 miniaturized plug - acteristic can he approximated fairly in equalizing networks for low- and high-level inputs. well using the phono input and some treble cut. STRETCHER" CURVES, FACTS AND FIGURES PROVE IT The response through the microphone input was very flat from 300 to Hi -FI 15,000 cps, but fell sharply below 300 cps. Here too, the bass boost characteristics of the HFT -1 would VALUES! make possible a reasonably flat response curve. Through the tuner input the frequency response was flat within 1 db from 20 to 20,000 cps, and the tone controls were fairly conventional in their action. As one would expect with a battery - operated transistor preamplifier, there Expand the buying is absolutely no hum in the output of power of your Hi -Fi Ask for Bulletin E -331. Check the the HFT -1. The noise (hiss) is also Professional 55's superiority in: dollar at Sun Radio with substantial linearity ... separation needle very low, being from 60 to 70 db be- ... savings on new and fully guaranteed point impedance ... low mass ... low 1 volt output on all inputs and at freedom from hum and distortion name brand Hi -Fi components! --. output level...and ruggedness. any gain setting. This is inaudible even when one's ear is placed against Send for our special price Quo - YOUR OWN EARS PROVE IT the speaker. talions and our Hi -Fi package aperitifs! Better still. Your own ears will con- In our tests, the vince you the Professional 55 is intermodularion Dept. Z9 your best investment. Ask to see distortion proved to be considerably and hear it at your distributor's today! higher than the Regency specificai- tions would indicate. The usual upper CBS ELECTRONICS limit of tolerable IM (2%) was A Division of reached Columbia Broadcasting at 0.6 volts indicated output, System, Inc. 6E ELECTRONICS CO. Danvers, Massachusetts which corresponds to about 0.75 INC. volts with a Distributed in Canada by sine wave test signal. This 650 Sixth Avenue, New York 11, N. Y. CANADIAN GENERAL ELECTRIC CO., LTD., TORONTO would be acceptable when a rela- Phone: ORegon 5 -8600 tively high -gain or high -powered pow-

1.58 Htctt FIDELITY \LACAzrNL

www.americanradiohistory.com er amplifier is used, but not %vith some BUY I IT! ... can't amplifiers which might require 1.5 ONLY the ACRO Stereo or 10 volts to drive diem to 10 or 15 watts output. pre -amplifier gives you even pronounce it! Another limitation, though not a severe one, is the low gain on the these years ahead design magnetic phono input. A l0- millivolt signal is _seeded to develop l volt out- features! put. The gain is, of course, quite sufficient for the CE or Pickering car- CHECK THESE EXTRAS tridges for which this unit was de- that no other kit gives: signed, but when used with low -out- I. Selective Rumble 5. Input Level put types there is no reserve gain. & Scratch Filters Controls Here the low noise level of the I- IP"f -1 is advantageous. 6. Exclusive Panel since it can be op- 2. 3rd Channel Output Light Matrix erated wide ()Pen with no ill effects. 7. Lowes: Hum with In listening tests we used a Crado 3. Exclusive Mike Dub Switch D.C. Filament Supply stereo cartridge. tvlsich has less than Plus many 1 output, and a 50 millivolt -watt 4. Phasing Switch other features power amplifier. There was no difficulty in obtaining uncomfortably loud volume levels, though the preamplifier tuas operated at maximum gain. A final minor criticism is the lack of a pilot light or other indication that the unit is turned on. It would be necessary to develop a systematic pro- a cedure for turning off a system to h!" avoid leaving the preamplifier turned ELECTROSTATIC on. This could be a rather expensive mistake. TRANSDUCER... All in all, the Regency HCT -1 is a ACRO'S STEREO moderate- períormanec preamplifier, the 2 -in -1 mid -range and super tweeter having no serious faults except the that brings out 'hidden sound" limitation on output voltage. It cer- PRE -AMPLIFIER your present cone or piston -type tainly is unsurpassed when it comes to lots noise and small size. Its chief speaker cannot capture I EAST TO ASSEMBLE KIT application will probably be in limit- Make Versatility; Logical planning; Pre. it easy on yourself. Just ask for ed -space installations or in portable Unequaled the AH! Speaker and we assembled. tested. printed circuit board promise you'll equipment, where its virtues can be hear sounds you never believed possible makes construction simple. A PERFECT 20 AND with your present Hi -fi set -up. Your fully exploited.-H. H. Labs. MATE FOR ACRO'S STEREO ULTRA LINEAR II AMPLIFIERS. conventional tweeter cannot and does MANUFACTURER'S COMMENT: It is difficult nod give you complete high frequency te account for the results found, in the cose of SPECIFICATIONS response, due to its the discrepancy in the audio response curves inability to recover INPUTS each channel and quickly enough from abrupt frequency using microphone input and tuner input, Magnetic (Turntable d Changer) change. The AH! electrostatic trans- in the high IM readings noted. It should be Equalized 78, LP. RIAA ducer, of course, is based on a completely noted that the amplification circuits for micro- Crystal /ceramic (switched in mag. input) new electronic principle and reacts phone and tuner inputs are identical with the Sensitivity for 1.5V out Low Level 5 MV. of the 470 K-ohm resistor in the tuner High Level 30 MV. frequency exception instantaneously to all change input, which would hardly account for the re- Tape Head Equalized NARTB Sensitivity 2 MV -no matter how abrupt -so, areas of sponse difference found. FM AM FM Multiplex Tape Head "Hidden Sound" are revealed with the Further, under factory test procedure, fac- Microphone (switched into one channel for announcing, "AH! ". Just one minute of your listen - tory -wired and -tested HFT -1 preamplifiers indi- laded in or out with balance control) ing time at your dealer's will convince you. cating IM distortion readings over .8% at 1 OUTPUTS 2 Ampl., 2 Tape, 3rd Channel Test volt output are rejected. is made with tone INPUT SELECTOR (8 position) M, LP, RIAAI, RIAA2, The 2 -in -1 AH! is a mid -range and controls set "flat" and gain control at maxi- Tape Head, FM -AM. FM Multiplex b Aux. mum. super tweeter to give you full response OUTPUT SELECTOR 7 MODES (Check -A, Check -B. The unit tested here was a kit, constructed from 600 cps to past the limit of audibil- Stereo, Stereo Reverse, Monaural A -B, Monaural A, in field, and is possible that incorrect as- Mode ity. And, the AH! is complete. Nothing the it Monaural B.) 6 panel light Matrix pro des selection sembly or component mishandling might account at a glance. else to buy -R /C crossover network and for the above results. In- AC power are in. To prove our CONTROLS Gauged Volume /Loudness, Balance, built dividual Bass d Tech!, for each channel confidence in AH's superior quality we SWITCHED EXTRAS effective each channel. Filters, guarantee the elements for 5 full years. scratch and tumble loudness phasing tape Input/ monitor mike dub

AC OUTLETS 2 switched 2 direct Only 500 TUBES (4) Type 7199 low noise pentode /triode DIMENSIONS CI /2H x 13 -3/41 z 6 -3/8D 49.95 PRICE: Kit $69.50 Sell powered kit $79.50 Write today for free folder Send for FREE booklet "8 unusual Hi -Fi and stereo arrangements with ACRO PRODUCTS COMPANY KIT DIV. the AHI" Complete with schematic diogroms and wiring instructions. 410 SHURS LANE, Dept. HF 11 Cosmos Industries, Inc. Philadelphia 28, Pa. 31 -28 Queens Blvd., Long Island City I, N.Y. ACRO, THE FIRST NAME IN AUDIO!

NOVENLBE11 1959 159

www.americanradiohistory.com WURST AND BEETHOVEN Continued from page 62 ancient building on the beautiful Micktaelerplatz where, incidentally, the old Bergtheater, in which Figaro was first performed, used to stand. He TO YOUR CITY rang the porter's doorbell, and a tvell- padded flattsmeistcrin answered. "is Herr Haydn's room still free ?" the clashing young ¡mm with the curi- ans past asked. High Fidelity The Hausmeisterin thought a moment, and then answered, as if Herr Havdn had just vacated the room last Music Shows week, "As a matter of fact, it is. You FEATURING THE LATEST want to rent it? I'll show it to you." EQUIPMENT She led him up flight after flight of IN STEREO stairs, each landing shabbier than the one before. The last flight was prac- See and hear the latest in tically perpendicular. She unlocked a HIGH FIDELITY from door in the huge attic, and there, overlooking St. Michael's Church and leading high- fidelity the round, elegant square, was the manufacturers . . . very room Haydn had occupied in 1749 or 1750, when he was a penni- Don't miss these public less student, just expelled from St. Stephen's Choir for cutting off the showings of Hi -Fi Equip- pigtail of a fellow student during High ment ... from the most Mass. The clashing young man with the economical units for the curious past surveyed the room. It budget -minded to spectacu- had scarcely changed since Haydn's lar home music theatres .. . time: the plaster had peeled off the compare walls, and there was the musty. heady and enjoy them all. air of a room unused for many years. Components and complete The Hausmeisterin threw open a window and the fresh summer air of 1959 systems will be displayed. M A G N E T T E filled the old garret. ADMISSION 750 transistorized "It's not a bad room for the price," she said, eyeing the prospective ten - ALL SHOWS OPEN tape recorder ant warily. FRIDAY - SATURDAY - SUNDAY The dashing young mink t'ith the with professional curious past rented the room. He I P.M. TO IO P.M. broadcast quality! hopes- rather naïvely, I fear -that the Professional performance packed into a city authorities will turn it into a tiny mere eight pounds! Hand -crafted in museum and appoint him the guard- Vienna to the highest Continental stand- ian. 1959 ards, it's the ideal traveling companion for dictation, conference recording, in- The Viennese authorities have far HIGH FIDELITY too many musical museums terviews and recording fine music to to care for, MUSIC SHOW SCHEDULE broadcast standards. Up to two hours as it is. Their director. Franz Chick. a on each reel! kindly scholarly- looking man with Fully transistorized, (seven transistors BUFFALO, N. Y. Smiler liotel. 2 thick glasses and a soft- spoken, ele- + diodes) the STUZZI Magnette October 30. 31; November I. 1959. will operate up to 100 hours on 4 stand- gant manner. sighed when I asked ard flashlight batteries. Vibration- proof, him about the problem. SEATTLE, WASH. New Washington it will operate in any position , . on "These museums cost a fortune to land, sea and Wow lintel. November 6, 7, 5, 1959. air. and flutter to maintain," he explained. "They are professional minimums. New feather - in touch push button controls for whisper - mostly very old houses tvhich have PORTLAND, ORE. New Ilcathman quiet performance plus these features: to be repaired constantly. Take the I lacet. November 13, 14. 15. 1959. Dual Track -Dual Speed 399 -17A ips. Haydn Museum," and he shook his VU Level Magic -Eye Modulation. head gloomily. Separate motors for fast wind and PHILADELPHIA, PA. capstan drive. The last time I was there, the bteniamin Franklin lintel Battery Life Indicators. house looked very solid to nie," I put Novcnthcr 20, 21. 22, 1959, Tapes can be replayed on all recorders. in. Doubles as small portable PA system. An engineering triumph! "Ah, but you didn't see inside the Only $269.50 net. walls," answered Director Cluck. "All RIGO ENTERPRISES, Inc. For complete details on how you can take the timber rotten, the whole house un- 500 Dearborn efficiency and enjoyment with you, sec North Street local dealer or write: safe. We had to renovate it from attic your lo, Illinois ERCONA CORPORATION to cellar. If you would like to see what Chicago (Electronic Division) happened, I'll show it to you." Dept. 52. 16 West .46th St., New York 36, N.Y. We drove from Director Cluck's

160 HICK FIDELITY MAGAZINE

www.americanradiohistory.com splendid new office building on the Karlsplatz to the busy Mariahilfer- DYNAKITS strasse, Vienna's principal shopping street and one of the main arteries to Bó Look Best - Test Best - Sound Best the West. (Traffic in Vienna has be- MU' come a terrible problem. because most of the small, winding streets in the Stadt. or inner city, are totally un- STEREODYNE II NEW STEREO 70 KIT equipped to take the present flow of automobiles, local and foreign.) br an PHONO PICKUP endless stream of delivery trucks and cars, we crawled past the stately baroque church where Haydn's funeral service was held on a June afternoon in 1809. "A hot, sticky day," reports a contemporary diary. "Choking dust. Haydn's body was carried thrice rotund the church in a solemn proces- sion. Not a single Viennese Kapell-

meister was there. . . New, hum free push pull mag- "Vienna hasn't changed much," was netic stereo pickup of superb Director Cluck's terse comment as I *Dual 3S watt super -quality ampli- characteristics. True stereo fiers mon- reminded him of the conduct of -70 Walt continuous reproduction because of wide ophonic rating-160 watt peak. Haydn's colleagues 150 years ago. Just before the Westbahnhof, we channel separation. Smooth *All critical parts on prefabricated printed circuit assembly reduces turned off the Mariahilferst-asse and response and light tracking wiring time to live hours. suddenly the years rolled away as the combine to give clean natural traversed what was, in the eighteenth sound from both stereo and *Premium quality party conserva- century, the suburb of Cumpendorf. tively operated permit one year monophonic recordings. guarantee. Haydn's house used to have the address Kleine Steingasse 73, but the Mounts in all standard arms. *l'ncomproutiacd design for finest street was later renamed Haydngasse: performance- usable with all With replaceable diamond is quite an imposing house, with a speakers. it stylus -$29.95' net. lovely garden where the aged com- *Only $99.95* net including all poser used to take his morning walks, paru, instructions, and protective leaning on the arm of his faithful ser- cover. vant Johann Elssler. Director Cluck and I stood for a Bo TONE ARM NEW STEREO PREAMP KIT moment in the courtyard, looking out onto the garden. 'We seemed to be on Integrated an enchanted island in the middle of Arm and the great. sprawling city; the soft Cartridge green of the trees along the brick wall contrasted gently with the yellow and white of the house. In fact, it was Haydn's wife who discovered the house. She wrote to her husband, then in London, with her usual tact and charm, suggesting that he buy the house for her to live MODEL TA -12 The unique no distortion" per- * in when she became a widow. Haydn formance initiated by the famous DVNrAKIT Preatnp. returned, fell in love with the house, and bought it straightaway. "And it's stereo inputs. DC heaters, *7 I who am living in it, as a widower," Combined arm and Stereodyne built -in power supply. DYNA's exclusive "blend" control. he used to tell people, with his quick Cartridge for optimum irony. Il results. Dynamically balanced, * Highest gain. lowest noise, great- He had bought the place in 1793, est separation, and the channel between his two London visits, and gimbal- pivoted arm permits easiest to use. immediately asked the authorities if he 2 gram tracking. Simple to * The ultimate in simplicity - 2 could enlarge it. The petition Haydn mount, handsome appearance, ',reassembled printed circuit submitted to the Vienna City Magis- hoards cut assembly time to S and outstanding in perfor- tracy is still extant: "In this projected hours. net. construction [wrote Haydn], good mance. Only $49.95' Complete with cover $59.95* net. * materials would be used . .. and 'Slightly higher in the West [the house] would contribute to im- Available horn loading Hi -Fi dealer. everywhere. proving the general looks of the street. Available from leading high Descriptive brochure available on request. [Haydn] hopes therefore that his plan fidelity dealers everywhere 't Slightly higher In Wes! will be approved, the more so because by enlarging the building, an in- DYNACO, INC. 3916 Powelton Ave.. Philo. 4, Pa. DYNACO, INC. Cable address: Dynace. Phila.. Pa., U.S.A. Dept. HF, 3916 Powelton Ave., Phila. 4, Pa. Continued on next page

NOVEMBER 1959 161

www.americanradiohistory.com WURST AND BEETHOVEN the Stephansdom is gemütlich and TRADER'S MARKETPLACE friendly. Here the brazen trumpets of Continued from preceding page Mozart's Coronation Mass sound en- Here's the place to buy, swap, or sell used tirely appropriate, as the Cardinal. in equipment, records or what have you. crease of tax money would accrue to his rich scarlet robes, celebrates Mid- Rates are only 45e a word (no charge for Vienna, a huge name and address) and your advertise- the most exalted Magistracy. night Mass at Christmas before ment will reach more than 110,000 music 14th August 1793 .. congregation, most of whom have listeners. Remittance must accompany Needless to say, permission was come from candlelit warmth and copy and insertion instructions. Copy grunted. mulled wine. received by of 2nd month must he 5th on east preceding publication and is subject to Director Cluck led us up the stairs Behind the Cathedral, the approval of publishers. to the rooms Haydn lived in. During side, you pass the little chapel where the renovation, workmen stripped the Mozart's funeral was held before a JANSZEN 130 mahogany, $95; Quad electrostatic, walls down. revealing layer after layer tiny group of mourners. 'fo the right is $200; Quad preamp. S50; Leak diamond with arm (new), $25; Ortofon C diamond with arm, S35; of wallpaper and paint. Chuck said that the heavy grandeur of the Deutsch - Sherwood AM -FM tuner, 595; High Fidelity 140; Hi -Fi Music at Home 1,38; best offer. Carl Hovland, it was like taking a trip backwards Ordens -Haus, where the Salzburg 151 Hartford Turnpike, Hamden 17, Conn. through the nineteenth century. Fi- nally, they got clown to the last laver, TRADE -IN monaural for Stereo -Disc or Tape. D*Rni- five Recordings Club, 11024 Magnolia Blvd., North and to their delight they found a deli- Hollywood, Calif. cate, exquisitely patterned late eight- pa- FOR THIN THINKING People . our Tumblemat eenth- or early nineteenth -century a professional exercise mat designed exclu- per, sively for home use write The Country Shop, Route 3, Box 265, Little Rock, Ark . "It might have been Haydn's own paper," Cluck said. "The pity is that ATTENTION: Bel Canto discs for sale, rare operatic there wasn't enough of it in a good recordings. Send for catalog. George Moran, Box 274, Lodi, Wi in. enough state of preservation, and I Archbishop's minion, Count Arco, boot- had to scrap the idea of doing the ed ?vIozsut clown the stairs, out of the SELL: Lowther TP -1 horn, PM3 driver, $300 shipped; whole of Haydn's apartments that Archbishop's service, and into immor- EV -665 mike, $M; GE AI.501 arm, SIS. Richard Dunn, Sunspot, New Mexico. way." tality. You cross into the Schuler - 5trasse, a tiny street reminding you FOR SALE: Complete collection of High Fidelity. Improbable occurrences, improba- that Vienna was a flourishing city in Raymond Gerin, 770, della Ronde, Quebec City, Canada. ble conversations.... Imagine a string the Middle Ages. A few doors clown quartet party at Mozart's house, Haydn is a four -story late Baroque house, OLD AND RARE vocal 78s, G & T Zonophone, etc. playing first violin, Mozart viola; Leo- with a handsome façade. The D'loziu-ts Hard -to-get imported LPs. Send for monthly lists. rented the whole first floor for the Ross, Court 8 Co., 2098 Yong*, Street, Toronto, pold Mozart, a venerable old man, is Canada. there, on a visit from Salzburg. After stiff price of 460 Gulden a year ( the the quartet is finished, Haydn talks annual salary of a second violinist in TAPE RECORDERS, components. All makes. Special about Wolfgang to Father Mozart, an Austrian provincial town): they re- quotes. Bayla Co., 1470 -F Elmer Road, Wantagh, L.1., N.Y. and someone takes clown the conver- mained there from September 17S4 to sation. It all sounds like fiction -and April 1787. HIGH FIDELITY -Nos. 1 thru 56, beat offer. W. W. yet the very meeting described above They were certainly Mozart's hap- Moyer, Creamery, Pa. took place, and the house where it oc- piest years. His subscription concerts were attended almost FOUR Track United Stereo tapes, 53.95 up. Bob's curred is still standing. by the entire Tape Service, 7909 Lary Lane, Fort Worth 18, Texas. You start at St. Stephen's Cathedral, Viennese aristocracy, including Emper- the sprawling late Romanesque cum or Joseph II (who really understood PROFESSIONAL Quality recording tape (standard - neither Mozart's typo) frequency response 20- 20,000 cycles, 1200 ft., Gothic CUM (on the inside) Baroque nor Haydn's music). It $2.25; 1800 ft.. S3.25. No. C.O.D. P.O.R.T., Box which so Vien- was in this house that Le Nozze di 445, Bloomfield, N.J. building is typically nese. It does not have the soaring mys- Figaro was composed, as well as many the RECORD CUTTING for every occasion from your ticism of Chartres or Reims, or the of greatest piano concertos (e.g.. tape to unbreakable disc weddings, socials, lectures, Northern secrecy Durham or Speyer; K. 466, 467, 482, 488, 491, 503). the schools. Free information. Albergo Recording Stu- of dio, 121 -18 Rockaway Blvd., South Ozone Park 20, Prague Symphony, and the last three N.Y. of the six string Quartets dedicated to Joseph Haydn. HI -FI, Recorders, Tapes. Send for froc wholesale catalogue. Carston, 215 -N East 88 Street, New York TAPE Recorders, Hi -Fi Components, Sleep Learning It was on a February evening in 28, N.Y, Equipment, Tapes. Unusual Values. Free Catalog. Dres,ner, 69.02A, 174 St., Flushing 65, N.Y. the year 1785 that \Volfgang held at his house in the Schulerstrasse the mu- PRECISION RECEIVER ALIGNMENT: AM -54; FM -S5; TAPE RECORDERS! tape AM /FM -58. Kits a specialty. Telephone ED 4-4490. Recording tape, Bell decks, sical evening mentioned above. Leo- I. Pollack, Westbury, L1., N.Y. Hi -Fi Equipment, Norlco Speakers. We will not be undersold! Send for our catalog and see why! Com- pold Mozart, on a length' visit from missioned Electronics Company, Inc., 1776 Colum- Salzburg, wrote back to his daughter HIGH- OUAIITY STEREO -Complete sets only. Fully bia Road, Northwest, Washington 9, D.C. toned, Big discounts. George's Music House, Cali- a few clays later: "Saturday evening fornia, Missouri. HI -FI DOCTOR -Will solve your hif, problems on- Herr Joseph Haydn and the two Baron the-spot. Acoustic, Audio, Radio Engineer. Stereo Tindis were here; designing. Professional visits, day, evening, Now the new Quartets ALL MAKES HIGH FIDELITY speakers repaired. York area, weekdays. William C. Bohn, 550 Fifth were played, only Ampr!te, 70 Vesey St., New York 7, N.Y. BA 7-2580. but the three new Avenue, New York City, Plata 74569. ones [K. 458, 464, 465] which [Wolf- gang] has added to the three we al- INDUCTORS for Crossover Networks. 118 types in "SCOTCH recording tape at "Profit Sharing" prices stock. Send for brochure. C 8 M Coils, 3016 Holmes -send for catalog-you'll be glad you did! -Tapeco, ready have -they are a little easier but Avenue N.W., Huntsville, Ala. Dept.D, P. O. Box 4353, Inglewood 3, California. excellently written. Herr Haydn said to me: 'I tell you before Cod and as RENT STEREO TAPES -over BOO different -all major SALE: 78 R.P.M. RECORDINGS, 1902 -1950. Many labels -free catalog. Stereo- Parsi, 1608 -D Centinela types. Free lists. Collections bought. Mr. Ellie Hirsch- all honest man, that your son is the Ave., Inglewood 3, Calif. ma nn, P.O.B. 155 (HF), Verona. N. J. greatest composer I know, personally or by reputation; he has taste and HIFl LOWEST quotes; write for prices. Registered FAIRCHILD 225A cartridge, Fail child 281A tone a apart from that, the greatest possible IHFM dealer, R. Bruna, 162 E. Cook Avenue, liberty Both 10 hours use. 535.00. W. B. Syor, Hartsville vale, Illinois. Stage, Groat Barrington, Mass. knowledge of composition.'"

162 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com On a spring day in the year 1787, shortly before Mozart- because of fi- nancial difficulties -had to give up his beautiful Hat, he had another visitor, this time from Bonn. Mozart was very DEWALD bunteti busy fite and barely noticed the young man, who asked to be allowed to play I 1 something on the piano. \Vhen, how- ST ER 11--+; ® AND M O N A U R A L ever, the young man began to play, 1 Mozart (so the story goes) cocked an Double the Quality 1 attentive ear and said: "Pay attention 1 HI -FI COMPONENTS at Half the Price! to him? One day he will make the 1 1 world sit up and take notice." The Model 2200 "Classical" 50 1 young man was Ludwig van Beetho- Watt Stereo Control Amplifier. I 25 W. each channel (100 W. ven. 1 1 peak). Separate Loudness and Tone Controls. Tape Monitoring I 1 and Direct Tape Recording Vienna is full of Beethoven houses. locks. 1 1 Discovering all the houses Beethoven 5 AUDIO- (CASE 1 PHILE inhabited in Vienna and its outskirts is $139-9 INCLUDED) 1 NET 1 rather like trying to make a list of all the beds in which George Washington 1 1 or Queen Elizabeth I slept. There is "You Never Heard It So Good!" an old Viennese i joke to the effect that 1 every second house in Vienna ModeIN-803-B Model N- 1000 -B Model N1200-ß I has $99.95 some connection with Beethoven, if FM-AM Stereo d Mono- $99 95 30 wolf Stereo phonic AM -FM (CASE Control Ampli- (CASE you look hard enough. TUNER INCLUDED) Ì Tuner INCLUDED) fier INCLUDED) 1 One Beethoven flat, however, was his home, with occasional absences, for OVER 35 YEARS OF DEPENDABILITY! 1 some ten years -from 1804 to 1815. It EXPORT DEPT.: Free! I is on the top floor of the so-called 25 Warren St. Pasqualati House (Freiherr von Pas - New York, N. Y. ILLUSTRATED qualati was the Emperor's private phy- ICable Address: A DIVISION OF BROCHURE I UNITED SCIENTIFIC LABORATORIES, Inc. sician) on the Mölker- Bastei, originally 1 SIM ONTR ICE ON REQUEST 35 -19 37th Ave., long Island 1, Y. , connected to the city walls (which City N. were to - -=== == 1111=1======torn down in the nineteenth century to make the present Ringstrasse), and thus higher than the surrounding part of the district. When you stand below the Bastei, you can imagine what Vienna must have looked like in Trader's ,}Marketplace Classified cAdvertising the late eighteenth century. Like Haydn's house in Gumpendorf and the " Figaro" House, the top floor of the ORDER FORM Pasqualati I-Iaus is also a museum, dedicated in part to Beethoven and in part to the Emperor's then -famous physician. Fill in coupon below and mail, with check or money order Personally, the Beethoven house I (no cash). Rates 45¢ per word with no charge for name and much prefer is out in Heiligenstacit, once a little village an hour's carriage address. Print or type your ad below. drive from the city, and now a quiet, rather dreamy suburb. In the year 1802, when Beethoven realized that he HIGH FIDELITY MAGAZINE was going deaf, he was living in this Great Barrington, Massachusetts little house, now Probusgasse 6; it was here that he wrote to his brothers the searing document called the "Heiligen- stüclter Testament," protesting his af- fliction and seeming almost to welcome the release of death. Round the corner, if you follow the winding street, you find the Pfarrplatz, or village square, with shady trees, old houses (hardly a façade has changed very much in the last 150 years), and a rus- 11 Next issue only NAME tic village church. (Recent excavations Next 3 issues STREET have shown that the church was built Next 6 issues on the foundations of an early Roman- 0 Next 12 issues CITY ZONE esque basilica.) too, Here, Beethoven S Payment Enclosed STATE

Continued on next page L

NOVEMBER 1959 163

www.americanradiohistory.com WURST AND BEETHOVEN SpeeiaQ Odra 25¢ Continued from preceding page lived, at Pfarrplatz No. 2, during the Hear these e° l: year 1517. .4/4 .,, Lox.. The house is not a museum at all. authentic recordings If you go there on a summer evening, of dramatic events you will find the big double doors to the courtyard open, and rows of green from benches and tables under the tall trees. There, the Viennese go to drink the "The Amazing World of new wine, " Heurige" ( "this year's "), Short Wave Listening" YOU and to dream away half the night with narrated by Alex Dreier, RadlaN "Moo on the Go' their sweethearts or their wives. You President's yoke horn outer space! WON'T sit under the window where Beetho- of o desperate criminals Actual capture ven lived and worked, and the Radio amateur at Little America! BUY music Ships at sea ... aircraft in action! they play is Schramnielnutsik -soft, A sentimental Viennese songs that sur- TVAIWtr SK->I 10 round and envelop you together with the warm glow of the new wine. V $159e95 wi The first time I went there, on a PRONOUNCE IT oWEEGO summer evening which was too beautiful to be true, I thought: how incon- Standard Lroadcosl plus short wave coverage from 1550 kc. ro SPEAKER FOR LOOKS! gruous, how impossible, to sing 34 mr. Col. electrical bondspreod. Schr'mmnelnusik and drink .vine and Wigó s true beauty is on the inside, where eat black bread and Wurst in a place you can't see it, but where you can sure like this. But after my first Viertel of hallicrafters hear it!... And with Wigo it's not done DEPT. 15, CHICAGO 11, ILL the strong, heady wine, I suddenly with mirrors! For literature, write... that, like Gentlemen: Please rush by return rani) my ro- realized so many seemingly ordiug, "The Amazing N'arld of SForl Wage incongruous things in. Vienna, Heurige Llslcning." I enclose 25e. and Beethoven are not so far apart NAME united t udio after all; for in the Viennese gardens PRODUCTS O F DISTINCTION ADDRESS where you drink the new wine, the 2024 East 19t11 St., t1'. Y.3, tl'. Y. CITY STATE line between joy and sorow, between past and present, perhaps even between life and death, is a very thin The margin between the original per- one. The house on the Mö:ker- Bastei is formance and good stereophonic a museum, with a proper custodian reproduction is slight indeed, but and, under glass, some proper Bee - narrowed to an inperceptible degree thovenian relics; but in the court- expressive with a Webster Stereo -Ceramic phono yard at Heiligenstadt, under the whis- cartridge. That's when your discs pering trees, there is Mere: there is breathe new life, new color ... with the Pastoral, there is even the Missa depth and direction you can distinctly Solemnir. Here, you feel, the words at pw feel. And the fidelity is superb ! Much the top of the autograph score of the better, too, is monophonic reproduc- Missa, "Von. Herzen, miige es wieder tion. Stereo -Ceramic is a plug -in type to Herzen gehen," might have been cartridge - tits any standard arm. conceived -"From the heart, may it speak to the heart." Wurst and the Pastoral, new wine and the Missa-it is all part of the secret and the mystery of Vienna. SC-3D Stereo turn -under - with .7 mil diamond and 3 mil sapphire stylii. $20.00

SC -2D Stereo single needle - with .7 mil diamond stylus. $17.50 FAI/(2 MC -2 78 RPM ANTENNAE single needle - with 3 THE FINEST . mil sapphire OF ITS KIND Get more TM stations with the world's most stylus. $6.50 powerful FM Yogi Antenna systems.

To be fully informed, send 25e for book "Theme And Varia- tions" by L. F 8. Cariai ELECTRONICS D I V I S I O N and containing FM WESSTER ELECTRIC Station Directory.

our RACINE WIS APPARATUS DEVELOPMENT CO. Ih year WETHERSFIELD 9, CONN

164 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com STEREO TUNER

Continued from page 72

devoted to discussion of which is better. From the practical standpoint, the STEREO HIGH -FIDELITY answer is simple: either, if well de- WITH KOSS DYNAMIC signed and carefully produced. In the STEREOPHONESi early days of FM, ratio detectors acquired a bad reputation because they could be produced economically and were often coupled with poorly built and insensitive tuners. The Armstrong FROM ONE WHO LEARNED circuit, per se, was more expensive to This enlargement shows a diamond. manufacture and was therefore used chip needle sent us by a disappointed only on better grades of equipment. user, who learned all diamond MODEL This is simply background informa- needles are not O.K. Shows what SP -3 tion. designed to clear the reputation happens if a heat bubble of ratio detectors; several of the best forms when a chip is welded manufacturers use them with com- on. Can't Frequency response happen with a Duotone plete success. Needle that 30 -15000 Flat, impedance uses only the whole diamond 4 There is a listening difference, how- set ohm deep in the metal ever; and that brings us to hush or shank. Excellent response from any squelch circuits. When a receiver Stereo or Monaural system. which uses a ratio detector is tned, Organs, Hi -Fi, etc. there is no (violent) noise between Insist on Dnotoule. Complete separation of the two stations. On the other hand, the area Be sure. Duotone's channels gives the realism and fine between stations in an Armstrong -cir- whole diamond tonal qualities that are unobtain- cuited receiver has some of the finest can't break off. able by any other method regard- waterfall -rushing and hissing sound less of cost. Price S24.95 Available at your Local Hi -Fi Store ever heard. (Makes a wonderful loud- DUOTONE DIAMOND NEEDLE or Write Direct. speaker test sound, by the way.) It that remembers can be unpleasant when tuning up Keyport, N. I. KOSS INCORPORATED and down the dial. So engineers de- In Canada: Chas. W. Pofnlon, Ltd., Toronto 2227 N. 31st ST., MILW. 8, WIS. veloped hush or squelch circuits to reduce and even eliminate this sound, enabling one to tune in quiet. Provision should be-and is -made on all tuners to defeat such circuits, JASTOUND1NG* because if too much hush is applied, NOW1. a weak station, as well as extraneous noise, can be squelched. Some tuners are designed so that the hush or squelch circuit is either in or out; oth- FM RADIO IN 4,4010 ers enable the amount of squelch ap- /AM plied to be varied.

H: Practically all FM antenna installations use 300 -ohm twin lead for the YOUR CAR connections between antenna and , tuner. And all tuners have the proper terminals for wire of this impedance. In some instances, it may be desirable to use cable, to help Thrill to the rich. "living -roost" Hi -Fl performance of Blaupunkt coaxial reduce car radios -in both FM 'AM and AM models. New transistorized pickup of interference along the lead - Blaupunkt FM /AM gives you the added advantage of uninter- in wire. Coaxial cable of this type has rupted reception even in underpasses. When you buy your new car insist on a Ilaupunkt car radio. the world's finest i1I -FI in a low impedance, between 50 and 70 Motion! Easily installed in American or imported cars. ohms. Therefore, if coax cable is used, limo across 1M Atlantic ... FREE! WIN TRIP TO EUROPE FOR TWO either the tuner must have low-imped- LorT'atvsa Enter Blaupunkt "Wings of Sound" Sweep- ance antenna terminals, or an imped- GGMAa AIaIWLS ` stakes now! Nothing to buy, nothing to ance- matching transformer must be hink up. Just fill in the entry form at your PLAUPUNKT dealer. 20 exciting prizes, including free trip to Europe for 2, via LUFTIANSA. used. The former arrangement is better; the latter is entirely adequate. o WRITE FOR REPRINT of article in Electronic Industries Magazine on the "astounding reception" of Blaupunkt FM /AM ear radio. I: Tuning indicators, and the need e Dept. HF, Robert Bosch Corporation, Car Radio Division, 1, N. Y. or therefor, are discussed above. Either Id 40 -25 Crescent St., Long Island City 225 Seventh Street, San Francisco 3, Calif. an eye (or indicator) or a meter can be sufficiently accurate for precise tuning. BLAUPUNKT CAR RAÓ .u. u n nilocs,,c,sain+.nV SYMBOL OF QUALITY Continued on next page A:unSio.anv or noo(nl 6O101 o.n.A..1.

NOVE\4BEn 1959 165

www.americanradiohistory.com one STEREO TUNER word PURCHASING more Continued from preceding page about J: Time was when HIGH FIDELITY A HI -FI the Magazine used to campaign to get volume controls off tuners, in the in- SYSTEM? Amperex terest of simplicity. It seems sensible to adjust volume at only one point: PARTIAL LIST 6CA7/ EL34 on the preamp- control panel. It was OF BRANDS OUTPUT Send IN STOCK our feeling that inclusion of a control Us PENTODE Altec Lansing on the tuner was a redundancy. Today, E'ectrovoice Your Jensen there are so few tuners with volume Hartley NOW ITS 'll controls on the front panel that we University List Of Acoustic Rece arCincinnati, Ohio. bondholders, ing is concerned. Try both types on 3. The known mortgagees, and other security holders owning or bottling 1 weak signals. per trot or more of total amounts of bonds, mortgages or other securities arc: none. HURE 4. The two paragraphs next above giving N and O: Automatic Frequency Con- the names of the owners, stockholders, and high fidelity stereo security holders, if any. contain not only trol is included on all but two of the the cartridge is to be list of stockholders and security holders as they tuners in our compilation. In all cases, appear upon the books of the company, bat it can be defeated; the reason for do- also. in cases where the stockholder or security holder appears upon the books of the company ing so was discussed in our introduc- as trustee or in any other fiduciary relation, tory paragraphs. Some tuner manu- the name of the person or corporation for whow such trustee is acting, is given; also that the said facturers make AFC variable, so that two paragraphs contain statements embracing your replacement stylus it may be adjusted to suit local condi- alfiant's full knowledge and belie( as to the circumstances and conditions under which is a genuine tions. The same theories apply to stockholders and security holders who do not squelch circuits, discussed under F. appear upon the looks of the company as tnsstecs, hold stock and securities in A capacity other than that of a bona fide owner; and this P: Phase reverse . . . um . . . when alliant has no reason to believe that any other person, association. or corporation has any in- a sound strikes the diaphragms of two SHUR terest direct or indirect in the said stock, ponds, precision made stereo microphones in a recording or broad- or other securities than as so stated by him. casting studio, both diaphragms move (Signed) Warren B. Sycr Sworn to and suhscnled before me this in the sílme direction. When the elec- Twenty -ninth day of September 1959. trical impulse representing this sound (Seal) Lillian F. Bendrov, Notary Public Commission expires June 224, 1961. STYLU reappears at the voice coils of the

166 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com loudspeakers in your home, it must HOW push both speaker diaphragms in the & WHY of same direction. If one diaphragm sucks in while the other pushes out, HI -FI & STEREO they are said to be out of phase. Out of step would be a good semantic al- NEWEST AND BEST ternate. If they are out of phase, the HI -FI STEREO BOOK sound tends to cancel. This is Part I Has all the answers. Explains how III -FI Stereo compo- of the lesson for today. Part 11 has to nents work. Tells HOW and do with how you keep things in WHY to select amplifiers, preamps. record l,laycra. tun- phase. In setting up a stereo system, ers. ogle recorders, mien' - phones, Pickups. speakers sad Home recording is phase is established once and for all enclosures. for records, and need not be changed. Tells how to read mfrs more fun with specs of Iii -f,i et pli patent. Phase can be reversed by reversing Shown Ilww to adapt 111011- aural systems to stare,,. Con - the connections to one loudspeaker tnin.9 easy way u) use decil,ds. Also explains dis- RCA SOUND TAPE tortion and ill rune of eliudna Ling it. Explains feedback. Williamson h Ultra -linear circuits, impedance matching, audio bower needs, crossover networks, equalization, volume compression and expansion, boas and trehlc boost, pickups Qóó11 and cartridges, styli and many other subjects. Includes latest stereo developments in record sound* players. tuners and tape recorders - S1'ROBOSCOPE DISC in each book! 1 paid Biggest HI -Fi Stereo Dollars Worth Guaranteed Money Rack in 5 Days if not Stiefied You'll find that recording at home is more fun when SPECIAL INTRODUCTORY OFFER! you use RCA Sound Tape. And your favorite "mem- on rape' will because ABSOLUTELY FREE with each order, Your ories sound better, too, RCA choice of Ciein's newest book.t BASIC ELEC- Sound Tape gives you incomparable high -fidelity re, TRICITY - Vol. 1 or TV & RADIO TUBE SUB- production. Available in the popular and economical S" STITUTION CUIDE. These .ell for 50c ea. ACT and 7" reel sizes, on eplicefree Mylar' or acetate bases. NOW - set 2 book. postpaid at coat of only one! Ask for RCA Sound Tape wherever superior quality RUSH COUPON NOW! magnetic recording products are sold. w H. G. CISIN, Consulting Engineer Dept. HA Amaganeett, N. Y. - RADIO CORPORATION Rneloactl find SI. Rush 111 -FI & STEREO & free book marked above. (II not sparked Basic Elec. will OF AMERICA be sent). Electron Tube Dlelslonelerr /ton, N.J. (not both). In phase, the middles and tend all 3. Enclosed find 51.50. Uulbnt Itcg. 'rat lows are strong; out of phase, they are Name weak, and the hole -in- the -middle is add res9 more apparent. A correct phase rela- City /one Slate ...... tionship can be maintained relatively simply by the record manufacturer, so once it is that set properly, for record BALANCE YOUR STEREO SYSTEM STEREO -FAX playback, the chances are very good Provides Stereo Realism ONCE that it will not have to be shifted. From Monaural Source SO IT SOUNDS RIGHT. This is not equally true of stereo broadcasting. Each electronic step CENTER THE NEEDLE OF THE NEW (even in a home system) reverses the ki,wm al *; phase of the sound signal. Thus the STEREO BALANCE METER number of steps must be kept the WITH SIMPLE CONTROLS ON THE BACK same throughout the process. They ONCE can be, in record producing. They cati be, in a home system. And once THEN YOUR SYSTEM in a while, they can be in broadcast- ALWAYS ing. They can be if the same studio, SOUNDS PERFECT - Hear new depth and brilliance from your and the same equipment, are used each IMPROVES LISTENING PLEASURE monaural tape and record collection by in FOR THE IT'S stalling the STEREO-FAX in your high fidel. time. But change microphones, add ROOM IN- icy stereo system. This network component one stage of amplification, or shift WHENEVER YOU CENTER permits you to take lull advantage of your stereo system with all monaural program transmitting facilities, and the chances THE BRIGHT NEEDLE material by introducing phase displace- ment between amplifiers. The result is ex are fifty -fifty that phase will be re- I treordinary realism. Get new enjoyment SIMPLE? YES I EFFECTIVE? DECIDEDLY from ALL radio broadcasts. Written up in versed. HIFi Directory and other leading publica Thus it seems probable that, from Lions. Unit comprises a passive RLC circuit requiring no power source. Easily installed time to time, stereo broadcasts will not without disruption of existing hook-up. sound quite the same. One night they

DISC 1 will be good, the next they might be STEREO -FAX SPKRS a bit weak. Reversing the phase the RADIO 1- AMPe2 }- second night -by reversing the leads to one speaker system -would prob- Available only by mail, postpaid it cash with order, or C.O.D. plus postage. (Calif. ably effect an improvement. residents add 4% tax.) Shipping weight SOUND CHOICE FOR CHRISTMAS approx. l'/r lbs. for either model. Complete Hence the need for phase- reversal technical data. simple installation instruc- Some preamp- tions. and schematic included with each provisions on tuners. 5l495 At Better Hi -Fi Suppliers order. Satisfaction guaranteed. control manufacturers provide for it AUDIOPHILE MODEL U3A $l1.95 at this step in the process, and here is Ilriiseissad'i _ Roso_ MODEL U4B STANDARD $16.95 probably the best place because oc- ORDER NOW or write for full information 1616 North Damen Avenue casionally it may be desirable to re- r Baylor Products Co. seTh Chicago 22, Illinois 111110 Cumpston St., No. Hollywood, Calif. Continued on next page

NOVEMBER 1959 167

www.americanradiohistory.com STEREO TUNER NEW WINEGARD Continued from preceding page GOLD FM ANTENNA verse phase from a tape recorder and GETS 100 -MILE even from a phonograph record. A RECEPTION switch in the speaker line will do it, but this is not as neat as a switch on the preamp or on the tuner. Eventually, of course, .ways and means will be found to maintain phase regardless of the broadcasting or recording setup. \leantime, the prob- Unique Offset lem should be borne in minci, and Clamp - Mounts some convenient method for phase Right On TV Antenna Most! reversal provided. At (east one stereo tuner already has Omni -Directional - Covers this feature. 88 -108 MC , , . no rotor needed! Pulls in stations within 100 -mile ra- dius. Installs quickly on same mast Q and R: FM broadcasts carry the as TV antenna or separately. Two full range of audible frequencies, say antennas give 40% power increase. from 20 to 20,000 cycles. Except in Weatherproof ... bright gold ano- rare circumstances, AM transmissions dized finish. Model FM3T $195 , progress typified by the new SMI Rotating are of limited frequency range. They Magnet Compatible Stereo /Monophonic cartridge. FOR LONG- DISTANCE FM may be as low as from 100 to 4,000 The FAIRCHILD SM -1 will complement any home music system. Rugged enough to stand the abuse of any RECEPTION - UP TO 300 MILES! cycles; some go as high as 8.00(1 cy- record changer, yet, will enhance the performance of WINEGARD MODEL FMY8 8- cles; a few special stations go above the finest professional arms aid turntables. - Powerful element, high gain, direc- figure. for In this cartridge, the highly skilled FAIRCHILD engi- S2250 this The reason restricting neers have achieved practically all the objectives of tional yagi. Gold anodized. . , the frequency range is to minimize in- good stereo cartridge design - high output, high New 6 and 12 element "Transtoupler" yogis vertical and lateral compliance, uniform frequency terference between stations, whose also available. response .. . channels are only 10.000 cycles apart Comparison of the specifications will convince you Ask your TV Serviceman or write for free . that, for stereo cartridges, all you need say is file raivre. (as set by the FCC) The reverse sick FAIRCHILD ... 534.95. of this coin is that it's a lot easier to Co. build a small kitchen radio with a FAIRCHILD RECORDING EQUIPMENT CORP. 3014 -11 Stollen, Burlington, Iowa restricted frequency response than it 10-40450 Ave. Long Island City I, H.Y., Dept, HF 119 E eH7negard is to slake it h:uullc even 8,00(1 cycles. So most of the manufacturers- RECORD DUPLICATE PLAY STEREO TAPES to reduce interstation interference and to provide sharper tuning, as well as for reasons of economy -have limited their receivers to 4,000 cycles or so. Thus the broadcasters have not had, until recently, any incentive to improve their transmitting quality. Times change. High fidelity has become a strong influence, strong enough to encourage broadcasters to improve their signals, and manufacturers to improve their receivers and tuners. But there is a conflict. For fidelity the wider the frequency range accepted by ml AM tuner, the better. But for interference -free reception, the narrower the range, the better. So several AM tuner manufacturers provide variable A \1 bandwidth.

\V: See K.

CALIFORNIA STEREO SYSTEM 0_62,--f, SPECIAL

achieves the full, true potential of stereophonic sound. Recording Tape . , , $1.19 Roberts' superbly designed transport mechanism, with its 1100 n.; 7" guaranteed splice -hao. Also, hysteresis synchronous drive motor, provides perfection in 1800 It.; 7" For 51.89. Endow 10( tar pitch - and liming accuracy of 0.2 %. This, with Roberts' exclusive ach reel lo cover postage S handling Multirase Head, gives you professional recording quality. Send 25p for Complete Stereo Information Kit. SOUND Comp /e /e Stereo System -Track $499 - Four $509 CORPORATION ROBERTS ELECTRONICS Inc. 1045 N. SYCAMORE AVE., HOLLYWOOD 38, CALIF. 810 W. OLYMPIC BLVD.. LOS ANGELES 15, CALIF.

1GS HIGhT FIDELITY 'MAGAZINE

www.americanradiohistory.com PROFESSIONAL DIRECTORY CALIFORNIA NEW YORK NEW YORK

Only o Rich Purple People Eater PROFESSIONAL RECORDING TAPE Fines qualify RENT Does Not of famous prime menuloch/ror. Full frequency response. Finest lubricated and polishod stereo tapes lope available. Money bock guarantee. Acefale 5' Reels Mylar 5" Reels 600' IY) MC 4/5324 900' I Mil 4 /55.40 over Oû thSfe,'er albums with 900' 1 Mil 4 /$3.96 1200' '/, Mil 4/57.52 all major labels Acetate 7" Reels Myles 7" Reels 1200' I V, Mil 4/55.20 1200' 111 Mil 4/$7.48 no deposits on tapes rented AUDION 18:0' I Mi! 4 /$6.76 1800' I Mil 4/59.00 postpaid to and from your home before buying HI FI components 2400' % Mil 4/513.00 Add Ise each 7" and IOC each 5" tent -P.P. Send far catalog .. , HI -SONIC stereo -parti 25-NF-DAlord Raed P. O. Bog 868 New York 63. N. Y. IF l Massapequa, L.I.,N.Y, 16011V CCN!lFiE'.A AVE. INCA:w000. CAL aud n I DISTRICT OF COLUMBIA TAPE RECORDERS DrAWa.. recording tape your own conclusions Bell Tape Decks pardnor, when you receive our special quota- Ht -Fi equipment tions on your Hi -Fi needs. Write too for audio calm Norelco Speakers log You can now nurchnsc all your HI -FI from one A -10, loaded whh reliable source and be assured of perfect delivery. double -barreled values. WE WILL NOT BE UNDERSOLD! Carston makes delivery front NY stock on most Hi -FI, Recorders and tone within 21 now,. SEND Key Electronics Co. Send for our catalog and see why' US A LIST OF YOUR HI.FI REQUIREMENTS FOR OUR WHOLESALE QUOTATION end our Ito Lamy SI., N. Y. 6,N. Y. FREE wholesale entalopue. Et/roman 4-6011 COMMISSIONED ELECTRONICS CO. 125 HH E. 88 ST. 1776 Columbia Rd., Washington, D. C. CARSTON NEW YORK 28, N. Y. MARYLAND RECORD COVERS RECORDING TAPE Round Gotten, Transparent, DIXIE Premium Quality Polyrkyfn., lo, 12' record. 10 -day money back guarantee

FIDELITY .1 HIGH WHOLESALERS 18(1(1' Mylar for $5.95 2Oáy $19 2400' klylar 7 for 9.60 largest colalog High Fidelisy distributors in the Lot, of 10, any m clnent. defec 10.°it Add airER 120 for 55 °ppd. South. Guaranteed lowest prices on packoge quo - pont LIE" I Sr perapnol.. send cash ebrek or.lt.O. to ta0ons. Wholesale prices on individual components. DON'T BUY 111 -F1 cuntl,oncnta, kits. Inpn rc All new merchondise in factory sealed cartons. corder until yon fret our lost', Ion: (151011-8 by return LYON Are prices too high ? - Write: niait. Wholesale Catalog Free. ELECTRONIC WORLD INC. PRODUCTS CO. HI -FI DEPT. F - BOX 42, PLANETARIUM STATION. N.Y. 24. N.Y. DIXIE 1799A 1st Ave., New York 28, N. Y. 12402 Connecticut Ave., Silver Spring, Md. COMPLETE STOCKS NEW JERSEY RECORDS TERMINAL FAST DELIVERY SOUND PRICE BETTER! RECORDS from YOUR TAPES LAST Bolero buying any Audio equipment, Check with LONGER! TERMINAL for a Package Deal Oriole. Come in or Spectroion1C HIGH FIDELITY Levy, Mgr. Audio Dept. ®- New Unique EXStalic Preserves H iFI and write to Irwin Stereo Disc, Anti -Static Record Cleaner rets out Your tapes transferred by our skilled engineers rho ouperllue OKl Unit nlmlr delicate ,,rirn'- Aushorired Di14iburors using top professional equipment: Ampex 300's xnauvrs; rrdnce. (rittlou between al >'Inc and for All Name Monulocturon Grampian Feed Back Curlers -Thormo Stylus o nsucv u'a{Is, Ihu. reducing wear;.ear, plus c .tat!r attraction of dust to forts stint . Mon with ludutied. Write for Free Folder Rlbec U .Pray and peeial pad 1.11101.11 Import clean. anti proteci' at Ieoul 201 Terminal Radio Corp. :1/1,1 01.0. >idtn for duly $1.N71 tid cheek. 51.S', 85 CORTLANOT STREET, NkW YORK 7, N. Y. lu EX,tatle Ltd., P.O. Box 4. Kew Gardens 16. Publications Laboratories N. Y. Sole U.S.A. orient. electronic research Recorded1540.1568 Pierce Avenue, Camden 5, N. J. 'Product of British PENNSYLVANIA

NEW YORK Ths ARMOR Booklet F &B FOR THE TOPS IN VALUE MAGNETIC TAPE FREE! AND THE BEST TRADE -IN ON OFFERS BOTH! A COMPLETE HIGH FIDELITY EQUIPMENT Why pep more when F L R absolutely ;min-ante" INTRODUCTION TO Check with Arrow! new, Ires), lUghesl gn :lil), hi -11 lape -F heq, Rout. 30- 15.000 cycles -nr sour rtanty r'atuntltd. 1200' 7" reel - Acetate 3 for $3.95 STEREO 1800' 7" reel - Acetate 3 for 5.25 3 for 6.85 ELECTRONICS, INC. 1800' 7" reel - Mylar ARROW 2400' 7" reel - Mylar 7 for 10.60 ,4ecita Pleno add 15e PP L Hannlintr -Per Roed RADIO CO. 65 Cortland! SI., New York 7,N. Y. DIgby 9 -4730 WEST 913 ARCH ST. Mineola, N. Y. . NEW YORK 436hNSY. 525 Jericho Turnpike, FLORMAN & BABB, Inc 7, PENNA. Pioneer 6 -8686 PHILA. SORTS SOUNDTASTIC! TAPE RECORDERS WRITE FOR FREE SE- HIFI Components LECTOR &PLANNING YOUR ÄITAPE MEP LEARN LISTING 1,o u cu;t . NITS BOOKLET high quality RECORDS reeutrllllg Unusual SOUNOTASTIC HIFI tope. In home u,..th..l.,.n rohi..0 i . iut bolline for your mike m te or MIMI. Values "marsw,... "lea IX album.. T.n o,mps tmrm te Mt esosa. ky.,ropnonl Iria, lt,510. . fon. ehon.lr'r .n.l 6. mn.irl Sture, 'Y'. AZ le ", F111: H: AT SPECIAL "sib .,..mhi: 15.011 Ir 5).r ree riven Amu. Se,u 2057 Coney Island Ave. SYSTEMS 1960 Catalog ...Ilrrrnl on 4r11'tr>'. NoNI,Y -R.lt K 4t'ARANTLF $9.95 69.02 FA, 174 Street Leslie Creations Dept. 2095 Letoyen HIII, Pa. Brooklyn 23, New York PACKAGE QUOTATIONS DRESSN ER Flushing 65, New York

169 NOVEMBER 1959

www.americanradiohistory.com ADVERTISING INDEX

etteKey Key No. Page No. Page 1.... Acoustic Research, Inc. ....23 74.... Key Electronics 169 2 ...Acrd Products 159 75. Kiendff Sound Corp. 168 .3.... Airex Radio Corp. 166 76. Kinematix 167 4.... Allied Radio 9, 44 77. ... Kingdom Products, Ltd. ...47 PRESENTS 5....Almo Radio 169 78. Koss Inc. 165 G A]tcc Lansing Corp. 49 .... 4 170 7 .....American Electronics 50 79.... Lafayette Radio 166 81 .... Leslie Creations 169 S.... Amperes 98 NEV 9.... Ampex Audio, Inc. ....39, 40 82....London Records THE 10.... Apparatus Development 164 83 ....Lyon Products 169 PEAKÉR 11.... Arrow Electronics 169 84.... Madison Fielding 153 12.... Audax Division 33 85....Marantz Co. 154 1 :3 .... Audio Devices, Inc. 115 8G.... Mercury Records 83 14.... Audio Empire 34 87....Mercury Scientific 118 15.... Audio Exchange 157 SS....Minnesota Mining and 16.... Audio World 169 Manufacturing Co. 46 17 .... Audiogcrsh Corp. 79 18.... Auction 169 70 .... Neshaminy Electronic Corp. 38 19 .... Bell Sound Division 16 Nuclear 120 20....Blaupunkt Car Radio 165 89.... Products 21.... Blonder Tongue Labs. ....94 90... . Orr Industries Inc. 108 22.... Bogen, David, Inc. 117 23.... 13ook -of -the -Month Club ....5 91.... Pickering & Co. 2 24.. .1look-of-the-Month Club ....7 92....Pilot liadio Corp. 51 20.... Bosch, Robert, Corp. 165 93.... Precision Electronics 128 25.... Bozak, R. T., Co. :36, 37 Professional Directory 169 26.... British Industries Corp. ....52 27.... Burgess Battery Co. 158 94.... R & A Speakers 30 RCA Components 99 FULL RANGE 8" 28.... CBS Electronics 158 RCA Tape 167 29.... Capitol Records, Inc. ..89, 90 95.... RCA Victor Division ..87, 96, DUAXIAL SPEAKER 30.... Carstou Studios, Inc. 169 Inside Back Cover RESPONSE 40-16,000 CPS ± 3 DB 31 .... Cisin, H. G. 167 96.... Radio Shack 121 HIGH EXCURSION WOOFER WITH 32. ... Collaro 6 Record Review Index 120 UNIQUE "CONICAL STIFFENER" 33....Columbia Records .85, 95, 118 98....Rccorded Publications 169 Commissioned Electronics .169 HIGH EFFICIENCY 34.... Records in Review 100 35... Connoisseur 30 97. ...Reeves Soundcra(t 122 HANDLES HEAVY BASS WITHOUT 36.... Cosmos Industries 159 99....Rek -O -Kut Co.. Inc. 45 "DOUBLING" Decca Records 116 100....Rcslo 30 COMPACT INTEGRAL MOUNTING 37.... 101 Rigo Enterprises 160 38....DeWald Radio 163 .... WOOFER & TWEETER 102.... Roberts Electronics, inc. 168 OF 39.... Dexter Chemical 130 Dixie Hi -Fi 103.... Robins Industries 114 minting 40.... 169 32.... Rockbar Corp. 6 Eccentric Tweeter Al 41....Dressner 169 42.... Dual 48 104.... Sargent Raymcnt Co... 105, 151 Elliptical Baffle 43. ... Duotonc 165 105 ....Scott, Herman Hosmer, & Unique 44....Dupont "Mylar" ....126, 127 Inc. 17 -21 Completely Eliminates 45.... llynaco, Inc. 161 106....Seeco Records 108, 116 Between 46.... EICO 136 107....Sherwood Electronic Labs ..31 Interaction 47.... Electronic World 169 108. -..Shure Bros. 166 e. 41 Woofer 48.... Electro -Sonic Laboratories 151 109.... Somerset 49.... Electro- Voice, inc. Back Cover 110.... Sonic Industries 109 50.... Epic Records ..100, 112, 113 111....Sonotone Corp. 10 c/i compact 2 -way speaker Ercona Corp. ...30, 155, 160 109.... Stereo Fidelity 41 that sets new standards of per- 51.... Eric Resistor 157 112.... Stereo -Parti 169 formance for an 8 -inch unit. Superb bass' 25... Everest Records 103 113.... Strand Records 119 . brilliant highs ... remarkable tonal 53.... EXstatic Ltd. 169 114.... Stromberg- Carlson 24 -29 clarity... all yours with the new SK -128. 115.... Stuzzi 160 Exclusive design features provide 54 ....Fairchild Recording 116.... Sun Radio and Electrolics 158 smooth, even response from 40 to 16,000: Equipment 168 117.... Superscope, Inc. 35 cycles with no distortion or coloration to 55.... Fermdynamics Corp. 156 mar your listening pleasure. For stereo 56 .... Ferrograph 155 118.... Tacxlberg 156 ... for monaural or as an extra 57.... Fidelitone 14 119... Terminal Radio 169 ... 152 speaker, the SK -I28 is your ideal choice 58.... Fisher Radio Corp. . 11, 13, 15 120....Tliorens for true musical realism at moderate 59.... Florman and Babb 169 Trader's Marketplace 162 cost. Hear it you will ... and want to Garrard Sales 52 Audio 48, 164 own it! Frequency Response: 40- 16,000 26.... United Products cps ± 3 db. Cone 60.... Gaylor Products 167 121.... United Stereo Tape 125 Resonance: 45 -65 cps. 61 General Electric Co. 12 University Loudspeakers, Impedance: 8 ohms. Power Rating: 20 .... 122.... watts integrated program material. 62....Glaser- Steers Corp. Inc. 111 Built-in LC Inside Front Cover I23....Utah Radio 101 crossover: 2,500 cps. Com- 63.... Grado Laboratories, Inc. ..106 plete with brilliance control . only 124 ....Vanguard Recording $19.50 64.. , .I-lallicrafters 164 Society, Inc. 97 Mfd. by MatsoabitA Co.. ltd.. Osaka. Moan 65.... Harman- Karclon, Inc. ..93, 147 125.... Viking of Minneapolis ....129 Heath Co. 131 -135 FREE - 308 GIANT SIZED PAGES - FREE 66.... 126....Vitavox 30 67.. . . High Fidelity Recordings..104 127.... Vox Productions, Inc. ....120 (UT LAFAYETTE RADIO. Dept. WK92 1 68.... Hi -Sonic 169 P.O. BOX 222 I OUT JAMAICA 31, N. Y. 128....Washington Records 120 U Send FREE LAFAYETTE AND Catalog GOO 69.... International Electronics ...32 129.... Weathers Industries 42 VAITT Name 70....JansZen 38 130.... Webster Electric 164 ON 71....Janus Records 118 131. ... W estminster Recording Co .76 COST Addreaa Mfg. 1 132....W1go 164 CARD 72.... Jensen Co. .City 133 .... Winegard Co. 168 73. .Kapp Records 93 134.... Wollensak 8

170 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com LIVING I STEREO 0 I ^v ° "'

4 LIVING I STEREO Í"v'^«I Belafonte at Carnegie Hall. An historic ton PORGY and BESS cert, complete on 2 L.P.'s. Features all the LENA HORNE HARRY BELAFONTE 3elafonte favorites!

More Music from "Peter Gunn." All new, Vol. II. Exciting sequel to America's best. selling album, PETER GUNN!

An Evening with Lerner and Loewe. 30 hit songs from "Gigi," "My Fair Lady." " Briga doon" and "Paint Your Wagon."

LIVING I STEREO 01 .a.w,e. BELAFONTE ..,ß.,4.I; AT CARNEGIE HALL THE COMPLETE RODGERS & HAMMERSTEIN'S CONCERT souTH PACIFìc MT

AIWA

4 LIVING I STEREO cc-AA, ,ii.1441i1 Como Swings. Perry in up tempos! "Begin more music from the Beguine," "Route 66," "St. Louis Blues" and "Honey, Honey," others. PETERGUNN IPorgy and Bess. Lena Horne and Harry Bela. tonto bring you the greatest "Porgy and

Bess" of them all !

South Pacific. The Original Movie Soundtrack composed and conducted by that won the Academy Award for achieve- HENRY MANCINI ment in sound. from the NBC television series PETER GUNN

All of these albums are J(tJIsYt, also available on regular long play. LERNERILOEWE When ordering Stereo, say , . . BRIGA000N

PAINT TOUR WAGON GIGI RCA,/I aM..,prv.qut MT FAIR LADY MCTOR 0.4 414

www.americanradiohistory.com critical listeners RECORD LIKE "PROS" WITH FINER g y () k --- BROADCAST -TV MICROPHONES The right microphone makes a world of difference in sound pick -up and recording quality. That is why critical audiophiles prefer E -V high -fidelity professional microphones like those used today by radio and television stations and recording studios. (You often sec E -V microphones on TV.)

These Electro-Voice microphones are research -engineered to pick up and reproduce the full range of voice and music with utmost fidelity for maximum realism. Choose from two basic types: the E -V cordioid unidirectional microphone gives greater definition to front sounds; rejects interference from unwanted rear -background noise and room reverberation; allows precise placement for more working distance from the microphone. The E -V omnidirectional type picks up sound from all directions; flat response assures O O O O remarkable fidelity for individual or group pick -up without critical placement. All have the exclusive E -V non -metallic Acoustalloy diaphragm. All are extra -rugged for long -life use. FOR TRUE STEREO Use two or more E -V microphones for most effective 3- dimensional high fidelity

Model 666 665 655C 649A 635

Model 666 Super -Cardioid Dynamic. Model 609A Miniature Lavalier Dy- Variable D principle provides excep- namic. For chest, desk or hand use. tional unidirectivity. Response Easily concealee. Omnidirectional. 30- 16,000 cps. Output -55 db. Response 60- 12,000 cps. Output -60 Changeable low impedance. For stand db. Matches all low impedances. or boom use. List, $255 List, 5105 Model 665 Cardioid Dynamic. Similar Model 646 Lavalier Dynamic. (Not in function to the Model 666. Re- illustrated.) Omnidirectional. Response sponse 50- 14,000 cps. Output -55 50- 10,000 cps. Output -57 db. db. 50 -250 ohms impedance selector. Matches all low impedances. For stand or hand use. List, $150 List, 5147.50 Model 655C Omnidirectional Dy- Model 635 Omnidirectional Dynamic. namic. Extra -wide -range response Very versatile. Response 60- 13,000 40- 20,000 cps. Output -55 db. cps. Output -55 db. 50 -250 ohms Changeable low impedance. Use on impedance selector. For stand or hand stand or in hand. List, 5200 use. List, 562 For high -impedance applications, add Model 654 Omnidirectional Dynamic. E -V Model 502 matching transformer. (Not illustrated.) Similar in function to Model 655C. Response 50- 16,000 Wide choice of other popular -priced cps. Output -55 db. 50 -250 ohms E -V quality microphones, in low and impedance selector. List, $100 high impedance, in the full E -V line.

Write tor Catalog 136, and Names of distributors, lo Deal. 119 -H ELECTRO- VOICE, INC., BUCHANAN, MICHIGAN, U.S.A. Microphones Speaker Systems Phono -Carlridges Sound Projectors

www.americanradiohistory.com