STEREO EQUIPMENT RECORDS MUSIC SEPTEMBER 1968 60: II 1G 11 FI D E LITY KEV!!Al.1NrE PUBLIC LIBRARY ITS SOURCES ITS SOUNDS ¿scITS CREATORS 13al:YYLYY P *9t247S IM 31\ryNA> A8 jj e,d 3r y J ¿+ç0e t 69db d3SN05S0000bÑ 9 t 'l!few-. v v" -- www.americanradiohistory.com As for the speakers, we didn't compromise r 1 on them. either. They're a pair of the 2 -way Mail this coupon for your free Fisher XP -55B acoustic -suspension systems copy of The Fisher Handbook 1968. This 80 -page reference we sell separately for $99.95 the pair. They guide to hi -fi and stereo also in- deliver solid bass, smooth midrange, and cludes detailed information on clean, clear treble, from a low 37 Hz to a high all Fisher components. 20,000 Hz. (That's just about every frequency Fisher Radio Corporation you can hear.) 11 -35 45th Road And the 120 also has a 4 -speed automatic Long Island City, N.Y. 11101 turntable with Pickering stereo cartridge and diamond stylus. Fisher has included similar features to Name these in other stereo compacts. Address But never at a price everyone can truly afford: $299.95. City _State Zip The Fisher:r 0109681 J e's stereo. The Fisher 120 40 -watt FM- stereo compact, $299.95 U.S. PATENT NUMBER 329O443 ALSO AVAILABLE, THE FISHER 125, IDENTICAL TO ABOVE BUT WITH Am, 6329.95. www.americanradiohistory.com People think of Fisher components as ex- Integrated Circuits and Field Effect Tran- pensive. And we have to admit that there was sistors have taken the place of more expen- a time when only the privileged could afford sive, bulkier parts, resulting not only in cost Fisher music systems. reductions, but improved overall performance. But it's always been our dream to produce Take the FM- stereo tuner section, for ex- Fisher-quality music systems inexpensively, ample. Fisher tuners characteristically bring so everybody could afford one. in more FM stations, more clearly, than ordi- Fisher engineers have been working on nary tuners. The tuner in the 120, which has the problem for years, and they've finally come an FET front end with 2.0 microvolts sensitiv- up with the solution. Advanced solid -state cir- ity, is no exception. And it includes Fisher's cuitry and cost saving production techniques patented Stereo Beacon* for automatic mono - have made the Fisher 120 as good as any com- stereo switching. pact music system we've ever offered. Yet it Or examine the amplifier section. It has costs less than $300. more power than a lot of expensive stereo con- Now, don't think just because the 120 is soles (40 watts music power, IHF, or 80 watts designed for all people, that it's designed E.I.A.). As with all Fisher amplifiers, the one like mass -produced equipment. It's not. in the 120 has no distortion you can hear. The peop CIRCLE 25 ON READER- SERVICE CARD www.americanradiohistory.com www.americanradiohistory.com "For thirty -one years I've wanted to bring out a complete, Fisher- quality music system at a price all people could afford. Finally, I've succeeded:' "s-ewL., Avery Fisher,Y Founder and President www.americanradiohistory.com The X factor in the new Pickering XV 15. The X in the new Pickering XV -15 stands for the the egg, the end result can be presented quite simply. numerical solution for correct "Engineered Appli- So can the superior performance of the XV -15 series. cation." We call it the Dynamic Coupling Factor Its linear response assures 100% music power at all (DCF)." frequencies. DCF is an index of maximum stylus performance Lab measurements aside, this means all your favor- when a cartridge is related to a particular type of ite records, not just test records, will sound much playback equipment. This resultant number is de- cleaner and more open than ever before. rived from a Dimensional Analysis of all the param- All five DCF -rated XV -15 models include the pat- eters involved. ented V-Guard stylus assembly and the Dustamatic For an ordinary record changer, the DCF is 100. brush. For a transcription quality tonearm the DCF is 400. For free literature, write to Pickering & Co., Plain. Like other complex engineering problems, such as view, L.I., N.Y. 5M Dynamic Coupling Factor and DCF are service mark:. of Pickering & Co. CIRCLE 46 ON READER -SERVICE CARD 2 HIGH FIDELITY MAGAZINE www.americanradiohistory.com HIGH FIDELITY VOL. 18 NO. 9 SEPTEMBER 1968 MUSIC AND MUSICIANS NIUSIC MAKERS Roland Gelait The nefs' fall record releases 18 REPORT FROM LONDON Benjamin Britten records Mozart's Fortieth Symphony 24 THE NEW MUSIC -ITS SOURCES, ITS SOUNDS, ITS CREATORS 41 Introduction Roland Gclatt Composition in the 1960s Lukas Foss A Synoptic View of the New Music David Hamilton Where It All Started Postwar Explorations The Experimental Sixties The Uses of Craftsmanship Sound from Electronics Virtuosos of the New Music Choice and Chance The New Music on Records Beyond the Fads and Fashions How the New Music Looks in Print A JAZZ CELEBRA I ION AT MONTREUX Gene Lees 104 AUDIO AND VIDEO TOO 1101 TO } IAN DLE HF answers your more incisive questions 28 NEWS & VIEWS A new straight -line tracking tone arm 30 EQUIPMENT IN THE NEWS The latest in audio gear 34 EQUIPMENT REPORTS 36 Sony ST- 50011F A star performer joins the ranks of stereo tuners Harman -Kardon SC 220 Tape, dise, FM in an easy -to -use package BSR McDonald 600 From Britain, a mid -quality automatic. turntable RECORDINGS FEATURE REVIEWS 69 A new version of the Brecht /Weill Seven Deadly Sins The musical riches of Mahler's Das klagende Lied Vintage Ezio Pinza culled from unlikely sources OTHER CLASSICAL REVIEWS The symphonies of Kurt Weill . La Valse for piano .. , . 72 REPEAT PERFORMANCE The Gigli/Caniglia Tosca . Milanov 102 THE LIGHTER SIDE Cher alone . Steppenwolf 108 JAZZ Reissues for a basic jazz collection 116 FOLK Ali Akbar Khan and the forty -minute raga . Music from Turkey 12' I HEATRE AND FILM 77e filin scores of multitalented Dudley Moore 124 THE TAPE DECK R. D. Darrell Rudolf Nureyev's version of Swan Lake 126 Published at Great Barrington, Mass. 01230 by Billboard Publications, Inc. Copyright ' 1968 by Billboard Publications, Inc. The design and contents of High Fidelity Magazine are fully protected by copyright and must not be reproduced in any manner. Second class postage paid at Great Barrington and at additional mailing offices. Authorized as second class mail by the Post Office Department, Ottawa and for payment of postage in cash. High Fidelity. Musical America Edition is published monthly. Subscription in the U.S.A and ils Possessions, $12; elsewhere, $13. Subscription including Concert Artist Directory published in December, S17, in the U.S.A. and its Possessions; elsewhere, 518. Regular issues $1.00 a copy. National and other editions published monthly. Subscription in the U.S.A. and its Possessions, $7; elsewhere, SB. Regular issues 60e a copy. Indexed in the Reader's Guide to Periodical Literature. Change of address notices aed undelivered copies (Fares 35791 should be add d le High Fidelity. Subscripliae departreeet. 2140 Patterson Street, Ciecineati, Ohio 45214. Please stale bath old and new addresses when rquesling a change. SEPTEMBER 1968 3 www.americanradiohistory.com HOCH rP/HEtJTY Letter from the Editor DEAR READER: Every musical literate has his own feelings about the avant -garde. Cover design by: Clifford Condak At one extreme, he shuns it; at the other, he may even write it. Somewhere left of center, he will defend it on the tacit ground that it will provide his passport to the Ins. Since I feel strongly positive towards at least one aspect of it, LEONARD MARCUS Editor a New Music issue is, I suppose, as good a place as any to let you know where the Editor of this magazine stands. I have a possibly JOAN GRIFFITHS irrational optimism towards the growing phenomenon of "nixed Senior Editor media." It is a passion with me -the basic idea, if not often NORMAN EISENBERG the execution. You can integrate almost any artistic concepts, Audio -Video Editor preferably with music -a light show with an electric concert, PETER G. DAVIS a rock group with a symphony, even a chess game between John Music Editor Cage and Marcel Duchamp on an electrified board with an ampli- fied musical presentation -and you'll grab at least my initial SHIRLEY FLEMING Editor, Musical America Section interest. Notice, I said "integrate with," not "add to," and I said "almost." Program music, for instance, has to be pretty damn ROBERT ANGUS good to hold me. The same goes for opera. Associate Editor This inclination of mine is deep- seated. In grammar school, ROY LINDSTROM almost the first piece I ever wrote (my training and early career Art Director were musical not literary; I couldn't make the Harvard Crimson) was scored for eight cellos and four typewriters. In high school, RUTH W. DUNTON Production Editor my first orchestral work included an inaudible private joke between me and the orchestral pianist: in a particularly complex and noisy MORGAN AMES passage, I gave him Chopsticks to play. To me, even this cheap R. D. DARRELL ALFRED gag added something to the piece, made it more "universal." FRANKENSTEIN HARRIS GOLDSMITH Perhaps that's why I thrill to the extra dimension of directionality BERNARD JACOBSON in a Gabrieli sonata, a Mozart symphony, the Grosse Fuge, the GENE LEES Berlioz Requiem (and why I consider the introduction of stereo CONRAD L.