neWFMTUNER H.H. SCOTT · WIDE BAND · $114.95*

Here at last is an H. H. Scott Wide-Band FM timer at a ...... •...... •••...••.••••...... •••••••.••.•...... ~ modest price; The new 314 ranks with the very finest FM tuners available. H. H. Scott's exclusive Wide-Band design delivers more distortion-free sensitivity; long range reliability; better station separation, even when measured by stringent ~ ,!!;}:!;,.~g.2.!.:I~ . IHFM standards. The fine performance of this unit is made possible by the use of special Wide-Band circuit components o Please rush me complete technical specifications on your manufactured exclusively for H. H . Scott. The new 314 meas­ new 314 Wide· Band FM ·tuner. ures a compact 15 Y2 wide x 5 Y-I high x 13 Y-I deep. Listen to o Also include your new catalog and award winning booklet this fine tuner at authorized H. H. Scott dealers everywhere. "How To Use High Fidelity Components in Your Decorat· You'll be amazed at the fine performance it offers at this price. ing Plans". Name ...... :·r... ·...... Get The Most Out of Your Records With The Address ...... London/Scott Matched Stereo Arm and Cartridge I ·City ...... State ...... Export: Teles ~ o International, 36 W. 40th St., N.Y.C. • *West of Rockies $116.95 • • THE WON,DERFUl WORLD OF MUSIC ~--....--~~~-- ..----~

, ~ LEON FLEISHER, Pianist, PROKOFIEFF: SYMPHONY NO .5, Op. 100. VIVALDI: THE SEASONS. " I MUSICI," SC HUMANN : KINDERSCENEN, Op. 15; THE CLEVELAND ORCHESTRA, THE CLEVELAND ORCHESTRA, FELI X AYO, Violinist PAPILLONS , Op. 2; SCHUBERT: GEORGE SZELL, Condo GEORGE SZELL, Condo LC 3704 lic 1086 16 GERMAN DAN CES, Op. 33 ; LC 3689 BC 1080 LC 3688 BC 1079 INGRID HAEBLER, Piani st LC 3705 BC 1087

PING PONG PERCUSSION WHO'S AFRAID OF THE BIG BAND HITS FROM THE HILLS. I WANT TO BE HAPPY. Joe Harnell- Chuck Sag le and His Orchestra BEAT? Francis Bay and The Big Band Th e Merrill Staton Choir Piano with Orchestra LN 3696 BN 568 . LN 3695 BN 567 LN 3703 BN 572 . LN 3708 BN 573 '-...... ~--...... --~ ~- -~--....----~~ HANDEL: CONCERTI YOURS ON DALLAPICCOLA: FIVE GROSSI, Op. 6: Volume" FRAGMENTS OF Nos.4,5 and 6. HANDEL EPIC SAPPHO; FIVE SONGS; FESTIVAL ORCHESTRA, TWO ANACREON HALLE, HORST-TANU RECORDS SONGS; GOETHE MARGRAF, Condo LIEDER; CHRISTMAS LC 3707 BC 1089 CONCERTO. ELISABETH Presenting THE KROLL SOEDERSTROEM, Soprano; QUARTET. HAYDN: FREDERICK FULLER, STRING QUARTET IN D ALBENIZ, GRANADOS­ Baritone; Instrumental MAJOR,Op. 64 No.4,I!THE MUSIC FOR TWO Ensembles conducted by LARK"; SCHUBERT: GUITARS; VILLA-LOBOS, LUIGI DALLA PICCOLA STRING QUARTET IN D SOR-MUSIC FOR ONE and FREDERICK MINOR, Op. Posth., r'DEATH GUITAR. REY DE LA PRAUSNITZ AND THE MAIDEN"; TORRE, Classic Guitarist LC 3706 BC 1088 TCHAIKOVSKY: STRING LC 3674 BC 1073 QUARTET IN D MAJOR, Op.11; PROKOFIEV, STRING QUARTET NO.1, Op.50 " SC 6037 BSC 108 (2 12") ® "Epic", Marca Reg. "CBS" T. M. Prinled in U. S.A. AUGU ST 1960 1 It's true. Behind the locked dooTS of the Garrard labo?"atories, our engineers have been testing smne significant new gramophone ??totors. Someday you can expect one of them to establish its own standard of quiet efficiency, just as the p?'esent Garrard motors are doing today. When it is finally ?"eleased, it will reflect all the a?"duous months of creative engineering that went into it. Our designers developed it out

of a 40-year tradition of experimentation, the perfectionist t?"adition that has enabled Gar?'ard to 1)1"0- duce and provide so many of the meaningful advances in the wor.ld's finest reco?"d playing equipment.

world's finest HiFi/STEREO THE MEN Gustav Mahler- Part I: The Man Emhattled 18 David Hall A cenlennial profile of lhe grelll and August, 1960 siill conLrover,\' ial composel'-COltduc/or

Vol. 5 No.2 Ornette Colelllan-Man with the White Plastic Sax 40 Bob Abel Survi-ving penury and outraged criUcism, Publisher Ornefle Coleman pioneers new freedom of Oliver Read jazz c3:press,:oll.

Editor Oliver P. Ferrell

Music Editor THE EQUIPMENT David Hall Stereo Cartridge Simultest 26 Oliver P . Ferrell Managing Editor Part I: Laborator'y analysis of Robert Campbell all ava,Liable .<;iereo cartridges

Art Editor Stereo and the Environment 38 Staff Joseph Fitzpatrick I ma.ginalive new (lr r angemenl.~ for successful stereo setups A ssocial. Editor Han.s Fantcl Stereo Kit Report 48 Hans H. Fantel Good sound at low price A ssisianl Editors sums up the E I CO lIF.. IH Philip N. Lattin Maria Schiff

Contributing Editor., THE MUSIC Martin Bookspan Warren DeMotte· Ralph J. Gleason Pipe Dream Come True 30 Frank Jacobs ~:~· i?;~~~rn The penultimate of do .. it.. y ourse!( George Jellinek thealer organ installations David Randolph John Thornton Twiligh t of the Musician 34 William Paisley lie sinks inlo quicksands of ulwlnploym.enl Advertising Director to lhe sardonic strains of electronic mus ic John A. Ronan. Jr. Be Our Guest 47 Nina Piscitello and A dvertising Manager Critical views from Framingham, Mass. Gerald Orbach Larry Sporn an.d New York, N. Y.

ZIFF. DAVIS PUBLISHING COMPANY, One Park Ave. , New York 16, N. Y. William ' B. Ziff, Chairman of the Board (1946.1953); William Ziff, President; W . Bradford THE REVIEWS Briggs, Exec.utive Vice President; Michael Micha el so~, Vice President and Circulation Martin Bookspan, Warren Director; Hershel B. Sarbin, Vice President; HiFijStereo Classics 50 J. Leonard O'Donnell. Treasurer. DeMotte, David Hall, David Randolph, John BRANCH OFFICES: Midwestern Office 434 $, Wabash Ave" Chica\lo 5, III., 'Tom Thornton Be rry, Midwest Adverilsing Manager; Western Office, 9205 Wilshire Blvd., Beverly HiFijStereo Jazz 59 Ralph J. Gleason, Nat Hills, Calif., Bud De~n, Western Advertis· Hentolf ing Manager; Foreign Advertising Repre­ sentatives: D. A. Goodall Ltd ., London ' HiFijStereo Reel & Cartridge 65 Ralph 1. Gleason, David Albert Milhado & Co., Ltd., Antwerp ' and Hall, John Thornton Dusseldorf. HiFij Stereo En tertainmen t 71 Ralph 1. Gl eason, Stanley SUBSCRIPTION S'ERVICE Green, Nat Hentolf Forms 3579 and all subscription carre· spondence should be addressed to ' Cir­ culation Department, 434 Spu!h Wabash Avenue, Chicago 5, Illinois, Please allow at least four weeks for change of ·address. Incl ude your old address as well as new THE REGULARS -enclosing if possible an address label from a recent issue. CONTRIBUTORS HiFi Soundings 4 The Basic Repertoire 45 Contributors are advised to retain d copy Beethoven's Seventh Symphony of their manuscript and illustrations. Con­ Just Looldng 8 tributions ' should be mailed to the New York Ed itorial office and must be accom. Index of Advertisers 79 ponied by return .postage. Contributions Letters to the Editor 12 are handled with reasonable care, but this magazine assumes no responsibility for their Sound and the Query 32 Flip Side 80 safety. Any acceptable manuscript is sub­ iect to whatever adaptations and revisions are necessary to meet requirements- of this publication. Payment covers all author's rights, titles and 'interest in and to the Photo Credits-Cover: Tone Arm-Audio Em.pire 98, pholography by Alherl Gruen; pp. 20, :!'l, 22, 23, 24, 25: material accepted and will be made at our BeUmann Archive; pp. 30, 31: Albert Gruen; pp. 40, 41: Herb Snitzer; p . 42: Charles Stewart, Helen M errill, Hi­ current rates upon acceptance. All photos Fi/Stereo Review, The New York Times. Columbia Records; p. 43: Burt Goldblall; p. t,t,: .Jerr'y S ial!. fllus/ra .. and drawings will be considered as pa'rt of tions-p. 18: Al Zellon; p. ,13: Bruce Aldrich; pp. 34, 35, 36, 37: Sla" lItoll; pp. 38, 39: Stuart Roberls. material purchas,ed.

~.I·I·i. ~:r~;i~ f~i..'IMI~"-;'~ HiFi/STEREO REVIEW is published monthly by Ziff-Davis Publishing Company, William B, .. I . Circulation '$, '" Ii Ziff, Chairman of the Board (1946 .. 1953), at 434 South Wabash Ave., Chicago 5, III. Second '. 0 165,535 ~ ~"'" class postage paid at Chicago, Illinois. Authorized by the Post Office Department, Ottawa, <'",.1' 'S-· /NO." Ont., Canada as second class matter. SUBSCRIPTION RATES: One year U.S. and posses­ ABC Publisher's Interim Statement, sions. and Canada $5.00; Pan .. American Union countries $5,50, all other foreign countries $6,00, March 31, 1960 Copyright © 1960 by ZIFf.DAVIS PUBLISHING Company. All rights reserved. 3 HiFi Soundings -only small organ with two full 61-note key­ boards a nd 22 s tops . Requires only 2'x3'2" floor by DAVID HALL s pace! Com­ me rcial value approximate ­ A ..JANUS-LOOK AT THE 1960. SCHWANN "ARTIST ISSUE" ly $1600 The appeara nce of a new "Artist Is­ H all in which to record with his Cleve­ sue" of the $chwonn L ong Playillg land Orchestra, is gaining in artistic R ecord Cata log after a nearl y 2!/2-year statu re with each new disc he makes for hiatus provides an ideal excuse fo r some E pic. stocktaking. Despite the Great Stereo T he singers a re the ones who seem to Disruption that set in d uring 1958, the h ave ad vanced most in q uantity a nd 1960 "Artist Iss ue" shows that there are qua lity- E ileen Farrell and J oan Su ther­ today more recorded perfo rmances avail­ land in the world of opera, Leontyne able on mo re labels and by more a rtists P rice and Maureen Forres ter in the fie ld than ever before. T his is reflected in 37 of art-song and o ratorio. On the other add itiona l pages of cl assical listings, hand, we m ust mention two majo r voca l IS SUPERB whose totals indicate app roximately 800 artists who seem to u s deserving of better conductors. 300 ch amber ense mbles, 900 trea tment so far as their American re­ solo instrumentalists and 1700 singers corded repertoire is concerned , the still ORGAN represented today on 100 labels, remarkable mezzo-soprano, J ennie Tou­ 'W hile it is true that a good ha lf- dozen reI, as well as the versatile and sensitive classical record labels have disappeared French baritone, Gerard Souzay. from circula ti on, so me of them wi th Finall y a wo rd of thanks must go to '" fROM SIMPLE KITS uniquely valua ble repertoire, mo re than both record companies and specialty im ­ twice that many have arisen to ta ke their porters who have made the effort to keep place-the more notewo rth y being Ever­ before th e public discs of those great ani save ove,50% est, Artia-Parliamen t, Conce rt Disc and artists of the recent past, the quali ty of Give Your Family A Lifetime W ashingto n. T hese have been supple­ whose recorded perfo rmances far tran­ of Musical ' Joy' With A Magnificent mented by a trend toward direct impor­ scend consideratio ns of stereo or bi-n Schober Electronic Organ! ta tion of major European labels. tJer se: Conducto rs such as Toscanini, Now you can build the brilliant, full­ Most of the record ing artists who were Furtwangler and W eingartner (Ko usse­ range Schober CONSOLETTE or the at the top of t he hea p in 1958 still re­ vitzky is a glaring omission !); keyboa rd larger CONCERT MODEL with simple hand tools! No skills are needed; no wood­ main there today; and certa in of the vet­ a rtists like Schnabel, Fischer, Lando 'ska, workin g necessary. JUst assemble clearly erans like conductors Beecham, Stokow­ R achmaninoff; vi olinists of the ca liber of marked electronic parts guided by step­ by-steg instructions. You build from kits, ski, Monteux and "Va lter, as well as Kreisler a nd Ado lf Busch (wh y not the as fast or as slowly as you please ... at violinist Mischa Elman, cell ist-conducto r yo ung Menuhin and Szigeti in h is home, in your spare time - with a small Pablo Casals and pianist Wilhelm Back­ table serving as your entire work shop. prime?); noble singers such as Marian ha us carry on with asto unding vita lity. Anderson , Chaliapin, Gerha rd Hlisch, Pay As You Build! On the other hand , there have been Alexander Kipnis, Lotte L ehmann, L au­ Start building your organ at once, invest­ ing just $18.94! The superb instrument so me tragic losses through death-Artur ritz Melchio r, Cla udia M uzio, Ezio p'inza, you assemble is as fine, and technically Rodzinski , Ataulfo Argenta and Eduard R osa Ponsell e, Aksel SchiSiltz, Friedrich perfect, as a commercial organ . . . yet van Beinum among the conductors; the you save oVer 50% on quality electronic Schorr, H eim ich Schlusnus, Elis

· Slightly Higher in the Far West. Cabinets Are Optional.

BEST WAY to enjoy stereo at its best, in small rooms or large! Choose the 800 or 600, and a pair of compact Free-Piston FISHER XP-l Speaker Systems, Technical specifications, validated by the laboratory reports of leading audio publications, prove, beyond the shadow of a doubt, their absolute superiority!

WRITE TODAY FOR COMPLETE SPECIFICATIONS AND EDITORIAL REPORTS! FISHER RADIO CORPORATION. 21-37 44th DRIVE· LONG ISLAND CITY I, NEW YORK

Export: Morhan Exporting Corp" 45B Broadway, New York 13, N. Y•• Available in Canada through Calladian·Marconi AUGUST 1960 5 ,from' the ; w~rld's largest manufacturer of, e'lectronio 'eq,uipm,ent:, 'in, kit form!

Nqw,Jor ~the .first time,.,available,' to y.~u . '~ .. . ,ready ' 'to ~pl~g> i,n,. f~ ' r, your bnmed,ia,te enjoym'en,t!

" Heath., fust i~ ,perf~fmB:IlCe, first in qual­ gone, int0 the de&igning, building and test­ ity?, ip:st ll.'l dependability ,' ~ has always ing o~ , tliese exciting new fully,wirea uljjts. " ,F endeavor¢ to bring you, " more pf t~e Just ~ all , bq.jld-it-yourself Heath elec­ t ro.niceqtiipme,nt has always' reflected the , best !tom thelead~~." ' " (, w ' M . From . the ', exciting early .Jlays of the ~ghest exis,ting sta:ndards of qualit y' and HeatH C~mpahy ' d~wn to dris 'very an- depen~abi,lity " so 'd0 t he lJew cor~plfJtelY' ." MUfiqel1,lent, Heath urots have' constantly , , assemblfd He. u~ts mean -t.0p-11otch l?een ;~esigned~ and engffi(lered to ',make pe!formance, pl~asing al?pear~ce : and aviiila.:ple to you in kit form tne latest anq. 'l ong l~ting serv.ice as weU, the fi~~t elect~onic equipment developed' " FOl' the 'new fully wired, cornpletely as- • :;/ " - :

ing yop', " , fer thiS nevi convenIence b in Hi;-Fi . Now, ftiny in line with that hlstoric Stereo, ~'~~e , " amateur, test ~md ' gen~r,aJ. r.()le, · ~ea;vh pr@udlypre!;entsJa bra;"'d !lew electronic equiPment. J'." " •• a'dvan~e for, your gr.eater,enj9yment , , , The ~even ,Hea tli' units shown 'on ' the taking' a' bold new steptha't 'is a worthy faCing "page,' for example, reflect' e'll'e~y <:ompap.ion to the , m~my othEili preceden ts exactin\ lY " high st andard ' of traditional set th:rough~ut the, years: , Heath performance, wheth~~ ' you choose For ,theve;ry first time, sel~cted items to put ~themtogether youtself . . . or to q;f Heath equipment can now,be obtained plug, iIi ' and play". not only 'in' the regular " build-it-youis~lf A ne\'( HeatH special b~ocIl\1re is avaiI- kit fo~, ~ut ill completelY asse,~bled, fu}ly , able' for your c~l1vtmience, ' sHowil1g jUst wired units, re;:ldy 'to be plugged in and whieh units in the Heath line can drrrehtly elljoy~ the vety' mom~nt you remq,ve ' ~ . obtained :in/ the dramatic ,new fzl~ly them ~om the shipping carton! , wired, completely assembled form. Use the , ,. AU 01 the ,dependable Heath engineer­ convenient coupo~ to send fof yoUr free ing kndw-how,~ of the top q~ality ma- c~py q1i;, s~ yoy.r neare~t Heath dealer, t> ",<> .. ,C' ~, iff teriaIS, and alI of, t:Q.e rigid standards of : There is a wide range o({fi11e Heath elee­ ultirri~te ' t>erf()~ance that characterize tr,ollie equipm~n~ , :now ready for'your im- Heath :build-i't~yourselfequipment ha've ' medi~ u~e. ' , " iili here is really professional performance! Wired Professional· Rated 55 watt Amplifier Comparison reveals that the fully wi red WW-7 A brings you unprecedented performance at the lowest cost obtainabl e anYl'lhere in the fi eld! Improved design and advanced techniqu es give this amplifier unit dependability, durability and top· notch performance cha racter istics. Healh wired model (WW -7A) . .. 594,50 Healhkil bu ild·it ·your self model (W-7A) 559,95 our finest-ever stereo amplifier is now fully wired! Wired Hi·Fi Rated 25/25 watt Stereo Amplifier excellent for medium. pOIl;er usage Refl ecting the latest advances in the art and science of Wired Hi·Fi Rated 14/14 watt Stereo Amplifier designing and building a stereo amplifier· preamplifier Thi s is a really good bu y in the medium power class, combination, the new WAA -50 provides just about eve ry providing !4 walts in eac h stereo channel, or 28 watts quality feature you can possib ly want. Vou have com · (0( monophonic use , Adequat e input faciliti es for tape plete control over se lection of ste reo or monophonic record er, television, etc., as well as a sys tem of versatile so ur ces to be played over either channe l individua lly or co ntrols that give you fingertip command of every func· both cha nn els at the same time. Vou can play back di· tion . Stereo, stereo rev erse. and complete monophonic for sharp, selective F lU tuning rect fr om tape recorder hea ds. Specia l outlet provides ope rati on are provided for by this se nsitive, depend· facilities for hookin g in a third spea ker. There is an able instrument, now ava ilable comp letel y assembled . Wired " Special" High Fidelity FM Tuner additiona l input for use wi th a monophonic ma gnetic He at h wired model (WSA-2).. 599,95 This is nol only a highly precise comp letely assemb led car tridge and alf inputs (except tapehead) have leve l controls to enable yo u to maintain th e balance that yo u Heathkit build ·it·yourself model (SA-2) ... 554,95 FM tunin g uni t that l'Iill bring in with clari ty and sharpness th e program s you se lect ; it is also a mag· personally may prefer. All in all , you have avai lable five nificent vi sual addition to th e decor of yo ur hom e. swi tch selected inputs for eac h channel. Cleanl y designed in the co ntemporary manner, it wi ll Heath wired model (WAA -50). . .. 5139.95 fit un ob trusi ve ly into your de sign sch eme whi le servo Heathkit build ·it ·yoursell model (AA -50) 579.95 ing fu nc ti ona ll y to bring you th e kind of FM reception yo u have always dreamed of. It feature s such highly desirab le adv antages as au tom atic frequency co ntrol (AFC ) to do away wi th annoying station " dr ift," fly· wheel tuning for pre cision and multiplex adapter output jack. Heath wi red model (WFM-4 ) ...... 562,95 Healhkit build ·il ·yourself model (FM-4). 539.95

Wired Utility· Rated 3/3 watt Stereo Amplifier stereo en.joyment at low cost If you're just "breaking in" to stereo rec eption, this eco· nomica l yet depen dab le comp letely wired amplifier wi ll provi de you with th e pol'ler yo u need for average home lis· tenin g enjoyment. Eac h channel has two inputs, allowing you to accommodate crystal or ceramic ca rtridge record players. tuner, television. tape reco rder, etc. Handy, easy· to·read controls enable you to se lec t monophonic, stereo or the ultimate in broadcast stereo reverse as you dec ide . enjoyment! Heath wired modet (WSA -3)... 555.75 Wired " Deluxe" AM·FM Stereo Tuner Heat hkit build·it·yourself modet (SA-3 ) ...... 529,95 Vou can listen to AM alone ... you can li sten to FM alone ... or you can enjoy . the finest of broadcast music by tuning si multaneously into AM and FM ste reo! This ma gnificent fully wired tuning instru· really superb monophonic p erformance ment enables you to tun e effortlessly and precisely with its fl ywhee l drive and its large, easy·to· read, Wired Hi·Fi· Rated 14-watt Amplifier edge·lighted, slide· rul e type di al. FM drift is com· For ri ch full y enjoyab le monophonic perfo rm ance the fully as· pletely eliminated by the automatic frequ ency con · sembled WEA -3 rep rese nts one of th e finest amplifi.r units you trol (AFC ) feature, and an acc urate tunin g meter can obtain anywhere. Provi des you with sepa rate bass and treble provides yo u with the mea ns of insuring tunin g tone con trols, inputs for magnetic or crysta l phono and tun er perfection when you zero in on either or both band s. operations and fulf range, low noise, distortion·free reproduction. Handsom ely designed , with clean lines that wi ll Miniature tub es are used throughou t. see m ri gh t at home wherever yo u place it! Healh wired model (WEA -3) . 552.95 Heath wired model (WPT ·!) ...... 5154.50 Heathkit build·it·yourself model (EA-3). 529.95 Heat hkit build·it ·yourself mod el (PT·!) 589.95

C(Jhee CataQog Over 150 items of (0hdehi~g 9~gthucHO~g stereo, marine, Fill out the order blank below. giving us your name and address in the space provided amateur and test at the right. All prices F.O.B. Benton Harbor. Mich. A 20% deposit is req uired on all equipment are C.O.D. orders . Prices and specifications subject to change without notice. Dea ler described in the and export prices slightly higher. complete Heathkit Catal og .

Quantity Item Model No. Price HEATH COMPANY BENTON HARBOR 40, MICH. o Send new free brochure showing Hea th wi red units o Send latest free catalog showing the full Hea thkit line

Name ______

Address ______

Ship via: 0 Parcel Post 0 Express 0 C.O.D. 0 Best Way City' ______Zone__ Stat e ______just lOOking

. at the best in new hi-fi components

• A coustic Resear ch makes avail· The pla tter itself is lathe-turned of non­ able the dome·type supertweeter used in ferrolls anti-magnetic material. A neon the AR·3 and AR·2a speaker systems as a pilot light glows when the turntable is separate item. It is intended chieAy to up' switched on. Price: .$59.50. (Ercona Corp., date the AR-2 and may also be used to 16 West 46th Street, New York, N. Y.) extend the frequency range of the AR-1. The su pertweeter takes over at 7,5 00 cycles • Eric contributes a new auto FM tuner and its on-axis response reaches 20,000 to the current trend of adding FM to car cycles. Thanks to its wide angle radiation radios. The Model FM 100 boasts a sen· pattern, the off-axis response of the dome­ sitivity of 1.5 p.v for 20 db of quieting, and type supertwecter is less attenuated than a Foster-Seely discriminator circuit using in many other designs. The supertweeter, germanium diodes. ' With its compact di­ Model AR-3st, comes with its own cabi­ mensions of 2ys x 8\4 x 7% inches and low AeRO'S PREAMPLIFIER net measuring 5Ys x 6Y2 x lllh inches. It weight of 5 lbs., it installs easily in 15 A ne w all feedback preampl ifier with low minutes under the dash .. Any 12-volt car noise, 2 MV refe rre d to phono input, high can be used either horizontally or verti· gain, 60 DB phono and tape , and low distor· cally. Price: $32 to $38, depending on fin· battery may serve as power source. Price: tion , 0. 15% 1M for 1.5V out. Extra f eatures ish. (Aco ustic Research, Inc., 24 Thorn­ $79.95. (Eric Engineering, 1823 Colorado includ e individual ba ss and t re bl e controls , rum ble and scratch filters, phase switc h, thi rd dike St., Cambridge 41, Mass.) Avenue, Santa Monica, Cali f.) channel out put , light matrix, and exc lusive Mic. Dub sw itch. Suppli ed with two low noise • Audio Empire assures us that every • L afayette in troduces a stereo tape 7199 oen tode/triode, two 7247 dual triode tubes 569.50 (Factory Wired $114.50) one of its new Model 108 cartridges is in­ deck combined with two recording pre­ dividually tested fm frequency response amps in a single unit. The RK-I07 is and crosstalk on both channels and that the outputs are balanced within ±1 db. The speciFIed frequency response is from 15 to 20,000 cycles ±2 db, 8.0 microvolts output per channel, more than 25 db sep· aration and 6 x 19-6 cm/dyne compliance both horizontally and vertically. Price: $34.50 (Dyna-Empire, Inc., 1075 Stewart Avenue, Garden City, N.Y.) AeRO'S ULTRA LINEAR II AMPLIFIER This fa mous 60 watt ba sic amplifi er has long • Connoisseur's latest addition to been a favorite of disc rimina ting aud ioph iles. their line of "professional-type" turntables Acro perfected Ultra·Lin ear circuitry ha s been is a two-speed model operating at 33Ys and combin ed with a unique feedback system to equipped with dual VU meters to indicate pro vi de an amplifie r wi th unusually low dis· 45 rpm. The motor shaft rests on graphite stereo recording levels, will play half-track t ortion , superior feedback stab ility, and finest nylon bearings and the motor is well iso­ t ransient performanc e. Con struct ion t ime is or four-track tapes and record quarter­ only two hours. Supp lied with two El·34 out· lated by mechanical vibration fi lters. track either in stereo or mono. The fre­ put tubes, one 12AX7, one 12AU7, and GZ34 The specificalions claim a rumble factol' re ctifier. $79.50 (Factory Wired $109.50) q uency response at 7Y2 ips is 30 to 17,000 of -::-50 dl~ when l'eferred to a 1000 cycle cycles, 40 to 15,000 cycles at 3% ips. Two separate drive motors are employed in conju nction with a special "Autter fi lter" drive consisting of a resilient belt and heavy capstan flywheel, providing wow and flutter figures of less than 0.2% rms. Fast forward and rewind speeds (50 sec· onds for a 1200 ft. ree.I) allow easy locat­ ing of any given passage. Signal to noise ratio is 55 db or better and total harmonic AeRO'S STEREO 20·20 AMPLIFIER d istortion is claimed to be less than 1.0% . A two channel stereo amplifier which provides A special control position for "pause/edit" a full 18 watts in each chann el, or a total of 36 watts of low di stortion ste re o in your lis· provides ease of handling and break-proof tening room. Distortion is only 1.5% 1M at operation with even the thinnest of tapes. 18 watts per channe l, 0.5% at 16 watts. Ex· ce llent square·wave and transient perform· Dimensions: 13 x 13 x 9Y2 inches. Price: ance. Supplied wi th four EL·84/6BQ5 output $239.95. (Lafayette R adio, 165·08 Liberty tubes, two 12AX7 driver tubes. Finest per. formance and .lowest pr ice for a dual amplifier. Avenue, J amaica 33, N. Y.) 569.50 (Factory Wired $99.50) write for information to: LOne recorded at a velocity of 7 cm/sec. • Madison Fielding demonstrates with ,'Vo w is 0.1 .') % , Autter 0.1 % . T'he motor their Troubadour speaker that a complete ACRO PRODUCTS CO. is shielded against hum induction and 10' system of minimum size and cost can pro­ 410 Shun Lane, Phila. 28, Pa., Dept.HFR.8 cated at the maximum distance from the duce enjoyable musical sound. The Trou· , Ioc,o •• .• the first name in audio! hum -sensitive phono pickup. (Continued o~ page 10) & Hi F i/ S TEREO AN UNPRECEDENTED RECORDING!! ON AUDIO fIDELITYRECORDSMl/

'",

•

OTHER NEW RELEASES ON AUDIO FIDELITY .RECORDS • • • PICTURES AT BRAH~IS AN EXHIBITION SYMPHONY ~lUSSORGSKY- RAVEL No.4 In E Mtn~r. 01), 98 CQllrMd~ ~(f&l~iJtd!/;

PICTURES AT AN EXHIBITION ••• MOUS· BRAHMS SYMPHONY #4 IN MINOR':"OP. MANDOLINO ITALIANO! , , , A phenomenal SORGSKY - RAVEL . • . Ravel's orchestra­ 98 •.• The definitive recording-artistically rendition, great arrangements and fantastic tion of the "Pictures" is probably the most and technicall~ - of Brahm's Fourth. This sound by DICK DIA make this t~e greatest brilliant orchestral tour-de-force in the lit­ inspired reading by Alfred Wallenstein, cap­ recording by a mandolin virtuoso that has erature. For the first time it has been done tured with perfect faithfulness, is an out­ ever been created!!! Popular Italian favor­ full justice in this breath-taking FIRST COM­ standing addition to Audio Fidelity's great ites performed in true, scintillating Italian PONENT SERIES release. FCS 50004 FIRST COMPONENT SERIES. FCS. 50001 style. Selections include the popular Sicil­ lian Tarantella, Tango of the Roses, Carnival THE AUDIO FIDELITY 1 st COMPONENT STEREO SERIES of Venice, Santa lucia, Non Dimenticare; FCS50,OOO FCS STEREO TEST RECORD FCS50,008 MARCHES FROM OPERAS and Tra Veglia e Sono. FCS50,002 SYMPHONY #6, PATHETIQUE FCS50,009 RUSSIAN MASTERPIECES AFLP 1923/AFSD 5923 FCS50,003 SYMPHONIE FANTASTIQUE FCS50,Ol0 SWAN LAK.E: SLEEPING BEAUTY FCS50,005 BOLERO, Ravel: CARMEN SUITE FCS50,Oll POPULAR OVERTURES FCS50,006 ROMEO & JULIET: NUTCRACKER SUITE FCS50,Ol2 OVERTURE! FCS50,007 MARCHES FOR CHILDREN FCS50,OI3'STRAUSS WALTZES

AUGUST 1960 badour is designed for sOllnd systems planned on a tight budget or may be used ' with larger systems as an extemion speaker for game room, den, or bedroom. Impe· dance is 8 ohms. The speaker system is available in a choice of waclnut, mahogany or ebony cabinets. Dimensions: 9 x 9 x 14 inches. Price: $29.95. (Madison Fielding, Brand Products Inc., 39 ,"Vest 55th Street, New York 19, N. Y.)

• Roberts turned its popular tape reo corder into a Si amese twin for four·track stereo recording and playback. The new Model 990 also functions as a fo ur·track mono recorder and playback unit. No de· tailed specifications are yet available, I~ ut the unusually versatile output fac ilities should be noted. Outputs are provided di­ rectly from the heads, from the dual pre· amps, and from the built·in power amps. In addition, the 990 contains its own mono itor speakers. Dimensions: 9 x 14 x 20 inches. Weight: 42Y2 Ibs. Price: $450. (Roberts Electronics, Inc., 829 North Highland Avenue, Los Angeles 38, Calif.)

• Scott extends the benefits of their special wide·band tuner circuitry to the low·price range with their new l"lodel 314 ! FM tuner. 'With a sensitivity rating of 2.5 p.v. the Model 314 operates satisfactorily in most locations except fringe areas. The two megacycle detector and limiter band­ width, in conjunction with temperature compensated circuit components, makes the tuner drift-free without the need for automatic frequency control (AFC). As an exclusive Scott feature, the front end is silver.plated to assure minimum cir­ cuit losses for weak incoming signals. The tuner is styled as a companion piece o-t to the Scott amplifiers and features a bar· type tt1ning indicator. Dimensions: 15Y2 x 13I,4 x 5I,4 inches. Price: $114.95. (H. H. ()Jv Scott Inc., 1 Il Powder mill Road, Maynard, ski/- 01.~) Massachusetts.)

• Shure, known for t heir integrated '5~~~ pcUMhA~ tone arm and cartridge combinations, have now brought out a universal toue arm that may be used in conjunction with nearly any cartridge. No soldering is required to fwm ff /3'1.50 install the arm and all the necessary work ::.:.1:1/(J0 can be done from the top side of the turn­ table motor board. One end of tbe fur­ 5'euclft.~ OAtd~o/~~, nished cable plugs into the arm while the other end plugs into the two stereo ampli· lier input terminals. The arm is balanced by counterweight SOUl1d ;f~du~U-t; and the tracking pressure is selected from a dil·ect·reading gauge by means of a wi.thout- ~A.J~ micrometer adjustment. Ball bearings at pivot points reduce drag and the height fury aMd~~~ is adjustable. M232 tracks all records up to 12 ·inches. For 16·inch transcriptions, a larger model M236 is available. Price: NESHAMINY ELECTRONIC CORR, $29.95 (M232), $31.95 (M236). (Shure Brothers, Inc., 222 Hartrey Avenue, Evans­ .. Ne4~)P~~' ton, Illinois.) • 10 HiFi/STEREO "'When we heard the Citations our immediate reaction was that one listened through the amplifier system clear back to the original performance, and that the finer nuances of tone shading stood out clearly and distinctly for the first time." c. G. MoProud. Editor. AUDIO Magazine

We know you will be interested in these additional comments from Construction: "It is obvious that considerable thought has gone Mr. McProud's report: into the preparation of the Citation as a kit (and) when the ampli­ fier is completed, the user may be assured of having a unit he can Performance: "The quality of reproduction reminds us of the be proud of ... The, kit is a joy to construct." solidity of Western Electric theatre amplifiers of some years ago ..• The bass.is clean and firm and for the first time we noted that For a copy of Mr. McProud's complete report and a Citation cata­ the low-frequency end appeared to be present even at low volumes log, write Dept. R-8, CItation Kit Division, Harman-Kardon, West­ without the need for the usual bass boost." bury, N. Y. The Citation I is a complete Stereophonic Preamplifier Specifications: "Our own measurements gave 1M figures of 0.35 Control Center. Price, $159.95; Factory Wired, $249.95. The Cita­ per cent at 60 watts; .08 per cent at 20 watts, and less than .05% tion II is a 120 Watt Stereophonic Power Amplifier. Price, $159.95; (which is essentially unmeasurable) from 10 watts down." Factory Wired, $229.95. Prices slightly higher in the West.

Build the Very Best by 'fSU;'S'" kardon I AUGUST 1960 11 LETTERS TO THE EDITOR

Forecast against him that he so uehemently dis­ • I am using ML Bookspan 's Basic R eper­ agrees wit,h. our Mr_ Booh-span, nor do tee toire series to build up my library of hold it against Mr. Bookspan that his music on tape and disc, views don't match Mr. Printemps'. But th e It would be of interest to me, and per- . fact that art criticism is of necessity a per­ haps also to other readers, if you were to sonal matter in tvhich all slCl ndards defy publish in advance the repertory to be definition seems to us no sufficient reason treated ill the future in Mr. Bookspa n's 10 carry the argument ad hominem. analyscs. Maurice Gelinas, W .F. Tape Topics Washington, D. C, • ' ,Ve enjoy your tape• re \"i ews very much . So far we have not projected ou.r BCLsic May I suggest that the playing time be R ep ~ r t oiTe List a long way into the fu ture no ted for each tape as this is a rather because we try to adjust it to the exigen. importa nt point to be considered wh en TA-12 cies of the record market: new releases, choosing a tape. $49.95 net deletions, et cetel"ll. W hen an outstanding Also, wh y can't the new 3% i.p.s. tape recording of a major work appears, we ca rtridges be made a"ailable in reel-to­ may schedule a Basic Repertoire survey reel form? of that particular work on short notice. Edwin "V. Miller However, as lL result of Father Gelinas' Un ion City, P a, suggestion, we are now preparing a gen­ Good news for Jl!Ir. M.iller on both eral repertory list from which to schedule counts: 1) Tape reviews wi.ll be timed, works in a sequence (IS determined by the starting with this issue. 2) RCA Victor ! above considerations. We wilL choose just a1lnounced that part of their tape those mlljor works of the music litel"llture catalog will be available on reels. which lire repre.' ented on discs by at least 7-10 current versions. $29.95 net • As a tape enthusiast J have reall y ell ­ Sacre de Printemps joyed HIFI/STEREO R EV IEW. I purchased • Bookspan's " Basic 50" is the res ult of my A rnpex stereo sound system in J 957 poor taste, bad taste, prejudice, sentiment, and believe me, I still get just as much poor musiCianship, lack of m usical and pleasu re and enjoyment from it now, and intellectua l va lues, misinformation; and so J am just as enthusiastic as ever. T he very on. }70r instance: first tapes I bought still sound as fresh Bookspa n's choice of Reiner's Beethoven and clean today as tbey did on tbe very Fifth as the g reatest ever r ecorded . (I t is first p la y. th.e lo udest, but not the greatest.) Now wi th the advent of 4-tr ack tape, the Bookspa n's cho ice of t he Horowitz­ prospects for tape look much brighter and Toscanini Brah ms Second Concerto as a I am g lad to see stereo tape again on the great performa nce, whicb offers only move. Horowitz' unbearable pounding and task­ Bob Murphy master Toscanini leading his too-scared-to· Atla n ta, Ga, be-expressive men through a ruthlessly cold pe rformance-all steely precision but no more. Vocal Treasures Bookspan's choice of Szell for the • With the occasional release of a Cam­ "ETOica" which, like Toscanini's Brahms den r ecord by RCA, mayan avid collector Concerto, has onl y precis ion, polish and of great voices of the past have just a fe,\' every note in place, but no true warmth, words? communication revelation-just mechan­ I know that the wonderful reissues of ical accuracy. Ha.mpto n, Bori, deLuca, R ethberg, etc., Bookspan's choice of Charles Munch's did not catch on commercially a nd we Sym.jJ/wnie Fanta.st ique ,as a great pe ~' - thereby lost a wealth of wonderful per­ . formance while it is actua ll y frantic a nd fo rmances. But perhaps we can stir u p contrived, lacking tensile strength in the enough talk among collectors to get these progression Berlioz created, i.e. it is epi­ discs back iilto circulation a nd perhaps sodic and hence anemic in its cUlllula ti,'e even have other old o nes re-issued, impact. May 1 offer the following suggestions for Harold P rinte mps fu tu re release: Pasadena, California IJovla Frij sh in Art Songs Fr'eedom of dissent is essential to vital­ Melcbior in ' '''agner ity in art, on the part of the artists as well Titto Ruffo in opera duets (with Gigh as their audience_ We are delighted with a nd o th ers of like ca 1ibl ~ e) the vigor of reader Printemps' reaction Maria Kurenko in Tchaikovsky songs since it represents an obviously informed Gabrilowitsch witb the FJonzaley Quar­ and developed ta ste_ We don't hold it (Continued on page 14) 12 HiFi / STEREO C acoustic suspension loudspeakers*

, 0 u. S. Patent 2,775,309, issued to Acoustic Resear9h, Inc.

high fidelity (lo/m H. Newitt, former staff member, MIT) "One of the most unusual features is that a very small size enclosure is not only permissible but is actually desirable ... the small cabinet just happens to be a desirable by-product of the over-all plan to obtain a linear suspension ... "These small units are, therefore, equal to or better than two large woofers that require cabinets many times the size of the acoustic suspension unit." HI-FI SYSTEMS "In terms of bass response, these [acoustic suspension] speakers represent a phenomenal improvement in" the state of the art," " ~ STEREO· GUIDE HI • FI 1960 (H. H. Falltel, associate editor, HiFilStereo Review) "A major breakthrough in the theory of loudspeaker design ... It should be noted that the compactness of acoustic suspension speakers is not the result of compromise."

POPUIJlR SCIENCE (Robert Gorman) "The bomb that is still shaking the loudspeaker industry was dropped by ... Acoustic Research, Inc . ... "The AR speakers created an immediate sensation in the audio world, They won rave notices from music critics and were adopted as a reference standard for bass reproduction by several independent testing laboratories."

AR-l $185 AR-3 $216 AR-2a $122 (Speakers Clre .... IIOU; 11 Wit/I grille cloths removed)

Price~ shown vary slightly, according to finish. AR-2 , $96 5 % higher in the West and deep South.

The speakers shown above may be heard at AR's permanent display, the AR Music Room on the west. balcony of Grand Central Terminal, New York City. Literature on any or all of these models is available on request.

ACOUSTIC RESEARCH, INC. 24 Thorndike St. Cambridge 41, Massachusetts

AUGUST 1960 13 (Continued f,-om lJage 12) etc. As a result 0/ reader Alwood's sug­ nates the need to wade through the com­ tet in Schumann's Piano Quintet gestion. we ure exploring the possibilities plete review to find out if one is interested Chaliapin in Opera (Boheme, etc.). of such a series. in the record. Oue can save his time for Sam J . Block thorough reading of the reviews that seem the best bets. . Opera Ratings Marimba Advocate Alan Dare • Having read in tbe May issue that • I read HIFIjSTEREO R EVIEW from cover Portland. Oregon to cover every month and find it very en­ "promising suggestions will be passed on to the record companies" I am encouraged tertaining and informative. All of your Test Methods to oller one. contributors receive my thanks for doing a • ' ,Vhenever I read equipment reports There is no good marimba music on rec­ wonderful job. full of figures. curves, decibels and what­ ords at the present time. The record com­ I do wish, however, that you would in­ not, I am at a loss. I keep trying to under­ panies have plenty of Latin American clude a column concerning opera which stand what all those technical designations popular music but seem to avoid anything would be comparable to Martin Book­ mean to me, personally. as I sit back to else for marimba. span's ratings of the "Basic Repertoire." listen to music at home. Is there no way There are quite a few marimba virtuosi Richard C. Alwood of telling me without recourse to ad­ in the United States. and there has been Baton Rouge, La. vanced phys ics? serious music written for the instrument. James Oakroyt such as Kurka's Marimba Concerto, which We have given much thought to reuder Kirkwood, Missou ri Vida Chenoweth played at Carnegie Hall e ourselves have often puzzled ol'er Alwood's proposul, but doubt that opera last fall. TrI would lend i.tself to r~gular column treat­ reader Oakroyt's dilemma. Of course, we It is obvious that the marimba is over­ ment. The number of '~standard" operas could present him. with purely .mb jectit'e looked; not intce ntionally. but perhaps be­ is relatively small and not many record­ descriptions of equipment, but that would cause the people running the record com­ ings exist of each. Except for such popu­ land I/.S in the old problem of one m.an's panies never got in the habit of thinking lar standbys as Lu Boheme, A~da and meat being another man's poison_ What of the marimba in connection with any­ "Cavalleria," few operas exist in more than may sot£lld good to liS may not sOllnd good thing' except the plethora of Latin Ameri­ one or two uvailable versions_ In many to him.. The only way to communicate can popular and dance music. cases diD erences in recorded sound alone information objectively about sense ;11'1.­ Frank K. l'vfacCallum handicap the only available alterT/ute, so pressiolls, sl/.ch as hearing, is in terms of EI Paso, Texas that the reviewer hus relatively little physical parameters. That is why serioHs material for compurison among equals. audiophi.les make it a point to learn from Rather than run a regular column, it Capsule Comment their own listening experience how I.he may be preferable /,0 run a series of arti­ • I want to express my admiration of physical m easurements stated in I.he Sllcci­ cles, each dealing with one whole area of your "capsuling" of your record reviews at fications relate 10 their own sub jecli ve recorded opera: Italian, French, German, the beginning of each write-up. It elimi- tonal impressions. • a NEW 15 inch FULL· RANGE LOUDSPEAKER

By popular demand! You have asked your dealers for vVolverine quality in this authoritative size. Here it is! And look what you get-only in Wolverine -where both price and quality still amaze the experts.

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NOW a complete selection of 8", 12", and 15" models in the unequaled value of WOLVERINE

ELECTRO-VOICE, INC. • Dept. 70-F. Buchanan. Michigan 14 HiFijSTEREO they know what to play ... and what to play them with ... They know how to draw from today's wealth of magnifi­ They know that faithful sound re-creation begins with the cent recordings for the musical fare most appropriate to phono cartridge ... it is the most important single ele­ the occasion ... for serious listening, for background ment in any home music center ... for it is both the source music, for entertaining, for development of their own and of sound and the means of preserving the original perfec­ their children's musical tastes. And they know that the tion of the recording. The balance of the system is the self-same selections can sound good when re-created In proper domain of your High Fidelity dealer, who works one way ... and superb when re-created in another. within your budget and your decorating requirements.

this booklet on the tasteful music art of selecting, begins with a SHURE playing and Stereo Dynetic preserving records phono cartridge is available for 25¢. Send to: from $16.50 to $89.50 BROTHERS, INC., 222 HARTREY AVENUE, EVANSTON, ILLINOIS, DEPT. II AUGUST 1960 15 I

3·Way Speaker System HFS3 2·Way Bookshelf Speaker Systems 100W Stereo Power Amplifier HF89 HFS5 and HFS1 70W Stereo Power Amplifier HF87 28W Stereo Power Amplifier HF86 Stereo Integrated Amplifier AF4tt

• Exclusive advanced systematized engineering FM Tuner HFT90: Prewl red, prealigned, tempera, HWD : 24", 121f2", 10 1/2". Unfini shed birch. Kit • Lastest and finest quality parts ture-co mpensated "front end " is drift-free. Pr e· $47 .50. Wired $56.50. Walnut or mahoga ny. • Exclusive "Beginner-Tested" easy step-by- wired exclusive precision eye-tronic§ traveli Ig Kit $59.50. Wired $69.50. step instructions tuning ind icator. Sensitivity: 1.5 uv for 20 db HFSl Bookshelf Speaker System complele 'with • Exclusive TRIPLE quality control Qui eting; 2.5 uv for 30 db qUi eting, full limiting factory-built cabinet. Jensen 8" woofe r, match· • Exclusive LIFETIME guarantee at nominal cost from 25 uv. IF bandwidth 260 kc at 6 db points. ing Jensen co mpression·driver exponential horn IN STOCK - Compare, then take home any EICO Both cathode follower &.FM-multiplex ste reo tweeter. Smooth clea n bass; cris p extended equipment - right " off the shelf"- from 1500 outputs, prevent ob so lescence. Very low di stor­ tion. "One of the best buys in high fidelity kits." highs. 70-12,000 cps ra nge, 8 ohms. HWO: 23" neighborhood EICO dealers throughout the U_ S_ X 11" x 9". Kit $39.95. Wired $47 .95 . and Canada_ - AUOIOCRAFT. Kit $39 .95 ' . Wired $65.95'. Cover $3.95. 'Less cover, F.E.T. inc l. HFS2 Omni-Oirectional Speaker System (not ill us.) HF81 Stereo Amplifier-Preamplifier selects, HWD: 36", 151/4", 111/2". HFine for stereo" _ amplifies, controls any stereo source & feeds It AM Tuner HFT94: Matches HFT 90. Selects " hi-fi" wide (2 0-9000 cps @ - 3 db) or weak-station MODERN HI-F I. Completely factory·built. Mahog. thru self-contained dual 14W amplifiers to a pair any or wal nut $139.95. Blond $144.95. of speakers_ Provides 28W monophonically. narrow (20-5 000 cps @ - 3 db) bandpa ss. Tuned Ganged level controls, separate balance control, RF sta ge for hi gh se lectivity & se nsitivity. Pre· New Stereo Automatic Changer IPlayer: Jam·proof independent bass and treble controls for each cision eye-tronic® tunin g. " One of the best 4-speed, all record sizes, automatic changer channel. Identical Williamson-type, Dush-pull available_" - HI -F I SYSTEM S. Kit $39.95. Wired and auto/manual player. New extremely sm ooth, EL84 power amplifiers. "Excellent" - SATURDAY $65.95. Incl. cover & F.LT. low distortio n moi sture· proof stereo crystal REVIEW. "Outstanding __ • extremely versatile_" New FM / AM Tuner HFT92 combi nes renowned cartridge designed integrally with tonearm to - ELECTRONICS WORLD _ Kit $69.95. Wired EICO HFT90 FM Tun er wi th exce ll ent AM tuning eliminate mid·ran ge resonances. Constant 41f2 $109.95_ Incl. cover. fac ilities. Kit $59.95. Wired $94.95. Incl. cover grams stylus force is optimum to prevent groove & F.LT. . flutter distortion . No hum , turntable attractions, HF85 Stereo Preamplifier: Complete master ac ou stic feedback, center-hol e enl argement. stereo preamplifier-control unit, self-powered_ New AF-4 Economy Stereo Integrated Amplifier Only 103,4" x 13". Model 10070: 0.7 mil dia· Distortion borders on unmeasurable_ Level, bass, provides clean 4W per cha nnel or 8W total out· mond , 3 mi l sapphire dual styli, $59.75. & treble controls independent for each channel put. Kit $38.95 . Wired $64.95. Incl. cover & F.E.T. 1007S: 0.7 mil,3 mil sapphire, $49.75. Incl. FET_ or ganged for both channels_ Inputs for phono, HF12 Mono Integrated Amplifier (not illus.): Com· tape head , mike, AM, FM, & FM-multiplex. One plete "front end " facilities & true hi-Ii perform· t Shown in optional Furniture Wood Cabinet each auxiliary A & B input in each channel. ance. 12W co ntinuous, 25W peak. Kit $34.95. WE71 : Unfini shed Bi r ch, $9 .95; Walnut or "Extreme flexibility • __ a bargain." - HI-FI Wired $57.95. Incl. cover. Mahogany, $13 .95. REVIEW_ Kit $39.95. Wired $64.95. Incl. cover. New HFS3 3-Way Speaker System Semi-Kit com. ttShown in optional Furniture Wood Cabinet New HF89 100'-Watt Stereo . Power Amplifier: plete with factory-built 3/4 " veneered plywood (4 WE70 : Unfinished Birch, $8 _95 ; Walnut or Dual 50W highest quality power amplifiers. 200W sid es) cab in et. Bellows-s uspe nsio n, full-inch ex· Mahogany , $12.50. peak power output. Uses superlative ultra-linear cursion 12" woofer (22 cps res.) 8" mid-range connected output transformers for undistorted spea ker with high internal damping cone for ,------,I EICO, 33-00 N. Blvd., L.I.C. 1, N. Y. HR-8 I response across the entire audio ran ge at full smooth response, 3 t/2" cone tweeter. 21/4 cu. ft. power, assuring utmost clarity on full orchestra I Show me how to SAVE 50% on easy·to-build I du cted-p ort enclosure. Syste m Q of 1/2 for I top-quality Hi·Fi . Send FREE catalog, Stereo Hi-FI I r & organ . 60 db channel separation. 1M distortion smooth est frequency & best transie nt response. " 0.5% at 100W; harmonic distortion less than 1 % I Guide plus name of neighborhood EICO dealer. I 32·14,000 cps clean , usefu l resp onse. 16 ohms I I , from 20-20,000 CDS within 1 db of 100W. Kit impedance. HWO : 261f2", 137/8", 143/ ". Un· I Name ...... I $99.50. Wired 5139.50 8 finished birch. Kit $72.50. Wired $84.50. Walnut I I " HF87 70-Watt Stereo Power Amplifier. Dual 35W or maho ga ny. Kit $87.50. Wired $99.50. power amplifiers Identical circuit-wise to the New HFS5 2·Way Speaker Sy stem Semi-Kit co m. superb HF89, differing only in rating of the out­ plete with factory-built 3/4 " ve neered Dlywood i_~~t;:.~ ··~· ~·~· ~ ·~··~ ·~~~~~: i~· ~~~:~~~ ·~ i put transformers. 1M distortion 1 % at 70W; (4 sidesl cabinet. Bellows-suspension, SAl" excur. harmonic distortion less than 1 % from 20-20 ,000 1 liste n to the EICO Hour, WA BC-FM , N. Y., 95.5 I'!1 C. cps within 1 db of 70W. Kit $74.95. Wired $114.95_ sion, 8" woofe r (45 cps . res.l, & 3 /2" cone twee ter. !I/4" cu. ft. dueled-p ort enclosure. Sys. Mon . to Fri. 7:15-8 P. M.• Sat. 11-12 P. M. HF86 28-Watt Stereo Power Amp. Flawless repro- tem Q of 1f2 for smooth est frea. & best transient . duction at modest price. Kit$43.95. Wired $74.95. resp. 45-14,000 cps clean, use ful resp. 16 ohms • @ 1960 by EICO, 33 -00 N. Blvd., L. I. C. I , N. Y. 16 HiFi/STEREO t August, 1960 THE MAGAZINE FOR PEOPLE WHO LISTEN V ol . 5 No.2

THE DEGRE E OF DOCTOR of H tI ma ne ci\'ilizcd cO llntry in which rad'io and jo il [or the sake of the indust ry." Letters, honoris causae was conferred TV ex ist almost solely as a byproduct Time admits, however, that the sight by Yale University upon alumnus Cole of advertisi ng. Economically, the sta­ anci sound of Elvis a-bumping his pel­ Porter (class of '13), whose life and tions' prime responsibi lity is to the yis and spewing out a sour whine (a t work have been notably unfettered by sponsor rather than the public, with a cost of more than a quarter million academic or other kinds of formality. conseqllent debasement of the art by doll ars to be borne by the sponsor's As the official citation puts it: the frantic search for some sti ll lower customers) was probably wonh the " You have achieved l'eputation as a and mo re common denominator. price as a cautionary public sely ice: lowering figure in the American musi­ For this dish eartening but presuma­ "It reminded the forgetful jllst how cal theatre. Master of the deft phrase, bly free show the public is forced to d readful Elvis really is." the delectable rhyme, the distinctive pal' an exorbitant price in the fo rm of melody, yo u are, in your own words bi ll ions added to the cost of advertised WITH RUS SIA AND THE U_ S. \Joth hav­ and yo ur own field, the top." consumer products. ing cast aside reason and decency in In an unprecedented off-campus "Yith an infinitely smaller amount, political dealings with each other, it move, the academic procession ascended and hence a t less public cost, the gm'­ is encouraging tbat individuals from to Porter's apartment in New York 's ernment co uld subsidize, as is done both nations continue to ciemonstrale "Yaldorf Towers beca use the composer, elsewhere, th e presentation of adult the elementary fact of comrnon hu­ ai ling fo r years from the consequences programs free from the de fa cto cen­ manity. 'W hile the heads of their re­ of a leg a mputation fo ll owing a fall sorship imposed as a co nsequence of spective states rattle atomic sabres, from a horse, was too weak to jour'ney TV audience survey methods. American p ianist Van Clibul'll delights to his Alma Mater. Coex istcll ce of commercial and sub­ :'-Ioscow with piano recitals and R us­ sidized rad io and telecasti ng could sia's Richter will soon play in person H I-f i fARMING 100rns in the future. make the bes t of both worlds and lead fo r American audiences who h ayc long Ever since Irving Berlin observed that to creative <.:ross-slinll.llation, as has cherished him on records. "somehow they'd rather be kissed been demonstrated in England. There Such musica l accord1"ings a rare note to the strains of Chopin or Liszt" can be no doubt that more mature and of hope in these times, If the sensible the effect of music on sex behavior has effective mass communication is urgent­ attitude of give and take that slill pre­ been the subject of intensive official ly needed at this time. vails internationa ll y in art co uld take and unofficial research. Congress is hardly perform ing a root in other fi elds, there may ye t be a It was established, for instance, that service to anyo ne except vested inter­ chance for all concerned to a\ oit! th e cows give more mi'lk under the influ­ ests by ignoring these possibilities, They ul timate firecracker, ence of music, and loudspeakers were should be openly disc ussed along with mounted in many a progressive barn. the total sti ll -unexplored problem of PER FUM ED RECORDS are the \atest ragc An audiophile fanner in Bavaria haz­ official and financial recognition of­ in Austria. The odiferolls craze was arded the theory tbat extended fre­ lea rning and the arts as part of Ameri­ started b)' Romy Schneider, a Viennese quency response may furtber facilitate ca's mitional life. cinemorsel classifiable as a sort of: wide­ lactation. Having added tweeters, he eyed and sligbtly more innocent Doris is now testing his herd with Rachman­ SU M MER LUN CH HOURS in mid to \I' n Day. Romantic Romy, with the pllb­ inoff up to 18,000 cycles. R esults, if :'-I anhatran are again graced by re­ licity sense of an old b'ooper, asked co nclusive, may be published jointly corded classica l music piped into the diskery to spike bel' records with in the Deutsche Zeitsch1'ift /'U1' Musik­ Bryant Park from the Public Library. her favorite scent. Austrian jll\'elliles ologie and the German Department of Flanked b y busy streets, these concerts old enough to blow their Ol\'n noses Agriculture. offer the surprising sight of New think the idea great. Yorkers sprawled in rapt repose with CONGRESS KILLED a proposed 39 mill ion the city'S p roverbial rat race swirli9g' dollar grant for the es tablishment of around them, Proof positive of music's THE EXTINCTION 0 f MUSICIANS has ed ucational TV stations. A House com­ power to soothe the savage, been further advanced by "Yurlitzcr's mittee, by a tie vote, l'efused to clear invention of a robot "Side Man" who the bill for action on the floor of the ARSON AS ART CRITICISM under ex­ obligingly drums out rhythm accom­ House of Representatives. Five Demo­ treme provocation is recommended by paniments for nightclub pianists. The crats voted for the bill, four Republi­ Tilli e magazine. Commenting on Pres­ i s-pound electronic gismo can be dialed ca ns and one DelPocrat against it. ley's TV co meback show after two years for Tango, Beguine, Samba, Cha Cha , The question shirked by the law­ detention in the army, Time observes: Shuffie, Rurnba and seventy-two yarie­ makers in forestalling open discussion "Considering that the show was ties of Fox Trot. It has no real talent actuall y goes far beyond the immediate taped almost two months (before air but keeps a steady beat, which makes , issue of educational TV, By impli ca­ time) somebody missed a major chance. it a perfect substitute for the lI1ajorit )' tions it concerns the basic p rOD lem of As it sat on the shelf for seven weeks, of Ji ve musicians. Next Hem on the communica tion in a f, 'ee society. so me network employee with gu ts and agenda, obviollsly, is the development The United States is the only major a zippo co uld have sacrificed his of an automated listener. AUGUST 19(i O I i THE MAN EMBATTLED

I AM T H RICE HOMELESS, AS A NATIVE OF BOHEMIA IN AUSTRIA, AN AUSTRIAN AMONG GERMANS, AND AS A JEW THROUGHOUT ALL THE WORLD . From the all-powerful and much feared Artistic Director of the Vienna Court Opera during the early years of this century, these were strange words. Not only was he for the moment seetue in one of the two most important musical pos ts of the day; he was also world-renowned as the finest conductor of the epoch, and as a composer he was beginning to win substantial acclaim from the public and his younger colleagues, even if the critics chose to remain opposed. But Mahler knew whereof he spoke. Only as long as his imperi­ ous will and fanatical zeal held out would he be able to keep up at least the appearance of "belonging." The death of his 4-year-old daughter during the summer of 1907, the news that he himself had heart disease-tllese turned to ashes his se nse of achievement in becoming a " mover and ti- shaker" in the music world. Before the year was out, he

18 H iFi/ S TEREO' bad e farewell to the Court Opera; became once more a Gustav was fo ur years old when the family moved to the wanderer, sailing for America for the first of four seasons larger nearby town of Jihlava which boasted not only fac­ as opera and symphony conductor. Magnifice nt though his tories, a school of its own and newspapers, but also a theater, American performances were, much of the old fa naticism music librar y and militar y barracks; there was even musical had gone (though Mahler was by American standards still activity of sorts. T hese were the years when the youngs ter "diffi cult" enough) . The music of the last years-Dos Lied began to absorb music just from hearing the folk so ngs of von deT ETCle, the Ninth Symphony, the two movements of the region-Slavic, German and Austrian alike. The regi­ the uncompleted T enth- tells its own story. Tn the words mental band and bugle rall s from the barracks were a of Mahler's own Ri.i ckert so ngs: source of unending fascination, as were the country fairs. I am lost to the wOTld .. . More tha n 40 years later in New York, he was to become I live alone in my own heaven, entranced by the sound of a barrel organ play ing beneath In my love, with my love, in my song. his hotel window because it took him "straight back to Those who saw Mahler remember him as a little man, my childhood." But the barrel orga n could have painful wh ose slight build made his head, with uncompromising associations as well, at least for his subconscious. An inter­ jawline and dark eyes fl ashing from behind spectacles, seem view between Mahler and Sigmund Freud in late August too large for his body. A pale complexion tended to accen­ of 1910 brought to ligh t an in cident which could well ex­ tuate both the satanic glint of the eyes and the blackness of plain frequen t juxtaposition in much of Mahler's music the hair that framed his high forehead. His speech was of high tragedy and banal melody; for in the midst of a abrupt, at times almost savage in its vehemence; his ga it was violent sce ne between his parents, the panic-stricken child strange and irregular, now halting now rushing a11ead. As rushed headlong out of the house-to be greeted by the his disciple and friend, Bruno 'Walter describes it, "Every· strains of an organ grinder close at hand cranking out 0 clu thing co nfirmed and strengthened the impressio n of de· lie beT Augustin. moniac obsession; and I should hardly have bee n surprised As a child in .J ihla"a he seems to have acquired a con­ if, after saying good-bye, he had gone faster and fas ter, certina and soon mastered folk and popular so ngs by the and then flown from me fin ally as a vulture ..." dozen; then ca me his discover y o f an old piano in the attic T o achieve in his 37th year the lifetime appointmen t as of his grandparents' house. From the age of five, he began Artistic Director of the Court Opera at Vienna was for to take piano lessons with local teachers and by the time Mahler the end of a road going back 17 years in time- a he was eigh t had already begun doing piano teaching of road filled with battles and hardship-personal, economic his own-to a boy of seven. By his 10 th year he gave a solo and professional-every inch of the way. He was born on piano recital in Jihlava, rep ertoire unspecifIed. By the time July 7, 1860 in the small Czech· Moravian town of Kaliste, he was fi fteen, it was clear that any further musical develop­ the second son of a loveless marriage. The father, Bernard ment would come only from bigger and better stimulus than Mahler, was a self·made man of violent temper who had Bohemia-Moravia had to offer-namely, [rom the Conse rva­ r isen from the status of coachman to tavern keeper and tory at Vienna. The celebrated piano pedagogue, Julius who even had developed intellectual ambitions of a sort. Epstein, auditioned the boy, albeit unwillingly, but in a Mahler's mother, a ge ntle soul, came from a slightly higher matter of moments ca me tJ1 e verdict, " H e is a born musi­ peg in the social scale, and very likely it was her "genteel" cian." T he artistic destiny of G ustav Mahler was sealed. ways that on the one hand spurred the husband on toward The years from Se ptember, 1875, when Mahler entered intellectual self·betterment and on the other, toward in· the Conservatory, to July, 1878, when he graduated with a fli ction of humiliation and physical violence on her and diploma, were ones of hand-to-mouth living in real penury. the children. As if this were not enough, Marie Mahler (Giving piano lessons seemed to be the chief way of help­ was affli cted with a weak heart and a limp. Gustav Mahler ing make ends meet.) There were a.]so rewards and recogni­ adored his mother ,md was terrified by his father's behavior tion of sorts, prizes for piano playing and co mposition dur­ toward her. Psychoanalytically.minded commentators, in· ing each of his tl1Tee years of study, climaxed by public deed, have ascribed Gustav Mahler's own curious gait ,i n performance of his own work for chamber ensemble at the later life to the d eep·rooted love and sympathy he held for commencement exercises. his half.crippled and browbeaten mother. There were friends- among them that stormy petrel, Hugo Gustav was the second of 12 children born over a 21-year Wolf, who eventually got himself kicked out of the Conserv­ period. Only fi ve of his brothers and sisters lived to adult· atory (see HIFI/STEREO REVIEW, June 1960 p. 38). hood. The first child of the marriage died before Gustav Of course, there was the hot-headed ' Vagner enthusiasm himself was born, and as the eldest he had experienced and anti-Brahms sen timent shared by most of the young the death of four brothers before taking up musical studies music students of Vienna, with W olf carrying the brightes t in Vienna. One of three sisters, Leopoldine, died of a brain torch of them all-especially when '''Tagner himself super­ tumor in 1889 after an unhappy marriage. Two adult vised performances of his own operas and conducted con­ brothers, Otto and Alois, also came to grief. Alois, an certs there d uring 1875 and 1876. T hen tl1ere was the irresponsible ne'er do·well, fl ed to America to escape credi· blossoming of a friendship with the 53-year-old Anton tors. Otto, on the other hand, showed genuine promise as Bruckner, whom most Viennese regarded as an "odd fish" . a musician but also chronic inability to hold down a job. from the backwoods. i"Iahler and his friends were present Re shot himself in 1896, leaving a note which sa id in effect at the fi asco that resulted when Bruckner conducted the that life no longer pleased him, so he was handing back Vienna Philharmonic in a revised version of his own Third his ticket. Small wonder, then, that the music of Mahler Symphony. Even so, music publisher Theodore R ii ttig asked the composer should be haunted so continually by death to take up the controversial work and it was lIfahler and images in the form of funeral marches, ominous fanfares, his friend Rudolf Krzyzanowski who were invited to make spectra.] . pmcessioHs. the 4-hand piano arrangement customary in those days be· A,U n"U ST '1-9,60 19 [ore the phonograph and tape machine took over its function. and the repertoire consisted chiefl y of Offenbach and Mil­ T hese were the years when Mahler first began to find his lOcker. T he fledgling conductor h ad to d evote his time to true voice as a composer. In 1878 work began on the fi rst more than just music, for some of his ex officio duties vergeel of the major comp ositions that he allowed to survive, Das on those of janitor and nurs' naid-he was even asked on klagende Lied ("Song of Lament") for soloists, chorus and occasion to push the baby carriage containing the d irector's large orchestra. T hese were also the years in which Mahler infa nt daughter. read omnivorously: philosophy (Kant and Schopenhauer, T hese diversions notwithstanding, young Mahler still later N ietzsche and the "scientific" philosophers, Lotze and fo und time to str uggle over completion of Das klagende H elmholtz) , poetry (Goethe, Schiller, E. T. A. Hoffman, L ied. R eturning to Vienna, h e got it into shape by Novem­ J ean Paul Richter) . U nlike many a professional musician, ber [or en try in the Beethoven Prize competition that h ad Mahler's knowledge of the ar ts, and even of the sciences, been established a few years before by the Gesellschaft del· became ever more wide ranging. Early in li fe he began to Musikfrewule. The high hopes with which he submitted seek out the meaning of human suffering, of the relation what he later called "the child of my sorrow" were dashed of Man to Nature and to God. a year later, when the jury, including su ch conservative­ From the standpoint of crys tallizing his remarkably poetic minded men as Brahms, Karl Gold mark and H ans Richter, feeling for nature, the summer of 1879 must have been rejected the score out-of-hand. By this time, he was midway esp ecially significa nt for the 19-year-old Mahler. It was spent in his first winter theater conducting job at Laibadl (now 0 11 all estate ill the H ungarian countryside as music tutor to Ljubljana, Yugoslavia) where working conditions were not a wealthy family, and from this period we have a whole much better than at H all. Already th e fanatic perfectionist,

The 25-year·old Mahler sported a full beard when he joined the German Opera in Prague as second conductor. His first full director's post at Budapest saw the beard reduced By the time Mahler went on to Leipzig, its to a mere moustache. growth had become even more luxuriant.

series o[ lellers in ultra·romantic vein written to a fri end, he would not think of putting on major operas. Indeed, a J osef Steiner. H e sp eaks of "My beloved earth, when, oh singer's unexpected defection found Kap eLlmeisteT M ahler when wilt thou take the abanel oned one unto they breast?" in the pos ition 01 having to fill in the L ast R ose of Summer T hen in this vein, "I see the blue h eavens once more and aria in Martha through the expedient of whistling! the quivering flower, and my scornful laughter dissolves in T he rebuff that came from the Beethoven Prize jury after the tears of love. And I m ust love it, this world with its this sort of thing left Mahler bitter and discouraged. H e deception and light-rnindedness and eternal laughter." Of came to feel that this decision h ad condemned him to sweat hearing a shepherd's pipe, he says, "H ow sadly it sounded, out the rest of his days on the h ated treadmill of theater and so passionately ecstatic, the folksong he played! T he routine-"that h ellish life of the theater," as he put it some wildflower that grew at his feet trembled beneath the years later to a friend. dreamy fi re of his dark eyes and his brown h air waved about An attempt to compose an opera of his own during the his sun-tanned cheeks. " Laibach sojourn came to naught, as did a project for a T he following summer saw the young Mahler-then Noulic Symphony. T h en, early in 1883, Mahler moved on twenty-launched in a very small wayan his conducting to another small town theater, that of Olmiitz. Of this career, for h is old piano teacher, friend and mentor of experience, h e wrote, "wh en the n oblest steed is hitched to Conservatory days, Julius Epstein, had contrived to get a cart with oxen it cannot do otherwise than sweat and him a summer job leading the orchestra for comedies and pull along with them.. .. Thank God, I conduct only musical farces for a theater (capacity ca. 150) at the upper­ Meyerbeer and Verdi h ere." Austria resort of H all. T he company· numbered about 19 Despite the inner bitterness that came of slogging through 20 HiFi/STEREO rehearsals with singers and orchestra players who would lum and Nikisch, despite the latter's long absences due to have none of his boundless fan atic enthusiasm and who illness and outside guest engagements. shared little of his relentless striving for perfection, Mahler's From hjs Leipzig days also dates a collaboration with work as co nductor and opera producer bega n to attract the grandson of Carl Maria von " Veber, that of adapting attention in wider circles. Cn1"lnen and J\I[m·tha. were par­ for performance an operatic sketch of Weber's The Tll1'ee ticular instances in point: and by .1 une of 1883 he found Pintos. Mahler also fell deeply in love with Frau H aupt­ himseH appointed second conductor to the Roya l Prussian mann von ' '''eber; but fortunately matters never came to a Court T heater of Cassel-his first real step up the ladder domestic crisis, while the Tlnee Pintos pro ject did come to that would eventually take him to the Vienna Court a highly successful conclusion with a Leipzig premiere in Opera. An in itial visit to Bayreu th, where for the first January 1888. By this time, Mahler had begun to try his time he saw "Vagner's Parsifal was indeed no help in making own wings as a symphonist. A full score of the Symphony Mahler co ntent with his lot in Cassel. and by the fo llowing No.1 in D i\lIa jor was down on paper by March and by that January, he had written a pleading letter to the cele­ time he had also done the first of his famous settings from brated co nductor, Hans von B Lil ow, asking to be taken on the Arnim-Brentano collection of German fo lk poetry, D es as pupil and assistant. Evidently repelled by the pitiable Knaben Wunded/O·m. The strain had begun to tell on tone of such a letter from a 23-year-old, the worldly-wise Mahler by now and life had become even more complicated BLi low promptly had it turned over to Mahler's superiors by friction between himself a nd the director of the Leipzig in Cassel. Mahler, nevertheless, hung on for another year opera. The endless drudgery of theater routine, a hopeless and a half, and before taking his final leave did achieve a love affair, feverish work on the score of the First Sym phony

Budapest, 1888: Mahler shows the serious Mahler, the imperious Director of the A 1904 portrait photo shows a mien that goes with greater responsibility. Vienna Court Opera - clean-shaven. gentler side of the mature Mahler.

stunning triumph, conducting summer festival performances -no wonder Mahler 's health went to pieces by the summer of the Beethoven Ninth Syn'iphony and "Mendelssohn's SL. of 1888! An operation w~s necessary and carrying on at Paul. T he jealousy stirred up by his having been chosen Leipzig was clearly out of the ques tion. Just as matters began over the h ead of the first conductor at Cassel to conduct to look darkest, what with no apparent response coming the summer festival Illild e Mahler's situation there unten­ from the various opera houses to which he had made over­ able, so the next two seasons saw him hold ing second con­ tures, the 28-year-old ex-second conductor of Leipzig re­ ducting posts in Prague a nd Leipzig. T here he was able ceived what then must have seemed to him a "dream offer" to get his teeth into the great operas of the repertoire­ - to assume the post of Artistic Director of the Roya l Opera Don Giov(fnni, ''''agner's uRinrI' operas, Fidelio. To these in Budapest with a 10-year contract and for the first time posts he brought with him memories of a pass io nate love in his li fe a decent salary, work to begin in October. Here, affa ir wilh Cassel opera singer J ohilnne Richter, and out of then, was a turn of fortune! those memories came the first of Mahler's genuine master­ It was in Budar;est that Gustav Mahler's demonic will pieces, the song-cycle Liedel' eines fn ;, ,.enrle-r Gesellen power became full y crystallized in all the fierce intellectual, ("Songs of a Traveli ng "Wayfarer"), begun at Cassel in 1883 elllotional and artistic conce ntration that allowed him to and completed at Prague on New Year's Day of 1885. At function so brilfiantly as administrator, stage producer and Leipzig, IVl ahler was second in command to Artur N ikisch, re-creative m usician at one and the sallle time. The Budapes t • who with Bulow was the most celebrated conductor of the Royal Opera in those days was sadly in n eed of rebuilding clay. It was not long before the younger man's success as a frolll the ground up, and just as the late Artur R odzinski " Vagnerian conductor led to a cooling of relations between in our own day went about rebpilding ailing orchestras a AUGUST 1960 21 decade ago, so Mahler went after the situation in Budapes t. Symphony, which he had premiered in a 5·movement ,·cr· To begin with, there were to be no more imported stars sion in November of 1889. There had been another break· from Austria and Germany. The use of Hungarian talent down of his health in the spring of 1890, n ecessitating :1 would be mandatory and operas would be sung in the recuperative trip to Italy with Justine. Not two months of Hungarian language. This, Mahler felt, would be one way 1891 had gone by before Malller found himself being locked of restoring the ailing box office. He himself could not spea k out of his own office by the overbeilring Zichy. His Slip· a word of Hungarian and had to rely constantly on an posedly "absolute powers" had gone up in smoke; but he interpreter; but by sheer force of will, co ntagious enthusi­ had seen the storm brewing and had already begun pre· asm and brilliant musicianship he was able to accomplish paring the ground for a striltegic retreat. H e res igned hi Budapest directorship in mid-March, receiving a substantial indemnity in lieu of the unfulfilled lO·year con tract, and on April I he took up what for the moment was a come-down -but still better than staying on in Hungary-the first co n· ductorship of the H amburg Opera. The fact that h e had first·rate singers and a fin e orchestra there helped keep him on the H amburg scene for six years. Under these condi­ How Mahler the tions he was able to put o n all the acknowledged Ill il ter· conductor must have pieces, as well as major new operas. It was also durin~ the looked to the men in his orchestra H amburg years that he became the complete master oE his is eloquently conveyed craft as composer. The gigantic "Resuneclion" and Third in this Oscar Garvens symphonies, plus most oE the Knaben TV lI71deThom settings. caricature. were the creative fruits of the H amburg period. H ere he began to develop his routine of "summer composing"­ doing the creative work of sketching at some quiet alpine resort such as Steinbach. tllen working out orches tration and fair copies as spare time allowed during the winter opera eason. There was also the association with Hans von Bii lo\\", whe: not too many years before had done Mahler such a bmta! within three years his objecli\'c of making- lh e Buclapest turn when he had sought a n assista nceship with ])im. Mahler Opera worthy of its dcsignation "Royil!." The co mplete now attended Bulow's sy mphony concerts regularly. a nd Wagner Ring cy cle was give n in Hungaria n for the first Bi.ilow for his part beca me fascin ated with the fi ery new· time and his production of Mozart's Don Giovanni became comer at the opera. The extent of his about·face is revealed talked about to the point where the greil t Johan nes Brahms in what Blilow wrote to his daughter in 1891: "Ha1llb ur ~ WilS persuaded to be on hand for a performance. Though has now acq uired a simply first·rate opera conductor in Brahms had been on the prize jury that five years before Mr. Gustav Iv/ahler (serious, energetic-Jew from Budapest) . had rejected Mahler's Das klagende Lied, he was co mpletely who in my opinion equil ls the very bes t . .. Recently 1 wo n over by 'Mahler as co nductor. heard SiegfTied under his direction .. . since then admira· But all was not to be smooth sailing. During 1889 I'vl ahler's tion has fill ed me for him. when without an o,rchestrai parents, as well as his elder sister, Leopoldine, died. Sister rehearsal he compelled the musical rabble to dance accord· Justine moved in with him at Budapest that spring and ing to his whistle ..." At this time an 18-year-old yo uth remained his housekeeper for more than a doze n years. joined his staff as coach and accompanist. His name: During those years, she exercised something of a " mother· Bruno ' '''alter Schlesinger. H e was to become Mahler·s fast surrogate" function in Mahler's life-to such an extent, friend and devoted disciple: and in later years, as the world indeed, that the individual private lives and loves of brother renowned conductor, Bruno ' '''alter, was to spread the [arne and sister became the subject ("If fi erce mutual jealousy and of Mahler the composer far a nd wide through co ncerts. much verbal acrimony. Mahler, in fact, came to li ve the broadcasts and recordings. life of an ascetic so far as his relations with the fair sex vVh en Bulow's health began to fail, he named f\{ ahler to went. Puritanical in his own moral views, Mahler became take over direction of any symphony concerts Il C might much put out over the intimacy between Justine and the miss. Beginning with the 1894·95 season, upon the retire· concertmaster of the Vienna Court Opera Orches tra which ment and death of Bi.ilow, the sy mphony series was taken began shortly after his coming to Vienna in 1897. Matters over wholly by Mahler-and so afforded him a welcome quite understandably ca me to a crisis when Mahler himself change·off from the in cessa nt and grueling routine of the had to make a decision about his way of life. Exactl y one opera house. jay after his own marriage to Alma Maria Schindler on Even as composer, i\ /ahler began to adlieve a degree oE March 9, 1902, Justine and concertmaster Arnold Rose public success-with tlle First Symphony in Weimar and followed sui t. Berlin, then in 1895 with the massive R esunee/ion Sym­ But we get ahead of our story. The apparent se nse of phony, also in Berlin. achievement represented in the Budapest post, now clouded At about this same time, top-secret negotiations were by death, became definitely soured by political intrigue going on between Mahler and tlle authorities of the Vienna behind the scene. The beginning of the end came in 1891 Court Opera. Mahler already felt that the H amburg Opera when Mahler's protector, Intendant Franz von Beniczky, was treating him more like a slave than an artist. H e was retired in favor of the ultra·jingo Count Geza Zi chy. Already conducting almost every single night and bad blood was he had experienced hostile Budapest criticism of his First growing between him and Director Bernhard Pollini. H e 22 HiFi j ST EREO began throwing out an increasing number of feelers to where at once, exhorting, pleading, raging at singers, stage other major operatic centers. It was probably during this crew and orchestra alike-his frail physique straining to the period that he heard of one prospeClive post that hesitated utmost to bring the whole unwieldy organism of operatic to take him on because a certain key personage did not like production somewhere into line with his visions of ho'" " the shape of his nose." The story has it that when Mahler Don Giova.nni, Fidelio, Tales of Hoffmann and the Wagner was finally proffered the job, his refusal took the form of operas should be heard and seen. Forgotten works were a tart telegram: "SORRY, CANNOT ACCEPT. NOSE revived and brought to new life-Gluck's Iphigenia in Aulis, STILL SAME SHAPE." Weber's EWl"yanlhe ancl Obemn; important new works were Though neither he nor his parents were practicing Juda­ given Vienna premieres-Louise and the operas of Puccini. ists, Mahler's origins had been a social and professional roadblock for him from almost the beginning of his musical ca reer. As might be expected, his nervous mannerisms, his irritability, his fanatical purposefulness-all were ascribed by hostile colleagues and critics to his ':jewishness." Mahler made no attempt to deny or to cover up his Jewish back­ ground. Neither did he make a great point of it, save when he sensed opposition on purely religious grounds. Together The embattled with many intellectually and religiously enlightened Austri­ champion of high art an and German J ews, he felt that assimilation along the and noble ideals pattern set by Felix Mendelssohn was the answer to those stands forth in this in ,lIld out of jewry who would insist upon a perpetual profile study of ghetto. Mahler's own religious convictions leaned in his Mahler in Vienna. mature years toward a mystic pantheism. It was only when the possibilities of gaining the lifetime post as Artistic Director of the Vienna Court Opera became a matter of ;"Ictual ity that he had to face the issue of a public profession of religious practice; for Court protocol in Vienna insisted that royal functionaries in positions of major responsibility he members of the Roman Catholic Church. By the spring of 1897, assured of Brahms' support in his In 1904, Ivlahler paid posthumous tribute to the tempestu­ negotiations with Vienna and under the persuasion of ous friend of his youth, Hugo Wolf, with a production of friends whom he loved and respected, Mahler did become De l" COTTegidor. a member of the Church. There now seemed little doubt As for singers, he was ruthless in pensioning off veterans that the decision appointing him to the Court Opera in who would not or could not do tllings his way, and he was Vienna would be anything but a mere formality. forever on the prowl for promising new talent. It was when lHahler was not named Artistic Director right off. His Mahler took over direction of the Vienna Philharmonic offi cial designation as of May 1, 1897 was Kapellmeister with concerts, beginning in 1898, that the irresistible force began the former incumbent Wilhelm J ahn retaining the director's to meet the immovable object. In their capacity as members title. By July 21, largely on the strength of a brilliant debut of the Court Opera Orchestra, the players had no choice but conducting Lohengrin, he had been named Deputy Director. to obey their director's slightest wish, no matter how un­ October 8 marked the date of Mahler's official accession to reasonable it might seem; but as the Vienna Philharmonic, the exalted post of Artistic Director with virtually dictatorial they constituted a self-governing body, the most venerable power and life tenure. He was, in modern parlance, top of the world's great orchestras, which chose or dismissed dog in the musical world of 1897 and would remain so for its own conductors at will. Mahler and the Philharmonic an unforgettable decade. went through an intense, acrimonious and shortlived period To this day, the period during which Gustav Mahler together. It came to an abrupt end in the spring of 1901 ruled the artistic destinies of the Vienna Court Opera is with another crisis in Mahler's health. While he recuper­ ca lled the Golden Age of music in the Austrian capital. So ated at an Adriatic resort, a successor was chosen without powerful was the impact of Mahler's regime that some have his knowledge. Despite this occurrence and its repercussions, said that its momentum carried on for a full generation the Orchestra continued to invite him as guest conductor after his departure late in 1907. Quite simply, Mahler put of his own works. into execution everything that he had learned and thought As symphonic conductor, Mahler had the pedants stand­ sin ce his apprentice years at Laibach about opera produc­ ing on their ears much of the time. As if his orchestral tion and about the aesthetics of drama and the allied arts. editings of Beethoven and Schumann symphonies were not For him, opera was a wholly integrated music-dramatic enough, he chose to perform the Bonn master's Op. 95 expression, in which singers should be first-rate actors, in and Op. 131 string quartets with full string orchestra­ which stage and orchestra should work as one, in which Ska.ndal indeed! scenery and lighting should dramatically enhance the whole Mahler's ten years of torrential activity in Vienna saw rather than serving as a sleezy backdrop. With Mahler be­ him married at last, ancl to a young woman of exceptional gins the conception of modern operatic production as we beauty, charm and broad cultural background, Alma Maria now know it in the best theaters-and as the young Wagners Schindler, who was herself a pianist and composer (after today have been staging their great-grandfather's operas at Mahler's death she was married twice more-to the architect • Bayreuth. Walter Gropius, and to the famous author, Franz Werfel; -.JR.bio ,.dir-Q£tional. .. c.apacitcy,- ALa,lIlor ·.seemedt-o·-ee·-e-very • . _. since, ''''er.fers ,'<'lea·th , in:' ·l945,·.-shedtas·.·been ' :!-iv-ing· -in·-N'(lw AUGUST '.· 1'960 23 York City). Besides mlTI lstering to his very demanding needs, she acted as copyist for the symphonies and song· cycles that came from Mahler's pen during the all too short summer vacations. She also aroused his interest in the person and work of Arnold Schoenberg. * Not only did five .. immense symphonies and two major sets of so ngs reach completion during the Vienna decade, but two daughters were born- Maria Anna and Anna Justina. As if this were not enough, increasing acclaim as a composer took him to Germany, Holland and Italy to conduct his own symphonies. The year 1907 turned out to be the one that shattered Gustav Mahler's life. In a sense, it marked his true libera· tion as a creative artist, but it was the beginning of the end of his career as a member of the power elite in the music world of the day. Two of Mahler's major works- the Kindel"' totenliede?' ("Songs on the Death of Children") and the Sixth Sym phony, completed in 1904 and 1905 foretold with horrifying clairvoyance what the fates had in store for him. "For heaven's sake, don't tempt Providence I" was Alma's shocked reaction on learning the contents of the Kinde7'­ totenlieder. In the Sixth Symphony, tluee thudding hammer blows in the finale bespeak the crushing of ideals, of hope, of life itself- and that is how it happened with Mahler himself in 1907. It began with expressions of displeasure from higher powers over Mahler's giving too free a hand to h is favorite stage designer, Alfred Roller- a gifted but egotistical per­ - Ma hl er the cond uctor in full cry - a veritable sonage who took all too full advantage of the situation. Then came grumblings over :Mahler's frequent trips abroad statement of Mahler's true feelings. The day after the letter to conduct his own works and their supposed effect on box was tacked to the bulletin board, it was torn down-such office receipts. It was obvious to Mahler that harassments was the bitter feeling stirred up through the hate cam­ of this sort would increase to a n intolerable point; so he paign .waged by Mahler's enemies. tendered his resignation effective the end of the year. The On December 9 he set sail for New York. There being no second blow, and far more cruel, was the death of his major posts available to him in Europe, J'd ahler had COI1- 5-year-old daughter, Maria Anna, in July. Mahler's wife cluded a contract in midsummer to conduct at the Metro­ was completely prostrated. A doctor was summoned. As politan Opera. His debut performance on J anual:Y 1, 1908 he fini shed his examination, Mahler facetiously suggested was Tl"istan uncl Isolcle .-Singing the role of Isolde for the that he himself ought to have a check-up. The doctor took first time in New York was Olive Fremstad. Reported The him up on it and in a few minutes the third blow fell, New York Times, "The influence of the new conductor was "Well, you've no cause to be proud of a heart like that." felt and heard in the whole spirit of the performance ... . A Vienna specialist confirmed the diagnosis. His tempi were frequently somewhat faster than we have Mahler's fin al performa nces in Vienna, which included lately been accustomed to; and they were always such as his own R esunection Symphony and Beethoven's Fidelio to fill the music with dramatic life. They were elas tic and were those of one who, though numb with grief and under­ full of subtle variations." An auspicious beginning. mined in health, had been relieved of the burden of Atlas. Mahler's ways at the Met differed considerably from He even travelled to Moscow and to Helsinki (where he those ~f the Vienna years. Not that he was any less the met an up-and-coming composer by the name of Sibelius) harshly demanding perfectionist in purely rnusical matters. for concert engagements. On December 7 he drafted his He 'was apparently content to concentrate on the sQu nd of official farewell letter to the members of the Court Opera: the performance, as opposed to the incessa nt insistence on "Instead of a Whole, fini shed and rounded out, such as I perfection of stage setting' and action that he worked so had dreamed of, I leave behind only patchwork, incomplete, hard for in Vienna. The fact that he had the world's fin est typical of man's destiny... . I may venture to say of myself voices to work with- Caruso, Scotti, Chaliapin, Gadski, Sem­ that my intentions were hones t and my aim lofty. My en­ brich, Farrar, Eames, Destinn and Fremstad-undoubtedly deavors could not always be crowned with success. No one had some bearing on his change of attitude. Wagner and is so delivered over to the refractoriness of his material, Mozart were the mainstays of the Mahler repertoire at the to the perfidy of the object, as the executive artist. But I Met at first;. but later came Smetana's The BaTte7'u l Bride, have always put my whole soul into the work, subordinated Tchaikovsky's Pique Dame and Beethoven's Fidelio . One my person to the cause, m y inclinations to duty. I have not surprising aspect of Mahler's performances of Wagner at spared myself, and could, therefore, require of others their the Metropolitan was his allowing cuts; for in Vienna, he utmost exertions ..." These excerpts are but a moderate made his Court Opera audience sit through every note of the Bayreuth master's music-dramas. • It was in memory of Manon Gropius, the daughter born of that mar­ riage, that Alban Berg wrote his celebrated Violin Concerto. She had died It was not long, though, before Mahler's initial pleasure of polio in the spring of 1935; but the work also turned out to be Berg's at working with the Met was turned to bitterness. When own re'luiem, for he succumbed to blood poisoning Christmas Eve of that year, four months after completing the work. Gatti-Casazza took over the m a n ~ge rial post at the Metro­ 24 HiFijSTEREO radica l of today is the co nse rvative of tomorrow. What reall y counts is genuine self-expression. It is this that interests me. If a man writes a compos ition that is sincere, no matter if it breaks the old rules, that man must be admired." A far more rigorous schedule of Philharmonic concerts was set up for 1910-11 , including a tour all the way to Seattle-hardly the bes t thing for Mahler's health at this time. He was expected to co nduct 65 concerts. Meanwhile, the s U ~lmer of 1910 in Europe had its up and downs. His health became worse and his emotional life so disturbed that as a desperate expedient he sought help through an interview that August with Sigmund Freud in Leyden, Holl and. On the brighter side, he had completed his Ninth Symphony and was sketching out a Tenth. That September, in Munich, he achieved the greatest popular accl aim of his life in the role of composer, when he conducted the world premiere of his spectacular Eighth Symphony. It was this work which the Munich impresario, Gutmann, with a shrewd eye for publicity, dubbed "The Symphony of a Thousand" in view of the enormous choral-orchestral forces required. Upon returning to New York, he took up his work with the Philharmonic and by February 21 had conducted 48 concerts; but by this time bitterness had again set in­ conflicts over orchestra program policy, differences betwee n himself and the orchestra players were the aggravating elements. By February 20 he was running a fever, and the dynamo of high voltage intensity and expression. concert of February 21 was the las t he ever conducted. vVithin a few days, the results were in from the blood tes ts politan, beginning with the 1908-9 season, he brought his taken by the best New York doctors- streptococcus infection. star co nductor of La Scala, Milan with him-Arturo Tos­ Prognosis-poor, give n the primitive state of medical chemo­ canini. A chief condition of Toscanini's coming was that he therapy in those days. There was nothing left but to !t"e t be permitted to take over the Tristan und Isolde perform­ back to Europe to see whether the august doctors of medi­ ances, already strongly identified with Mahler. Too weary cine ~here might discover a ray of hope. April found the and sick at heart to put up a fight, Mahler gave in-another steadil y weakening Mahler in Paris under examination by a bitter pill to swallow! celebrated bacteriologist-no hope. The great Professor Summers were spent in Europe. Such appearances as he Chvostek was summoned from Vienna, who urged an im­ made in concert were as conductor of his own symphonies. mediate move to Vienna. During the train ride, Chvostek Das L ied von der Er'de was completed during the summer called -Alma Mahler to one side: "No hope-and may the of 1908 amid the splendor of the Austrian Dolomites. end come quickly." Not many days later, toward midnight When Mahler returned to New York in the fall of 1909 of May 18, Gustav Mahler passed beyond all inner and it was as Musical Director of the newly re-organized New outer co nflict. H e was six weeks short of his 51st birthday. York Philharmonic Society. T he first season, during which The burial, in accordance with Mahler's wishes, took place he conducted 46 concerts, was a d efinite success, despite in awesome silence at the non-sectarian cemetery of Grin­ conflicting opinions in the press. The powerful Tribune zing, just outside Vienna. Not a note was sung or played, critic, H enry Krehbiel (he was also program annotator for not a word spoken. A haunting musical evocation of that the Philharmonic), was vitriolic on the subject of Mahler's moment exists today in the last of Arnold Schoenberg's Six way with the Beethoven "Fifth," asserting in effect that Small Piano Pieces, Op. 19. It was left to Bruno \"'alter to the conductor's instrumental retouchings Wagnerized the pay the fitting memorial tribute by bringing to performance work. He was even more scandalized over Mahler's use of the two final completed masterpieces from Mahler's pen, two sets of timpani for the storm music of Beethoven's Das Lied von del' E7'de (Munich, Nov. 20, 1911) and the Pastoml Symphony. Ninth Symphony (Vienna, June 26, 1912) . As had been true during his Vienna period, Mahler in Mahler the man, the fearsome musical dictator, the fi ery New York had not the slightest hesitation in programming conductor was now a matter of history- and of legend to interesting' new works or unfamiliar older ones. The "music come. But the anguished and exalted music of this strange museum" approach to concert giving was not for him. H e and res tless man would find its home in the hearts of a even looked through some of the current output of Ameri­ future generation. What was originally Mahler's private can composers. He became interes ted in a Third Symphony anguish, anxiety and aspiration, given intensely poignant by one Charles Ives and indicated his hopes of performing expression in his symphonies and songs, would find its echo it in Europe. Unhappily, nothing came of it, but one is in the lives of millions undergoing the collective human tempted to speculate on what course Ives' life and repu­ experience from 191 4-on. The man, Mahler, was indeed tation might have taken-to say nothing of American music, "thrice homeless," but his music belongs especially to our had' the Symphony actually come to performance under particular Age of Anxiety. Of this we shall have more to Mahler's baton. Mahler's views on new music were explicitly say next month. set forth by him for the New York T"ibune in 1910 : "The (to be continued) AUGUST 1960 25 STEREO CARTRIDGE SIMULTEST

Oliver P. Ferrell / equipment

Part I of a Two Part Story

LABORATORY ANALYSIS OF THE FOURTEEN MOST POPULAR STEREO CARTRIDGES

An old tenet of high fidelity insists that phono cartridges and loudspeakers possess an individuality that cannot be HOW THE TESTS WERE MADE expressed in terms of technical specifications. Unlike ampli­ To perform the tests evaluated in this article a fiers and tuners, which are purely electronic and therefore variety of mono and stereo test records were thorough­ amenable to precise technical assessment of their perform­ ly investigated. Our findings as to frequency response ance, loudspeakers and cartridges belong in a no-man's land and cross talk (sometimes shown as "channel-to­ lying somewhere amidst the realms of electronics, acoustics, channel" separation) were made using the RCA Victor mechanics, and the plain old craft of musical instrument stereophonic test discs 12-5-71 and 12-5-73. These two making. The mixed-up technical ethnology of such a hybrid records provided 28 check points in the frequency range area makes it difficult for any set of printed data to describe of 30 to 20,000 cycles. The tolerances of the measure­ the individual sound quality of a given component. That is ments depended entirely upon the discs but were why so many experienced audiophiles approach this area within ±1.0 db. of a flat response curve. exclusively "by ear." Since we were aware that several cartridge manu­ facturers employ a sweep frequency test record as a Technical specifications, however, are beyond all doubt quality control check we also used the Pacific Trans· the only objective guidepost. And though they may not tell ducer 102M test disc. This record sweeps 20 times per the whole story, they tell an important part and their impor­ second over the frequency range between 70 and 10,000 tance should not be diminished. cycles. Sweep frequency oscillograms (where used in With this in mind, HIFI/STEREO R eview has made COI11- the story) were obtained by combining both the left and prehensive laboratory measurements on 14 stereo cartridges. right channels and feeding them into a Oynaco stereo We have then correlated these technical findings (Response­ preamp adjusted so as to flatten the response curve of Crosstalk, Square ' '''aves, Sweep Frequency, etc.) with sub­ the test disc. The sweep trace was then displayed on an jective reactions polled statistically from a group of 15 lis­ EICO 460 oscilloscope and photographed with a Topcon teners. Together, laboratory measurements and the subjec­ SLR camera. tive reactions represent two complementary and often cor­ In addition, we employed the Folkways fPX100 test roborative points of observation. They provide the perspec­ record that includes a 1000 cycle square wave. In this test the output of the two channels was again combined tive guide lines in which, we hope, the reader can accuratelv and fed through a voltage amplifier into the oscilloscope. construct his own mental picture of the performance and Each test cartridge was mounted in its own tone arm " personali ty" of these stereo cartridges. shell-the arm being the Audio Empire model 98. It Audio Empire: This company is one of the two compara­ features quick interchange of shells and may be easily dynamically balanced within 15 seconds. Each cartridge tive newcomers in the field of cartridge manufacturing. was played at 3 grams stylus pressure-except the About a year ago they introduced a Model 88 ($24 .50) Pickering 380C (4 grams), Shure M70 (4 grams) and which won plaudits for its "listenability." It has now been Weathers C5010 (2 grams). The three·speed turntable joined by Model 108 ($34.50) and to our knowledge this is was the Lafayette PK-245 with a constant speed hys­ the first test of this cartridge to be published. teresis motor. Voltage output levels and db measure­ Both cartridges are based upon the movino'-mao'net I)rin- ments were made with the aid of a Hewlett-Packard . I . b b CI.p e; I.e., the stylus is affixed to a miniscule magnet that 4000 vacuum-tube voltmeter. VIbrates freely according to the modulation in the record The "Response-Crosstalk" graphs show the average groove. The magnet is suspended at the focal point of fo ur of the two channels . . separate coils . . As _-tile ma gnet . ~'·i.brates thel'e, are weak volt­ _2~ " 10 ,

0 , - '\

0 /}~ .' "f--- A-E 88 V - 20 -- 1 , ---/ V j . -, 0 II! II I .0 100 IKe. laKe. 2OKC. FREQUENCY-CPS Square wave response characteristics of the Audio-Empire 108 (left) and Audio-Empire 88 (right). A perfect square wave would " rise steeply and trace a rectangle . The slight bump in the 10 I I model 108 trace along the top of the square wave seems to have , been cut into the Folkways recording. The 88 trace shows slight ~ "ringing" and overshoot which is quickly damped out. 0 - 5 - 6.l\ square wave) . .This peak is slight and it is rapidly damped -I0 \' j ,\. out-a good characteristic. Our Model 108 square wave tests "f-- I- V did not show any ringing, but instead produced a relatively A-E 108 ./ -20 1-1- / close facsimile of the waveform impressed on the test record.~' 5 Our listening jury acknowledges the cleanness of the bass I I III I and mid-range of both the Model 88 and Model 108. T wo 0 100 IKe. laKe. 2OKt. FREQUENCY-CPS of the fifteen jury members were sensitive enough to detect the slight lack of high frequency separation in the Model The graphs used in this article are read in the following manner. 108. Otherwise, the high frequency response of both car­ The top line in all graphs is the combined frequency response of the two channels. The bottom line (that always starts at 1000 tridges was deemed "very good." Rating the Model 88 cycles) is the combined ch~nnel-to-channel separation figure. against the Model 108, the jury-un knowingly-gave a great­ Most stereo discs have 99 % of their music information between er spread of votes ("excellent," "good," "fair") to the 88 (3 40 and 12,000 cycles. This is the boundary of the two lightly "excellent" votes to none for the 108) , but nevertheless shaded areas. A third shaded area appears between 9000 and ranked the 108 some 5 votes higher in the "good" category. 12,000 cycles and only ascends to 0 db. This area pertains only to a "bonus" separation (crosstalk) value. To be effective a car­ tridge should have excellent separation from 1000 to 5000 OUTPUT LEVELS cycles ; good separation from 5000 to 9000 cycles , and anything beyond that may be considered a "bonus." These output voltages (per channel) were derived from laboratory measurements. They have been con· ages induced in the coils. This voltage is then passed along verted to the standard 45/ 45 stereo reference value to the stereo amplifier. (1000 cycles recorded at 5 centimeters-per-second). Either the 88 or 108 cartridge may be used in a "profes­ The average stereo preamplifier or integrated am· sional" tone ann or record changer and at pressures up to plifier has an input sensitivity of 3.0 millivolts. A few 8 grams without damaging the stylus mechanism. Inter­ have sensitivities that are much higher. Check your changing stylus assemblies ($12.50) involves removing a small retaining screw on the underside of the cartridge and amplifier before buying a new cartridge. Be sure the replacing the whole stylus assembly. We rate replacement as cartridge can drive the amplifier to full output with "easy" and "foolproof." about one-third available output voltage per channel. Our response-crosstalk tests with the IV! odel 88 showed that the output is relatively constant between 30 and 8000 EmpireSS 7.2 millivolts cycles. As we went higher in frequency we encountered a Empire 108 5.8 " small dip at 10,000 cycles followed by a small peak at 13,000 Stereodyne II 8.4 II cycles. Channel-to-channel separation at 1000 cycles is ESL Micro/flex 20.0* " around 25 db, decreasing to 4 db at 9000 cycles. The curves E-V Magneramic 9.0 " for the Model 108 are remarkably similar to the Model 88, G.E. VR-227 _4.8 /I although there is a two db lessening in the high frequency Fairchild SM-l 6.0 " peak-which has apparently also been moved further out in Grado Custom 3.0 " 2.3 II the audio spectrum to 14-15,000 cycles. Channel-to-channel Grado Master Pickering 380A 9.0 .It separation in the Model 108 was not equal to that of the Pickering 380C 16.0 " NT odel 88. Distinct differences between the two cartridges Shure M30 5.4 1& were observed in the square wave tests. The oscillogram for Shure M70 6.0 1& the Model 88 shows slight "ringing" due to a high frequency Weathers 5010 7.2** II peak (left rising line goes into a small peak along top of

• We have reason to believe that the small peak visible on top of the " with transformers supplied by manufacturer square wave in many of these osciilograms was due to a fault in the original • . with passive coupling network supplied by manufacturer record cut. AUGUS T 1960 27 feeds some portion of the induced voltage to the stereo

'0 • amplifier. In phys ical appea rance the SteTeociyne II seems • rather odd, and mounting it requires patience and dexterity -more so than in any other cartridge in tJ' is story. Dis­ 0 ~ assembly for stylus replacement ($ 14.95) can be undertaken • without removing the cartridge from the tone arm shell.

'0 Our response-crosstalk tests revealed that both channels I - '- "r-r averaged ± 3.0 db variation in response level [rom 30 to , Stereodyne II 20,000 cycles. Crosstalk averaged around 25 d b down from -20 r-~ J 1000 cycles to 12,000 cycles and was still effective (greater 1 ) • than 15 db) to 17,000 cycles. T hese curves are indeed re­ -30 II II I I ~ ", IKe. - IOKe. 2OKC. 20 100 markable for their linearity. FREQUENCY-CPS Square wave tes ts indicated slight high frequency ringing Tracking ability of both models was "good" and the n eedle talk r ated as "less than average." Dynaco: This well-known manufacturer of amplifi ers re­ cently entered the cartridge fi eld by obtaining d istributing rights to the B &O St eTeodyne II ($29.95) _ Manufactured in Denmark by Bang & Olufsen, the Staeod), l1 e II employs the moving-iron principle. T his means that the stylus is coupled to a small metallic fragment tllat is set into vibratory mo­ tion within a strong magneti c field. Actuall y four mag'nets are used and around each is wound a "sensing coil" that

Dynaco Stereodyne 1/ sweep trace (left) and square wave reo WHAT ABOUT "BAD" CARTRIDGES? sponse characteristic (right). In reading this article you may become curious about cartridge designs that never make the grade. that was quickly damped out. Combining the two channels Shown in this box is an example of a stereo cartridge and playing the sweep frequency test record verifi ed the that looked good on the drawing board, but failed to sli ght dip at 7000 cycles and minor bass boost. live up to its "paper promises." Consequently, it was T he opinion of th,e listening jury was proof-if proof is not distributed to hi -fi salons for possible sale. Note this cartridge has a fairly smooth frequency really needed-that 'you can' t hear a response curve. J n other response curve from 30 to 4000 cycles, at which point words,. una,~a r e of the linear res ponse of this ca rtridge, the it begins a gradual rise to a peak at 13,000 cycles .. jury averaged their votes to "good." One disse nting vote Beyond this point the cartridge " rolled-off" rapidly. was made by a bass-sensitive listener who thought he heard Channel-to-channel separation was only fair. The square things around 60 cycles. All other members of lhe jury ac­ wave test shows considerable overshoot and " ringing" knowledge the sharp, crisp a nd clean sounds made by this cartridge, although the remaining two d issenters thought it I shy in the top end. I Tracking abili ty was notably "good" and need le talk . judged to be "much less than average." ·0 l ' Electro-Sonic: The cartridge tested in this story was the II · C99 Micro/ flex ( .49.50) -the " li ttle brother" of the expen­ 0 f \ sive CZOO C),To/lewel. U nlike the other canridges previous­ ' -r-- f ly mentioned in this story, the C99 operates upon the "re­ Cartridge X -I- 1/ verse" D 'Arsonval principle. T he basic D'Arsonval principle • has long been the functioning part of meter movements II III I that measure the fl ow of direct current. Electro-Sonic Labs '0 100 IKe. IOKC. FREOUENCY-CPS (ESL) has "reversed" this idea and attached the part that might be considered the indica ting neecUe to the phono stylus. In addition, the movements have been so arranged

•

0 • -' 0 -. - - • '\" 0 \ V due to the multiple high frequency peaks. The sweep .-- ESL Micro/ flex - 00 r---I- trace indicates that between 7000 and 10,000 cycles , the combined channel output is suffering from a very • -30 II III I highly damped shock excitation (trace ending is askew). 20 100 IKC. laKe. 2OKC. fREQUENCY-CPS 28 HiFi j STEREO CARTRIDGE WEIGHTS Contrary to som e opinion, the weight of a cartridge should only be of academic interest. In general, the weight reflects the design principle-the heavi est being moving coils (re­ qu iring heavy magnet structures) and the lightest being the cera mics. While increasing cartri dge weight adds mass to the tone arm and lowers the resonan t frequency (a good feature), the additional mass also increases inertia (a bad fea tu re).

Empire 88 9.0 grams Square wave response of ESL Micro/flex (left) and Electro·Voice Empire 108 10.0 II model 31-M D7 ce ramic (right). Stereodyne II 10.0 " ESl Micro/flex 19.0* tl as to provide two independent meter actions- one for each E-V Magneramic 8.0 4t channeL While the philosophy of such a principle (tech­ G.E. VR-227 10.0 tl nically a moving-coil design) is quite so und, the output Fairchild SM-! 13.0 " voltage is extraordinarily low. For this reason the manu­ Grado Custom 14.5 " £acture~ recommends the use of his step·up transformers (an ~rado Master 17.0 " u cycles it was around 10 db. The square wave test substan­ Pickering 380A 12.0 plifier input. Stylus replacement is not recommended for Pickering 380C 12.0 " Shure M30 8.5 Ii the do·it-yourself fan and the manufacturer recommends re­ ShureM70 8.0 /I turning the cartridge for overhaul and stylus replacement Weathers 5010 3.0 ($25.00) to their factory in Long Island City, N. Y. " Tests for response-crosstalk of the C99 reveal a nominally "does not include base plate flat characteristic from 30 to 7000 cycles. From this point the C99 goes into a broad peak of not more than 5 db, but extending from 8500 to 15,000 cycles. Crosstalk was more bling block has heretofore been the mechanical linkage be­ than 20 db down from 1000 through 7000 cycles and at 9000 tween the stylus and , the ceramic elements. Electro-Voice cycles it was around 10 db. The square wave test substan­ now seems to have soived these problems by developing a ti ated the high frequency peak and apparently due to the special independent driving· yoke assembly that moves me­ broadness of this peak the test indicates that ringing with chanical resonances out of the audible range. overshoot (minimum damping) is somewhat pronounced. Ceramic elements are what is known as high impedance Unfortunately, the cartridge tested for this article arrived devices-unlike the low impedance moving-iron and moving. in our hands too late to be included in the listening jury coil magnetic cartridges. Phono inputs of preamplifiers, audition and examination. However, as might be expected however, are standardized for low impedance cartridges. To [rom the above tests, the C99 is a very bright sounding car­ overcome this bottleneck, the people at E-V have built a tridge of low distortion. The bass was found in our prelim- · super-subminiature printed circuit .into cartridges of the inary tes ts to be full·bodied, clean and well·balanced with 31-Sel'ies. The output of this circuit can then be fed directly ,. relatively unmuddled transients. into the "Mag" input of all stereo aml)lifiers. Tracking ability of the C99 is exceptionally g·ood and Stylus change of the 31-Sel'ies ($9.90) is relatively easy. needle talk was probably the lowest of any cartridge tested. Our response·crosstalk tests gave proof to the linear out­ Electro-Voice: The currently available 31 Series ($24.00 put of the ceramic-being within ± 2.5 db from 30 to 18,000 for the 31-MD7) is the third ceramic stereo cartridge manu­ cycles. A minor "presence" rise was noted between 3500· factured by this company. Earlier offerings included the 6000 cycles amounting to about 2.0 db. Crosstalk measured 21 SeTi es and 26 Sel'ies-many of which are still in satis­ out at 24 db down at 1000 cycles, gradually dropping to 11 factory use. The ceramic (actually two elements of zir­ db at 9000 cycles. Our square wave test indicated that the conium titanate) generates its own voltage without aid of "presence" peak created some slight ringing around 6000 magnets and coils. Theoretically, it should be possible to cycles, but this was moderately well damped out. develop a very smooth frequency response and a high order The listening jury were mostly impressed by the clean of crosstalk rejection with ceramic transducers. The sturn· highs and sharp, bright transient response of the 31. Voices were acknowledged to "stand out" more with the 31 than in some cartridges tested in this story. The majority of the jury voted the 31 into the "good" category, one member 0 thought it outstanding enough to grant it "excellent" and • the remaining group called it "fair."

0 Tracking ability of the 31 is fairly good and needle talk ~ . was rated "average." • It should be noted that the 31 must be used with fully ... 10 A ..P screened leads from the cartridge output terminals through .. '--f- the arm and into the jack connections to the amplifier . E·V 31·MD7 -20 -- *' ·Without the screened leads there is a possibility of some ,/ , a.c. hum pickup. The manufacturer supplies these leads ,iii!! with each cartridge. - 3 0 I I III I '0 100 IKe. JOKe. 2OKC. FRE~UENCY-CPS . (to be continued) AUGUST 1960 29 Richard Loderh ose at the console 0/ the fou r·manll al Pipe Wurlitzer. dream come true .. . for the king of Below, th e iHighty Wu rlit:er's do -it -yourselfers private quarters seem to d war J the owner's hom e. Frank Jacobs / reportage

If a national do-it-yourself award is took the fantastic relocati on project in labor, the las t of the ' '''urlitzer's thou­ ever established, it could ver y easily go 1956. Having purchased the ",Turlitzer, sands of parts were put into storage. to a N ew York businessma n named he faced the first major chall enge: get­ While the dis-assembled organ rested Richard Loderhose. ,,,Tith an astonish­ ting it out of the building. The organ quietly, Loderhose wrestled with the ing lack of outside aid, he has installed consisted of a one-ton main console, a problem of where to install it. 0 man in a wing of his suburban home one of Y2 -ton auxiliary console, two Y2-ton to do a slipshod job, he decided to acid the largest theater organs ever made. console "cradles," more than 2500 a lm'ge new wing to his already spa­ Loderhose's acquisition is the famous pipes, and many feet of heavy electrical cious home. Completed in 1957 , the Mighty ' '''urlitzer which was housed in cable. Added to the diffi culty of moving sturdy brick addition measures 70' x 26' the Paramount Building in Manhattan the sheer weight, bulk and number of x 17', and is connected to, ye t inde­ for nearly thirty years. It was built in the components, were time limitations. pendent of the house itself. A bout half 1928 to the exact specifications of J esse Since the only egress from the eighth the structure houses the organ's vast Crawford, and was so precisely planned floor of the building was through the number of pipes and its electronic and put together, that it became Paramount motion picture theater nen oe ce nter. The other half se n oes as known as the "dream organ." Loderhose and his helpers could work an acoustica ll y superb auditorium. seat­ The M ighty ' '''urlitzer was eventual­ only from midnight, when the theater ing lOa people comfortably. The build­ ly heard by millions during an exten­ was closed, until seven a.m., when it ing has its own heating and air cond i­ sive series of CBS' Network broadcasts was cleaned. To top it all, the consoles tion ing units which hold the tempera­ during the thirties, and Crawford used were much too large to get through the ture at 78 degrees. The organ has been it for many of his recordings. With the doorways leading to the stairs- aad tuned to that temperature. possible exception of the great organ fi ve stout walls lay between the instru­ Having fini shed the building, Loder­ in R adio City Music Hall, more Amer­ ment and the staircase itself. hose had the organ's countless parts icans have heard the Paramount Studio Neve rtheless, the resourceful Loder­ d elivered from storage by fi ve moving "dream organ" than any other. hose, with the necessary permission and vans and deposited, literally, at his Loderhose, a successful Manhattan the help of his crew, chopped a sizeable doorstep. Now all he hac! to do was to industrialist endowed with a Schweit­ removal route through these walls and put it together. Nearly all of his week­ zerean knowledge of the instrument toted the consoles down eight fli ghts of eNds were spent in the new wing. He

'aFld 'with ° infi:nite 'perseverance; under­ stairs. Finally, after nine weekS of often - would become soo engrosse(\ in

, 30 ° Hi F i /,S TE REO the pipe arrangements that he would RECORDED ARTISTRY ON THE MIGHTY WURLITZER

work well past his usual bedtime. Of 12" monaural-$4.98 and stereo-$5.98 course, he could not neglect his resin A HIGH FIDELITY INTRODUCTION TO SING ALONG WITH THE MIGHTY a nd adhes ives business for the sake of THE WORLD FAMOUS WURLITZER PIPE WURLITZER the organ, and consequently, for fully ORGAN FORMERLY OWNED BY PARA­ - Dick Scott a year, he li ved on less than five hours MOUNT PICTURES CORP. United Artists UAL 4058 .. - Dick Scott UAS 5058 (Stereo) sleep per night. H e rarely had time to Johnny Seng CHRISTMAS IN YOUR HEART speak to his wife, who refers to this Don DeWitt - Reginald .Foort United Artists UAL 4059 period as her "temporary widowhood." United Artists UAL 4057 UAS 5059 (Stereo) UAS 5057 (Stereo) The magnitude of this assembly job BEYOND THE BLUE HORIZON ORGAN TREASURES can be judged by the size, complexity - Johnny Seng - Don DeWitt United Artists UAL 4056 and the almost fantastic m usical capa· United Artists UAL 4055 UAS 5056 (Stereo) UAS 5055 (Stereo) bilities of the assembled organ. It wo uld take an electronic brain to com· p ute th e number of combinations of so unds that the Mighty 'Wurlitzer can produce. Every instrument of the sym· phony orchestra can be imitated, as well as the sound of the human voice. A nd, of course, there are dozens of stops which pipe out those good, old· fas hioned tones that large classic organs are known for. Though at first glance the vVurlit· ze r's pipes resemble a maze of vertical tubing, each rank is arranged in proper order and can be reached by wooden catwalks which crisscross through the chambers. To the rear of the pipes is the organ's nerve center, the relay room. This is a. great complex of wires and connections which resemble the Above, looking down the throat of the innards of the switchboards often pic­ largest pipe in the organ-the 16· foot GGG stop of the Diaphone. Above tured in telephone advertise ments. right, one 0/ the several walkways in T he pipes get their air from a power­ the main and solo chambers. Right, ful blower which is kept pumping by a owner·organist Loderhose exhibits 20·horsepower motor. The upkeep of both the smallest and the largest pipe this eq uipment has proved a perpetual (an eight·foot Frell ch trumpet) 0/ a 73'pipe set. The Wurlitzer contains so urce of wonder to Loderhose- his gas over 2,500 pipes and horns. Far right, bill alone exceeds $100 every month. a rear view 0/ the rare Wurlitzer H e calculates that h e has spent more Ghrysoglott with Vibraharp attachment. Ulan was spent for the origina l installa· Below, a portion of the main chamber. Below, right, the large solo expres· tion in the Paramount Building. sion shutters between the chambers Ben Hall, a leading authority on and the auditorium can reduce theatre organs, recently commented the giant sound to a whisper, and are that Loderhose's instrument is most un­ operated electro· pneumatically from usual in that it can be played. "Put­ the console. ting an organ together is a tremen· dO ll sly complicated business." he says. "It's a near miracle that this one is in perfect working order and not spread out on the floor like so many others." Loderhose, who records for United Artists under the nom de g ll elTe of Di c.k Scott, is quite justifiably proud of his Nl ighty Wurlitzer. "There are so few organs left in theatres today that I JU St had to have one for myself," he says. "This organ is the most versatile of a ll of them ... the only private organ with two consoles. It's the fll1est one of its kind ever built, and you might as well ha.ve the best if you can get it." AUGUST 1960 3J All FM receiver, when tu.ned oil a sta­ SOUND tion, prodlLces a steady background 0/ • forum for dispensing hiss. When a station is received, this act io a vates the tlLn er's "gating" circuit, which with the most common-and reduces the background hiss in direct pro· and the portion to the strength of the station. For often the most unique­ this reason, tuner sensitivity ratings are problems of stereo hi fi expressed as the amount 0/ input signal i QUERY voltage [,hat is required to bring about a certain amOltllt of reduction in back­ Tone Arm Weight grid, the tube will draw far too much cur­ ground noisc. The more sensitive the reo "Vhat effect does the weight of a tone rent, and will bum itself out. With a great ceiver, the less input signal is needed to arm have on the performance of a stereo deal of grid voltage, the tube will draw achieve a cerwin amount 0/ quieting. cartridge? I am not referring to the track­ too little current, and will distort an)' Thus. (/. tuner that requires 5 microvolts ing force exerted by the ani1, but to its audio signal passing through it. For mini­ (p.v) of input signal for 20 db of quieting total moving' mass. lnll.ln distortion and ma:dmum gain, this is JIL st half as sensitive as one requiring ,V. Mason n.o-signal "static" current must be set at 2.5 p. v of signal/or 20 db of quieting. Scranton, Pa. a definite and fairly critical value, which Incidentally, this assumes that the ratings differs /~om one tube type to another. we are comparing were made under iden­ Then when the audio signal is applied, the A tone arm should be heavy enough to tical conditiolls. A' sensitivity rating based resulting changes in the tube's currellt prevent the entire cartridge from wiggling on signal strength applied to a 75 -oh m will take place over a lin.ear (low-distor­ from side to side when tracing a deep antenna input, for instance, will be tion) part of the tube's operating range. bass tone, yet light enough to permit the' equivalent to twice the stated input volt· The fi xed DC voltage applied to the grid cartridge to ride warped or ofhcenter discs age on a standard 300-ohm antenna. Sensi­ to obtain the proper value of static cur­ without sustaining excessive strain. tivity mt,ings referred to different degrees rent is known as the tube's bias voltage, The mass 0/ the tone ann and the {lexi­ of quieting are not directly comparable, and it is this voltage that is varied by the bility or compliance 0/ the stylus comprise because the relationship between signal BIAS control on you.r amplifier. the elements 0/ a resonant system, which .

William J. Paisley / prognostication

"Vhate,'er your Op1l110n of mUSICIans, resolve to think music. RCA's fl edgling Electronic rvIusic Synthesizer h .1.s kindly of them in the future, Be charitable. Be ready with proved that all conventional instruments can be imitated a sympathetic smile and a reassuring word or two. Think with uncanny (and eventually perfect) accuracy. how you would feel if YOUT profession stood on the cliff·edge Perhaps most disconcerting to musicians is the fact that of extinction. composers are following the growth of electronic music with Electronic music, composed on magnetic tape, tolls the warm curiosity. Stravinsky remarked recently that he was knell of the performing musician. The composer of elec­ "very much interested in electronic music." The seventy­ tronic music is his own interpreter and performer. The eight-year-old bellwether of mod ernism added wistfully, "If fina l and definitive statement of his intention is the tape I were young, I myself would compose in that idiom." on which h e composes. Young composer Roman Vlad has no reservations on the ' '''hen electronic music comes of age, performing musi­ subject: "If we believe that the evolution of music cannot cians will not be need ed to produce even conventional come to a full stop, then it is at present only through elec­ 34 HiFi/STl:."R.l:.O • tronic means that we can ·progress." string orchestra under Toscanini; his Hammerklavier Sonata Composers traditionally have looked with favor on sys­ suffered equally at Weingartner's hands. Schubert's Grand tems that promised, rightly or not, to perform more de­ Duo became a symphony in spite of itself. pendably than flesh-and-blood musicians. Bach has been transcribed a-llC! re-transcribed so oEten Chopin, for instance, saw promise in the invention of a that it becomes difficult to remember which versions came singing robot called Euphonia. H e wrote to his parents in first. His solo works have been orchestrated; his orchestral 1846, "1£ opera directors could have many such and?'Oicis, works have been transcribed for organ. Segovia hilS culled they could do without chorus singers who cost a lot and give his scores for guitar melodies. Szigeti has decided that the a lot of trouble." D-M inor Clavier Concerto is actually a violin concerto. The more a composer deals with musicians, apparently, Villa-Lobos has justified the instrumentation in his own the more in cisive his opinions become. Mascagni's lifetime Bachianas Bmsileims by transcribing Bach for the same of experience with tenors led him to observe that the Italian plethora of 'cellos. An .edition of Bach for the harmonica language offers three degTees of comparison: stujJicio, stu­ is being contemplated. jJiciissimo, and tenore. Electronic music will eliminate such distortions by allow­ Beethoven liked to reminisce about pianists he heard as ing the composer himself to experiment with effects until a child. "Not like the pianists of today," he would scoff, he discovers and captures on tape the one he wants. Once "who prance up and down the keyboard with passages they he has it on tape, no conductor can second-guess him and have prac ticed-jJUtsch, jntlsch, jJUtsch ." assume that some quite different effe ct was Teally wanted. A composer naturally regards musicians as "devices" for The composer will not be impeded, eitller, by an orches­ conveyi ng musical thought. Often the "device" is not ade­ tra's limitations, whether inherent or established by the quate to demands made on it. Music history is a d epressing union. He can rehearse his piece, if he wishes, throug'h chronicle of composers frustrated by musici ans who could thousands of hours of variations. not or would not play difficult music. Besides eliminating distortions, electronic music will open Schubert's Great C Major Symphony was little known heretofore untapped reserves of sound. Electronically until this ce ntury because orchestras mutinied when COIl­ speaking, there is little difference between waves of orches­ fronted with its complexities. After Schubert's initial dis­ tral sound and waves of sounds not yet heard on Earth. appointment in 1828, the Symphony lay in obscurity until R ecent attention focuses on a system located in the studios 1839, when Robert Schumann re-discovered it. Schumann of ''''es tdeutscher Rundfunk at Cologne. Unlike RCA's and Mendelssohn labored to have it performed in several initial effort, the Cologne generators are deliberately nOIl­ cities. When Mendelssohn was rehearsing' it in London in imitative. They are designed to allow infinite variety of J 844, the players refused to go on. In France the Symphony the fundamental characteristics of sound: (I) pitch, (2) was performed first in 1851 , the musicians failing' so utterly to realize its beauty that it did not receive another French performance until 1897. The now-celebrated suppression of Shostakovich's Fow·th Symphony followed complaints and grumbling by the or­ chestra that had been rehearsing it; they thought it overlong and tedious. Shostakovich, always a res ponsive political weathervane, decided that the voice of the proletariat had been heard. He immediately set to work on his short, snappy, hell-raising Fifth. After recalcitrant orchestras have taken their toll, con­ ductors have a free hand with what's left. Few deliberately sabotage a performance (as, for instance, the premiere of Berlioz' R equiem, when, in a crucial passage, Habeneck laid aside his baton and took a pinch of snuff) , but ignor­ ance and obstinacy make up for the lack of bad intentions. Even unwittingly, a conductor remolds compositions to fit his musical philosophy. The style on which a conductor builds his reputation is very often based on distortions in interpretation. If composer and conductor belong to the same tradition (for instance, Mahler and W alter) , what results is probably faithful to the composer's intention. 'I\lhen different traditions collide (for instance, Bach and Koussevitzky), what results is musical heresy. Especially in this century conductors and editors display a curious contempt for composers' rationality. The pre­ vailing modern notion is that a baroque or classical com­ poser didn't really know what he was doing when he speci­ Incensed at the failings of human singers, Chopin saw fi ed certain instruments for certain pieces. Beethoven's promise in the invention of a singing humanoid robot • G1·eal Fugue, for instance, has been performed by a full called " Euphonia. "

35 AUGUST 1960 Also presagillg IIILisiqll C cOllcret e wer~ the group o( Ital­ ian futurists, led by BaliJla Pri ltella and Luigi Russolo, who startled Europe with their " no ise music" just before '''' orld "Var I . "Noise music," although surro unded with elegant aesthetic theories, was composed mainly of ,IllIscella neous crashes, roars, whistles, hisses, shrieks, and thuds. Paris, a city well -deserving its reputation for hostility to new music, proved so unreceptive to crashes, roars, whistles, hisses, shrieks, and thuds that the Italia ns h ad to divide their forces between music-making a nd skirmishing on the stage apron. Nicolas Sionilllsky r eports that eleven persons from the audience had to be hospitalized, while the futurists escaped with minor bruises. Ernest Newman, apparently stirred by " noise music," o f­ fe red the following as a model for future reviews of such concerts: "Concert Signol ~ Pratella futurist music h elp h elp After giving a program composed of crashes, roars , hisses, whistles, help police miau miau discord noise holy Moses cries of shrieks and thuds, the Italian Futurists proceed to fend off an un- wounded ambula nces lint trepanning cut it out boorn bang sympathetic audience. crash he-he-he-h e help help want my money back shut up duration, (3) noise- sound of indiscriminate pitch, (4) you fool police Lord Mayor soldiers Riot Act boom slash volume, (5) timbre-modification of basic tone by har­ bang another blood vessel burst bang bang boom my hat monics, (6) vibrato, and (7) attack- build·u p of volume where's yo ur ' '''agner pow thank God that's over wow wow when tone is sounded . let's go a nd h ave a drink." In the Cologne system fundamental tones are produced Natural musique concrete has been infiltrating otherwise by vacuum-tube generators similar to those used in elec­ conventional scores for decades. Bird-songs h ave long been tronic organs. RCA derives its fundamental' tones from popular; they are especially prominent in R espighi's Th e vibrating tuning-forks. In each case the fundamental tone Pines of Rome. Barking cl ogs turn up in Piston's T he In­ (which is represented graphicall y by a sine wave, and sounds credible Flutist and Grofe's Hudson River Suite, which also rather like a flute) is modified by combination of the six features the .sound of a bowling ball striking pins anel the remaining va riables. sound of a whipcrack. Shostakovich's Symf)hon)1 No.2 in­ Karlheinz Stockhausen, Cologne's composer-in-residence, cludes a factory whistle, a nd Gershwin's An AmeTican in h as d eveloped a score on which all these variables ca n be Paris is augmen ted by taxicab ' horns. Nicholas Nabokov's noted. He composes on the score, then interprets his com­ work on R asputin, Th e !-loly D evil, evokes aural imagoes of position by combining electronic tones on tape. Czarist Russia by means o( a n a ntique and scratchy gramo­ Stockhausen envisions a concert hall of the future in phon e record. The rnost famous example of all , of course, is which audie nces will h ear music from not one but six di­ J oseph Haydn's Toy Symf)hony (or, perhaps, L eopold rections: ahead, behind, both sides, above, and below. To Mozart's Toy S)11I1 /Jlw ny) , which features a to)' drum, a toy make this possible he h as design ed a spherical auditorium trumpet, a ratchet, a "cuckoo," a "quail," and a "bobwhite." in which the audience is seated on a suspended central The compatibility of a ll three sys tems-co.nventional, elec­ platform. "Vhen tomorrow's concert-goer ve ntures across tronic, a nd conc1'ete-has already been demonstrated, and the catwalk to his isla nd seat, he will be immersed, if not we may expect to be subjecteil to experimental combina- drowned, in electronic sound. D etermined not to be ca ught unprepared by this musica l millennium, Stockhausen com­ poses on six-cha nnel tape. Althougoh it is painful for him to compromise on the point, Stockhausen occasionally plays compositions through monophonic sys tems in existing concert halls. He recently completed a n American tour d uring which his music was p erformed in several cities, to the amazement a nd amuse­ ment of provincial audiences. While Germany, France, a nd Belgium explore the elec­ tronic fron tier, all Europe has fallen under the spell of musique concd:te. Derived from the sounds of everyday activities (automobile motor, ping-pong, running water, steak frying, vacuum cleaner) , musique concTl!te requires 110 musicians. Equally favored at present are two varieti es: natural a nd transmuted. The natural variety is, simply and literally, nature. T he transmuted variety is so modi­ fied by electronic hocus-pocus that it approximates "pure" electronic music. Both varieties exist as music only on tapes a nd discs. The p oet Baudelaire a nticipated modern absorption with musique co ncrete when h e remarked, "I love Wagner, but the music I prefer is that of a cat hanging by its tail outside a "Natural" musique concrete, derived from sounds of everyday activities, window, trying to stick to the panes of glass with its claws."- requires n.o _musicians. 36 HiFi/STEREO Even as Stockhause n has been absorbed with the tech- . n ica l aspects of electronic compositiqn, Boulez ha·5 been A DISC~GRAPHV OF MUSIQUE striving to defin e its aesthetic boundaries. He acknow(edges CONCRETE AND ELECTRONIC that "previously fixed limits are now suspended; they even MUSIC become ~ sort of negative cliche." A danger, however, is that ,. "the very freedom which the composer sought becomes cha­ otic; if it is not limited, all work loses its meaning." Introductory Boulez cautions against absorption with mechanical novel­ Strange to Your Ears (J ames Fassett)-Columbia ML 4938 ties inherent in the equipment (for instance, several h eads Synthesis of Music ( RCA e lectronic music synthesi zer) ­ in seq uence will produce a perpetual canon from any loop Victor LM 1922 of tape) . He believes that "only a primitive mind wi ll be Symphony of the Birds (James' Fassett)-Ficker 1002 Adyentures in Cacophony-Audiophile 37 impressed with the wonders of the machine." Dr. Herbert Eimert, director of the Cologne studio, main­ Collections tains he is not much troubled by "bewailing on the p art of Sounds of New Music (tape wo rks by He nry J acobs, dilettantes of the element of spontaneous music-making Roger Marin a nd Frederic Ramsey J r., Otto Luening and Vladimir Ussachevsky, etc. )-Folkways 6160 A Panorama of Musique Concrete-London Ducretet­ Thompson DTL 93090 (imported)

Electronic Compositions Glockenspiel, Etude iiber Tongemische, Fuenf Stiiecke Elecfronische, (with spoken introduction in German by the composer, H erbert Eim ert)-Deutsche Grammophon DGG-LP 16132 (imported) Klangfiguren (Gottfried Michael ,Koenig )-DGG-LP 16134 (imported) Spiritus Intelligentiae Sancfus ( For vo ices and electronic sounds by Er nst Kr enek )-DGG-LP 16134 (imported) Gesang der Jiinglinge I, Studie I, Studie 1/ (Karlheinz Stockhausen)-DGG-LP 16133 (imported) Suite from" King Lear," A Poem in Cycles and Bells (Otto Luening and Vladimir Ussachevsky)-Composers Record­ ings Inc. CRI 112 Rhapsodic Variafions for Tape Recorder and Orchestra Luening and Ussachevsky) -Louisville "545-5 Tape Recorder Compositions (Luening and Ussachevsky ) -Innovations GB I (collectors item) Piece for Tape Recorder (Ussachevsky)-overside of CRI 112 Concerto for andes Marlenot and Orchestra (Andre Jol­ ivet )-Westminster XWN 18360

More Musique Concrete in Conventional Scores Stockhausen 's spherical concert hall may immerse-or (supplement to pieces listed in the article itself) perhaps drown- tomorrow's concertgoer in music from six directions. Bal/ef Mecanique (Geo rge Antheil)-Urania sfereo 1034, mono UX-134 Concert.o for Tap Dancer and Orchestra (Morto n G o uld) -Columbia ML 2215 which is sa id to be lost in electronic musi<;." He is con­ Ionisation (Edgar Va rese) -Urania stereo 1007, mono vinced that "spontaneous music-making of a ny :value" is UX 106 actually the product of hundreds .of hours of practice, that Defies Classification it closely approaches electrclIiic constants in its "studied Sonafas and Inferludes for Prepared Piano (John Cage)­ precision. " In any event, the privil ege of spontaneity has Dial 19/20 been given back to the composer: ... ust in Fun If electronic music diminishes the number of musicians, Hoffnung Music Festiyal Concerf it will increase the number of composers. Composing has Hoffnung Interplanetary Music Festival not bee n a do-it-),ourself activity since the 18th century, -Angel stereo S 35500, mono 35800 when every well-bred gentleman or lady co uld improvise on flute, violin, or harpsichord. Music's golden 18th century may well be eclipsed by a Twenty-first century in which everyone wi th "music in his soul" will have at hand the tions for some time to come. Such forms as opera a nd or­ technological facility to express it. atorio will be final refuges for live musicians; audiences may not quickly accept an electronic Cia-Cia-San. The rift is already widening, however, between electronic music and musiCJue co ncrete. Pierre Boulez, the foremost Willillln Paisley is primarily a fiction writer but hopes I.hat I.his French electronic composer, scorns what he calls "the ersatz background won't refl ect on the veracity of his factllal articles. natural sound world" of musiCJue COnC1"ete. U nless they are reconciled in the work of a yet unborn genius, electronic H is interest in music and audio finally merged into a serious pre­ mu sic a nd musiCJue concrete may eventually grow as far occltpation with electronic music. At present, Bill, a jOltrnalisllt from each other as Schoenberg from Schubert. graduate, holds a teaching fellowship at S yracuse University. AUGUST 1960 37 STEREO

Your stereojJ/1onic hi-fi system may be AND THE "news"! We'Te on the lookout for offbeat ideas, providing they ?'eall), wO'rlc Have you a steTeophonic hi-fi layout that's not ENVIRONMENT exactly accoTdil1g to the "book"? Sketch it tor us, along with 200-250 WOTc/S of clesc?'iption, Publishable suggestions will be paid $40 upon acceptance. In cases of Every home presents dulJl-ication, tile letter with the ea'rliest jJost InaTh will be accelJtecl. a unique setting­ but stereo adapts to them all

Problem: Component placement in the basem ent. Solution: Enclose stai1' deTri(h"e . Harold "Veinstein's subterranea n den has no shelves, nor any other convenient place for his stereo components. H owever, he found the solution to his unusual problem through a staircase descending from the upper floor. By enclosing the back of these stairs, he created ample space (or his audio components a nd also improved the ap­ pearance of his basement ro"om. The amplifier and tuner are mounted in a book­ case with wheels and hinged sides, which forms a door and also allows the newly en­ closed space to serve as a closet. Two corner loudspeakers, shown here in the fore- . ground, project stereo sound toward the carpeted center area of the room.

38 HiFi/STEREO Problem: Covering a large room with 1nulti-location steTeo. Solution: A th1'ee-speaker system and the use of 1'eflector S~~rf (LC eS . The Wiggins family of Plainfield, N. ]., is a peripateti c lot who ca n't see m to settle on one permanent listening location. To keep the wandering ' '''igginses supplied with stereo in almost any part of their large living room, Iv[r. Wiggins devi sed a three-speak­ er sys tem with a diagonal so und throw on speaker A and an upward-facing tweeter on ;; speaker B, whose treble output was diffused over a wide area by the wooden sound refl ector D. Moreover, by manipulating the balance co ntrol for speakers A and B and the center channel blend control for speaker C, the optimum stereo area could be "swung" from side to side like a spotlight to fall upon virtually any sector of the room.

Problem: Speake1' placem ent using neither floo r nor shelf space. Solution: Mounting bookshelf speakers into a ceiling transom. T he fi eldstone walls of J ack Blowers' house in Kalamazoo were the pride and joy of its owners, and particularly Mrs. Blowers, who was not just about to hide those handsome stone textures behind any shelves to support a pair of bookshelf speakers. They also felt that the austere modernism of the living room would be compromised by floor-based speaker units. T he solution of recessing' a pair of bookshelf speakers into a ceiling transom not only solved the space problem, but the ceiling surface being so closely adjace nt to the speakers aided bass propagation while the ceiling slant prevented the formation of standing waves.

AUGUST 1 96 0 39 T MAN Bob Abel / jazz JlMusic is Ornehe Coleman. the man with the white plastic S,DW­ phone, is easil y the most controversial figure in jazz today. for H e has been called, in print and out loud, just about every­ thing a musician can be, plus a few he can't. Depending our feelings," on yo ur ear, Coleman is a "dazzling musician," a fake, a says genius, an "amazing" 'Saxophonist, a "fumbling neophyte." One opinion is that "he swings like hell! " Another holds that h e "is opening new vistas-for psychiatristsl" OrNeTte Since jazz is currently enjoyin g- a new peak of popular acceptance, it is not surprising that some of the indictment COLemAn, and endorsement for Coleman has originated with so urces quite some distance from the mainstream of jazz criticism. whose disturbing, Newsweek featured Coleman in a February 29 rundown on voicelike art modern jazz; J ule Styne, composer of many musical com­ edies, declared on television tbat he likes Coleman, but has divided critics misses that good old rhythm you ca n tap a foot to; HaTjJeT'S Bazaa?' registered an unexpected vote for Coleman in its and musicians January issue, which included a colorful report on how " the alike intense, cacophonic jan .of a.Jto saxophonist Omette CQle­ man has the veteran way-out world all agog." Adding a into warring camps

.40 . HiFijSTEREO • "Bird would have understood us. He would have approved our as­ piring to something beyond what we inherited. "

-Ornette Coleman (as told to Gary Kra­ mer ) Atlantic 1327 : Change of the Century

Ornette Coleman's New York debut in the fall of 1959 at Greenwich Village 's Five Spot cafe i touched off critical fireworks that are still sputterin g

dash of hyperbole to her enthusiasm, Feature Editor Geri Trotta spun a tale wherein Coleman, on his fir st trip' to New York last fall , had "Pied Pipered the beatniks into the bulging Five Spot [Cafe] until da wn." Coleman's reputation, fortifi ed by the reliability of News­ wee /( , fattened by the female vote and inflated by the winds of controversy, soon came to resemble that of some larger­ than-life 'Cinemascope' character. whose stereophonic· sax­ ophone only produces sounds from out of outer space. But TH w I E TIC A any resemblance between this reputation and the real article Coleman has been able to author a radical and highly per­ is strictly accidental. Coleman ·is hardly the "Pied Piper" so nal new sound which must either alter jazz to some degree type. Nor is he the "lecturer in Sanskrit (and broken Sans­ or be divorced from it. The noted critic, Leonard Feather, krit, at that)" conjured ~p by The New Yorke1'. In real has pointed out that there have been only a handful of life, as they say in the movie magazines, Coleman is a slim . fi gures in jazz history whose playing revolutionized, then soft-spoken. ge ntle man who seems to be utterly without standardized anew, the role of their instruments. Feather affectiltion. even sophistication if you will. Friends of this named Louis Armstrong, Chick Webb;· Lester Young, serious-minded musician have affectionately referred to him Charlie 'Christian, Jimmy Blanton, "Dizzy" Gillespie and, as a "kind of celestial fi gure," and there is a wry sort of of course, Charles "Yardbird" Parker. In his playing and accuracy to this description. Amidst all the huzza h and writing, Coleman has gone back to Charlie parker to take a hubbub attendant to his music. Coleman remains calm, step forward, but in his own direction, away from the Faith­ almost placid in his disregard (or controversy, both imagined ful who believe that " Bird" still lives- only in th em. and real. In one sense, he has become inurned to nega tive Parker, in a now-famous quote, once spoke of that fateful notices simply because he has been getting them all his life. day in 1939 when he first realize-d that he could pIa)' the "They can like whatever they want," Ornette says, assigning things he'd "been hearing" 'by 'using the higher intervals to critics in ge neral the same freedom that he, as an artist, of a chord as a melody line and backing them with appro­ claims as his birthright. priate changes. "I came alive," P arker said. It took Cole­ This sense of freedom is the core of Coleman's music; it man the b ~ tt er part of ten years to become "alive" in his is the key to his apparent invulnerability to criticism. Be­ own way. Although he has benefited from the same sort cause h e believes there is no single 1"ig(zt way to pl.ay jazz, of intuitive insi'ght as Parker, Ornette has h ad to go even

AUGUST 1960 41 further in his plumbing of the improvisatory depths. The The Critics Say: traditional chord structure, even as modified by Parker, will by its very presence limit the freedom that Coleman desires in his improvisation. Simply stated, his a nswer has been to rely on the direction of the melodic line and the p itch of its notes to determine his harmonic progression. Coleman's control of pitch is exceptional and the sounds that emit from his horn are often singularly unorthodox. He cries on his horn, wa ils, snarls, snorts. IE his tone is harsh one moment, warm and full the next, and then shrill, it should be remembered that his search for greater freedom has not been oriented toward outperforming others or play­ ing differently for its own sake, but rather to allow him George Crater: " He's revitalizing to ex press the wides t poss ibl e emoti ons, as can the human the plastics industry." voice, li terally to speak highly personal music through a horn only as eloquent as the man behind it. Coleman be­ lieves that the audience's emotional response should be the ga uge for judging the success of his music. "If you are touched in some way, then yo u are in with me," he has sa id. For those listeners who find themselves responsive to Coleman's music, there is more than the sound of jazz to be heard-there is a joy for life, a cry of assertive "being­ ness." Charlie Parker had that joy, and we sometimes hear it in "Cannonball" Adderley and others. More than pleas· ure. it implies a so urce of strength. a belief in jazz itself. ·Whether t he jazz audience at large will share that beli ef in Coleman's case is an issue worth debating, and many have already taken sides, "for" and "against." In view of Martin Williams: " ... will affect . jazz Coleman's sudden emerg·ence on the jazz scene, it is un­ profoundly and pervasively." fortunate that a few critics have adopted the safe, "Iet's­ wa it-and-see" attitude, thereby absolving themselves of the critic's responsibility to provide leadership. Certainly some of the hostility to Coleman's music ca n be attributed to the sheer bravado of its n ewness. It is the critic's job to assess this newness because it is precisely this element which re­ quires definition. Happily, where some faltered, others took up the divining rod. Nat Hcntoff and Martin , ,,Til/iams, co-editors of The .Jazz R eview and two of the ablest critics now in captivity, have contributed much to the understanding of Coleman's musi­ ca l co ncepts by their liner notes for his first three records. Ralph J. Gleason: " . .. a fascinating experi- Instead of the usual "Boy, was this a swingin' session! " ment ..." accolades, both gentlemen went far ou t on an opinionated limb. H entoff, who wrote the notes for Coleman's first two releases (both from Contemporar y: Something Else!!! and T omorro w Is The Quest ion ) declared himself "convinced that Ornette Coleman is making a unique and valuable contribution to 'tomorrow's' music because of the startling power of Ius playing to reach the most basic emotions." Said ' Villiams, no less impressed with Coleman's first At­ lantic album, The ShatJe Of .Jazz T o Come, "What Ornette Coleman is playing will affect the whole character of jazz John S. Wilson: " .. . structureless, meander­ profoundly and pervasively . . . " But a numbel· of record ing things ..." reviewers, apparently regarding these sentiments as some sort of challenge, turned a far less enthusiastic ear to Cole­ man's efforts, A particularly stern verdict from J ohl1 S. W il son of The New Yoril Tilll es concluded: "But entirely aside from the relatively inaccess ible sounds that he pro· d uces, Mr. Coleman's solos tend to be structureless, mean· dering things and, since he play nothing but his own com­ positions, the listener is left with almost nothing to cling to." Other critics furnished their own reasons for finding Cole­ man diffIcult to listen to. Pianist-critic-composer John Mehegan, in a bombastic letter to Down Beat, wrote that Nat Hentoff: " . . a unique and valuable contribution , , ," HiFi j STEREO what Coleman is doing "has yery little. to do with jazz .. . the jazz scene, nolV was reported to be shaking his head (or) music in any form." l\[ehegan, who is a handy man over arnette's refusal to play those chords ... perhaps in with a metaphor, then proceeded to tear into that "small ten years it will be Coleman's turn to wonder about some group of king-makers" (pres umably Hentoff, ' '''illiams &: brash new bop per of the status quo. Co.) who have "launched" Coleman (presumabl y into A self-taught musicia n, at least in terms of formal training, orbit). The next issue of Down Beat saw Ralph J. Gleason, Coleman likes to tell how he once took his saxophone apart, the well·known critic and only syndicated jazz columnist, as a repairman would, to learn how it worked. Quite fig­ return Mehegan's barrage by quoting Coleman's support uratively speaking, he has done the same to others' horns, from musical, not critical, circles. Included in this pm· to see if what worked for them could answer his own needs. Coleman group are Jimmy Giuffre, John Lewis and Percy In most cases, the playing he listened to was far too stan­ Heath of the Modern Jazz Quartet, Max Roach, and sHch dardized to be useful to him an~ Ornette emphatically well-regarded composers as Gunther Schuller and George denies that he has patterned himself after anyone or two Russell. Lewis has called Coleman "the only really new musicians. One night, he recalls, a man came up to him, thing' in jazz since the mid-Forties," and Russell recently complimented him on his playing, and then said, "Where opined that Ornette is going to be "one of the vital forces did you learn that 'lick'? It's 'Bird's." This delighted ar­ of the Sixties" because of his "profound influence" upon nette, who swears that he had never heard Parker play that improvisation, and therefore upon writing. particular phrase. "It just came to me," he remembers with Although the release of Coleman's two records last fall a smile, knowing that it "just came" to Parker as well. Cole­ preceded by a few weeks his opening at Greenwich Village's man seems almost serene when l1e talks of jazz, of his love Five Spot Cafe, the controversy was not formally opened for both the tradition and the music of this home-grown until that "Cool" November night. Most of the "names" art form. This feeling has enabled Coleman to have a high in jazz came to hear for themselves, and at least as many respect for musicians who had no answers for him, but were came to bury Caesar as to praise him. According to Down "complete musicians" in their own right. "You have to Beat Associate Editor George Hoefer, "some walked in and respect musicians who are playing what they feel," Coleman out before they could finish a drink," and "some sat mes­ says with conviction. "You can feel it if they believe or merized by the music." The former contingent was spoken not, you can sense the fakes." Alm<;>st half of Coleman's fo r by Down Beat "humorist" George Crater, who wanted lifetime has been spent in pursuit of a way to express what to know if an evening of listening to Coleman is "covered he believed in, but he has seldom commanded the respect by Blue Cross." he has been so willing to give. If there is little of the In the weeks to follow, the Coleman controversy remained "Horatio Alger" touch in his story, it is partly because he controversial. Down B eat readers. who had not li sted Cole­ has found it so hard to get others to even listen to him. man among the 19 altoists ranked in the magazine's 1959 poll, now could hardly open an issue without finding some "You have to respect musicians who are playing reference to him. At the Fi\'e Spot, they were still taking what they feel . . . you can feel it if they be· a walk or sitting pleasa ntly mesmerized. Leonard Bernstein, lieve or not, you can sense the fakes." one of the latter, climbed up on the bandstand the better to "dig" the Coleman sound. The next day, Coleman and trumpeter Don Cherry were the Maestro's gues ts at Carnegie Hall, where he leads his own "group." George Crater. still looking for the chords he felt Coleman had lost somewhere. kept peppering away at his victim with every barb at his wit's end. "He's revitalizing ... the plastics industry,'" quipped Mr. Crater, who, playing his puns carefully. wa able to confirm that "there is no truth to the rumor that Coleman's charts are by R ay Bradbury." , When Coleman's engagement at the Five Spot ended in late January, the group left New York for a two-month tour, returning in early spring for another Five Spot date. Around this time Atlantic prepared for issue its second Coleman album, Change Of The Celllu1")', which Coleman feels is his best to date. Thus far, Ornette has recorded nothing but originals and certainly no other modern musician-cO Ill­ poser, except perhaps. Thelonious Monk, has h ad so much of his own work recorded in so brief a period (three albums in less than seven months). This has gone unnoticed for the main part, another gap in the bold front put forth by the critically affronted. One group that did notice Cole· man's originality as a composer was the "Composer's Show­ case" program at the Circle-in-the-Square. Coleman's "Showcase" on April 3 followed similar programs earlier in the year by such l ~ n g- til11 e jazz not.ables as Thelonious Monk and Dizzy Gillespie. both of whom now qualify as elder statesmen for the avant gflHie of the Forties. Dizzy, who had caused quite a fuss when he first appeared upon

AUGUST 1960 43 Born 30 years ago in Fort Worth, Texas, Coleman started o n alto at 14, switched to tenor at 16 because it was a more popular instrument, and then had to switch back to alto a few years later after a crowd in N ew O rleans had showed its displeasure by smashing h.i s instrument. Some time later Ornette n eeded a n e~ horn badly, but couldn't afford a .. brass saxophone, so he bou ght the white plastic instrument he now uses. H e won't buy a nother brass horn, Ornette says, beca-use his plastic horn has " taken on his emotion" and with it, his own sound. T hat sound cost him dearly during his early jobs with rhythm and blues bands and carnival groups, since he was always getting fired for play· ing his own brand of jazz. On one occasion he was accused o f preaching bebop to the other sideman ; another time, after a period in which he was being paid "for not play ing," O rnette was stra nded by his group in Los Angeles. No Ben Webster and Coleman Hawkins team up with Coleman at Monterey, stranger to day work, he got a job as a ho use boy and played Calif., Jazz Festival of 1959, where Ornette 's style wa s for the first time occasional sessions around town. T h e musicians at these welcomed on its own merit. sessions spa,red h im nothing: he didn't know' the ch anges; play things as they fee l It, the way it's com[c;rtable for them he did n't kinow harmony; he was alwa)'s ou t of tune. D i ~· heartened, Coleman wen t back to Fort v\Torth for two years, to play it." Dedica ted to this precept, he doesn't tell the returning to Los Angeles in 1954. Now he had a wife, and g.r.oup how to play each and every tune- which is the prac­ t hen a child, to support, so he took a .i ob oper ating a de· ttce of some leaders- and constructs his own solos toward partment store elevator. For all we know, .he might be a group sound where all fo ur members can contribute simul­ there still, but Coleman became the fi rst plast.ic 'alto sax taneous improvisa tions, based on what they hear in the player to be replaced' by a utomation, in the. guise of a self­ music at any given moment. servi ce elevator. Still a pariah at sessions. he managed to Naturall y enou gh, Coleman's own playin g- has improved preser ve himself by cO ll centrating on his m usic. Fortunately markedly as a result of his pu bli c exposure, a nd now he is he fin ally came across some musicians who proved fri endly, " blowing" more to express himself a nd his ideas than to incl uding R ed Mitchell, who suggested that he bring one merely voice the validity of those ideas. th eir right to o f his·originals to Lester Koenig at Co ntem p or~ r y. Despite existence. H e feels closer to the actual concep tion of his the cordial reception to his first record, released in mid- musical goals than at any time in the pas t, althoug]l there 1958, he "scuf-A ed " tor another year before J ohn Lewis ar· is still much to be done before his group wiJl realize that ranged Ea r Don Cherry a nd himself to attel'ld the Lenox, idea l collective improvisation he envisions. A mutual ex­ Mass., School of J azz on scholarships last su mmer. pression by four musicians all free to play in the most . R efl ecting his experiences, Coleman does not betray a ny natural way possible-that is Coleman's goal, for now. He bItterness. "Jt would have 'taken a miracl e for me to ·O'e t will persist in attempting the things that supposedly aren't I . b a leanng on the West Coast," he says quite ma tter-of· factl)" done, because this is part of his hard-won freedom from the " because there's not very much of a 'raw sce ne' out there. self-do ubt which has crippled so many artists. For him the ',T he" well-established studio musicia ns do most of the play­ existent jazz conven tions-the bar lines, chord cha nges and l~ g . Coleman knows full well whereof he 'speaks. I n fact, ways of playing his instrument-were restrictions, and Cole­ hIS only break on the W esr Coast came when h e was invited man refuses to be co nfined l;y what does not serve him. to a p pea ~ at the 1959 J'vfonterey J azz Festival, to play two Nor' does he accept a ny li m itations o n wh at he can set out w or~ s wntten ~s p ecia lly for him and Don Cherr)1 by J ohn - to do in jazz. "You can use any note and rhythm p attern LeWIS and Erflle W ilkins of the Modern J azz Q uanet,>' 'With that makes good se nse for you," he insists. "You just hea r whom Colema n had played previously, but on an im­ it-like bea utiful tho ughts- you don't listen to people telling promptu basis., But, during all .his tirne in Los Angeles. you how to play." he never played in a club' and .got paid for it. . Spurred by independent sentiments as these, Colema n H owever, O r nette, who can be highly self-critical as well I"ill co ntinue to write and p lay accord ing to his own dic­ as candid, recognizes that he is fortunate in havin O' been tates. H is music is new and demand ing, but it's only "con­ a bl e to round up tluee other musicians who underst:nd his. troversial" to those who have rules fo r jazz. "Music is for c~mpo ~ ition s and feel at ease playing them . Don Cherry, our feelings," Ornette once told Martin W illiams. "I think WIth hIS " pocket" Pakistani trumpet, complements Colema n that jazz should try to express more kinds of feelings than wonderfully well on both solos and ensemble work. When it has up to now." Coleman's music is for those who feel t his writer expressed surpr ise at their unusual rapport, Cole­ their jazz, as he does; for those who listen not just with man was ready with an answer. " Jt's the music. Don used their ears, but with their hearts as well. to play all difierent styles, but when I showed him what 1 was doing, he caught on fast ... and he hasn' t looked Last fall, Bob A bel gave up the rigors of editing seven humor back si nce." ("1 hope!" he added with a smile.) In ad­ magazi,!es for the tremors of a free.lance career. Since then his dition, Edward Blackwell on drums, like Billy Hi o-o- ins b fl ' bb satirical bent has been i.1t evidence ill' various m en's magazines . eore 11m , ~nd ql arl~ e 'H ayden on bass display bright and his musical interest led to contribu tions to the Music Jour­ talents of theIr own whIle adding cohesiveness to the Cole­ nal and Metronome. B.ob views jazz as an important fa cet 0/ our man sound. "Th ey h ave more roem to express themselves so-called mass· culture and belie'ves that Ornette Coleman is but with me .. . " he explains. "Musicians should be free 'to the first innovator in what may d evelop into a new em in jazz.

H i Fi j STEREO Martin Bookspan RATES THE BASIC REPERTOIRE

Item 21 of the "First Fifty"

BEETHOVEN'S SEVENTH SYMPHONY

\")I!

... L'1 Walter and the Columbia L'1 Toscanini and the N.Y. Philhar­ Symphony-pacing; Inaster/ul ; fi­ monic-one 0/ the glories 0/ record­ nale; overwhehriin gIl' buoyant. ed music .. . sZl preme re-creation:.

After produci ng six symphonies in the yea rs between 1800 sy mphollY orchestra (\l"Oodwillds in pairs, two truillpets, alld 1808, Beethoven waited [our more years be[ore giving tilllpalli allel strings), a nd is not particularly imposing as to the world his next one. \~T h e n Beethoven aga in turned to length (37-38 Illinutes is,a good average time, thQugh some the Symphony, he was secure in his fame and his fortunes condu.ctors get through it in 'about 34 minutes) , it neverthe­ were prospering'. It was during the summer o[ 1812 that less conveys a feeling of immensity. J ohn N. Burk has writ­ Beethoven finished his Seventh Symphony, but it was not ten that " Beethoven seems to have built up this impress ion until tile end of the following year that the music was by wilfully driving. a single rhythIllic fi gure through each per[orllled for the first time, with Beethoven himse][ doing" movement, until the music attains (particularl y in the body the conducting. of the first movement and in the Finale) a sw ift propulsion, The affair was a charity concen, with the proceeds going an effect of cUlllulative growth which is akin LO extra­ to benefit the "Austrians and Bavarians wounded at ordinary size." Hanau" while defending their native country against the And yet thIS is only one aspect of the Seventh Symphony. armies of Beethoven's one-time h ero, Napoleon. T he con­ An element too easil y forgotten is its soaring lyricism, even cert featured Beethoven's new A tvfajor Sy mphony a nd in the Finale, where the irresistible forward motion is car­ JVe liinglon's Victory. ried along on the wings o[ a melody of sheer exuberance T h e' A llegretto o[ the A Major Sy mphony met with en­ and drive. Ane! the architectural p roportions of the Syrn­ thusiasm at that first performance, but it was "vVellinglon's phony are awesollle in their inevita bl e rightness. "Vagner VicI01-y" -its top~cal interest further compounded by the called the Symphony "the Dance in its highest condition; inflarnmatory drum rolls and fanfares o[ Beethoven's l11u'sic the happies t realization of the movements o[ the body in -which roused the audience to a wild and abandoned an ideal form." The parallel is an apt one; the fluid and ecstasy. Today we regard JVeliinglon's Victory (or the easy motion of an athlete's boely finds its counterpart in the "Battle Symphony" as it is also sometimes ca ll ed), as a organic unity, perfect integration and finely-honed tooling la ughable i[ not ridicul.o us potboiler. But the A 1\1 ajor Sy m­ of Beethoven's Seventh Symphony. phony lo ng ago came to be recognized for what it is: one Shortly before he terminated his tenure as conductor o[ of those astonishing works of art so universal and transcend­ the New York Philharmonic Orchestra iii the spring o[ ent in its communicative intensity that one has no other 1936, Arturo Toscanini put onto discs a performance of the choice but to conclude that the hand o[ its creator was Seventh Symphony which remains one of the glories o[ guided by a higher power. recorded music. H ere, it seems to me, is the p erfect amal­ Though the Symphony is scored for the standard classical gam of the rhythmic drive and flowing lyricism of the Syrn ~"~- AUGUST 1960 45 phony growin g out of a reading that ca n only be ca lled i- reminiscent of his cxcellent performance with the Phila­ supreme re-creation. Toscanini's later recording of the mu­ delphia Orchestra [or Victor 78s more than 30 years ago. sic with the NBC Symphony Orchestra (RCA Victor LM T he first three movements in his new recording go very 1756) is by comparison, mercilessly drivcn, but the 19 36 well; in the Finale, however, there is a slackening of the version with the Philharmonic is still ava ilable as Camden reins and things go rather limp. Solti's performance is in record CAL 352. ' tVe shall not soon again hear its like. the tradition of Toscanini's NBC Symphony recording: fast­ Of the modern disc versions the one that comes closest paced and mercurial, but rather more considerate of the to the old Toscanini in fully coming' to grips with the lllany players in that it is less recklessly driven. London's stereo facets of the score is Bruno Walter's recent performancc recording is bright and clear. as part of his integral set for Columbia of all nine of Bee­ Two other stereo editions in the later Toscanini tradition thoven's Sy mphonies. It is available 90th monophonically are those by Reiner (RCA Vi"ctor LM/LSC 1991) and (lVIL 5404) and stereophonically (1\ [S 6082). Walter's Szcll (Epic LC 3638, BC 1066). Here, too, I find both con­ pacing of the music throughout is masterful and he builds d uctors overly-vigorous and in dynamics tense in phrasing. to a Finale of overwhelming buoyancy and ela.n. Columbia's For the rest, Bohm (Deutsche Grammophon DGi\I 12005, recording in both editions, mono and stereo, is eminently DGS 712005) and Boult (Vanguard VRS 1015 and VSD atisfying with especiall y full stereo so und. 2005) offer dull, unimaginative performances; Cantelli Steinberg (Capitol P /SP 8398) , Stokowski (United (A ngel 35620, S 35620) and Karajan (RCA Victor LS/LDS Artists, UAL 7003, UAS 8003), and Solti (London CS 2348) giYe us all the notes but little else. 6093) , among the other mono-stereo versions also find favor In sum, then, the Toscanini-New York Philharmonic with me. Steinberg's is a beautifully integrated, metic­ cdition on Camden is unequiyocally recommended as the ulously prepared performance, played and rccorded with greatest recorded performance this Symphony has ever had; great distinction. Only a certain holding back of the [or those to whom up-to-the-m inute sound is a pre-requisite, dynamic reins keeps this performance out o[ the very top the "Valter records, mono and stereo, are the next bes t rank. Stokowski's recording, with the SymphoilY of the Air, thing. And a mighty close second, tool ]\fartin Bookspan

a------....------Basic Repertoire Choice To Date------____. 1. Tchaikovsky's First Piano o6. 6 Cliburn; Kondrashin with 6 Munch; Boston Symphony Concerto Orchestra Orchestra Nov. '58 RCA Victor LSC/LM 2252 RCA Victor LM 1900

2. Beethoven's Fifth o6. 6 Reiner; Chicago Symphony 13. Brahms' Third Symphony o6.6Klemperer; Philharmonia Symphony RCA Victor LSC/LM 2343 Nov. '59 Orchestra • Dec. '59 Angel S 35545/35545 3. Beethoven's "Moonlight" 6 Petri Sonata Westminster XWN 18255 14. Tchaikovsky's Violin A 6 Heifetz; Reiner, Chicago Jan. '59 Concerto in D Major Symphony Orchestra Jan. '60 RCA Victor LSC/LM 2129 4. Dvorak's "New World" o6.Reiner; Chicago Symphony o6. 6 Stern; Ormandy, Symphony RCA Victor LSC 2214 Philadelphia Orchestra Feb. '59 6 Toscanini; NBC Symphony Columbia MS 6062/ML 5379 RCA Victor LM 1778 s. Beethoven/s IIEroica" o6.Szell; Cleveland Orchestra 15. Mendelssohn's "Italian" 6 Koussevitzky; Boston Symphony Epic BC 1001 Symphony Symphony Orchestra March '59 6 Klemperer; Philharmonia Feb. '60 RCA Victor LM 1797 Angel 35328 o6. 6 Bernstein; N.Y. Philharmonic 6. Bach's Chaconne for 6 Heifetz Columbia MS 6050/ML 5349 Solo Violin RCA Victor LM 6105 16. Stravinsky's Le Sacre o6.Bernstein; N.Y. Philharmonic April '59 6 Segovia (guitar) du printemps Columbia MS 6010 Decca DL 9751 March '60 6 Monteux; Boston Symphony 7. Schubert's "Unfinished" 6 Fricsay; Berlin Radio RCA Victor LM 1149 Symphony Symphony May'59 Decca DL 9975 17. Brahms' Second Piano A Gilels; Reiner with Chicago Concerto Symphony 8. Beethoven's "Emperor" o6.6Rubinstein; Krips with April '60 RCA Victor LSC 2219 Concerto Symphony of the Air, June '59 RCA Victor LSC/LM 2124 6 Horowitz; Toscanini with 6 lstomin; Ormandy with NBC Symphony Philadelphia Orchestra RCA Victor LCT 1025 Columbia ML 5318 18. Tchaikovsky's o6. 6 Reiner with Chicago 9. Mozart's G Minor o6. 6 Klemperer; Phil harmonia " Pathetique" Symphony Symphony Symphony (No. 40) Angel S 35407/35407 May'60 RCA Victor lSC/LM 2216 July'59 6 Reiner; Chicago Symphony o6.Mravinsky with Leningrad RCA Victor LM 2114 Philharmonic 10. Sibelius' Second o6.60rmandy; Phila. Orch. Decca Dl 9885 Symphony Columbia MS 6024/ML 5207 Aug. '59 o6.6Monteux; London Symphony 19. Schubert's "Great" o6. 6 Szeil with the Cleveland Revised: Dec. '59 RCA Victor LSC/LM 2342 C Major Symphony Orchestra June '60 Epic BC 1009/lC 3431 11. Tchaikovsky's Fourth o6.6Bernstein; N.Y. Philharmonic 6 Furtwangler with Berlin Symphony Columbia MS 6035/ML 5332 Philharmonic Sept. '59 6 Koussevitzky; Boston Decca Dl 9746 Symphony Orchestra RCA Victor LM 1008 20. Rimsky-Korsakov's o6.6Beecham with Royal Scheherazade Philharmonic 12. Berlioz' Symphonie A Wallenstein; Virtuoso July'60 Angel 35505/35505 Fantastique Symphony Orchestra o6.6Monteux with london Oct. '59 of London Symphony Revised: Dec. '59 Audio Fidelity FCS 50003 RCA Victor lSC/LM 2208

46 HiFi/STEREO Be Our Guest • • •

Wherein the reader is invited to be a Guest Critic of new record releases

H ow do record collectors get tha t way? In some insta nces. Framingham Co mmunity C ho ral Society a nd h er chu rch an interes t in music lead s to the purchase of a player and choir, and collecting records. N ina is put in ch arge of records. In other insta nces, incidental ownership o f a the library's r ecord collection. phonograph-perhaps it is a p art of a TV se t-leads to R ecently, she we nt ster eo with a Sear s R oebuck Silvertone the purchase of r ecords. " 'ith the latter the n inspiring a radio-phonogra ph consolette. Mod el 58. This includes an deeper interest in music. external sp eaker with a 15 foot lead, so the stereo effect In either case, o ne record purch ase leads to another , a nd is not limited b y inad equate speaker separa tion. in no time at all, ano ther record collector has become J erry Orbach is an a udiophile from 'way back. A t 32, enrolled in the ra nks. he is m arried , h as two children. a nd is employed in the It is a pleasa ntly insidio us process, this d evelopment o f purchas ing d epartmen t of o ne o f N ew York's largest hi-fi the r ecord collector, a nd a gra tifying one. It o ffe rs m a ny and electronics distributors. During the p ast several years, joys, som e tribula tions, a nd a few frustratio ns. P erha ps it h e has h ad six different hi-fi system s, a nd his curren t o ne is these last which most frequently change the r ecord co l­ co mprises a custom -built prea mp and speaker system, with lector to record cri tic. two Eico GO -watt a mplifiers, a Fisher tuner. R ek-O-Ku t The time inevitably com es when the collector wishes that T-1 2H tllmtable, ESL arm a nd Fa irchild SM-] cartridge. the record compa nies wo uld d o things som ewhat diffe rently, H e came to m usic early (rather. mllsic cam e to him) as his or tha t the opinions o f pro fession al record critics were m01'e father <'l nd older brother sing p rofess ionaUy. in conformity with his own. From wishing to articnlating T here you h a ve it, two r ecord collectors who say their is a short step, easily take n . piece h ere ab out a few of the curre nt recordings. If you'd It is to this collector-who is in essence every collector­ like to ha\"e ) ' 0 '11'1" say about n ew record releases, wri te to: tha t BE OUR GUEST o ffers the opportunity to express Guest Critic his- or her-o pinio ns to a natio n wide a udie nce o f fellow f-IIFI/ STER EO R EVIEW record collectors. One P ark Ave nue Our Guest Critics this mo nth a re Miss N ina Pisc ite ll o N ew Yo rk I G. N. Y. and Gerald Orbach. Nina is a reside nt of Framingham, Mass., where sh e is employed by the town lib rary. M uch Let us know a little a bout YO llr backgTo llnd a nd what you of l1er training as a libra ri a n was acquired a t Clark V ll i­ play your records o n. ·We will supply th e selected Guest "ersity in '''Vorcester, l"Jass. As a libraria n with a love for Critics with record s for review. Everyone is e lig ible, so music that expresses itself in concert-going, sing ing in the write LOd ay.

*** Miss Nina Piscitello __ Guest Reviewers, August, 1960 __ Gerald Orbach ***

A BIRTH OF THE BAROQUE_ Works mastered the style. toue :J 1ll1 technique of A BOBBY SHORT ON THE EAST SIDE. of G. Gabrieli, Carolus Luython. Orlando the renaissa nce and baroq ue instruments Bobby Short, vocal, with rhythm acc. Slu m­ Gibbons, Valentin Haussmann. Jean-Baptiste to gi ve a spiritcci and enlighte ning per­ mi ng On Pa rk Avenue: Flyin g Down To Ri o; Lully, Henricus I. F. Biber. Francois Couperin. formance. N . P. I Left My Hat In Haiti ; Let There Be Love Consort of Viols of the Pro Arte Antiq ua of & 8 others. .Atlantic 1321 S $5.98 Prague. Vanguard BGS 5019 $5.95 A DVORAK: Symphony No. 2 in 0 Mi­ In terest: Sophisticated nor. Op. 70; Slavonic Dances, Op. 4b, Nos. Perform anc e: Excellent Interest : For Pre-Bach enthusiasts I, 3, 7, 8. Concerrgebouw Orchestra . Ber­ Perfo rm anc e: Excellent Record ing : Very good Recordi ng: Excellent nard Haitin k condo Epic BC 1071 $5.98 Stereo Directio na lity : Some Stereo Depth : Fair Stereo Directional ity : Good In terest: Big symphony Ste reo Depth: Good Perfo rmance: Excellent Bobby Sh ort is a perform er with a style If you are interes ted in Pl'e- Bach. this is Recordi ng : Good, with reservations of his own-refresh ing in this day of Stereo Directio nal ity : Very good carbon-copy entertainers. He has a bright, your cup of tea . I t also fill s the bill nice ly Stereo Depth: Very good fo r the coll ector wh o wants representative crisp, sure delivery on numbers like Flying mnsic of various periods. H ere he will find Here is truly magnificent music: large, Down T o R io and I L et t My H at In Haiti, a pl'Ogram covering nearly two centll l" ies: dramati c, stining. substa ntial. It starts the seco nd of which is done at such a fast 1500-1700. The renaissance co mposers with a soa ring first movement (with echoes pace it lea ves you breathless j li st listening Gabrieli, Luython, Hauss mann and Gib­ of ·Wagner). The so ul-sa tisfying second to it. He has an infectious ga iety and en­ bons. and the baroque co mpose rs Biber, movement has a depth of feeling 16'hich thusiasm ; Delia's Gone shows a bluesy Lully and Couperin provide a program appeals to the in ~e ll ec t as much as ~ the facct of the Short talent. which shows the overlapping of styles dur­ emoti ons, and I agree Wi lh Alec Robert­ Bes ides singing, he plays the piano him­ ing this time. son, one of Dvorak's biographers, who se lf and is ably assisted by Aaron Bell Although the music is entirelv instru­ picked this as "Dvor';\k's loveliest slow and Ismae1 Ugarte, bass, and Kenny Beld­ mental, in one portion of the Biber .. .. Sere­ movement." T he third movement is lyrical ing and Johnny Cresci, eb·urn s. nada," the voice of the night watchman and martial while the flll al movement dra­ Stereo is hardly necded for this small (Kari Nurmela, baritone) ca n be heard maticall y completes this great symphony. group so rt of recording, but it .does keep approaching and slowly passing by, mak­ T he Sla vo ni c Dances have an appealing things sharp-balancing bass agalllst drums ing fo r an effecti ve tOll ch. exuberance and Ji ve liness. against piano, which together form a good The Consort of Vi ols is a fin ~ group of The Concertgebouw Orchestra plays background for the voice. N. P. players who lise the old style viols, plus with clarity under Bernan l Hailink, a cembalo, to produce a tone of great beau­ young conductor worth watching. A TCHAIKOYSKY: Symphony No.2 in ty, comparable to the so und of the present But for a surface sw ish the recording is C Minor, Op. 17; MOUSSORGSKY: A day viola and cello. These musicians have exce ll ent. N. P. (Co ntinued on /Jage 78) AUGUST 1960 47 Imcrl1lodulation distortion is specifi ed at (). ~ ~~ at 10 STEREO KIT REPORT: watts, but in our tests the 0. 5% fig'ure was r eached at 5 watts and then -rose to I % at 12 watts. T he manufacturer specifi es 2% Ii\[ at 2S watts output of both cha nnels com­ bi ned. Our measuremcnt woul d indicate that uncler such The conditions the 2% fi gure woul d be reached a t 24 watts. Frequency Response and Tone Controls Measured at the I-watt level with tone controls in m id­ EICO HF-81 position a ncl frequency response was fl at from 60 to 7,000 I cycles, " 'ith a negligible 0.5 db drop at '10 cycles ;)'nd I db . \ \ at 30 cycle . . In the treble, response was clown nearly 3 db with the Good stereo sound, trebl e control fl at. "Vhen wc attempted to lift the droop­ ing curvc by achancilig the treble control, we succeeded in making the res ponse curve essentially fl at to 10,000 cycles, well packaged-and but only ,It the cost of introducing a rising characteristic betwcen 10,0'00 a ncl 20,000 cyclcs. Thc total action of the at a modest price treble control at 10,000 cycles allows 14.5 db boost or ] 3 db attenuation. The bass control in [ull rot a~ i o n ca used 12 db boost or 13 db attenuation at 50 cycles. Hans Fantel / equip ment Channel Separation, Hum and Sensitivity Foll owi ng the procedure outlined in our June iss ue, we ' '''hen we rounded up fo ur recel1l stereo amplifier kits for measured channel separation at 10,000 cycles for fu ll out­ eva lu ation in our June iss ue (page 4,5), the EICO BF-S I had put, finding' it 34 db on the "auxiliary" inputs and 27 db not been penned in thc s

~ tradivarius' infinite patience and incredible craftsmanship breathed so much life into his work that each oj his violins came to have a name and personality all its own. Each is treated like a personal Jriend by its owner. The violin called "Red Dia­ mond," for instance, was literally nursed back to health after being immersed in the ocean for 24 hours!

c:m 'II enjoy tbis feature ill ~very music 10ve~O"R£'V'J£'W' 'n fact, it's September 'J-{i1i/S1£R d d'ng Don't miss it! an issue that's fHled with goo rea I .

Current Su bsen 'ption RlStes: one year, $5; twO years, $9;. tbree years, $j2;):'

• CbWlgo s. ,m"oIS 'Wal/asb ,Alle"ue • ..34 SoUl b

AUGUST 1960

49 Reviewed by

MARTIN BOOKSPAN BEST OF THE MONTH ••• WARREN DeMOTTE DAVID HALL

DAVID RANDOLPH

JOHN THORNTON

A R ecords reviewed in this section are both London helps American pianist stereo and monaural. Versions received for review are identified by closed ( Jt,.) and Julius Katchen add laurels to his op en (6) triangles respectively. All rec· reputation with the Brahms ords are 33113 rpm and should be pLayed Pagcmini and Handel Va1'ia­ with the RIAA amplifier setting or its equivalent. Monaural recordings (6,) may tions. "Katchen plays them with be played also on stereo equipmell t with uncanny understanding . . . resulting improvement in sou.nd distribu· These are mature readings tion quality. Stereo recordings ( Jt,. ), how· ever, must not be pLayed on monaural pho· Engineering is excellent." nographs and hi·fi systems. (see p. 51) • • • Jt,. 6 BACH: Solo Violin Partita No.3 in E Major; BRAHMS: Violin Sonata No.3 in D Minor. J aime Laredo with Vla dimir Sokoloff (piano), RCA Victor lSC 2414 A 6 $5.98; Mono LM 2414 $4.98 RCA Victor's remarkable Ev­ Interest: For fiddle fanciers e1'ything But the Beer package Performance: Unexceptional Recording: Good for the Boston Pops 75th Ste reo Directionality: 771 anniversary offers nothing less Stereo Depth: OK than a complete Arthur Fied­ In this, his second recording, Laredo, win­ ler-Boston Pops Concel't­ ner of the 1959 Queen Elizabeth of Bel­ gium competition, turns his attenti on to complete with beer mugs. far more demanding repertoire than in his ". . . the best engineered sound debut recording of some months ago. T he in the entire history of the playing is still as technically secure as in the debu t disc, bu t here Laredo's youth Boston Pops . . . Fiedler's re­ and comparative inexperience are evident. cording triumph." (see p. 58) Both the Bach Partita for unaccompanied violin and the Brahms Sonata su ffer hom a certain tentativeness and lack of asser­ tion in their interpretation. The Brahms, that glorious outpouring of mature pas­ sion , sounds a little anemic as it comes off .... 6 this record, The interaction between two sovereign musical intellects which d is­ Angel's G1"eat Gennan Songs tinguished the marvelous old 78 rpm ver­ comprises a stunning recital of sion by Szigeti and Petri is absent from Schubert, Schumann and Rich­ the Laredo-Sokoloff collaboration. The contemporary version which comes closest ard Strauss Liede1" by celebrated to having it, in this opinion, is the Angcl bass, Hans Hotter. "Hotter sings rccording by Oistrakh a nd Ya mpolsky, beautifully and intelligently. The recorded sound is good, with im­ proved balance betwcen Larcdo's violin .. . Gerald Moore's accompani­ and Sokoloff's piano-but it does seem ments are truly collaborative weird to h ave a solo violin (in thc Bach) and Angel's recording is l'ecorded in stel'CO_ M. B. superb." (see p. 58) Jt,. BACH: Recitative and Aria from Can­ 50 HiFi/STEREO tata No. 73-Herr, wie du willt, so schicks The t\\'O overtu·res, which round out Stereo Directionality: Good mit mir; Aria from Cantata No. 8-Liebster Side 2 of the disc, beneftt from a similar Ster.eo Depth : Also good Gott, wann werd' ich sterben?; Cantata No. approach , especially the su rgingly dra­ 158-Der Friede sei mit dir (complete); Aria matic Coriolan. Kubelik conducts music here with obvious relish and sympathy, and when this tal­ and Chorale from Cantata No. 13-Mein e The orchestra and engineers were in Seufzer, meine Tranen; Aria and Chorale ented conductor is at his best, the resu lts top form for the recording also, and the hom Cantata No. 157-lch lasse dich nicht; are always exhilarating. Even though the end res ult is a Beethoven disc complete in Aria and Chorale from Cantata No. 159- Brahms dances are given polished, smooth, its artistic fu lftllment. M_ B. Sehet wir geh'n hinauf gen Jerusalem. Diet· big-sound performances, and include the rich Fi scher-Dieskau (baritone ) with Choir of rarely heard and u tterly delightful Dance St. Hedwig's Cathedral, Be rlin, and Berlin • BEETHOVEN: Symphony No. 6 in F Philharmonic Orchestra, Karl Forster condo Major, Op. 68 ("Pastoral"). Philharmonia No. 18, there is no doubt that the Scherzo Angel 35698 $5.98 Orchestra, Otto Klemperer condo Angel S Capriccioso and Slavonic Rhapsody are the 35711 $5.98 pieces Kubelik enjoys most. Interest: Surely ' '''estminster ftrst recorded the Scherzo Performance : Superb Interest: For Beethoven & Klemperer Performance: Klemperer around 195 1, and Vox, Angel, and Mercury Recording : Superb have since h ad Perlea, Sawallisch, and Stereo Directiona lity: Good Recording: Good Stereo Depth: Satisfying Stereo Directionality: OK Barbirolli conducting in that order. Kube­ Stereo Depth: OK lik's latest for Capitol surpasses anything Superlatives fail me. Get this disci D. R. Stereo adds breadth and spaciousness to in the catalog for sound and reading. As a bonus, he adds the early Dvor'ak Rhapsody, • BEETHOVEN: Sonatas-No.8 in C Mi· this performance which was released in nor, Op. 13 ("Pathetique"); No. 14 in C­ mono some months ago. The performance, a score that comes close to the razzle-dazzle sharp Minor, Op. 27, No.2 ("Moonlight") ; as was noted then, will not please every­ of the more highly estimated Op_ 66. A No. 21 in C Major, Op. 53 ("Waldstein"); body-especiall y the slow-gaited Scherzo, must l'ecord for Dvorak lovers. ]. T . No. 23 in F Minor, Op. 57 ("Appassionata") . whose peasants are rather heavy-footed in Orazio Frugoni. Vox PL 11570 $4.98 their merrymaking. Otherwise, Klemperer • BRAHMS: Symphony No. I in C Minor, gives us a very relaxed and uncomplicated Op. 68. Berlin Philharmonic Orchestra, Rudolf • BEETHOVEN: Piano Sonatas-No. 14 "Pastoml" of the distinctly country bu mp­ Kempe condo Capitol SG 7208 $5.98 in C-sharp Minor, Op. 27, No.2 ("Moon· light"); No. 24 in F-sharp, Op. 78; No. 3(} in kin va riety. NI. B. In terest: Colossal E Major, Op. 109. Ann ie Fischer. Angel S Performance: Weighty 35791 $5.98 .A f:::, BEETHOVEN: Symphony No.7 in Record ing: Good A Major, Op. 92 . Symphony of the Air, Leo­ Stereo Directiona lity: Good Interest: Piano masterpieces pold Stokowski cond_ United Artists UAS Stereo Depth: Good , Performance: Fischer sensitive; Frugoni 8003 $5.98; Mono UAL 7003 $4.98 colorless Kempe takes a deliberate, brooding view Recording: Vox constricted; Angel open Interest: Supreme' of the Brahms "First," with the result that Stereo Directionality: Not needed Performance: Very good, with some reser­ the Symphony emerges in a Furtwangler. Stereo Depth: Good vations like light. This kind of performance will Recording: Good There is a vast amount of music on the not be universally admired, but in its own Vox disc, and it is all great music, but Back in the late 1920's, during his h eyday way it is an excellent translation of ule appeal of the record unfortunately is as conductor of the Philadelphia Orches­ Brahms' intentions. The engineers have only quantitative. FJ'ugoni's playing is tra, Stokowski recorded a performance of captured full, ripe sound and the playing straightforward and impersonal, while the this Symphony that was one of the finest is superb. M. /3 . recording is too constricted in sound to things he ever did. It had a buoyancy and allow even the virtue of correctness to a sure sense and feeling for the instru­ • BRAHMS: Variations and Fugue on a Theme by Handel, Op. 24; Variations on' a come through freely. So, a record which mental values of the score and gave us a seemingly olrers much for its cost turns Theme by Paganini, Op. 35. Julius Katchen Seventh Symphony of remarkable vigor (piano). London CS 6158 $5.98 out to be no bargain at all. and clarity. Annie Fischer plays h er Sonatas with The present performance duplicates Interest: Major piano variations insight and sensitivity. She is a musical much of the success of that earlier one, Performance: Excellent interpreter; her playing is wann and vital. but there are a few places where the prob­ Recording: Excellent The slow variations of Op. 109 are exalted lems of the score have not been ideally Stereo Directionality: Not needed Stereo Depth: Good and moving, and altogether quite magnifi· soh'ed; in the fi nale, fo r example, I have cent in this performance. There is a great the feel ing of rhyth mic slack ness which These compositions are cruel tests for any deal of character in these readings; even the yitiates so me of the drive built into the pianist. They are long, technically difficu lt "Moonlight" emerges as fresh and reward­ music hy Beethoven. Stokowski wi ll prob­ and knotty. In most performances, they ing. The Fischer tone is rich and full, and ably be roundly criticized by some for wind up as bores, but not here. Katchen Angel's recording does not slight it. This cutting' the Scherzo rather drastically. As plays them with uncanny understanding is an outstanding Beethoven disc. IV. D. for me, I am inclined to agree with him and thorough communicativeness. In these that once around is enough for the Trio. renditions, they seem less erudite than BEETHOVEN: Symphony No. 2 in D, A _. Chacl.I.1l Ii son gout! romantic; yet they are not without a de­ O ~!?:36; Overtures-Coriolan; Prometheus. Philharmonia Orchestra, O tto Klemperer Incidentally, although ~!1,~.~0acket of the gree of profundity. condo Angel S 35658 $5.98 record sent to me for re\?i'eiv ' has the word Katchen's p laying has dash, intensity, "Stereo" written on it in th ree different lyricism and warmth. Always an·excellent Interest: Solid places, the disc itself is just as assuredly technician, h e is nor fazed by the intrica· Performance: Wonderful monophonic-hence I can make no com ­ cies of the "Pagll.nini" or the austerities of Recording: Excellent the "Handel." The architecture of the Stereo Directionality: Fine ments concerning the stereo aspects of the Stereo Depth: Good recording. The mono disc is adequate for pieces is well organized in his pel-form­ sound, if not quite up to the best of ances. Each builds towards its conclusion Klemperer has done it again! Here is a contemporary standards. M. B. without a hint of fragmentation. In the Second Symphony of inevitable rightness, Handel set, there is exciting propulsion even to the observance of the universally­ BERGSMA: Music on a Quiet Theme (see towards the Fugue and its grand finale is ignored repeat of the ftrs t rnovement ex­ SESSIONS) played with rock-like steadiness and position. The Second Symphony is no • BRAHMS: Hungarian Dances-Nos. I, strength. There are mature readings, prob­ small-scaled a ffair as Klemperer sees it; 3, 5, 6, 17-21; DVORAK: Slavonic Rhapsody ably the best that Katchen has recorded. rathel-, it is in its power and directness No.3, Op. 45; Scherzo Capriccioso, Op. 06. The engineering is excellent. W. D. the immedia te progenitor of the E1-oica Royal Philharmonic Orchestra, Rafael Kubelik Symphony, a flexing of the composer's condo Capitol SG 7209 $5.98 BRAHMS: Violin Sonata No.3 (see BACH) muscles prior to h is engaging in the com· Interest: Considerable bat of the Emica. All this Klemperer Performance: Kubelik's best • [', DEBUSSY: Quartet in G Minor; brings out in rugged strength. Recording: Outstanding RAVEL: Quartet in F. Juilliard String Q ua r- . ,A U GUS T l- 9 6 0 51 tet. RCA Victor LSC 2413 $5.98; Mono LM Recordi ng: Good Recording : Fa ithful 2413 $4.98 Stereo Directionality: Fine Stereo Directiona lity : Good Interest: Quartet cornerstones Stereo Depth: Excellent Stereo Depth : Adequate Performance: Muscular By adopting a tempo just a shade slower This is indeed excellent quartet playing. Recording: Good than usual and then digging out of the The performances are spirited, technically Stereo Directionality: Good music a kind of quiet passion and inten­ secure, tonally satisfying, a nd with excel· Stereo Depth: Natural sity, Ludwig produces in the Lm'go of the len t ensemble. The recording, likewise, is In the athletic, biceps-Hexing style of the New WOTld Symphony an effect of h yp­ fi rst rate. Stereo directionality is in evi­ Julliard Quartet, the R avel emerges mOl"e notic power and introspection. '~T ith this dence, but not to an exaggerated degree, so successfully than the Debussy. There is approach the La·rgo becomes the true focal that the quartet has a n atural presence. more light and shade in the latter work point of the Symphony'--as Dvorak un­ My only reservation about the perform­ than the Juilliard foursome makes mani­ doubtedly intended. ance has to do with the tempo of the Ada­ fest in the perfoTluance. Everest's engineers turn in their usual gio opening of the Mozart work. It is this The rival Columbia coupling of these superb job, both in mono and stereo, to section, with its strange harmonies, that same two score with the Budapest String round out a musico-sonic picture of uni­ gives the work its nickname, the Dissonant Quartet p resents li ner-styled performances fo rm excellence. M. B. Quartet. It seems to me that the rela­ of both, but R CA's stereo recording here is tively fast tempo of this performance gives ... GILBERT & SULLIVAN: Iolanthe (com­ cleaner and less diffuse. M. B . that Adagio a matter-of-fact quality that plete operetta). Soloists and Chorus of the robs it of its mysterious feeling. I was DVORAK: Slavonic Rhapsody; Scherzo Ca­ Glyndebourne Fe sti val , with the Pro Arte Orchest ra, Sir Malcolm Sargent condo Angel impelled to compare this approach with priccioso see BRAHMS} .r 3597 B/L $13 .90 that of other quartets that have recorded the work. Comparisons of the perform­ Interest: Savoyard standard ... DVORAK: Symphony No.2 in D Minor, ance times indicate that the consensus Op. 70 ; Slavonic "Dances Nos. I, 3, 7 and 8 Perfo rmance: Tops from Op. 40. ' Am sterd am Concertgebouw Recording: Good is in favor of a slower tempo. The Paga­ Orchestra, Bernard Haitink cond o Epic BC Stereo Directionality: Fair nini Quartet takes one minute and forty­ 1070 $5.98 Stereo Depth: Good three seconds to play the introduction, Interest: Symphony-a neglected Sir Malcolm Sargent has kept the prin­ while the Parrenin Quartet in a ,~r est ­ masterpiece cipals of previous Angel G&S productions minster recording requires two minutes Performance: Excellent together to turn out his fifth outstanding and seven seconds. The Guilet Quartet Recording : Fine album in this series . From the very begin­ for Concert Hall takes the same approach Stereo Directionality: Good ning, with The Mikaelo, it was evident that as the Parrenin; they do it in two minutes Stereo Depth: Good Sir Malcolm had brought to the scene a and four seconds. In another Westminster In his recording" debut Haitink, the newly­ company that would vocally rival the version, the Vienna Konzenhaus Quartet appointed co-conductor (along with Jo­ D 'Oyly Carte. In many ways, his perform ­ requires one minute and fifty-four seconds. ch um) of the Concertgebouw Orchestra, ances equal the D 'Oyly Cane productions, The only reading that approximates the makes a profound impression. Here is a and in some respects his group is superior. Paganini's is that of the Roth Quartet musician of keen sensitivity and percep­ This superiority is in his choice of co n­ once available on the Mercury label. They tion, with security and control. T his COIll­ traltos and sopranos such as Elsie Morison, play the introduction in one minute and biJ1atton of elements is not as common Monica Sinclair and Marjorie Thomas, forty-fi ve seconds. amQng conductors as you might think. In and in baritone J ohn Cameron and Owen My purpose in comparing these timings our young conductOl"S (and Haitink is still Brannigan, bass. These voices are top­ down to the second is not to be picayune. in his early thirties) the combination is so ranking in England, and Sir Malcolm in This introduction, which is one of the rare as to be a phenomenon when it does keeping his organization intact h as used most remarkable things ever to come from appear. Hence J;Iaitink, on the strength of the arti stis to form a solid foundation for Mozart's pen, takes on an entirely different just this record , emerges as a leader of the high standard he has maintained. quality, depending upon th e tempo at imposing stature. Stylistically the Sargent performances which it is played. T h e Paganini's ap­ . As to the music, Dvol'ak's D Minor are much crisper than those of the D 'Oyly p roach , because of its fast speed, is to me, Symphony is for me one of the very great­ Carte as directed by veteran, Isadore God­ the least satisfactory. However, I should est sy mphonies of th e 19th century, dis­ frey. ' >\The re Sargent creates a deft atmos­ like to stress the fact that this is the only playing in its pages a sureness of command phere, Godfrey is much more sentimental complaint that I have: otherwise, the per­ and spontaneity of ideas that ought to and romantic. fOl-mance is totally admirable. make it a staple of the repertoire. 'Why Iolanthe has its su preme moments, like Inciden tally, Haydn'S reactions upon this is not so is one of those unaccountable the delicious scene ending Act One, from hearing the weird harmonies of this intro­ mysteries of music. About a decade ago Phyllis' aria "For Riches and Rank I do duction are worth repeating. His sale London released a performance of the not long" through the LOl"d Ch ancellor 's comment was: "If Mozart wrote it, he must music by the Northwest German Radio big moment, "Go Away j\IIadam," to the have had good I"eaSOn for dQing so." D . R . Orchestra under Hans Schmidt-Isserstedt argument between the Peers and the Peri. (now 11 0 longer available) which was It does not have, however, the same con­ ... 6 HAYDN: Symphonies-No. 94 in G Major ("Surprise" ); No. 101 in D Major revelatory in its probing statement of the tinuity and stature as The Gondolien, contents of the score; Haitink's seconded ("Clock"). Vi en na Philharm onic Orchestra, The IHikado, and H.M.S. Pinafore. Pierre Monteux con do RCA Victor LSC 2394 by excellent stereo reproduction, is a Angel's G&S projects are greatly im­ $5.98; Mono LM 2394 $4.98 worthy successor to that of Schmidt-Isser­ proved technically, but London's engineer­ stedt and is the preferred version among ing still provides a wider-range and a gen­ Interest: Unquestioned the four now available. Perfo rm ance: Ski lled erally w~nuer sound with more spatial Recording: Dull and lack-luster The four Slavonic dances, which fill out illusion. D'Oyly Carte's last London issue, Side 2, are interpreted with a similar feel­ Stereo Di rectionality: OK H.M.S. Pinafore, included all of the dia­ Stereo Depth: OK ing for their intrinsic content, and the or­ logue, a refreshing precedent that Angel The surprising thing about this disc, in chestra plays with marvelous precision. would do well to copy. both stereo and mono versions, is the bad, The future of the Amsterdam Concert­ With Iolanthe comes a free disc as relatively muffled recording. I was struck gebouw Orchestra would seem to be in bonus, containing fifteen scenes from by its lack-luster quality immediately upon excellent hands. M . B. Sargent's previous G&S albums. J. T. hearing it. Comparison with the Beecham ... 6 DVORAK: Symphony No. 5 in E ... HAYDN: Quartet in C Major, Op. 70, recording for Capitol confirmed my im ­ Minor, Op. 95 ("From the New World"). No. 3 ("Emperor"); MOZART: Quartet pression. The orchestra "opens up" in the London Symphony Orchestra, Leopold Lud­ in C Major (K . 465) ("Dissonant"). Paga­ Capitol version, and the instrumental wig condo Everest SDBR 3050 $4.98; Mono nini String Quartet. Kapp KC 9045-S $4.98 voices have all the focus that they lack LPBR 6056 $4.98 In terest: Masterpieces in the RCA Victor recording. Surely, mod­ Interest: Repertoire cornerstone Performa nce : Excellent. with one ern recording techniq ues have gone farther Performa nce : Dedicated minor reservation than what is evidenced on these records. 52 HiFijSTEREO As Eor the performa nce: Beecham's read­ &: 111 0no) a nd DvoLik 's R.lIs(fllw (sched nl eel of the chief figures in their Morayian vi l­ ing oE the first movement of the "C lock" on Ania ALPO 87 DIL) to gain anv kind lage setting that saves all-in particular is vital and exciting, while Monteux seems of foothold in the international operatic that of the embittered step·mother Kostel· colorless by comparison. From that point repertoire. T he struggle for such recog­ nicka. the pathetic Jelll'Ha , the irrespon­ on, however, it is ~1onteux who su rges nition was for Janacek a long and bitter sible Steva 1I"-h o fathers but won't take ahead, with faster tempi in all oE th e re­ one; Eor he composed .je11l1fa in a first ver­ responsibility for her child and the stead­ maining three movements. The second sion betl,"een 1894 and 1897, revising in fast "good" Ij rother, Laca. It is Kostelnicka movement-the one which gives the sy m­ between 1899 and 1903. (During the latter who emerges as the crucial a nd most mov­ phony its nickname-is taken at the Eastest period. he suffered through the illness and ing figure and in her confrontations oE speed that I have ever heard. In Eact , as I death oE a da ugh ter whom he adored .) A Steva and Laca, in her co ll oquies with mentioned in my review oE the Beecham premiere took place on Januarv 2 1. 1 90 · ~; Jcnllfa. and above a ll in the heartrending recording in the June iss ue, Monteux takes but it was not until Mal' 26. 1916 that .lell­ scene wherein she decirles to do away with only six minutes to Beecham 's eight! ·,ila was finallv produced in Prague. Bv this JenUEa's baby, she emerges as so m ~t hin g In the finale, it is Monteux whose read­ time. Jan.leek ll ad become discouraged to close to heroic. ing has the· greater sparkle. However, it is the point oE los ing almost all creative urge; Ja n.leek's musical language in .Jellli/a co nsiderably minimized by the dull record­ but the long· delayed triumph of l el1tlfa stems in part from the post-Dvot-.\ k lyrica l ing. In short, not recommended . D. R. and its sll bseqllent co urse through all the style of his ea rl y Lach Dances (A rtia 122) major opera houses oE Europe (it made and in pa rt from the gnomic, terse style he JANAcEK: Jen·Ufa (complete opera). 6. t.h e Met in 'lew York in 1924) rekindled · was beginning to develop out of his study Marta Kra sova (soprano)-Kostelnicka; Ste­ the then 60-year-old co mposer's creative oE Moravia n dia lect a nd rh ythm. There rJanka J ellnkova (soprano)-JenUfa; Ivo fires. During the last dozen vears oE his are few arias or fo rmal ensembles as such, Zidek (tenor )-Steva ; Beno Bl achut (tenor) life he co'mpletcd no less than a half-dozen - l aca; Karel Kala s (baritone )-The Mille r; save for one or two brief fo lk dance epi­ Mila da Cadikovicova (contralto )-Grand­ operas, the Slavonic Festiva l !\fass (U rania socks. The si ngers use, rather, a highly mother & others with C horus and Orchestra 7072), two string quartets (A rtia 109) , the effective 1)[lrlanclo·m·ioso not unlike that of the Prague National Theater, Ja roslav Si nfonietta (Artia 122) and Tams I3ulba fou nd in Moussorgsky's IOwvallc!lilla (Jan­ Vogel condo Artia ALPO 80 C/l $15.98 (Capitol G 7159), all oE which have grad· .\eek was a proEound admh·cr of: the In terest: Czech-Moravian masterpiece ually been coming in to their ow n with the Russian master's work). At moments of Performance: Adequate to good li stening public as the highly individ ual intense drama, it breaks out either into Recording: Fair masterpieces that they are. pure song or else breaks down into some­ .fent/.[a, based on Gabriela Preissov.i's In .fen/ita, Jan.\eek and his librettist thing close to speech-song. ·What is par· "el rama oE Moravian rural life," was the have taken an ostensibly sordid rural story ticnlarly noticeable is the complete natu­ first genuine masterpiece to come from the of a mother who does away with her step­ ralness with which words a nel music fLt pen oE the Moravian-Czech mas ter, Leos daughter'S ill egitimate child to save her each other-inAection, stress, word intona­ .I an;\ cek. It was the first score to make from disgrace and transformed it into a tion all seem an essential part of the mnsic .! amleek's name known beyond the en­ drama oE intense compassion and forgive­ and vice-versa . virons of his home citv of Brno. It was 'the ness. As drama 1lU se the story cO lli es Jan;\cek's orchestra h.ere is nOl the highl)' first Czech opera after Smetana's T he perilously close to be ba ck-country "soap developed ensem ble of th e m3 ttl re works; l!m·/,ered Bride (Artia ALPO 82 C/L stereo opc,:a." It is the musical characterization but it still offers a potent running com-

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NAME------p-Lu-s~E-p=RI~NT~c~L~~~R~~~------I ADDRESS______I L ______CITY ZONE STATE I AUGUST 1960 55 menta r)" on dramatic action and the psy­ Stereo Directionality: Fine with which her recorded repert oire was chology of the protagonists; a nd there are Stereo Depth : Good chosen; in particular, h el' not undertaking some striking co loristic devices bro ught These pieces are tailor-made for Serkin's compositio ns norma ll y considered beyond into pJay, such as the use of a repeated flamboyant, extroverted R o manticism and her years, her experi ence o r her capabili­ xylopho ne fi gure in Act I to suggest the he plays them up to the hill', with fin e ti es. She has gained recognition as a young turning of the mill wheel. bravura and dash , plus a warm leavening a rtist with an outstand ing potential, bu t J en'Ufa, like almost all of J a n{lcek's of color and sensitivity . is the R ach maninoff "Third " a proper works, stands or fall s on intensity of ex­ T he conce rtos themselves are ri ch ex ­ vehicle for her? Particularl y fo r recording? pression, togelher with ta utness of phasing amples of Ro mantic style; the First is fair­ A 1Jriori, I would say no. I t is a co mposi ­ and accuracy of rhythm. I wish I could sav ly often hea rd in our w ncen hall s; bllt tion tha t has ba mecl many matu re per­ that this long-awaited first recording of the Second, fo r all irs fi ve recordings, is a fo rmers, even great ones; , well remem ber ] emit a measured up in this respect to what ra re item in concert. No do u bt a bou tit, an occasion when Gieseking ca me a crop­ is actually in the music; but I fea r that the wi th Serkif) 's d ynamic interpreta ri o n and per wi th it. Bohemia n Czechs of the P rague N'atio nal first-cl ass stereo recording fro m the eng'i­ On the concert stage. the piece generates T heater tend to soften J anflcek's illusic­ neers, these are the performances to get. so me excitement even when it is merely and to its detriment. At least this is ho w One ques tion : 'What, if not members of give n a run-through . In a recording, far this particular recorded perfo rmance the Philadelphia Orches tra, is the "Co­ more is demanded , for recordings can be strikes me. Krasova as Kostelnicka comes lumbia Sy mphony Orchestra" O rmandy compared side fo r side, each to the othe r. closest to measuring up to J an{lcek's musi­ conducts in the Second Concerto? M. /1. H ow does the Schein version compa re cal-dramati c characteriza tion ; and she is wil.h the Pen nario? Sh e begins more lyric­ abl y seconded by Zidek as Steva and J elin­ MOORE: In Memoriam (see RUGGLES) all y; he gets under way somewhat cl umsi­ kava as J en ltEa. Yet, I suspect that their ly. T hen the demand arises fo r power, and pel'fonnances wo uld have gained tremend­ MOUSSORGSKY: A Night on Bald Moun­ he has it, but not sh e. Frankly, I don't tain (see TCHAIKOVSKY) ously in power and intensity had someone think any wo man pianist has the special of the stature of Bretislav Baka la Oan:i ­ A MOZART: Clarinet Quintet in A ma­ ty pe of power R achmaninoff demands in cek's close friend and pupil) or Karel An­ jor (K. 58 I); Serenade in G major ("Eine this work . 'W hen the H orowi tz and Gilels ced been at the conducto rial helm . Still, Kleine Nachtmusik") (K. 525). Budapest recordings, a nd the old R achma ninoff (a ll we ca l) onl y he eno rmousl y g rateful to Qua rtet, David Oppe nheim (clarinet) and R CA Victor) a re brought o ut, this becomes Artia for making a genuine start toward Julius Levi ne (dou ble bass ) . Columbia MS distinctl y apparent. It just is not the type giving us the J an;\cek operas co mplete in 6127 $5.98 of concerto that can be scal ed down to (heir origina l la ng uage. I ndeed, two of Interest: Unquestioned accommoda te th e maximum eO'o rt of a his fin est mature o peras al'e slated for re­ Performance: Clarinet Quintet superb; sma ll -scale performer. lease by Artia wi thi n the next six months "Nachtmusik" not quite 'What we h ave in the Schein perform­ - th e powerful f\alyfl K ai1a n olJa (s tereo Recording: Excellent ance is a statement sho rt of th e one de­ and mono) a nd the delightful animal op­ St. er~o Directionality: Fin e ma nded by the music. Other music, even Ste reo Dept h: Adequate era, CWl1Iin g Little Vixen (mo no only). grander than the Rachma ninoff " J) Mi ­ So fa r as recorded sound goes, this one T he Clarillet Quintet is give n a ri ch ma­ no r" can be sa tisfi ed wi th the Sc hein of Jerl'lifa is of: 1952 vintage"':adequate, but ture reading, with a wo nderful sense of approach, but this is an o bdurate piece, no more than that, which is all the more poise and with admirable fill esse on the and if )'OU wi ll play the H orowitz record, reaSOl1 wh y Artia sho uld arrange for a part of all five players. you will untlerstand whv the composer l'eplacement version in stereo as well as In the "Na.chlll1 l.1si/l," there is ev idence exclaimed tha t h is younger coll eague got mono and cond ucted by such as, Haka la , of some insecure bo wing in the first vio· ou t of the music what he himself co uld Ance rl o r Talich. D. H. lin, so that, in bar 129 of the Filla le, the onl y imagine. Alld R achmaninoff could las t note is missi ng altogether. The re­ p lay p retty good piano too! A !:J. KHACHATURIAN: Piano Concer­ cording is fant as ti ca ll y faithful, which may Both of these nell' versions are deli ber­ to. Peter Katin with the London Symphony account [o r pan of my co mpla im regard­ ate, on the order of the Cliburn rendition Orchestra, Hugo Rignold condo Everest SDBR ing the first violin ; it may be that no fo r R CA. Neither of these pianists tear 3055 $4.98; Mono LPBR 6055 $4.98 violin playing co uld stand up under the inro the piece wi th the passion a nd excite­ Interest: Modern standard " bright li ght" of such close mi cropho ne ment of I I o rowitz. Nor, for tha t matt.e r, Performance: Excellent placemen t. Ne,·erthelcss. the version fo r do Cli burn o r Gil els . "" hile Penna ri o does Recording: hcellent string q uartet and do uble hass is welcome, well after g'e tling under way, he never Stereo Directionality: Sufficient es pecially sillce this fa miliar piece is al­ quite achieves a true pianissimo; he stays Stereo Depth: Good most a lways played by a string orchestra. lo ud ish throughou t. Sc hein has some fin e Composed in 1935 and p layed [o r the fir st Not to be picayune, but merely fo r the mo ments, particul arl y in the slow move­ time ill America seven years later, this is sake ot histori ca l accuracy, the jacket notes men t. But neither she nor Pennari o the most recent pia no co ncer to to secure give Moza rt's birth date as two days be­ achieve the l yri ca l intensity of the Cliburn a place in the regular reperto ry. It is fo re it acw all y took place. D. R. performa nce. colorful , grateful to the soloist and the Both conductors are alert con ah orators. MOZART: Quartet No. 21 ("Dissonant") orchestra. a nd quite easy fo r the listener However, the Philhanno nia is fa r and (see HAYDN) to assimilate. It is mo re romantic tball • away the betler orchestra. Ca pitol's so und modern, yet it is of this era in its direct· is bigger a nd mo re brillia nt than Kapp's ness and d ri ve. ... RACHMANINOFF: Piano Concerto No.3 in D Minor, Op. 30. Leonard Pennario and the ba lance between soloist and or­ l\'~ o r e . th ~ n most compositions he bas with t he Ph il harmonia Orchestra , W al te r chestra is better, but the di ffe rence is not recorded, this Concerto is sui ted to Ka tin's Sussk ind condo Capitol SP 8524 $5.98 significa nt. W. D. style of pia n ism. His crisp touch a lld bright tone are ideal. H e plays with verve A RACHMANINOFF: Piano Concerto RAVEL: Quartet in F (see DEBUSSY) and sentiment, as well as with evident en­ No.3 in D Minor, Op. 30. Ann Schein (pi­ joyment. Rig nold has the o rchestra o n ano ) with the Vienna State Opera Orches­ !:J. RUGGLES: Organum; MOORE: In its toes .and Everest's record ing is superb, tra, Sir Eugene Goossens condo Kapp KDC Memoriam; WARD: Symphony No.2. J a­ with the stereo broad a nd deep. W. D. 6000-S $5.98 pan Philha rm on ic Symphony O rc hestra, W ill­ Inte rest : Virtuoso concerto iam St rickland condo Composers Recordings A MENDELSSOHN: Piano Concertos­ Performance: Pennario powerful; Schein CRI 127 $5.95 sensitive No_ I in G Minor, Op. 25; No.2 in D Minor, Int erest: Significant Americana Op. 40. Rudolf Se rkin with the Ph ila d elphia Recording: Both very good Stereo Directionality: Both reasonable Performance: Very good Orchestra and the Columbia Symphony O r­ Recording: Very good chestra (in the C oncerto No.2 ), Eugene Stereo Depth: Both good Ormand y cond o Columbia MS 6128 $5.98 It was to be ex pec ted th at Penna rio wo uld W itll Charles I ves, WaLlingford Ricgger Interest: Fine romantic period pieces record this concerto at abo ut this point and H enry Cowell , Carl Ruggles, who was Performance: Breathtaking in his ca reer, but the sa me ca nnot be said born in 1876, helped give American con­ Record ing: Excellent abo ut Ann Schein. I had admi red the ca re cert music a powerful character of its own . 56 HiFi j STEREO H owever, his importa nce and influence laping. H ence, there is a two yea r gap ca nnot be evaluated by a reference to the between the young pianist'S appearances Schwann catalog; on ly one other record of before the reco rding microphones, a long his works is listed therein (Columbia ML time for so active and successful a per­ 4986). O!'gan1L111 was composed in 1945 and forming artist. was premi ered by Leopold Stokowski four I am not enamored of the Cliburn ren­ years later. I t is a short piece for full dition of the Schumann Concerto. The orchestra, serious and granitic in strength music plods rather than sp arkles. In some and sonority. Its sheer p ower indicates p assages there is a feeling of tenta tiveness, lhat we are much the poorer for the as though the interpreta ti on has not been pa ucity of Ruggles recordings. fu ll y formed . In others, there is a lack of Douglas Moore's I n Mem.oTiam. IS 111 its surge and fl ow, with the playing more own way kin to O·rganum.. It is an in­ studied than sponta neous. There is neither tense, compact work. In the words of its the assu rance nor the identifica tion a p­ composer, "It is dedica ted to those who parent in both the T chaikovsky and the die yo ung," and it evokes a bitter feeling R achmaninoff recordings. of loss for those who were cut down in In contrast to the piano play ing, the their prime. orchestral part is played with a rdor and Robert vVa.rd is of a younger genera tion expansiveness. On more than one occasion, than Ruggles and Moore. His Second .Sym ­ I receive the impression that Reiner was Experts disagree phony is a lyrica l three-movement work, urging his soloist to "get on with it"- to written in cl assical fas t-s low-fas t fonna t. infuse his playing with more verve. This ~ En ginee rs choose the new ESL-C99 It is an energeti c and robust composition, is the most expressive and impressive per­ Micro/ fle x stereo ca rtridge becau se with a decided positivism ab out it that formance of the orchestral score on records. of its patented , inherently linear h as its own attractions. I t is sensitive; it is very well balanced; and D'Arson va l movem ents and exclusive The J apan Philharmonic, which is per­ it is p ropulsive. Micro/ fle x sepa rat ing system. forming more American compositions than Actually, what seems most lacking in ~ Musi cians, on the other hand, prefer most America n orchestras, plays proficient­ Cli burn's performance is what he has been the ESL simply because it makes ly, and the recording is very well engi­ pra ised for so abundantly-romantic feel­ records sound better. neered . W . D . ing. P laying the Lipatti recording (Co­ lumbia ML 4525) against this one is a ~ Are you enjoy ing this superlative 11 revelation. It is not a m atter of speed or ca rtridge yet ? It's only $49.50 .A SCHUBERT: Symphonies-No. 5 in B­ technique . . It is a matter of insight, sen­ at your dea ler's. flat ; No_ 3 in D Major_ Royal Philha rm o nic sitivity, style and communication. The Orc hest ra , Sir Th omas Beecham, cond o Cap­ Lipatti sings and soars with its fanciful FOR LISTENING AT ITS BEST itol SG 7212 $5.98 poeticizi ng; withal, it is strong and undis­ Electro:..Sonic torted in rhythm o r phrasing. The Cli­ Laboratories, Inc. Inte rest : Ly rical symphonic mast erpieces burn is relatively earthbound, with little Pe rformance: Beautiful lyrical rapture and surprisingly weak Dept R • 35- 54 36th St • Long Island C it y 6, NY Reco rdi ng: Exce ll e nt attacks. Stereo Directio nality: Sufficient Of course, the Lipatti sound has been Stereo Depth: Good ·dull ed by age, while the new recording is r ich , fu ll and clear, with the stereo version T hese two melodious symphonies got off adding extra spa ti a li ty and definition to LO a slow start in the public concert hall. already fin e sound. Victor's economics, T h e m anusc ript of the T hird was not h owever, is an entirely d iffe rent ma tter. fo und until eleven years after Schubert's Less than sixteen minutes per side, monau­ dea th. The lovely Fifth had its first public ral or stereo, does seem extravagant. W . D . performance more than fifty years after it was written. Ah, the Good Old Days! H ow beautifully Beecham shap es the 6. SESS IONS: Symphony No. I ; BER GS­ melodies in these p erfo rmances and wha t MA: Musi c on a Quiet Th e me ; SM ITH: melodies they are! Both symp honies sing Tetra me ron. Japan Philharmo nic Symphony from beginning to end. U nder the Baro­ O rchestra, Akeo Watanabe condo (Sessions; nel's baton, the music flows lightfooted ly Smith) ; W ill iam St rickland condo (B ergsma ) . and its texture is gossamer fi ne. The engi­ Composers Recordings CRI 131 $5.95 neering fl awlessly sustains the delicacy of n uance that Beecha m ach ieves. W. D. Interest: Im portant America n sym p hony Perform ance: Convin ci ng 101 Strings interpret Reco rding: Very good the musical Soul of .A 6. SCHUMANN: Piano Concerto in Spain on this exciting A Minor, Op. 54. Van C liburn wit h the Chi­ R oger Sess ions wrote his First Sy mphony cago Symphony O rchest ra, Fritz Rei ne r condo in 1927, 'a few years after his famous The f.-new STEREO TAPE by RCA Victor LSC 2455 $5.98; Mono LM 2455 B lack Maskers (Mercury SR 90103; MG $4.98 50106). I t is an elaborate composition, o bel canto scored for full orchestra, with three as­ Interest: Major Roma ntic concerto sertive rnovements. Its vigo r and in tensity Hear it on 2- traek or 4- Perform a nce: Pianistically uninspired are immensely impressive and immediately track reel- to-reel or new Re cording: Exce ll e nt mark this as music of stature. vVa tanabe's tape cartridges. Write for Ste reo Directionalit y: Good reading is strong and assured ; it is his best Catalog AS of over 100 Stereo Depth : Good representati on on records to date. The vVilIiam Bergsma opus is a short Bel Canto releases. T his is only the second concerto that Van p iece that rises to a p owerful climax. Clihurn h as ]'ecorded deliberately. T he Russe ll Smith was born in the year that Bel Canto Stereophoni c Re cordings first was the Tch a ikovsky (Victor LM2252; Sessions composed his Symphony. T he a subs idiary of Thompson Ra mo Wooldr idge Inc. LSC2252). The recording of the R achma­ T etrall"LC'ron. is a one-movement piece that 1977-1985 McAll ister Avenue . ninoff: D minor (Victor L M2355; LSC creates a mood of calmness and certainty . COLUMBUS, OHIO 2355) was of an actual co ncert p erform ­ Both works are played with conviction. T he ance and was not sp eci fi ca ll y prep ared for recording throughout is very good . W . D . A UGUST 196 0 57 SMITH: Tetrameron (see SESSIONS) but inaudible. This is tbe only blemish in tro (" La Spiritata") ; LULL Y: Ball pt music an otherwise beautiful recording. D . R. for "Xerxes" ; BIBER: Sere nada; GIBBONS: A TCHAIKOVSKY: Symphony No. 2 in C Fa ntasia; HAUSSMANN: Pavan and Gail· Minor, Op. 17 (" Little Russian " ); MOUS­ WARD: Symphony No.2 (see RUGGLES) liard ; LU YTHON: Fuga Suavissima; C OU. SORGSKY: A Night On Bald Mountain. PERIN: L'Apotheose de Lully. C onsort of Philharmonia Orchestra , Carlo Maria Giulin i COLLE CTIONS Viols of t he Pro A rt e Antiq ua of Prague. cond o Ange lS 35463 $5.98 wi t h Kari Nurme la, (ba ritone ). Bach G uild A 6. EVERYTHI NG BUT THE BEER. BGS 5019 $5.95; Mono BG 591 $4.98 A TCHAIKOVSKY: Symphony No. 2 in C ELGAR: Po mp and C ircumstance March No. I, O p. 39; THOMAS: Mignon-Overture; Interest: Rare baroque items Minor, Op. 17 ("Little Russian" ). Paris C on­ Performance: Polished HANDEL: Xe rxes- " La rgo" ; WAGNER : servatory Orchestra, Georg Sol ti con do Lon­ Record ing: Warm Loh engrin-Prelud e to Act III ; J . STRAUSS, don CS 6118 $5.98 Stereo Directio na lity: Very good JR.: Accelerations Waltz; TRAD : Drink To Stereo De pth: OK Interest : Compelling early Tchaiko vsky Me Only Wit h Thin e Eyes; ENESCO: Rou· Pe rfo rman ce : G iul ini tremendous! ma nia n Rh a psody No. I in A, Op. \I ; SAINT­ F rom the list of composers and titles it is Record ing: Angel at its best SAENS : Danse Macabre; LlSZT : Hungaria n apparent that this is an excursion into th e Stereo Di rectiona lity: Perfect Fant asy for Piano a nd Orchestra (Olan less-known byw'ays of earl)· music- and it Stereo Depth: Just ri ght Marsh, soloist ) ; BERNSTEI N: Selections from is a welco me one, indeed . This is bea uti· "W est Side Story"; ANDERSON : Bugler's ful mllsic, and it is played with great Giulini here has made his most e~c i ti n g Holiday; KER N: Smoke G ets In Yo ur Eyes; record fo r Angel. His spirited account of Medl ey, " Kid Stuff"; MANCINI : Th eme from sensitivi ty, technical address and stylistic T ch aikovsky's C Minor Sy mphony, which " Peter Gunn". Boston Pops Orchestra , Arthur insight. lIforeovel', tbere is nothi·ng: pre­ incorporates so much Russ ian folk-song Fiedle r cond o RCA Victor LSC 6082 2 12" cious abo ut these performances; they have materi al, has no rival. T his stereo edition $ 13.96; Mono LM 6082 2 12 " $ 1 1.96 the necessary g usto when the music calls of the mono released months ago, is o ne for it. The viols, which were the predeces­ Interest: For Pops, t he most of the very best Angel has ever t urned o nt. Performance: Fi edler's t op performances sors of our modern violins, have an attrac­ :'\fot since the days of T osca nini have I Record ing: RCA Victor' s best ti ve, Silvery to ne. Curio llsly, I found them heard such discipli ne, su ch orchestral unity Stereo Directiona lity: Perfect closer in to ne quality to ou r modern in­ generating an excitement that will pull Stereo Depth: Perfect struments than I had expected . yo u right o ut of yo ur chair. Giulini pro­ I have heard "La SjJiTi l. ata" played a t a R CA Victor h as delivered to the market vides a tonal resonance and weight as well. lil'elier tempo, in a versio n for brass in­ a sumptuous I'ed and white gingham­ For m e, this is one of the o utstanding discs struments but the tempo chosen by the ch ecked super-du per 'package, containing presen t group seems ideally sui ted to the of the year. tl\"o records of Fiedler's' skiJ led program- Giulini's electrifying interpret.ation o f A ...~.f"#' • ~iIt' • softer to ne of t.h e viols. ming, with a p ao: of l~ r ~gJi.t. s!:a rlet beer N igh t 0 11 Bald Mountain is wa Il -shatter­ T he Biber Se"enada, which .is a delight mugs inscribed .iJp. gg l c1,~ " B0 ~tp l ]' Pops 75th ing, e ~pl os iv e , and conducted a t a furious ful work, is most u nusual in that one Annil·crsary.". ~ea tl y fitted 'into a bottom clip. Yet, in the last pages he obtains from m ovement employs a baritone voice. He slot of the box: big~' enou'glf \ o co ntain an the strings and winds of the Philha rmo nia represents the nigh t watchman, and his Easter bonnet, is the album. As a bo nus, a /)ianissimo of seraphic ligh tness. song, against the backg round of p lucked if you are inclined, yo u may se nd away Although London 's brilliant cond ucting strings, is channing. I seem to detect a for m atching mugs . Furthermore, th ere's ce rt" ain motion on the part of the singer, star, Georg Solti, leads the Paris Conserva­ a Budweiser Bo ton Pops recipe booklet tory Orchestra in a fin e p erformance of perhaps intended to sugges t the wander­ enclosed tell ing you how to m ake goodies the same Symphony, he simply cannot ings of the night watchman . like Burgoo, Pork-U·Pines, and SLU ff like compete with Giulini. London's sound is T he recording itself i ~ "J d ea l , presenting that. If YOll like beer yo u must agree the good , but Angel's is better, es peciall y in the instruments in good iJal ance, and "'jth p ackage is nihy, if you are a teetotaler, the pickup of wood winds. j . T. nice to ne. D. R. you can fill the mugs wi th orange j uice or give them to some sinful friend. But 6. VIVALDI: \I Cimento dell'Armonia e 6. GREAT GERMAN SONGS. wha tever YOll decide, keep the reco rds. A del/'Invenlione-12 Concerti Grossi, Op. 8. SCHUBERT: An d ie Musilc: ; 1m Abendrot; Julian O levsky (viol in) , with the Vi e nna "Everything But the Beer" is I. h e best al­ Standchen; Abschied; 1m Friihling; De r Li'n­ State Ope ra Orch estra , He rm an n Scherchen bum that iH-r. Fiedle,' has ever made in his d enbaum; Sei mir g egriisst! ; Wa nd erers cond o Westminster XWN 3315 3 12" $ 14.94 whole long i ll ustrious ca reer as leader of Nachtlied ; Geheimes; SCHUMANN: Mond· the legendary Pops. T he va ri ety is enor­ nacht; Wer machte d ich so hank? ; Aite Interest: Unquestioned mo us and stimulating, the performances Laut e; Erstes Griin; Die beiden G · ·:madiere; Pe rformance : Superb R. STRAUSS: AC :" weh mir unglii ckhaftem Record in g: Excellent stunningly conducted. On two full-sized LP's you get abon t an hour and 25 min­ Mann; Ich trage meine Minne. Ha ns Hotter Scherch en is known to vary in the quality u tes of the best engineered sound in the (bass ) and G e ra ld Moore (piano ). Angel S 35583 $5.98 ; Mono 35583 $4.98 of his perfo rmances like the proverbial entire histor y of Boston Pops. Producer " little girl who had a little cud ." This, John Pfeiffer, Engineer J ohn Crawford, Inte rest: Really great Lieder however, is on e of his good o nes-and at Prog ram Director and Chief Conductor Pe rform a nce: Exce ll ent his best, h e is hard to beat. There is a Arthur Fiedler have made an album Record ing : Excellent beauty of phrasing, a polish and spirit to worthy of the 30 years of love and labor Stereo Directio na lity: Suffi cient Ste reo De pth : Sufficient the orches tral work tha t makes this one Mr. F. has put into the Pops. The orches­ of the most satisfying versions I have tra sou nds much larger, solely because of T his program spans the three-qllal:t$'! rs of ever heard, of the familiar "F01l.'· Seasons," the engineering technique employed , as a century of Liede,' greatness. T l f~ii (-jn est which comprise the first four of the t\relve the ha nd was not augmented, according of these songs- and they are all very fine­ concerti grossi in this collection. The to the Boss. are the earliest. Franz Schubert was the other eight concerti are performed with T elephoned at home in Brookli ne, first to achieve true greatness in Lied.er equal beauty and skill. Fiedler said: "I've always wanted to make writing and no o ne h as supplanted him. O levsky's playing of the solo p art is as a record of a complete evening at Pops. The Schumann and Stra uss rep resen tations close to perfection as my ears can conceive. T he two records represent a whole pro­ are also on the highest plane of accom­ He has technique, tone, feeling, and, above gram and we made it wi th the reg ular plishment. H otter sings beautifully and all, beautiful style. o rchestra last summer." H e info rmed me intelligently. His rich voice treats the The recording is tonall y very satisfying with great delight tha t the album was words and m usic understandingly, lI'itll and, with o ne e ~ ce ption , beautifully bal­ selling so well, " they ran o ut of mugs!" the calm of ]Hondnacht showing lip in a nced. T he exceptio n is the slow move· Mugs or no mugs, beer or no beer, a vivid con trast to the drama of Die beiden ment of the concerto called 'Win.l.er: with toast with anything at hand in the direc­ Grell adiere as e~tl'emes of emotional and its pizzicato accompa niment to the beauti· tion of Boston, a toast to Fied ler's record­ d yna mic range. Gerald Moore's accom­ ful melod y in the solo violin. U nfortu · ing triumph. Cheers, Maestro Fiedler, lo ng p animents are truly collaborative and An· nately, the pizzicato chords of the orches· may your baton wave! j . T . gel's recording is superb. F ull t e ~ts and tra are made u nduly prominent and the translations, plus scholarly annotations, solo fiddle is so far off mike as to be all A 6. G . G ABRIELI: Canlona a quat· are provided. W. D . 58 . H i-F i / .S To E R.E 0 Reviewed by BEST OF THE MONTH ... RALPH oJ. GLEASON NAT HENTOFF

6. Records reviewed in this section are both Mercury's star jazz songstress, stereo and monaltral. Versions received fOT Ernestine Anderson, has done it review are identified by closed (,A) and again with The Fascinat'ing open (6.) triangles respectively. All rec· ords are 331h rpm and should be played E1'nestine. " ... one of the with the RIAA amplifier setting or its very best singers this reviewer eq uivalent. Monaural recordings (6.) may has ever heard. . . . be played also on stereo equipment with resulting improvement in sound distribu· This is a fine album in every tion quality. Stereo recordings ( ,A), how· way and should be a lasting ever, mltst not be played on monaural pho· addition to anyone's music nographs and hi·fi systems. shelf." (see right) • • •

6. THE FASCINATING ERNESTINE­ ERNESTINE ANDERSON. Nature Boy; A New Town Is A Blue Town; I G ot Rhyth m; My Heart Bel o ngs To Daddy & 7 others. 6. Mercury MG 20492 $3.98 Roulette has done fine justice Interest: Exceptional vocalism to Pearl Bailey in Songs of the Performa nce: One of the best Bad Old Days. " ... She Recording: Excellent sings with both conviction M iss Anderson is one of the very best and class. The accompani­ singers this reviewer has ever heard. She manages to retain a full fl owering jazz ment ... by Don Redman feeling and still sing songs like Natllre Bo)' adds to the effect of the in a manner that can only be described singer's good voice .... as superior popular music. The' arrange­ ments were by Ernie ' '''ilkins, I sllspect, a pleasure to listen to from though no credit is given. The band is led start to finish." (see right) by Harold Mooney and features sll ch jazz men as Benny Golson and Ernie R oyal. Miss Anderson sings with clarity, surety and deep personal conviction. H er per­ formances on this and her pl"evioliS Mer­ cury LPs rank her with the top si ngers of her time and second to none in intona­ 6. tion, articulation, phrasing and warmth. Classic Editions, a newcomer This is a fi ne album in every way and should be a lasting addition to anyo ne's to jazz, has a winner in music sheIL R. J. G. the Bob Wilber Quintet's 6. SONGS OF THE BAD OLD DAYS­ Sp1'eadin' Joy with its musical PEARL BAILEY. As Long As I Li ve : I've memories of the late Sidney Got Th e World On A String ; Memo ries O f You; Sto rmy Weather & 8 others. Roulette Bechet. "The tunes . . . are all R25116$3.98 good ones, and several Interest: Universal have a haunting blues quality. t-..\>W'· Pe rformance: Excellent "'...... 1 .. '.,.,. the music of Reco rding: Good ... An interesting album that SIDNEY BECHET . • swings . . . and shines with Miss Bailey has one of the very best voices ,sp rea til ")/-'/J )1 on records and I am at a loss to knoll' why genuine devotion. " mterpreted br / /f/. she never seems to treat it as such. Per­ (see p. 63) BOB WILBER quintet/septet' haps that's part of the charm. At any AUGUST 1960 59 rate, she sings here a collection of li ne Edison (trumpet), Jimmy Forest (tenor saxo­ HI·fl RECORDING TAPE old standa rds which she says she heard as phone). Tommy Flanagan (piano), Elvin 7:' Spools-Splice Free 30· 15 KC Freq, Re· a child, and she sings with both convictio n Jones (drums) , Tommy Potter (bass). Blu e sponse-IO Day Money·Back Guarantee a nd cl ass. The accompa niment is b y Don Skies; Candied Sweets; Angel Eyes & 9 oth­ 3 10 25 R edma n who adds to the effect of the e rs. Roulette R 52041 $3.98 1200' Acetate . .. ea. $1.29 $1.17 $ .99 singer's good voice rather tha n detracts In terest: Highly relaxed jazz 1800' Acetate .. . ea. 1.79 1.59 1.45 from it. i\Iiss Bailey sings with humor. Performance: One of the Sweets' best 1800' Mylar ... . . ea. 2.09 1.99 1.85 with feeling. and with a fine, wa rm sound Record ing: Good 2400' Mylar .. ... ea. 3.29 2.99 2.75 that makes this alhum a pleasure to listen Harry "Swee ts" Edison, a Count Basie Any Assf'ment permitted for quantity discount add postage-ISc per spoof-2S or over 10c to from start to finish. R . .J. C. alumnus, spent several years in California Deluxe Tape Spl icer Special-$2.95 doing studio wOI'k, including the initial Shure M7D Diamond Stereo Cart. Special­ 6, DIXIELAND AT THE ROUNDTABLE $13.95 Frank Sinatra Capitol sets. :'\'ow based in -SHARKEY BONANO. That's A PI ~ nt y ; Add Shipping-Cartridge SOc-NoV . C. Res idents the East, he heads a small com bo. Edison add 3% S. T . Sweet G eorgia Brown; Chimes Blues; Roy,,1 is limited in conception a nd is hardly like­ G arde n Blu e & 4 oth ers. Roulette R 25112 ly to surprise anyone with new or startling $3 .98 ---HI-FI PACKAGE~ ideas; but within his functional, economi­ at tremendous savings Interest: Minimal cal groove, he can be thoroug hly relaxing Perform ance: Desultory Bell Carillon #2221 20 W . Stereo a t his best and sometimes wa rmly moving. Amp ...... $99.95 Rec ordin g: Mediocre This is the most consistent of his r ecent Bell Carillon # 2222 FM /AM Stereo This LP is a complete loss as far as this albums and his playing. muted and open, Tuner ...... 109.95 Garrard RC-21 a 4/SP Stereo Changer reviewer is concerned . Sharkey has in the is nearly flaw less. I o nly wish he had giycn and Base ...... : ...... past had good bands and may have one his associates more solo space. N. H. Shure M7D Diamond Stereo now. On this LP, however, whatever good Cartridge ...... points i t had were carefully concealed. 2-University S-80---2 way Speaker 6, MAYNARD FERGUSON PLAYS JAZZ Systems ...... 119.95 The result is a dull album, relieved from FOR DANCING. Hey There; Where's Ted­ Regular Catalog Price 408.30 monotony only now and then by the trum­ dy; If I Should Lose You; Soft Winds & 7 YOUR COST 255.00 pet playing of the leader who still possesses others. Roulette R 52038 $3.98 the leg-itimate jazz feeling. R ecording is I nterest: Good big sw ing band suitable to levei of performance. R . .T. G. Pe rfo rma nce: First rate Don ' t like our package-let us Quote on yours­ by return air mail. No obligation. Let us prove Record i ng: Too echoey the Statement <4 We Will Not Be Undersold." ... PETE BROWN-FROM THE HEART. Ferguson's band is a good one, has a lot But Not For Me; Avalon; Body And Soul; Jfost 8tanda'rd brand IIi-Fol coml)o'nenI8. of capable soloists in it and some very C h"rokee; Leslie's Blu es & 3 others. Verve H ils and Tape R ecorders in SlOC/c and at'a il­ interesting arrangements. There are dull able for im.m,ediate delivery. MG VS b 133 $5.98 spots, such as the fi rst track on side 2, bll t Hi Fidelity Interest: Limited on the whole this is a good LP and one Performance : Slight that will serve for dancing or listening. --CENTER-- Rec ording: Good However, it is regretta ble tha t Roulette 1799·H First Ave., New York 28, N. Y. Stereo Directionality; OK Stereo Depth: OK insists on sou ping up the sOllnd with so • much echo. I t is unnecessa ry a nd actuall y Pete Brown is a well-known ja zz fi gure detracts from the impact. R . .T. G. from the swing era who has been in eclipse in recen t yea rs a nd is brough t back here 6, PETE FOUNTAIN DAY-PETE FOUN· for his first recording in a long, long time. TAIN-Pete Fountain (clarinet) , Jack Sper­ It is too bad that it is not possible to say ling (drums), Don Bagley (bass), Merle Koch something more in its favor than that (piano), Godfrey Hirsch (vibes). J a-D a; there is a touch of nostalgia to it which Tiger Rag; '5 W on de rful & 7 others. Coral Full Year's Subscription to may make those who knew him in his CRL 57313 $3.98 Harlem days of the 30s appreciate it. Interest: Small RADIO SHACK'S Coming to it for the first time, one must Performa nce; Derivative find it dull, rather trivial and distinctly Recording: Good for location second rate, more's the pity. R . .T. G. Pete Fountain is a New Orleans clarinetist who reached a wider a udience for a time 6, DICK CARY AND THE DIXIELAND as a featured member of Lawrence ",'Velk's DOODLERS. Billy Boy; Camptown Races; Society for the Preservation of the Busi­ Swing Low, Sweet Chariot ; Mack Th e Knife & 8 others. Columbia CL 1425 $4.98 nessman's Bounce. This album was re­ corded at a n October 29, 1959 concert at Interest; Party Dixie the New Orleans Municipal Auditorium Performance : Competent Send coupon today I See world's lorg­ where the New Orleans Jazz Club held a Rec ordin g : Good est and best line of eleelronic equip­ Pete Fountain Day. Ringers J ack Sperling ment! Invaluable to pros, exciting for Every once in a while someone takes a and Do n Bagley were especially flown in hobbyists. Over 100,000 items-stereo, group of good studio musi cia ns and re­ from Hollywood. hi-fi, ham radio, tapes - at money­ leases them from bondage long enough to saving prices. IS-day home trial on It's incredible to hear a clarinetist in any item. Satisfaelion Guaranteed. record a coll ection of old American tunes 1959 pattern his conception so closely after (and some nell' ones and occasionally non­ TYPICAL RADIO SHACK V ALUEI Benny Goodman . The essence of jazz is American o nes) in the so-called Dixieland personal speech but it's very h anl to find style. It is, depending on the calibre of anything in these performances that's in­ Radio Shock duol­ the musicia ns, good fun and all tha t b ut digenously FOllnta in. The playing is flu­ trock portablel Wt. hardly more. This particular effort is in­ only 17 Ibs. Has sep­ ent; the tone is ro und and warm; but Mr. arate record, ploy­ offensive and may even provide enjoyment Fountain is covering grollnd that has back, erase heads. for those who want some versio n of JHack Mike, 5" reel. _ already been thoroughly explored. The The Knife other than that of Bobby Darin other players do the best they ca n in back­ MAIL COUPON ' NOW or Louis Armstrong. However, there's en­ ing a ghost. Mr. Sperling's drum solos are l,' Radio Shack Corp., 730 Commonwealth Ave. tirely too much contrivance present a nd Boston 17, Mass. Dept. 60H 15 no threa t to Philly Joe J ones. N. H . Without further request, send latest cata­ too little genuine feeling to make it much log plus every issue for year-all FREE . more. tha n musical accompaniment for a 6, PETE FOUNTAIN AND HIS JAZZ Name beer bust. R.]. G. GROUP: BATEAU LOUNGE-Pete Foun­ Address'______--- tain (clarinet) and combo. Creole Gumbo; Post Office 6, PATENTED BY EDISON-THE HAR· Londonderry Air; Blue Lou & 9 othe rs. Coral L ~ City _ Zo:!.._...::;-~'!!:. __ ~ RY "SWEETS" EDISON QUINTET. Harry CRL 57314 $3.98 60 HiFijSTEREO This coupon entitles you to any

ARGO LP with the purchase of 'of your choice with the purchase of two two ARGO albums-monaural or ARGO ALBUMS (Inonaura1 or stereo) This coupon is not valid in any state where such coupons are stereo. Top artists-great music­ taxed, restricted, regulated, or prohibited . Distributor wi ll not honor redemption through outside agencies, brokers, or others who are not bona fide store-front retai lers of Argo records. it's the cream of jazz. Do it today! This coupon is good only for Argo monaural or stereo rong- playing records. • Cash valu'e 1/20 of a cent. ARGO RECORDS 2120 S. MICHIGAN, CHICAGO

AUGUST 1960 61 Interest: Very small Interest: Effective formula Performa·nce : Unoriginal Performance: Somewhat constrained Recording: Competent Recording: Very good This is a complementary a lbum to the Jonah J ones, a swing era trumpet player Pete FOllntai n Day set (Coral CRL 573 13) who has been Illuch influenced by Louis and has the same personnel. Recorded at Armstrong, has achieved unexpected suc­ Dan's Bateau Lounge, the session is fo ­ cess by stressing the melody and occasion­ cused on Fe untain's imitative playing and all y leaning on a shuffie rhYlhm. This col· is wearisome. N. H. Iection of previous releases is less e bvious­ Iy calculated in style tha n some of his A. CAN CAN-TERRY GIBBS AND HIS other albums, but he sometimes does QUINTET. Let's Do It; I Love Pa ri s; Come brake his emotions. There is solid playing, Along With Me; J ust One Of Those Thing s however, as in Jona.h's Bines; but not the & 6 others. Verve MG VS 6145 $5.98 consistent intensity and effortless swing of Interest: Good show tunes the better Harry Edison volumes. N. H . Perform ance: Good jazz Recording: Excellent Stereo Directionality: Good A. LENNY McBROWNE AND THE 4 SOULS. Stereo Depth: Good Lenny McBrowne (drums), Terry Trotter (piano )', Donald Sleet (trumpet), The tunes are mostly familiar and aU of Daniel Jackson (tenor sax), Herbie Lewis them are good OJltlS. T he jazz treatment (bass). Soul Sisters; Cerise ; Mc8rowne's is not ex treme and the swinging adds ro Galaxy & 4 others. Pacific Jazz S I $4.98 the p leasure of the music. Gibbs is more Intere st: Forceful new unit restrained than is his wont, and there's Performanc e: Substantial start a good pianist, Frank So'azzieri who is Recording: Very bright and clear featured in the quintet a good deal. Herb Stereo Directionality: Very good Ellis, the guitarist, gets some good solos Stereo Depth : Excellent and contributes effectively to the rhythm Drummer Lenny Nl cBrowne has a new and the drummer, F. Capp, at:ld bassist, A. combo that could become one of the more McKibbon, are first-rate. This is o ne of established jazz units. Strongly influenced the better show tune jazz LPs. R. J. C. by the contemporar y blues and quasi­ gospel renaissance among modernists, the Send $4.98 (pr. albJ by check or .money order' to: 6. LET'S HAVE A BALL-THE TYREE unit nonetheless tempers its aggressive­ PIP RECORDS . GLENN QUINTET. Love For Sale; If I ness with strong melodic conception and 1350 N. Highland Ave., Hollywood 28, Calif. Should Lose You; Angel Eyes; If Winter occasional tenderness 011 ballads. T hey No stamps or C.O .D.'s please. Comes & 8 others. Roulette R 25115 $3 .98 choose relatively engaging originals and Interest: Pops j'an have a geod, though not y.et wholly fu sed, Performance: Charming group int@gration. The most powerful Recording: Good soloist is tenor saxopho nist Da niel J ackson Accompanied by such top fli ght jazz mu­ who plays with passion , economy, a nd a sicians as Jo J ones (drums), Tommy Pot­ I ~.i g tone. Although leader IVlcBrowne is PURCHASING ter (bass), 1ary Osborne (guitar), and iil~ . intelligent !Oloist, he is no F h illy Joe Tommy Flanagan (piano, trombonist), Ty­ J o nes or Art Blakey and would be wise to l'ee Glenn (formerly with Duke Ellingron, shorten his m o nologues. In the last track, A HI-FI if you recall ) plays a series of pleasant iYI cBrowne's Ga.laxy, McBrowlle is mllch popular songs ranging back for sevtlral too pmlix. For a first record'ing, this is a decades. Each number sw ings, each has solid achievement. R ecording has a great SYSlE M? good jazz solos and the stress is always on deal of presence. N. H. PARTIAL LIST OF BRANDS simpli'city and melody in the manner made Send Us IN STOCK successfwl by Jonah Jones. Glenn can not A. LES McCANN LTD. PLAYS THE Altec Lansing Electravoice only be lyric on his trombone b ut cmllic TRUTH. Les McCann (piano). Leroy Vin­ Your Jensen. Stephens as well , with growl and wa-wa effects that negar (bass). Ron Jefferson (drums). How Hartley • Janzen High The Moon; A little 311 For God & Co.; University make for interesting co ntrast to the usual Acoustic Research playing style. This is one of the better I'll Remember April; For Ca rl Perkins & 4 List Of Jim Lansing* others. Pacific JaIl S 2 $4.98 Wharfedale pops jazz albums. R . J. C . Karlson Cabinets I nterest: Rollicking newcomer Components Viking THE BIG BAND DIXIE SOUND-TED Performance: Full of feeling , Concerton. 6. Bell. G.E. HEATH. The Ted Heath Orchestra. Mu sk­ Recording: Bright and clear For A Weathers rat Ramble; King Porter Stomp; Co penhagen Stereo Directionality: OK Harman-Kardon Stereo Depth: Adequate Elco • Pilot & 9 others. London LL 3138 $3.98 Acrosound Les i\[cCann is o ne of the maLl Y young Packag~ Quad Ampl & Spkrs' In terest: Small Dual Changer' Performance: Well-drilled modern jazzmen who combines the gospel Bogen. Leak Recordin g : Excellent Illusic inOuences of their youth with th e Quotation Dynakit • Fisher H. H. Scott I t's very difficu lt to retain the resilient influence of such major contemporaries as Uher Recorder Miles Davis. McCann is IllOSt impl'essive WE WON'T BE Sherwood* humor and free-wheeling gusto of Dixie­ UNDERSOLD! Thorens· land in a big band setting. T he old Bob in the f ull -swi n gi l~g buoyancy of his play­ Ampex. DeWald ing. He also has skill at creating relative­ Sony • Roberts Crosby hand succeeded occasionally with All merchandise Challenger Bob Haggart's arraLlgements, but Ted ly simple melodies that sound both in­ is brand new. Wollensak evitable and fresh. H e is weak on thematic factory fresh & Garrard. Pentron H eath's effort is a failure. The band, to guaranteed. Miracord • Norelco begin with, does not swing n m: does it development. To gain greater stature, Mc­ Glaser-Steers Cann will have to cut clown o n his store Rek-O-Kut have sufficiently crackling, emotionally un­ Components fettered soloists. The res,ult is effi cient, of "funky" c1-iches and learn how to con­ Tandberg* struct more challenging variations of his AIREX Fairchild accurate, bowdleri.zed jazz which is nixie­ Pickering. Gray la nd in outli-ne but not in essence. N . H . themes or of the chords underneath. It's Audio Tape a robust beginning, however, and NlcCann Magnecord* RADIO Artizan Cabinets 6. JONAH JONES-HIT ME AGAIN. receives excellent rhythm support. N. H. CORPORATION Rockford Cabinets Jonah Jones (trumpet) and unidentified I? er­ • Fair 7'r aded. THE INCREDIBLE JAZZ GUITAR OF 64-MR Cortlandt St., N. Y. 7, CO 7-2137 sonne!. Blueberry Hill; Cherry; High Hopes 6. & 9 oth ers. Capitol T 1375 $3.98 WES MONTGOMERY. Airegin; West Coast 62 ,.' HiF·i I ST ,ER EO Blues; G,p ne With Th e Wind; Fo ur On Six & the difference between pianistic faci li ty consummate technical ease and an irresis­ 4 ot hers. Riverside RLP 12-320 $4.98 and music. For a clear contrast between tible beat. Through the years, his concep­ 1nter est : 'Excellent jazz a pianist and musician, listen to Oscar tion has developed and he no longer just Performance : Spirited Peterson play a tune a nd then to Bill runs through chord changes as if j-azz were Recording : Good Evans' version of the same song. N. H. a giant playground slide. Sonny has be­ 1\1r. Montgomery, who disdains the use of g un to ampli fy his story, and it's a power­ a pick and instead plucks the guitar " tJ. DIXIE IN HI SOCIETY-BAR· fully emotional one, as these performances NEY RICHARDS AND HIS REBELS. Oh, strings with his fingers, is the most exciting clearly indicate. N . H. jazz performer on this instrument since Lady Be G ood; J ust In Tim e; The Blu e Room; Thou Swe ll & 8 others. Mercury SR 60185 the days of the late Charlie Christian with $4.98; Mono MG 20508 $3 .98 tJ. SPREADIN' JOY - BOB WILBER the Benny Goodman banel. He has a great QUINTET/SEPTET PLAYS THE MUSIC sense of form , and builds excitingly to cli­ Inte rest : Sociological OF SIDNEY BECHET. Blackstick; Blue Ho­ maxes t·hat are logical and forceful; he Pe rformance : Detached rizon; G host Of The Blues ; Little C reole has a hard swinging style that cOHId man­ Recording: Good Lull a by & 7 othe rs. Classic C J5 $4.98 Stereo Directional ity: Good spread age to make a foot deep in mud keep In terest: Fascinating experiment Stereo Depth : Good tal' l, ing. And he has a free Row of ideas Performa nce : Devoted tbat are fascinating. Here he is heard with As a stereo recording of a small combo, Recording: Very good good, if not wildly outstanding, accom­ this is quite well done with a natural dis­ !VIr. ,.yilber is a young mUSIcian who paniment designed to show his talents off position of all the elements but with started in jazz as a protege of the late to best advantage. 'Whether on ballads or enough "ping pong" to remind you it's Sidney Bechet and who studied soprano blues and s'tomps, ,.yes Montgomery is ob­ still stereo. The trouble, however, is in saxophone with Bechet for some time. viously the new star of tbe guitar. His the music. If this is Dixieland jazz at Here he has taken a group of Bechet's work is of sufficient stature to transcend some high level of p erformance, then this compositions and plays them with the as­ a1\ jazz sty,les and find appreciation from style of music surely requires no profiCien­ sistance of Vic Dickenson o n trombone, fans of all divisions of jazz. R . ] . C. cy, no feeling and no gift. R .]. G. plus trumpet, guitar, pia·no, bass and drums. The result is really charming. The " tJ. THE INCREDIBLE JAZZ GUITAR tJ. THE SONNY SIDE OF STITT. Sonny tunes, in the first place, are all good ones, OF WES MONTGOMERY. Wes Montgom­ Stitt (alto and tenor saxophones), J immy and seve ra l have a haunting blues quality. ery (guitar), Tommy Flanagan (piano), Percy Jones (piano) , Aaron Bell (bass). Charlie Persip (drums) . Skylark; Old Fashi oned Blues; The players are all, with the except·ion of Heath (bass). Albert Heath (drums). Aire­ the pianist, first-rate soloists in their own gin; W est Coast Blu es ; Gone W ith Th e I Never Kn ew & 6 ot hers. Roulette 2240 $3.98 right, and they fit together quite well here. W ind & 5 others. Riverside 1169 $5.98; Inte rest : Solid modern jazz i Mono 12-320 $4.98 The idea was to play Bechet's tu nes but Performance : Assured not to imitate Bechet. Since Wilber has Int e rest : Over-rated Recording: Fair also studied with modern jazzmen, the re­ Pe rfo rmance : Competent Recording: Good Sonny Stitt has become the acknowledged sult is an interesting a lbum that swings, Ste reo Directiona lity: Adequate leader of the direct-from-Charlie Parker has good solos, is well recorded and shines Ste reo Dept h: OK school of playing. He has a lso developed wirh genuine devotion to the memory of On the basis of his two albums so far, I his own commanding vo ice and plays with the late Sidney Bechet. n .]. c. cannot agree with the critical hosannas for gui tarist Montgomery. He may be Hthe hest thing to h appen to the guitar since Charlie Christian" in his in-person appear­ ances, but he hasn't made it yet on records. This one is better than his first, which should have been scrapped. He is certain­ I)' skilJed technically and plays wfth emo­ tional power and a fine beat, but there is little th-at is particularly memorable in h is conception and sometimes, as i n Gone Wilh The Wind, he can be downright dul1 . Montgomery gets fine support. Per­ haps Riverside might try ·recording him on location in a club. N. H.

A FIORELLO - THE OSCAR PETER· SON TRIO with Oscar Peterson (piano). Ray Brown (bass). Ed Thigpen (drums) . Li ttle Ti n Box; Po litics And Po ke r; Unfair & 6 others. Verve MG VS 6134 $5.98 Interest: Slim Pe rform a nce : Glib Recording : Good Stereo Directionality: Very good Stereo Depth: OK Yet another Oscar Peterson jazz version of a Broadway score. The Jerry Bock-Sheldon H arnick music for this surprise Broadway hit is considerably less gripping instru­ mentally than in the running context of the musical. vVhen the rather unremark­ able basic nature of the score is combined with Peterson's plodding conception, the result is hardly a record that will endure into the fa ll. PNerson's colleagues are excellent­ especia ll y Ray Brown who is powerfully recorded on this set but does not get in stereo enough solo space. Peterson has mastered the piano without learning much about ARGO RECORDS • 2120 S. MICHIGAN, CHICAGO AUGUST 1960 63 1

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Reviewed by toire. This particular collection of nine The RolJSodie EslJognole u nder his motets and one instrumental \\'ork repre­ baton is miniaturized by most modern RAL P H J. G 'L EASON sents the only serious attempt to re-create ~ta n da r ds of performance. La MeT emerges the sonorities of Gabrieli's music as it must 111 much the same fashion, cool even in the DAVID HALL actually have sounded to its Venetian hear­ stormy episodes. "Afternoon Of A Faun" JOHN THORNT ON ers in St. Mark's Cathedral. O ld-style in­ is much the best thing on the tape. The stru ments are used where possible instead Suisse Romande winds are ,giVCll ample of the bright-toned modern trumpets. The opportunity here to d isplay their remark­ 4-TRACK C L A SSICS result is a mellow-solemn sounding musical able beailty of tone. ]. T. texture Instead of Berliozian brilliance. A DVOiiAK: Symphonies-No.2 in D Mi. The music on this tape ranges in content A RIMSKY·KORSAKOV: Scheherazade nor, Op. 70; No. 5 in E Minor, Op. 95 from the imposi ng Exaucli Del./.s to the -Symphonic Suite, Op. 35. Vienna State ("From the New World " ). Vienna Philhar· touchingly beautiful Chl'istmas piece, Opera Orchestra, Mario Rossi condo (Time: monic Orchestra, Rafael Kubelik condo o 1eslt, 1'II,i dulcisime; and it is the music 39 :55) Vanguard VTC 1620 $7.95 (Time: 78 :32) London LCK 80008 $ 11.95 and its special sonority that makes this Interest: Most popular R-K score Interest: To p drawer Dvora k recording uniq uely worthwhile. Performonce: Excitin g,. Performance: Passion'ately lyrical There are shortcomings, however. For Recording: Very good Recording: Warm and full one thing, the recording seems to have Stereo Directionality: Perfect Stereo Directionality: OK . been done under studio cOllditions, rather Stereo Depth: Good hall Stereo Depth: Sufficient than in a church acousticall y comparable to St. Mark's in Venice. The result is not Rossi's exciting account of Rimsky­ Two major romantic symphonies that can Korsakov's most popular score must be each be heard without interruption for only lack of spatial depth in sound, hut a lso the sense of spatial antiphony between rated among the top group of the thirty turnover-here is something that has yet to odd recordings listed in the Schwann be achieved on disc, save for the short­ choirs, vocal and instrumental, that one wouid normall y expect in Gabrieli. The Catalog. Vanguard has already issued this lived 16 rpm variety. Scheherazade performance on mono and Kubelik is a t llis lyrical-dra matic best recorded sound is not wholl y free from in termodu lation distoi'tion, either. I stereo disc, hut this 4-track tape is the throughout the Brahmsian but very in­ best of the entire lot. tense Dvorak D Minor Symphony. As for noticed this on the stereo disc version of these performances when it was first issued, Although the strings too frequently the celebrated New W01'lcl, the Vienna overwhelm the wind sections inhibiting Philharmonic players give Kubelik a more but ascribed it to problems in cutting the disc master; but the same q uality is evi­ some of the ll'Onderful coloristic effects of mellow, less overpoweringly epic perform­ R imsky-Korsakov's orchestration, the en­ ance than the one he conducted with the dent on the tape as well-LOa bad. Finall y, conductor Edmund Appia, for all his gineering for the most pa!'t can compete Chicago Symphony for Mercury some eight with tile best. Rossi does some tempo·' years ago, Nevertheless, it still remains one conscientiousness, is no ball of fire when it comes to bringing out tbe inheren t rushing in the third-movement love music, of the three or four best "New WO'1'lds" but most of the time he gets excitement cu rrently available in recorded form. lyrica l intensity and rhythmic tension in Gabrieli's music. ' '''e get the notes, but out of the Vienna players while maintain­ There is no appreciable competition to ing an even tempo. ]. T . this reading on stereo tape; and if you 1I0t too much more. happen to be a Dvorak enthusiast, the All told', I come to the reluctant con­ cl usion that this recording is more impor­ A RODRIGO: Concierto de Aranjuez for combination of these two symphonies on Guitar and Orchestra ; FALLA: Nights in one reel makes for a best buv. t,~nt as " li ving m usic history" than as truly VIta l performance and stereo sound. The the Gard ens of Spain for Piano a nd Orches­ .The sound throughout is ,,;arm and full, tra. Narciso Yepes (guitar) , Gonzalo Soriano music's the thing here-and that's the enel WIth good stereo spread and tasteful iIlu· (piano ) with the National Orchestra of D. H. sian of concert hall depth. D . H. of the matter. Spa in, Ataulfo Argenta condo (Time: 42 :57 ) Lo ndon LCL 800 I 0 $7.95 RA VEL: Rapsodie Espagnole: DE· A G. GABRIELI: Process iona l and C ere­ A Interest: El egant Iberian masterworks BUSSY: La Mer; Prelud e l'Apres-midi d'un ~no~ial Music-Sancta et Immaculata Virgin­ a Performance: In the vein Faune. Suisse Romande Orchestra, Ernest ItatlS ( 1597) ; 0 Magnum Mysterium (1587)· Recording : Rodrigo-superb; Fa ll a-OK An se rmet condo (Time: 44:36) London LCL Nunc Di rrittis (1597); Ange lus ad Pas t ore~ Stereo Directiona lity: Excellent 80013 $7.95 (1587) ; 0 Jesu, mi dulcissi me (1615); Exaudi Stereo Depth: Good Deus (1:;97) ; Hodie completi sunt (1615); o Do:mm e,. J esu Christe (1597) ; Ca nzon a Interest: Impressionist ma sterworks This particular pair of recorded perform­ Quart! TonI a 15-15-part Ricercar' Indina Performance: Restrained ances has long been a favorite of mine on Domine (1587). Choir and Orchestr~ of the Recording: Good stereo d isc-in particular the exquisite neo­ Gabrieli Festiva l, Edmund Appia cond Ste reo Directionality: Sha rply split (Tim e: 42 :48) Vanguard VTC 1616 $7.95 . Stereo Depth: Clean sound Scarlattian Guitar Concerto by the blind contemporary Spaniard, Joaquin Rodrigo Interest: Splendor of a ncient Venice Two years after the advent of the stereo (b. 1902). A plectral instrument like the Performance: With lovin g care disc London releases its {-track stereo tape guitar, when properly recorded in stereo, Recording: Adeq uate to good of these performances, and needless to say is an absolute revelation o( the advantages Stereo Directionality: Adequate of stereo over mono sou nd; for the su btle Stereo Depth: Adequate there are obvious advantages. Ansennet reads these impressionist pieces with re­ transients anel overtones of the guitar can ' -:rhe ' splendiferous multi-chaired, 'r ichly straint. He achieves icy transparency at be fully appreciated only either in live lI1strul1lented music of Giovanni Gabrieli the expense of warmth. The approach is performance or in good stereo reproduc­ is becoming remarkably well represented almost clinical; the result clean-toned but tion-at least, so my personal experience on stereo disc and here makes its first ap­ not sonica ll y exciting ullless you create it has told me. pearance in the 4-track stereo tape l'eper­ by cranking up your volume control. T he stereo elisc issued by London almost AUGUS T 1 96 0 65 tll'O years a!!,o is 0 good that this ta pe A IUMSKY·KOItSAKOY: Capriccio Es­ Colc Porter's slick, sophisticated m usic is offers virtually no sOll ie impTOyement as pagnol, Op. 3<4; GRANADOS: Spanish deli vered here in tigh t p rofessional fash­ such-there is, perhaps, a little less back­ Dance No.5; CHA.IIEI: Espa"a Rhap­ ion, giving us a n adequate account of one ground noise. T he performance of the sody; MOSZKOWSKI: Spanish Dances, Op. of Broadway's great past hits. T he stereo R odrigo by Yepes u nder the baton of the 12_ London Symphony O rchestre , Ataulfo treatmen t adds little, as sense of movement Argenta condo (Time: 38:35) london lCl a nd stage localiza tion is not stressed late Ataulfo Argenta is perfection; while 8991<4 $7.95 Fall a's impressionist "concerto" also gets a Everybody stays p ut. Syrupy emotionalism finely idiomatic reading, even though Interest: Spanish picture postcards seems very m uch in order, except for the Soriano may not d isplay quite the subtlety Perfo rma nce: Adequate u n named girl whose brassy rendition of I of pianist ic n uance as a Cli fford C urzon or Recording : Inadequate Hate l'fen is the hest spot on the tape. Artnr Rubinstein. Stereo Direction al ity: Fair Engin «!ering is fi ne, and all lyrics delivered Stereo De pth : Good If you are a confirmed tape fan and in understandahle English . ] . T. don't already own the disc version of this O ne of the fi rst London stereo d iscs has recording. no\\' is the time to acquire one now been released as a 4-track stereo tape, A THE SOUND OF MUSIC. The Trapp of the choicest and most enjoyable items a nd the difference is interesting. Tape Family Singers and Chorus_ Arranged and in the whole stereo repertoire. D. H . processing in th is instance has cra mped conducted by Father Franz Wasner. Prel­ the low freq uency response and shaved off ud ium, The Sound Of Music; Ma ria ; My Favorite Things; Si xteen Going O n Seven­ A SOUSA MARCHES IN HI·F!. The the high edge, resul ting in a disappoint­ teen; Lonely G oatherd ; C li mb Eve ry Mo un ­ Stars And Stripes Forever; Rifle Regiment; ingly "gray" sound. The stereo d isc, when t ain ; Do- Re- Mi; Laend ler; An O rd inary Washington Post; The Thunderer; The Bride properly balanced, is better- crisper in de­ C o uple; Processiona l A nd Weddin g Ma rch: Elect; Hands Across The Sea; King Cotton, tail , retaining the sheen of the strings Ede lweiss ; So Long, Farewell; C li mb Every Liberty Bell ; High School Cadets; EI Cap­ typ ical of good London engineering. T his Mountain. (Time: 36: 18) Warner Bros. WST itan; The Fairest Of The Fair; The Invincible 1377 $7.95 Ellg /e; Corcoran Cadets; Free lance. The is aU lost on this tape issue. Invariably it seems, the tape counterpart of a good disc Gold ma n Ba nd , Richard Fra nco Gold ma n Inte rest: Mixture of music and sentiment condo (Time : <40:44) Decca ST7 8807 $7.95 is better, while the stereo 4-track release of Performance : Charming a poor disc is poorer. T his is one of the Record in g: Very good I nterest : Considerable rare exceptions. Performance: A rouser Stereo Directionelity: Good Argenta treats Rimsky- Korsakov with Record ing : Good St ereo Depth: Fine more grace than strength. Moszkowski's Stereo Di rectionality: Excellent It is so logica lly right, so exactly proper Spanish Dances are pleasan tly if not ex­ Stereo Depth: Just right for p urposes of showmanship, that the citingly played. Chabrier is given the most Decca's 4-tTack tape release is a stunner, T rapp Family should re-unite to sing the disciplined reading, and the Granados a rouser, and is incomparably better in tunes of the musical they inspired. At bon-bon sou nds tacked on. ]. T . sound than the stereo disc of this m usic Warner Bros. request, they came from issued some months ago. "V here the d isc Vermont, Ohio, and va rious other parts of suffered from d istortion and a generall y 4 TR. ENTERTAINMENT the co untry. poor sound th roughout, the tape sparkles A DESTRY RIDES AGAIN. louise O ' Brien It is amazing that the family, a favorite withou t fl aw from end to end. Mr. Gold­ and Jack Haskell with the Norman Leyden for years on concen stages in America. JUa n main tains a true marching tempo Orchestra_ Hopp De "Di ng le ; I Kn ow Your New Zeala nd, South America, Australia, roost of the wa y, yet b is d ynamic line is Ki nd ; Rose Lovejoy Of Paradise Alley ; Bal­ and Eu rope should still sound so well. not static. lad Of The Gun ; Anyone W ould Love You; Marriage, children, professional careers If yo u pia }' it softly the miking seems O nce Knew A Fella; Fair W Mning ; O nl y brought to an end a uniq ue "show" un­ too dis tant, but tbe moment you crallk u p Time W ill Tell; That Ring On Your Finger; I equalled in the music world of a d01.en Say Hello. (Time: 27:<40) SMS 529 $7.95 the \'olume lV( r. Gold man's ensemble comes years ago. fo rth willi a splendidly articulated amount Inte rest : Refreshing musical T heir recOlwening under Father Franz of brilliant brassy sound. In the event you Performa nce: Romantic treatment "Vasner for their recordi ng sessions took avoided the stereo record, here is YO ll1' Rec ord ing: Excellent place in December, 1959, a t New York. opportunity to acq uire o ne of tile 'best St ereo Directionality: No movement Delivery of most of the numbers is tapes of its kind. A m ust for band lovers Ste reo Depth: Good loaded with charm. Maria, My Favoril,e anywhere in the world. ] . T. Here we have a h ighly romanticized treat­ Thill gs, and So Long, Farewell, are the ment of Harold R ome's refreshingly buoy­ best of the group . T he Laendler, too, is A AN 18TH CENTURY CONCERT­ ant ' Vestern musical. J ack Haskell and especially attractive because of the Trapp's CORElLl: Concerto Grosso in G Minor, Op. Louise O'Brien sing ten selections in pop­ use of recorders and stringed instruments. 6. No. 8 ("Christmas") ; BACH: 3 Chorales­ ular ballad fa shion, which will appeal to T he albu m represents a double barrelled Vom Himmel hoch; Jesu, Joy of Man's Desir­ those wh o like their m usic ser ved as dessert mixture of m usic and sentiment with taste­ ing; lobt Gott, ihr Christen (arr. Keleman); fully contrived a rrangements. No attempt L. MOZART: Toy Symphony (attr. Haydn) ; only. Missing is the high h u mor of TORELLI: Pastoral Concerto for the Nativity, "Destry, " the hilarious spoofery for ex­ is made to duplicate, or in any sense cop y Op_ 8, No.6. Soli sti d i Zagre b, A ntonio ample as set fo rth in the jury scene. the style and big-time showmanship of Janigro condo (Time: 37:02) Vanguard VTC O'Brien is wonderful in I Say H ello, the R odgers and H ammerstein stage pres­ 1617 $7.95 Haskell is best in Rose Lovejoy Of Pa·m­ entation on Broadway. ] . T. Inte rest: 18th century bonbons dise A lley. One of Destry's dramatic tunes, Performan ce: Refined Ballad ·Of T he GlIn, is spoi led by heavy ... WARREN BARKER IS IN_ Flute Recording : Good echo-chamber background, competing too Ro ute; Cappuccino; Ha rl em Nocturne ; C afe Stereo Directionality: Good heavily with dialogue. No effort is made Esp resso; Bl ack Coffee & 8 ot hers. (Time: 35:57) Warner Bros. WST 1331 $7.95 Stereo De pth: Tasteful to ach ieve stage movement, but the sound Save (or Corelli's masterpiece, tll is collec­ is excellen t. ] . T . Interest : For jan buffs tion, from a musica l sta ndpoint, plumbs Perform ance : In no grea t depths; bu t it does make a thor­ A KISS ME KATE. Hill Bowen, his Chorus Recording: Cool ough Iy pleasing 40 min utes of listening. and Orchestra. Ove rtu re ; An oth er O p'nin', Ste reo Directionality: Way Out Stereo Depth: Swinging Janigro brings his usual sense of lyrical Another Show; Why Can't You Be have?; W und erbar; So In Love; I Hate Men; W e re refi nement to bear on the music at hand You like your mood jazz cool? T his album Thine Th at Special Face ; Too Darn Hot; and the Vanguard engineers have come up W here Is The Life That Late I Led? ; Always is In . You dig this man Barker who writes with smoothly contrived and nicely spread True To You In My Fash ion; Bianca. (Time: h is m usic in crayon? Man, he's so fa r I II out stereo sound. The Toy Symphony by 34:00). SMS S33 $7.95 he's Out of sight. The m usicians on thi:.. Mozart's father (long. ascribed to H aydn) In album are positively the Most. Space is is a particular delight in this respect. The Int e rest : Great musical Out (so is Khrushchev), swallowing gold­ stereo disc version of this recording is Pe rfo rm ance: Adequate fish is back Ill, bowling balls are Out, Re cording : Excellent good; the tape is, if anything, even better St ereo Directiona lity: Not much DaVinci's inven tions are In, b ut his paint­ in terms of sonic refinement. D . H. Ste reo Depth: Good sound ings are Out, but I n or Out in any cate- 66 HiFijST E R E O )

Birgit Nilsson is an irish-man! She knows sound! I t's her life! That's why this leading dramatic sopra­ no of the Metropolitan Opera, Vienna State Opera and La Scala, Milan, chooses Irish Tape exclusively for her home recordings. Only Irish reproduces sound with the ultimate in brilliance, beauty and realism. Only Irish has the exclusive Ferro~Sheen process that makes it the best-engineered tape in the world! Birgit Nilsson isn't influenced by price- but, happily, Irish Tape costs no more than ordinary brands! iriA ~h high f'idelity recording tape Manufactured by Orr Industries Company, Opelika, A la. Export: Morhan Exporting Corp., N ew Y ork. Canada: Atlas Radio Corp., Toronto AUG U S T I 96 0 67 gory these swinging Barker arrangements and stupidity. At times he is in bad taste, are In. Solid. Man, you wish to be cooled? as in the imitation of the world's greatest JAZZY You wish to be swung? You like dancing, booking agent who calls Dr. Alhert smootchin', foot·thumpin' stuff, neatly Schweitzer in Africa about an organ play­ a colorful 16-page history wrapped for your In stereopad? You get ing job in a night club. for only 15c this album and like the liner says, you are For the first twenty-five minutes Berman In. For good. J. T. is funny. For the next twenty he is amus­ ing. By the time he gets to the hour mark A BREAKFAST DANCE AND BARBE· . he has had it. \V'hat Berman needs is fresh ~...... rrol CUE-COUNT BASIE ORCHESTRA. fea­ material, and a wider horizon for his turing Joe Williams: In A Mellow Tone: imagination. People are much funnier, Counte r Block: Who Me: Mote n Swi ng & 4 much more pat-hetic, much more wonder­ others. (Time: 33:42) Roulette RTC 509 $7.95 ful than even he has discovered. He is A COUNT BASIE - CHAIRMAN OF becoming too much performer and not THE BOARD: TV Tim e : Mutt And J eff: enough writer. Perhaps he is not aware Speaking Of Sound s: Segue In C & 6 others. that a humorist's following is noted for its (Time: 40:08) Roulette RTC 510 $7.95 fickleness. Something went wrong on the second side of the tape, one channel drop­ Inter est: Broad Performance: Consistently good ping about 15 db in volume, destroying' Recording : Good to excellent the stereo effect. J. T. Stereo Directionality: OK Stereo De pth: OK A BRASS SHOUT-ART FARMER. April These two tapes make interesting compari­ In Paris: Moanin': Autumn Leaves: Five Spot son. One of them, Breakfast Da1lce, was After Dark & 3 others. (Time: 33:26) United recorded live at the famous Miami "pay­ Artists UATC 2204 $7_95 ola" convention of disc jockies last year. Interest: Good jan It has a pretty good live sound, good pres­ Performance: Good ence, and a curious set-up which must Recording: Good have been contrived. Basie is on the left, Stereo Directionality: Gooel and the rest of the rhythm on the right, Stereo Depth: Good and Joe Williams' vocals are on the left The music is good jazz played by excellent channel. The "Chairman" package was modern musicians and arranged by Benny made in a studio and has a neat split of Golson (who contributed some original brass on left with the drums and saxes on music as well) and featuring Art Farmer, a the right, with the piano. This tape is too very consistent jazz trumpeter. The pres­ bright and echoey, but the band was in ence one gets from tape makes t·his an at­ top form and played very well. The loca­ tractive package but there is tape hiss Here's an authoritative 16J page history of tion recording is not so echoey but there's jazz that appeared recently in Hi Fi/ STEREO throughout which is regrettable. On the a hiss on both that's too high. Actually, bass and drum introduction to Mi11o?' Review, the world's largest selling high fidel­ it seems to me, these tapes point up how ity magazine. While they la~t you can order Vamp, a very good bit of work, by the way, this fascinating reprint for Just 15c a copyl badly location or studio techniques ~ail the tape hiss is very noticeable though it is to get the true sound of a great band hke GOvered adequately by the weight of the Written by John S. Wilson, noted jazz critic, this when the producers are afraid to re­ this exciting look at the world of jazz takes brass the rest of the time. On the whole. cord them naturally. This will come I am though, this is a good jazz tape. R. J. G. you from Storyville in New Orleans to the ·convinced. In the meantime we have what Royal Garden Cafe in Chicago, from New is essentially a false Basie sound, interest­ York's Roseland to the West Coast school ing though it may be and sometimes ex­ A THE MUSIC OF GEORGE GERSH· WIN and COLE PORTER. Bess , You Is My of cool music. You'll read ' how the sound citing too. R . J. G. of jazz has evolved and of the influence of W o man: The Man I Love: Someone To a King Oliver or Bix Beiderbecke on today's Watch Over Me: Embraceable You: But Not A INSIDE/OUTSIDE SHELL:EY BER. For Me: Liza: Night And Day: In The Still O f musicians. MAN. (Time: 74:47) Verve VSTF 229 $9.95 The Nigh.t: 1 Love You: What Is Thi s Thin g Whether you're a be­ Called Love?: True Love : Wunde rbor. Raoul ginner or a jazz buft Interest : Ran~ing monologist Pe rforma nee: So-so Polia~in, his Chorale and Orchestra. (Time: -or simply interested Recording: Half good 39:21) Everest T 41051 $7.95 in a phase of Ameri­ Stereo Directionality: Does it matter? cana - you'll want a Ste reo Depth: Half good I nterest: Surefire copy of this IS-page Performa nce : Slee~ For seventy-four minutes and some seconds Recording: Lush reprint on the jazz Shelley Berman regales tha patrons at an Stereo Directionality: Good panorama_ And it's unidentified night club who laugh up­ Stereo Depth: OK yours for just 15c­ roariously at his quips, even when they Poliakin uses a large number of strings. with the handy cou­ are not funny. His monOlogues are filled pon below! But the plus 3 horns, 3 trombones, 2 trumpets, and with his most familiar bits (the horrors 18 voices in the chorus for rendering these supply is limited, so of flying, the nasty little boy who won't rush you r order today! numbers "in a romantic way." call his mother to the phone, the woman He lifts Gershwin tunes from as early dangling from the department store ledge), as 1924 (The Man I L ove), goes back to .------and it is not difficult to miss humor, which 1929 for early Porter (What Is This Thi11 g I Zift-Davis Publishing Company HSR-8& is as obvious as a pratfall. Mr. Berman Called Love), a nd goes forward to late Box 525 punctuates his catch lines in loud italics, Porter (True Love from the film High Church Street Station and once sensing the customers are getting New York 8, New York Societ)'). Nearly everything has the same h ysterics, goes after their remaining oxy­ character in its orchestral treatment. Please send me __copy\ies) of the I6-page gen like a Comanche after a scalp. Ap­ reprint on the history of jazz. I enclose I5c Smooth, sweeping stl'ings, soft winds, a for each copy. . parently the audience likes to bleed, and chorus for effect, not virtuosity. The result laughter, like some diseases, is catching. name ______is arm chair, not rug-cutting Illusic. Lush Brilliantly satiric at times, and possessed sound captured on Everest's wide-wide of a sharp sense of showmanship, Berman movie tape. J. T. address--______manages to hold the audience in the same hand with which he holds his imaginary A SABICAS-FESTIYAL GITANA. Bu­ clly, ______zone __ state __ telephone. His monologues deal mostly lerias: Taranto: Verdiales: Martinete & 5 with matters like sex, dignity, drinking, others. (Time 37:10) Ele~ra ETC 1506 $7_95 ti8 Hi F if ST EREO Interest: Broad Performance: Exciting Recording: Good Stereo Directionality : Fine Stereo Depth : Good This is excellent m ll sic with the fine, ex­ 1 citing gypsy fl amenco guitarist, Sabicas, and several very good singers. T his is, in add ition, one of the best tapes .of authentic fl amenco music available so far. Sa bicas is a co nsistent perfo rmer with the fi re of the true flamenco spirit always prese ll t in his work and the tense cry of the folk artist marking the bes t of his numbers. T he so und here is first-rate and the bala nce is good for stereo with a full spread which gives a credible illusion of actnal p resence in the room. The program is abundant and varied, too. R . 1. G. A IUD SHANK-HOLIDAY IN BRAZIL: little G irl Blue; Simpatico; The Color Of H e r Ha ir ; Lonely & 6 others. (Time: 31 :09) World Pacific WPTC 1010 $7.95 Inte rest: Good quiet jau Performance: Good Record ing: Excellent Ste reo Directionali ty: OK Stereo Depth: OK After a slight adjustment of the right NOW ... for the first time ... a channel for the guitar sound, this has good modestly priced professional balance with the drums in the middle, the stereo recorder that has exciting features found only in the finest ) fl ute on the left and the guitar on the instruments. You won't believe it until you see it! right. Shank, a Hollywood jazzman with long service in ~he studios a nd jazz groups as well as in the Stan Kenton band, has FEATHER TOUCH PUSH-BUITON OPERATION • 4 HEADS, INCLUDING SEPA­ made his best alto sax and flute recordings RATE 2·TRACK AND 4-TRACK PLAYBACK HEADS • 3 MOTORS, INCLUDING in the company of Laureindo Almeida, HYSTERESIS DRIVE· MECHANICAL FLU ITER FILTER· DYNAMICALLY BAL• . whose guitar seems to bring out the bes t ANCED CAPSTAN FLYWHEEL· INSTANT SOURCE/TAPE MONITORING. TWO of his music making. This package is no RECORD/PLAYBACK PREAMPLIFIERS· INSTANT START/STOP • AUTOMATIC excep tion; and , what is more, the m usic, for once, is the equal of the recordings. CUT·OFF SWITCH • 3%·71h IPS SPEEDS • AUTOMATIC TAPE LIFTERS. TAPE T his is good jazz, good listening, a nd good LOCATION INDICATOR • SEPARATE MICROPHONE/LINE INPUTS, EACH stereo. The La tin overtones make it even CHANNEL. more attractive and one of the tunes, The Color Ot' H er HaiT, is actually ha untinglY bea utiful, to stoop to a cliche. R. J. G. r------l A AMERICAN CONCERTONE I A TRAVELLING ON WITH THE WEAV­ I See the phenomenal DIVISION OF AMERICAN ELECTRONICS. INC. I ERS. Twelve G otes To Th e City; Erie C ana l; I Never Will Marry; Old Riley; Sin ner Man; CONCERTONE 505 9449 West Jefferson Boulevard I Hou se O f The Risin g Sun & 10 others. Culver City, California Dept. HFR-B I at your dealer, or send Genllemen: (Time:. 42:53) Vanguard VTC 1603 $7.95 the coupon for a Please send your illustrated brochure on the new CONCERTONE I In te rest: Great variety 505 STEREO RECORDER , and the name of nearest deal er. descriptive brochure and I Pe rformance: Weavers' best to date Name ______I Recording: Good the name of your Address______I Stereo Directiona lity: Flawless nearest dealer. I Stereo Dept h: Just right ______City Zone __State JI Undoubtedly this is the best 'Weavers re­ cording yet issued. T he combination of their unique and unbeatable ensemble work and a }'epertoire tha t has not a weak n umber adds up to a LOp ra nking release. Some of the reasons: the good taste and restraint th roughout; the right touch oE blues in H ouse Of T h e Rising SU.lI; the simplicity of T he KeelJer; the moving ease of Kumbaya; the pure fun in Eddystone Light (when it could have been stressed in the wrong direction); the UNHAPPY strange overtones in part of H opsa-Dira WITH "HI" You bet we'd be . . .. • to remind one of Canteloube's Songs Of HI-FI PRICES? If we wer e to tell you The Au.vergne; the so und-the bea utiful Ml . about AUmON's - "Out of this World" r- and wholly distinct :tonal character tha t Write us your hi-Ii needs -you'll be pleasanlly sur· HI FI Values. sets the group apart. Pete Seeger is heard prised. Ask for our free Write for free catalog. in fi ve numbers. One sentence in the liner audio cata/ot, too. explains a vital tl"llth about the Weavers: KEY ELECTRONICS CO. "We have found that a group is more than 120 Liberty St. Glldidn the sum total of its p ar~s." The engineer­ N.Y. 6, N.Y. 25-K Oxford Road ing is tops. J. T. CLoverdale 8-4288 Massapequa, New York A UG U ST 1960 69 ... THE LlMELITERS. The Hammer Son g ; Battle At Gandessa; Charlie, The Midnight Mara uder; When I First Came To Thi s Land; Malague na Salerosa & 7 others. Lou Gott­ lieb, Alex Ha ssilev, Glenn Yarbrough. (Time: 34:05) Elektra ETC 1509 $7.95 Interest; Over-sophisticated folk singing Performance : Fresh, alert Recording: Good Stereo Directionality: Good Stereo Depth : Shallow

A trio of great promise manages to survive a recording encumbered with phony ef­ fects. Ba.tlle At Gandessa is burdened with m achine-gun fire, whistli ng shells, explod­ ing bombs. Chat'lie, the Midnight l1ifamlld, er has a squad-car two-way radio simulated introduction. These three musicians are too good to rely on crutches to put a song over. The humor is often strained. J. T.

... ANITA O'DAY SWINGS COLE POR· TER with BILLY MAY. Easy To Love; All Of You; Love For Sale & 9 others. (Tim e: 26:00) Verve VSTC 220 $7.95 Interest: Good jazz vocals Performance: Fine Recording: Sloppy Stereo Directionality: Hopeless Stereo Depth: Nil

Miss O 'Day is a very good .iazz singer with wit, warmth and a fine swinging sound to her voice. She h as a tendency to get cu re occasionally and she indulges that habi t here. B illy May is one of the most pleas­ ing of the an'anger-conductors who always seems to get bright and sometimes funny bits of musical by-play going on in his accompaniments. The voice is on the right a nd the rhythm on the leEt, but so little sound is on the left channel, that you can run the right through both speak­ ers and it sounds better than it does divided up. The recording is faulty in numerous places; Miss O'Day's voice breaks several times as her sibilance is too much for the mike. R. J. C .

... I GET A BOOT OUT OF YOU. It Don 't Mean A Thing; No More; Love For Sale; Moanin'; Violets For Your Furs & 4 othe rs. Marty Paich O rchestra. (Time: 35 :33) Warner Bros. WST 1349 $7.95 Intere st: Cool, hot, progressive Performance: Professional Only ROBERTS "990" combines these features: Recording: Excellent Stereo Directionality: Fine iob Stereo Depth: Studio sound • "Instant" multiple • Dual head outputs adjustment head Marty Paich, who h as arranged for many • Dual pre-amp outputs bands and groups, including the best in • 4-track stereo record/play the land, throws together eight numbers • Dual power amplifier outputs served cool, hot, swingingly, and progres­ • 4-track monaural record/ play • Dual monitor speakers sively. He mixes sounds deftly, choosing his moods and creating his effects more • 2-track stereo playback • Portab'le 'and easily custom installed through instrumentation than solo indi­ viduality. It says in small print that Paich spent t he major part of his youth studying ROBERTS ELECTRONICS, INC. the techniques of Bart6k, Stravinsky, Send for Roberts' 829 No. Highland Ave., Los Angeles 38, Calif.• Dept. B I Brahms, Beethoven, Bach and Mozart. He great n ew Stereo Please send me )'our S tereo Tape Inform.ation Kit. I has a degree in music from the Los An­ Tape Information geles Conservatory of Music. ''''hatever he Kit. 34 tape application NAME I studied, the style is his own, a style of the methods described. ADDRESS times, a sound of the times. Trumpets, Includes the sensational CITy _____ ---.______I Roberts Pictograph. tram bones, saxes, French horns, vibes, Enclose 25¢ for ha ndling STATE . - I piano, bass and drums make up the group. and postage. The progressive jazz buff will love the im­ L __ ",!,::! :::' !:.!.!.::::,,'!:.,~~ !:.r.. !.":::!.~~:..!::.a:::. ___ J pl"Ovisatory work. ] . T. 70 HiFijSTEREO POPS ••• COLLECTIONS, THEATER, FILMS, TV ••• FOLK

BEST OF THE MONTH ••• Reviewed by RALPH ..I. GLEASON

STANLEY GREEN 1:. Columbia hands us a real NAT HENTOFF "sleeper" in Britain's gift to the form feminine, Diana Dol's. Records reviewed in this section are both stereo and m.onaural. Versions received for Her album of pop songs, review are identified by closed (.A) and Swinging Dors, is " ... a open (ti) triangles respectively. All rec­ delightful surprise ... Miss ords are 331!:~ rpm and should be played with the RIAA amplifier setting or its Dol's sings in a genuinely equivalent. Monaural recordings (/::,.) m.ay warm manner that achieves its be played also on stereo equipment with sensuality partly through resulting improvement in SOlLna distribu­ I.ion quality. Stereo recordings (.A), how­ her ability as an expert ever, mlLst not be played on monaural pho­ consonant clipper." nographs and hi-fi systems. (see p. 72) • • •

POPS .A /::,. 20th Fox makes a maj or /::,. rOLLY HRGEN-FOUR SEASONS contribution to the year's OF LOVE (vocals) with Frank DeVol and his drama recordings with Orchestra. Canadian Sunset; June In Jan­ ua ry ; Autumn In New York & 9 others. The Andersonville T1"ial. Columbia CL 1451 $3.98 " ... done with so much at­ Interest: Seasonal souffie tention to effectiveness as a Performance: Moanin' low purely listening experience. Recording: Tops The acting is first-rate The sandpaper tones of this formidable lady baritone have now been put to use ... the action ... makes relating sentiments that give testimony remarkably effective use to the effects of the season upon the heaTt. of stereo." Miss Bergen's voice is weH controlled thaugh not especially attractive, but the (see p. 74) main trouble with the current l'ecital is that there is too little variety in the bal­ lad-heavy program. ,",,'hile there a·re some pretty songs here, they all seem to be concerned with the single theme that love is love no matter what the temperature. /::,. Incidentally, Moonlight In Vermont, Ol1e Vanguard has done proudly by of the two winter entries, is rather tll1ique as it is probably the only popular song its folk series with Lament Germaine ever written that does not contain a single on the Death of a Bullfighte?' MONTE~O ',' rhyme. S. C . based on poems of Federico Lame.nt" Garcia Lorca and sung by on the- 6. SMASH FLOPS - THE CHARAC. Death TERS. Pip PLP 1900 $3.98 Germaine Montero, the mur­ (I t-a Interest: Should hold it dered poet's friend. "I know of Performance: Perfect few recordings that come close Recording: Fine to this in the complete fusion Obviously inspired by the great numbof of words, music and inter­ of Tin Pan Alley songs dedicated to in· dividuals or events (Lucky Lindy, I Like pretation. . .." Ike, etc.), Dick Sherman and Milt Larsen (see p. 76) have created a dozen pieces each one re- AUGUST 1960 71 vcaling a rather inappropriate . point of I n t e r ~s t: Nostalgia back of the album jacket gi\'es the per­ I view. T hus we h ave Congra.tu.lations, Performance: Good sonnel of the 59-piece orchestra and also Tom D ewey ("You won by a landslide Recordin g : Good the name of the music contractor. S. G. today"), Good Job, Tlll ell Done, Neville Stereo Directiona lity : Pronounced Stereo Depth: Shallow THE SOUND OF CHILDREN-HUGO CluLll1beTlain (" Yo u brought us peace in 6 AND LUIGI with their CHILDREN'S CHO­ our time"), and the proud, flag-waving T his is by no means a bad album, but it RUS. The Whiffenpoof So ng; Dites- moi ; boast that there would always be Forty­ does bog down now and then from pure O ver Th e Rainbow & 9 othe rs. RCA Victor Eight Sta.tes Tn Th e U.S.A. One or two of nostalgia into utter dullness. Eberle sings LPM 2159 $3.98 the numbers a re in questionable taste, and 'luite well still , and even manages to bring I nterest: For whom? it must be admitted that the lyrics do not seve~'a l of the tunes to life with his full­ Performance: Appealing voices always develop the themes to their fullest. toned , cello-like voice. The band is a copy Recording: Nice :\'evertheless, it's an original approach, of much of the Glenn ~ fill er style with Hugo and Luigi, those two Pied Pipers, the melodies sound completely authentic better soloists than Mi ll er had. The stereo have rounded up twenty-two youngsters for each occasion, and the vocal group is good and the recording itself gives you between the ages of eigbt and twelve, and known as the Characters sing out tbe sen­ a f'ine cy mbal sound. R . ]. G. have let them loose on a dozen songs usu­ timents with just the right amount of ~ lI y associated with more adult voices. J from-the-heart si ncerity. S. G. 6 ANITA ELLIS-THE WORLD IN MY The program does have a certain appeal, ARMS with Orchestra, Peter Man condo though whether it is intended for gl'OW n­ Someone to Watch Over Me ; Yell ow Flower; ... "KICKS" WITH BOB CREWE & Or­ ups or children is a little bard ·to sa y. chestra, Ralph Burns condo Ain 't That Lo ve? ; Put the Blam e on Mame & 9' oth ers. Elektra Bess , You Is My Woman Now ; Shakin ' The EKL 179 $4.98 Hearing the kids pipe Ollt " For Pete's Sake, Get Me To The Church 011 Timc." Blues Away & 9 others. Warwick W 2009 $3 ,98 I nterest: Superior repertoire or the old rOll(~'s anthem, Thallk H nwell Perfo rmance : Attractive voice Interest: Ambitious program FO'r Little CiTls, gave me the feeling thaL Recording: Satisfactory Performance: Could use more control it was a ll a b it too sophisticated. Some of Recording : Splendid According to the Elektra catalog, this the more suitable pieces (Dites-lIIoi. Over The finger-snapping breeziness ' that has album was originall y to have been known The Rainbow), however, are done a lto­ disqnguished the Bobby' Darin approach as Anita Ellis Sings Good Songs. Not a gether charmingly. S. r.. is also found in the delivery of Bob Crewe. com mercial title, perhaps, but a true o ne ' ofr. Crewe first attracted notice with a as the songs al'e all of superior quality with ... SPIKE JONES & COMPANY-OM­ swi nging version of The WhilJenpoof Song some of them being performed on an LP NIBUST. Liberty LST 7140 $4.98 on a single, and be imparts the same devil­ for the first time. A Lady Mu.st Live, for Interest: Wacky fun may-ca·re attitude in most of his numbers example. is a regrettably obscure item by Performance: Wacky funsters Reco rding: Excellent on this LP. Though B ess, You. Is My Rodgers and Hart from A III erica 's Sweet­ h eart in which an aggressive female ex­ Stereo Directio nality: Very effective Woman Now sounds like a teenager on a Stereo Depth: Enough presses her desires in lines such as "'''' bat's first date and All The Things You Are is Nothing subtle here, but this " TV Spike­ horribly mutilated, NIr. Crewe does well a siren song for? '~I h at is my chaise longue tacular" does contain many funn), 111 0- for?" The World Is Tn M y Anlls, for an­ eno ugh by Irving Berlin's Shalti'!!' The ments as it takes after some of the more ot.her example, is a Burton Lane-E. Y. Blues Away and the rarely-beard She's vulnerable persona lities and pl'Ograllls of Only Wonderful by Sammy Fain and E. Y. l-Iarburg ballad that gives a fresh slant to the well-worn theme of traveling around television-Lawrence ' ''' elk, Loretta Young, H arburg. The orchestra is a bit over- the private eye, the adventure travelogue, the world in search of-or with-the object powering. S. G. and others. Two bands devoted to rb e of one's love. Also included is the exqui­ manner in which old movies a re shown 6. DIANA DORS - SWINGING DORS site It Never Was You, surely one of Kurt give the company the opportunity for with Orchestra, Wally Stott condo Tha t's How ' '''eill 's and Mltxwell Anderson's most in­ It Is; Roller Coaster Blu es; Namely You & 9 spi red crea tions. some hilarious bits at the expense of both TV commercials and the movies them­ others. Columbia CL 1436 $3 .98 As for the singer, ~f i ss Ellis has an selves. Even the film "sound tracks" have Interest: Yes, indeed attractively rn elliAuous voice that she ha ndles well th roughou t most of the re­ an appropriately faded quality. Performance : Real pro Stereo is used fo r maximulTl comic possi­ Recording: Slight echo chamber sound cital. Occasionall y, as in Someolle To bilities. '~l hen " Loretta Young" enters H1alch Ove,' M e and There's A Man III Wha,t a delightful surprisel AlLh o ugh through a door at the rig'ht, the sound of jVfy .Life, she tends to overdo things, but Diana Dors has previously won fame as her dress being ripped off can be heard it's a generall y tasty performance. S. C. something of a British exponent of the as she walks to the left. During a hOrse­ 'fansfield Method of Mammary Acting, 6 TONIGHT WITH EDDIE FISHER with race at Churchill Downs, we not only hear this recording reveals that her vocal at­ Orchestra, Eddy Samuels condo J ust In Tim e ; the hoofbeats of the horses in the lead, but tributes are as persuasive as h er physical Let Me Entertain You; I' ve Grown Accus­ a lso, and far behind them, tbe awkward attributes. Nothing is overdone, and her tomed To Her Face & 9 oth ers. Ramrod T galloping of the last horse in the race. S. r. . enunciation, phrasing a nd generally intel­ 6002 $3.98 MICHEL LEGRAND-LEGRAND PI­ ligent approach to each song is in welcome Interest: Attractive program 6 ANO. I Love Paris; April In Paris; Th e Last contrast to the antics of other mOl'e ex­ Performance : Good-sometimes Tim e I Sa w Pari s & 9 others. Columbia CL perienced singers. While some may rely Record i ng: Cramped sound 1441 $3.98 on vocal huskiness and slurred syllables, For his fir'st recording on his own lahel , Miss Dors sings in a genuinely warm man­ Interest: For relaxed listening Eddie Fisher offers a dozen songs from ten Performance: Legrand ner that achieves its se l~ s u a lity partly recent Broadway musicals plus the title Recording: Too close through her ability as an expert conso­ song from the film Gigi. Mr. Fisher's voice I have not heard Michel Legrand's album nant clipper. is both warm · and masculine, but his ca ll ed I Love Pm'is (Columliia CL 555), In addition, she has chosen some de­ frontal approach to most of the material but apparently most of the items on this lightful, rarely-heard songs. Among them and his desi re to give almost all the num­ new release (subtitled Michel L egral/d are Jay Livingston's and Ray Evans' Tha.t's hers a "big" ending does make fo r a cer­ Plays T Love Paris) were included in the How It Is, the gay CO lli e By Sunday by tain monotony. Nevertheless, there is a previous co ll ectiOl~ . ' '''hy there should be Murray Grand, and possibly the most ' meaningful rendition of Another A lit II I'll n, this dupli cation I know not. Judged on its sparkling number of all , Tn Love For The and his delivery of ' Til TOIIWTTOW catches own merits, lwwever, the curren t set offers Vel'y Fi'rst Time by P . Roberts and J . just the right quality of nostalgia anel the facile Frenchman full opportunit-y to ' '''ooclman.-No, I never heard of them sentiment. On the other hanel, The SOllnd go tbrough many of the st:lIldards of rhe before either. S. G. of Music (which surely describes one of Francophile repertoire in markedly indi­ . ... RAY EBERLE sings and plays the MU­ the oddest cardiac conditions on record) vidual fashion. I particularly like the SIC OF TODAY. Elme r' s Tune; ~bb Tide; does nc;>t seem well suited to Mr. fisher's Debussy-ish treatment given Aulwllit One O'clock Jump; My Blue Heaven & 6 delivery, and even Anthony Perkins is able Leaves and the Latin approach to Prll';s others. Design DCF 1004 $2.98 to do more with Stlllllllertillle Love. T he je t'aillle. S. G. 72 Hi:Fi/STEREO I ~ JULIE LONDON - JULIE, , , AT 01' Bill; Zombie Jamboree & 12 others. Epic HOME. Lonesome Road; By M'yse lf ; Every­ LN 3698 $3.98 MILES DAVIS IS ON thing Ha ppens To Me & 9 others. Liberty Interest: Entertaining program LST 7152 $4.98 PRESTIGE! Perform ance: Talented sextet In terest: Intimate stuff Recording: All right Performance: One of London's best ., Recording: First rate The groups of collegiate folk singers keep Stereo Directionality: Well done popping up. The Raunch Hands are all Stereo Depth: Little Harvard undergraduates who have been entertaining at various collegiate functions Of co urse, you'd never know it if they and this recording happily proves that didn't mention it on the jacket, but this they are among the best of the purveyors recording was actually cut in Julie Lon· of what might be termed button·down don's very own living room. Fancy that! folk songs. The group also has a com­ It's all supposed to make it sound even mendable coll ective sense of humor, par­ more intimate than it would in a studio, ticularl y marked in their H illbill), Spectac­ and maybe it docs. Indeed, the familiarity ular number (they sing a real gospel num­ of the surroundings h as given Miss London ber called My Radio's Dia.led To H eaven I a welcome relaxed quality for most of the On High) and in their Study Of Rock And selections; "it's only when she begins to take Roll. Run, Corne, See Jerl.lsalem is a fine herself seriously on You StejJPed Out Of A example of a quasi-spiritual and Puttin' D-,.eam a nd Everything H apjJens To M e On The Style is a rousing sea shanty. S. C. that her vocal inadequacies become more apparent. One particularly annoying as­ 6. DELLA REESE - DELLA BY STAR· pect of this release is th at no composers LIGHT. Th e Touch Of Your Lips; He Was WORKIN! PRLP 7166 or lyricists are credited either on the cover Too Good To Me; I W ish I Knew; More or on the record label. S. G. Than Yo u Kn ow & 8 others. RCA Victor LPM THE MOST RECENT 2204 $3.98 OF MILES DAVIS' 14 PRESTIGE RECORDS ~ INTRODUCING THE FAIIULOUS In terest : Emotional pop vocals NINA AND FREDERIK. J acob's Ladder; ' Pe rformance: Mannered IN THE BIG PRESTIGE Time Fo r Man Go Ho me ; I Woulp Amour Record ing: Brittle CATALOG, He r & 8 others. Atco 33-119 ~4.98 Miss Reese has 'a good, warm, strong voice 1 12" High Fidelity Albums $4.98 Inte rest: Well sustained with which she could do many good P'erfo rm ance: Attractive voices things. U nfortunately she lets herse lf go SEND FOR FREE CATALOG . Recordi ng: Satisfactory in the direction of overly drama ti c, con­ WRITE TO Stereo Directiona lity: They're centered trived and a ffected singing. H er enuncia­ Stereo Depth: Little tion is positively annoying at times as she PRESTIGE RECORDS No, I wouldn't call Nina and Frederik seems to be burlesquing Sammy Davis, J1'. 203 So. Washington Ave. fabulous. Appealing, pleasant, entertain­ Despite these minus points, there are mo- " Bergenfield. New Jersey ing, imaginative would all apply, but to ments when she does sing, but they are too call the young Scandanavian couple fabu­ few when' weighed agai nst the rest. T he lous is a bit of overselling tha t migh t accompaniment is excellent; a lush orches­ actuall y do them harm by making people tra featuring strings and rh ythm. R . J. C. expect too much. Frederik is the dominant 6. BOBBY SHORT ON THE EAST SIDE one, and h e sings in a voice that is a with Rhythm ace. You Fascinate Me So; curious combination of Louis Jourdan and I Li ke Th e Likes Of You; Pretty G irl & 10 Harry Belafonte; Nina upholds her share others. Atlantic 1321 $4.98 of the program in a rather liquid voice of great charm. Most of their pieces are folk Inte rest : Lively show so ngs-or folk-type songs- and they bring Performance: Slight, rhythmic voice Recording : Very atmospheric " to them a fine appreciation of what is good both musically and dramatically. Two Although Bobby Short is apparently the oddities in the group a re Let's Put Out d arling of the East Side supper club set, The Ligflts And Co To Sleep and Bei Mil' I'm afraid his special in-person charm is bist du schoen. S. C. fairly elusive on records. Even on his cur­ rent d isc which was recorded before a live audience he strikes me as being an enter­ 6. ANDRE PREVIN AND HIS ORCHES· TRA-L1KE LOVE. When I Fall In Love ; tainer whose only asset is an almost pro­ pulsive rhythmic' drive. His gay numbet·s SAVE MOST on quality Stereo hi-Ii! See In Love In Vain; I Love A Piano & 9 others. top buys in Allied-recommended com­ Columbia CL 1437 $3.98 lack genuine buoyancy, his romantic bal­ plete systems, KNIGHT(!) quality Stereo lads are affected, and throughout he dis­ hi-fi units, and KNIGHT-KIT(!) build-your­ Inte rest : Innocuous fare plays the most pronounced vibrato this own Stereo. You'll find hundreds of Perfo rmance: Lovely money-saving va lues in famous name side of Judy Garland. a mplifiers, tuners, changers, speakers, Record ing: Just right No complaints about the songs. Mostly cabinetry, accessories-as well as re­ corders, P. A. systems, test instruments The angle here certainly required no spe­ show tune stuff, of course, with a sprin­ and electronic supplies. Extra big sav­ dal fli ght of imagination. All they did was kling of calypso and Tin Pan Alley. There ings on stereo records and t apes! Send for your FREE Allied Supplement packed round up nine standards with the word are some " in" group references, I imagine, with b a rgain buys and newest products! " love" in the title, p lus two by Mr. Previn in I Left My Hal In Ha. iti as he suddenly and one by Russ Freeman. The results changes the word "hat" to "cat" and ends make for a satisfactory recital, with con· up, with commendable consistency, by sub­ ductor-pianist Previn becoming, by turns, stituting " angora" for "fedora." S. G. ALLIED RADIO, Dept. 78-H I ... lang uid on When I Fall In Love, bouncy 100 N. Weltern Ave., Chicago 80, III. I on Love Me 0 ,,, L eave I1'Ie, and dreamy on 6. KAY STARR-ONE MORE TIME fea­ D Send FREE AlliedSupplement No. 195 1 Tn Love In Vain. T he title number, a turing Kay Starr (vocals) with Orchestra. 1 Name'______1 Previn original, is rather close m elodically Side By Sid !3 ; Two Brothe rs; Noah ! & 9 oth­ I e rs. Ca pitol T 1358 $3.98 1 to Sh01·tnin' Bread. S. G. Addressi ______.1 Interest: More invigorating than most 1 6. THE RAUNCH HANDS PICKIN' AND Performance : Lusty City Zone_Stale___ : SINGIN'. Run, Co me, See J e ru salem; Tell Recording : Bright AUGUST 1960 ~------~73 One of Capitol's new "Star Line" series, mercia1 property since leavinp; Billy " ' ard Hugo Montenegro cond .. and Chorale. Rob­ this is a collection of previously released and The Dominoes. This album indicates ert DeCormier condo 20,fh Fox SFX 4000 Kay Starr material. Miss Stan, who once much of the l'eason for his success. It has $5.98; Mono FOX 4000 $4.98 showed considerable potential as a jazz little to do with the blues as they are sung .Interest: Absorbing aural drama singer, is a much more robust and earthy by authentic blues performers such as Performance: Excellent company singer than most of her pop contempo­ John Lee Hooker 01' Memphis Slim. These Recording: Slightly hollow raries. She has a backslapping beat, horn­ are commercial tunes, many of th em Stereo Directionality: Effective like phrasing, and enthusiasm that often drowned in the self-pity of th e l yrics. Stereo: Depth : Satisfactory 'Vhat makes "Vilson's performance ar­ sounds quite spontaneous. Her material is Transferring dramatic works to records is resting, however, is the clear influence of uneven and her arrangements are mechan­ certainly not new, but what is new, and contemporary Negro gospel music on his ical, but ?«iss Starr is nonetheless clearly what makes this recording unique among singing. Wilson often uses a gospel bea t the winner over the obstacles Capitol theater albums, is that it has been done and the panicular kind of frenzy (q uite places before her. '~ben will Dave with so mnch attention to effectiveness as contrived in his case) of the gospel experi­ Cavanaugh or someone at Capitol place a purel y listening experience. In addition ence. There is also a small gospel-like her where she should be-in a small jazz to being condensed by aUlhor Saul Levitt choir acting as a bobbysox Greek chorus. band setting working mostly with " head" to fit on two sides of a single LP, COI11- N.H. ' Vilson is least effective on slow tempos arrangements? poser-lyricist Henry ]\'emo has written a where he consistently confuses bathos for number of musical p ieces sung by chorus t::" TORCH SONG - SYLVIA SYMS. blues. On medium and up-tempo a rrange­ and soloists that gives added dimension to You're Nearer; Yesterday; Without Love; Re­ ments, however, he does communicate con­ mind Me & 8 others. Columbia CL 1447 $3.98 the dramatic conflict being depicted. siderable vitality. V/ilson is obviousl y a Thus, The A1lderso1lville Trial emerges well-developed showman and should be­ Interest: Good songs not so much as a work transferred to come even more commercially popular. He Performa nce: Warm singing l'ecords from another medium but as a Recording: First rate might also develop into a more impressive work created excl usively for the turntable. singer musically if he were to realize that With the exception of a few moments Much of the credit for the success of the he doesn't have to be maudlin to reach a when she is maneuvered into a position of enterprise must go, of course, \0 the play wide audience. The packaging is d istinct­ something less than strength in the higher itself. It is a stark drama of the moral ly lavish. N. H. registers, Miss Syms' turns in a very credit­ right a subordinate officer mayor may not able job on this album as sbe sings a good COLLECTIONS have to disobey the o rders of a superior collection of songs (a very good collection, officer. To illuminate his opinions on the to be exact) with feeling, conviction and t::" SIX TOP BANDS SWING AGAIN! subject-and, admittedly, thel"e can be no a live warmth in her voice that marks it featuring LES BROWN, BENNY GOOD­ black and white decision in such a situa­ from the average. The accompaniment is MAN, GLEN GRAY, WOODY HERMAN, tion-author Levitt has gone back to the by Ralph Burns, one of the very best of HARRY JAMES, STAN KENTON. Ea ge r trial of the notorious Capt. ' Virz, the com­ the studio arranger-conductors. R.]. G. Beaver; No Name Jive; Keeper Of The mander of the Confederate prison at Flame & 8 others. Capitol T 1386 $3.98 Andersonville, Georgia, where 14,000 Un­ t::" SOMETHING'S COMING FROM In terest: Big band memories ion soldiers died. As the entire action of FRAN WARREN with Orchestra, Ralph Performance: Full-bodied the play is the trial, there is a singleness Burns & AI Cohn condo What Is There To Recording: Crisp and clean Say?; Everywhere I Look; Lonely Town & 9 of design in the work that keeps a listener's others. Warwick W 2012 $3.98 Capitol has reissued performances, most of interest riveted on the continually absorb­ ing developments and iss ues of the conflict. Interest: Yes them apparently recorded within the past five or six years, that are actual1 y re-crea­ The acting is first rate. George C. Scott, as Performance: Intelligent stylist a deeply troubled j udge advocate, Albert Recording; All right tions of original "hits" by these bands. There is little that is startlingly exciting. Dekker, as the defense lawyer, and Herbert Although most record companies nowadays but the general level of ensemble and solo Berghof, as Win, give absorbing perform­ seem to hide the names of the composers playing is brisk and warm. It's an enter­ ances. The simplicity of the action, with on the labels, "Warwick has brazenly made taining program and should intensify SCOll generally on the left, Dekker on the no bones about the fact that these twelve listeners' nostalgia for their lost youth r ight, and the witness in the center, makes songs were ' written by six different com­ when big bands were in full flight. N. H. remarkably effective use of stereo. And the posers. They even put their names on the always pertinent, never intrusive m usical front cover of the album in the same size t::" TWELVE GREATEST HITS FROM score not only helps establish the atmos· letters as that of the singer. Of course, THE 1960 SAN REMO FESTIVAL-AU­ phere of the times b ut a lso gives the basic they should have gone all the way and also RELIO FIERRO: GERMANA CAROLl: theme of the play the universality that its listed the lyricists, but progress is progress FLO SANDON'S: SERGIO FRANCHI: author so clearly intended. S. G. and I fault them not. GIANNI MARIOCCHI. Noi; Splende il Anyway, the recording is a generally sole; In voce te; Searpe rotte & 8 others. Epic LN 3687 $3 .98 • BYE BYE BIRDIE (Charles Strouse­ attractive one, with an ill-advised up­ Lee Adams). Original cast recording. Chito tempo version of 1 See Your Face Before Interest: Certamente Rivera. Dick Van Dyke. Paul Lynde. Dick Me the only serious breach in taste. The Performance: Fervente Gautie r. Susan Watson & others with Or­ composers represented are Leonard Bern­ Recording : Va bene chestra, Elliot Lawrence condo Columbia stein, Vernon Duke, George Gershwin, KOS 2025 $6.98 David Rose, Arthur Schwartz, and Alec Here it is festival time again, and Epic has W'ilder. I guess my favorites are Every­ again bl'Ougbt us the most popular items Interest: Lighthearted fun Performance: Bright company where 1 Look (W'ilder-William Engvick) sung at the Italian competition in San Remo. One thing that strikes a listener is Recording: Fine presence and I Like the Likes of You (Duke-E. Y. Stereo Directionality: Satisfactory Harburg). S. G. the intelligent way rock-and-roll is used in Stereo Depth: Fin e many of these pieces. It is not the domi­ • t::" JACKIE SINGS THE BLUES fea ­ nant beat but rather added to supply a No matter what the critics may say about turing Jackie Wilson (vocals) with Chorus little more body to a saccharine love song the recent drama season on Broadway, it and Orchestra directed by Dick Jacobs. or to bring a touch of piquancy to an has certainly been a notable one for young Please Tell Me Why; Sazzle Dazzle; It's Been exuberant expression of happiness. Each composers and lyricists. Mary R odgers and A Long Tim e & 9 others. Brunswick BL Marshall Barer (Once Upon A Mat/Tess), 754055 $4.98; Mono BL 54055 $3 .98 song is sung as if the singer's life de­ pended on it. S. G. Rick Besoyan (Little Mary SU1lshine), Interest: Gospelized pops Jerry Bock and Sh eldon Harnick (Fio­ Perform ance: Hypertensive THEATER, FILMS, TV re llo!), and now Charles Strouse and Lee Recording: Good Adams have all arrived within a relativel), • t::" THE ANDERSONVILLE TRIAL Stereo Directionality : Pronounced brief span to give comfort to those of us Stereo Depth: Adequate (Saul Levitt-Henry Nemo). Original cast recording. George S. Scott. Albert Dekker, who are concerned about the future of the Jackie 'Wilson has become a valuable com- Herbert Berghof. and others. with Orchestra, Broadway musical stage. 74 Hi Fij ST EREO The score for Bye Bye Bi-rdie is perhaps his luck as a theater composer h as bccn deceptively simple. As the story is about consistently bad . Ch1"istil1e, his tenth teenagers a nd their worship of a rock-and­ Broadway musical, has maintained his roll singer named Conrad Birdic, th ere are batting average by closing after twelve cxamples of that all too fa miliar beat perf:ormances. lhroughout. Yet this kind of music is not Not that there aren't some attractive dominant, and is used intclligenlly within melodies in the score. Mr. Fain can create the framework of the p lot. The T ele/Jhone soaring romantic express ions such as I H our, wh ich establishes the atmosphere of Neller M~ e al1t T o Fall I'll Love and I L ove the world ' of adolescence, begins with a Hilll, or tu rn out atmospheric Oriental lelephone conversation between two girls. pieces (The Lovely Chis Of Akbarabaci) , Then, as other teenagers begin to make or even fashion a charming missionary ca lls, the orchestra picks up the rock-and­ song (I'll/. .Just A Little SIJarrow Tn The roll cadence of their inane conversations Nest Of The Lord). And surely My Little 1.0 build the seq uence to a c1"escen.cio of Lost Girl is an unusually affecting expres­ cacophony. It's a brilliant theatrical co n' sion of well -controlled grief. Yet the score cept even on a record. Another rock-and­ as a whole gives the impression of being roll number, Honestly Si ncere, is a choice too self-co nsc iously Broadway in its at­ Ornette morsel of philosophy offered by the much­ tempt to reveal the emotions of two people CENTURY adored Mr. Birdie, with its satirical point in India caught in a rather awkward ro­ 1327 beautifully emphasized by the use of an man tic situation. Primarily, I think, this echo chamber. is the fault of lyricist Paul Francis Webster Coleman? In general, it is in conveying thc emo­ whose ell'p ressions of ardor rarely ri se lions of teenagers that Strouse and Adams above the level of such a line as "I need Ornette Coleman's first Atlantic are most successful. 'Vhen Susan ' ,Vatson yo u by my side/My arms are open wide," album, THE SHAPE OF JAZZ TO lifts her delicate young voice in How Love­ sung by an Indian doctor in the title so ng. COME, LP 1!n7, stirred up a hornet's nest of controversy. ly To Be A Woman she suddenly becomes Moreover, the lyrics in his comic numbers, In CHANGE OF THE CENTURY, the embodiment of a ll girls approaching H ow To Pick A Man A Wife and Freedom Ornette is presented in an even more womanhood, and when she sings of her Can He A Most Uncomfortable Thing, provocative performance. One Boy (" ... to laugh with , to joke with, have a n unco mfort patronizing quali ty . As critic R alph J. Gleason said re­ have Coke with") she m akes thc pleasures The voices are quite good. with Maureen cently, "possibly jazz itself may of steady dating seem like the most won­ O'Hara showing far greatcr ass urance than never be the same." derful thing in the world. she did on a recent R CA release. S. G. available in stereo and monaural. There are some del ightful numbers for A OKLAHOMA! (Richard Rodgers­ the adults too. H y lll/l. For A Sunday Eve­ Write for complete Oscar Hammerstein II) . Stuart Foster. Lois l1in g is a rcverential paean to the glory of Hunt. Fay DeWitt & others with Orchestra. Ed Sullivan, while Kids irritatingly con­ Epic BN 562 $4.98 "AT':~';:;;;; ;~~s;;~n~S trasts the behavior of yo ungsters today A CAROUSEL (Richard Rodgers-Oscar 157 West 571h 51 ., New York 19, N. Y. with the way things were when daddy Hammerste in II) . Loi s Hunt. H arry Snow. was a boy. Unfortunately, some of the Charma in e 'Harma & others, with Orchestra. ballads are a bit thin. Pu.t; On. A H atJ IJY Epic BN 563 $4.98 HI-FI SALONS Face is quite ordinary except fo r the in­ A THE KING AND I (Richard Rodgers­ genious rhyming of "tragedy" with "gladja Oscar Hamme rste in II) . Lois H unt. Samuel & RECORD STORES! de- (cided)," and Rosie is a fair softshoe Jones. Charmaine Harma & othe rs, with that rather cancels out the merits of the Orchestra. Epic BN 564 $4.98 Hundreds of dealers across the above rhyme by co mbining "Rosic" wIth Inte rest : Vintage R&H nation profit by selling HIFI/ "chose me." Pe rformance : All lack theatrical spirit STEREO REVIEW each month to Stereo is used quite well. Normal Recording : Sple nd id their customers. Are you one of A,l1e1'ican Boy is p erfect for the two chan­ Stereo Directio nality: Little Ste reo De pt h: Remarkable them? HIFI/STEREO REVIEW helps nel system as it allows Chita Rivera and build store traffic . . . keeps cus­ Dick VanDyke to offer conAicting stories As D ecca made the recordings of thc origi­ nal casts of these shows and Capitol took tomers coming back month after simultaneously from opposite speakers. month for t he merchandise you The T elep h one HOllr also takes full ad­ ca re of the sound tracks, Columbia appar­ ently decided that something would have sell- and, best of all, you earn a vantage of the extremities as it crcates its neat profit on each copy sold­ picturc of yo ung America draped over the to be done about getting the titles into the No RISK I NVOLVED. telephone. Both SIJallish R ose and Rosie, catalog of its rccord club. Epic, a sub­ sidiary of Columbia, has now obliged, So get details on selling HIFI/ however, would seem 10 suggest some sort STEREO REVIEW, the world's larg­ of ph ys ica l movemcnt tha t is not apparent though I'm sure therc are many who will est selling high fidelity music on the recording. wondcr if it reall y was worth the effort. The experi ence of l11u sical director El­ For these are co ncert performances of magazine. Or, order your copies liot Lawrence as leader of his own dancc the great Rodgers and H ammcrstein now. Just use the handy coupon orchestra has doubtless ly been of great scores, wi th little dramatic fce ling or pro­ below. help to him in this his first theatrical jection. Though the voices are generally assignment. Robert G inzler's orchestra­ good, most of the singers apparently have Retail Sales Division HiFi/ Stereo Review Att: tions are outstanding. S. G. had insufficient training in the musical One Park Avenue Jerry Schneider theater to create genuine characterizations New York 16, New York A CHRISTINE (Sammy Fain-Paul or to give the listener any inkling of how o S e nd me ...... copies of Francis Webster!' Original cast record­ a particular song fi ts into the over-all HiFi/Stereo Review for resale in ing. Maureen O' H a ra, Mo rl ey Meredith. my store each month. No risk in­ structure of either the story or the score. votved on my part. Janet Pa vek. Nancy Andrews & others with Both Oklahom.a! and The King A Ild T Orchestra & Chorus. J ay Blackton condo o Send me details on selling H iFi/ con tain the same so ngs heard on the Decca Stereo Review in my store. Columbia OS 2026 $5.98 a lbums, but Ca1"Ousei is minus the Car­ I nterest: Occasional ousel Waltz (!), You're A Qu.eer One, STORE NAME ...... Perform ance: Satisfactory company .Julie .Jordan, and This Was A Rea.l Nice Recordi ng: Well done Cla.mbake. Stereo offers no movement, ADDRESS ...... __ •• •• Stereo Dir ectionality: Good enough with vocal placement apparent only on Stereo Depth : Fine CiTy ...... ZONE ... . STATE ...... June Is Bustin' alit A llOver frO!]) Car­ Poor Sammy Fain. T hough he is one of ousel. No musical director is credited on SIGNATURE ...... HSR-B60 Hollywood 's most successful song writers, any of the three recordings. S. G. AUGUST 1960 ------~75 also several vivid soloists. The program ... SCENT OF MYSTERY (Mario Nas­ P.,.isoll Songs (Tradition 1020). Also worth cimbeneL Original soundtrack recording. hearing are the recordings of Harry Oster, includes descriptions of rural scenes, Musical supervision by Jack Saunders; vocals all English professor at Louisiana State lullabies, love tales, and songs of irrepara­ by Eddie Fisher. Ramrod T 600 I ST $4.98 University. His Folk-Lyric Recording ble regret. There is some su rface noise on Company is at 3323 Morning Glory, Baton my review copy. N. fl. Interest: Holds it quite well Performance: Scentillating Rouge, Louisiana. Some of the claims of authorship to the Recording: Track fine; Fisher hollow GERMAINE MONTERO - LAMENT tunes in this Bibb program are indeed 6. Stereo Directionality: Effective ON THE DEATH OF A BULLFIGHTER Stereo Depth: Well done intriguing. When and where did Bibb AND OTHER POEMS AND SONGS OF serve his time? N. H. This is the first film offered in "Glorious FEDERICO GARCIA LORCA featuring Or­ Smell-o-Vision," and what the recol'ding of chestra conducted by Salvador Becarisse. A 6. NETANIA DAVRATH SINGS La Guitarra; La Casada Infidel ; Ballad 0 1 its score may lack in olfactory sensations, FOLK SONGS OF RUSSIA featuring Ne· The Spanish Civil Guard & 9 others. Van· it makes up in a buoyant, frequently witty tania Davrath {vocalsl with Orchestra, Rob­ guard VRS 9055 $4.98 musical tour through Spain. I'm not ex· ert DeCormier condo The Bra id ; Siberia ; actly sure what prompted composer Nas­ Dunai & 10 others. Vanguard VSD 2056 Interest: One of the great records cimbene to combine Ravel's Bolero and $5.95; Mono VRS 9065 $4.98 Performance: Stunning Recording: Excellent Waltzillg Matilda on a few of the tracks, Interest: Thrilling singing but no harm is done as the entil'e score Performance : Vibrant I know of few recordings that come close has an oddly appealing eclectic quality. Recording: Excellent to this in the complete fusion of words, The last band on each side is given over Stereo Dir ectiona lity: Good music, and interpretation. Lorca was one to Eddie Fisher's poorly recorded versions Stereo Depth: Very good of the major Spanish poets and dramatists. of the title song and The Chase. S. G. Netania Davrath, born on the Russian­ Though basically apolitical, so far as Polish border and musically trained in parties were concerned, he was brutally FOLK Israel, has a superbly controlled voice that murdered by Falangists in 1936. Germaine is rich, powerful, and consistently accurate. Montero, who speaks the words and sings ... BAYANIHAN, Vol. 2-The Bayanihan Moreover, she is fully at ease in these the songs in Spanish, worked closely with Philippine Dance Company. Mazurka Boho­ Russian songs. She performs with equal Lorca during his lifetime. lana; Lubi Lubi; Asik & 19 others. Monitor authority in the bitter-s weet songs of The material comes from the Gypsy MFS 330 $4.98 women hungry for love and the enthu­ Ballads (1928), several plays, and Lorca's Interest: Thoroughly delightful siastic tunes of more fortunate lovers. The masterpiece, the four-part Lament for Ig­ Performance: Superb arrangements by Robert DeConnier and nacio Sanchez Mejias. The latter describes Recording: Good Milt Okun are tastefully in context. The in painfully graphic detail the death of a Stereo Directionality: Well placed notes include complete texts in Russian bullfighter. Also terrifyingly memorable Stereo Depth: Excellent and English. N. H. is the Ballad Of The Spanish Civil Gum'd, This is a model folk recording. It provides an unsparing delineation of the horror a clear, illuminating musicological map of [;; HUNGARIAN FOLK SONGS AND that swallows a village. It's unmatched in the country as a whole. The programming DANCES featuring Magyari Gypsy Band, modern poetry. There are lighter pieces­ is intelligent and the notes are ample. Soloist Sari Voros, Lakatos Gypsy Band, Solo­ The UnfaithfuL Wife; a celebratory song ist Istvan Csongor & others. Grief And for a bride; and the extraordinarily fragile The performances are well up to the level Joy; A Little Bird ; On A Tall Pop la r Tree & The Silence: of the first Bayanihan album issued by 10 others. Artia ALP 121 $4.98 Monitor and the material is even more consistently arresting. There are infec­ Interest: The real thing "Listen, my son, to the silence. tious dances, sprays of variegated instru­ Performa nce : Uninhibited It is a silence moving in waves, mental colors, channing Philippinized Rec ording: Good a silence in which there are sharp polkas and mazurkas, and other unique This is another of the valuable Artia im­ sliding valleys and echoes musical experiences. Some of the cere­ pons from behind the bristling curtain . and which bends its forehead monial numbers are grippingly dramatic, The music is played with intense pleasure to the ground." and in others the rhythm patterns are and aplomh a nd combines rhapsodic unusually stimulating. Totally and unre­ nostalgia with fierce celebnltion of pleas­ S. W. Bennett's translations wisely servedly recommended. N. H. ures as they are. Excellent notes by Henri­ "avoid recasting the images and thoughts etta Yurchenco which point out " .. . that into English verse forms, and instead pre­ ... 6. TOL' MY CAPTAIN featuring far from creating Hungarian folk music, sent the train of images as faithfully as LEON BIBB (vocals) with instrumental and the gypsies had merely taken over Magyar possible." A booklet provides both the vocal ensemble conducted by Milt Okun; themes and stylized them in their own way Spanish text and the translations. A dis· John Stauber and Fred Hellerman (guitars). - embellishing the melodies with ornate tinguished production. N. H. Midnight Special; Stewball; Track Li ning & and intricate improvisations, featuring 10 others. Vanguard VSD 2052 $5.95; Mono their brilliant violin performances with VRS 9058 $4.98 6. SPANISH FOLK SONGS, VOL. 11- the emphasis on Tubal.a, sparkling runs, GERMAINE MONTERO with Orchestra Interest: Solid material slides and double stops." ''Yhy no notes Conducted by Salvatore Becarisse. Jotas; Performance: Fine of its kind on the individual selections? N. H . Leonesa; T rebole & 13 others. Vanguard Recording: Very good VRS 9067 $4.98 Stereo Directionality: Pronounced ... 6. A PROGRAM OF RUSSIAN Stereo Depth : Poor SONG featuring the JAROFF WOMEN'S Interest: Superior songs Leon Bibb's collection of chain gang and CHORUS, Serge Jaroff conductor. Do You Performance: Passionate Recording: Very good work songs is his most successful recording Love Me?; Dreams Of Youth; Evening Bell s & II others. Decca DL 710019 $5.98; Mono so far. He is self-admittedly not a "pure" DL 10019 $4.98 The. second volume of Spanish folk songs folk singer, and doesn't pretend to be. A by Germaine Montero for Vanguard is trained singer, he makes the songs into Interest: For insight into Russian folk even more impressive than the first (URS dramatic concert material. In his field, he Performance: Striking 9050). Miss Montero sings as if the is much more satisfying than HalTY Bela­ Recording: Clear songs have always been part of her; and fonte because he is both a better singer Stereo Directionality: Tasteful her authority is coupled with a stinging Stereo Depth: Very good and a better actor. voice that is capable of expressing the most There is, however, so wide a contrast Serge ]aroff, conductor of the jaunty Don naked emotions. The material is absorb­ between the bitter, tearing emotions of the Cossacks, has now also formed a women's ingly varied-Aragon, Castile, Galicia, real thing as heard in field recordings and unit. He has effectively trained his charges Andalusia, etc. There are complete trans­ the re-creations of Bibb that I still recom­ and the arrangements extract more tonal lations. The songs are touchingly inno­ L mend the actual prison recordings. The colors than one might have thought pos­ cent, joyful, harshly wise, yearning, brave, best .example is Alan Lomax's Negro sible from an all-female chorus. There are and vibrantly alive. N . H. 76 HiFijSTEREO RATE: 40¢ per word. Minimum 10 words. October issue closes August 8. S end order and remittance to ; Martin Lincoln. HiFi/STEREO REVIEW, On e Park An. , N.V. C. 16.

LOW Quotes on everything HiFi & Stereo Tapes. Bar­ gain list: HiFi, Dept. H3, Roslyn, Pa.

AUDIO accessories-best prices-free catalog. Audio­ tone Recording Services, P. O. Box 9, Port Washington, N. Y. HI-FI Doctor-Will solve your hi-fi problems on-the­ A HANDY GUIDE TO PRODUCTS AND SERVICES, NOT CASH for used Short-Wave ham receivers, transmitters spot. Acoustic, Audio, Radio Engineer. Stereo-design­ NECESSARILY IN THE HIGH FIDELITY FIELD, BUT OF and accessories. Treger, W91 VJ. 2023F N. Harlem ing. Professional visits, day, evening, New York area. WIDE GENERAL INTEREST. Ave., Chicago 35, Tuxedo 9-6429. William Bohn , PLaza 7-8569, weekdays. AUTO Radio Distributor selling servicing Becker Blau­ ALL Makes of Hi-Fi Speakers Repaired. Amprite, 168 punkt, FM-AM , other European, American Sets . Save W. 23 St.. N. Y. C. 11, CH 3-4812. 30%+ Square Electronics, 150-60 Northern Blvd., WHATEVER your needs, Hi Fi / Stereo classified can Flushing, N. Y. solve them. Simply place an ad in these columns SOUNDTASTIC! That's what our customers are saying and watch your results pour in. upon receiving our prices on our latest High Fidelity Stereo and Monaural, amplifiers, tuners, turntables, speakers , tape recorders, kits. All brand new with OPTICAL-Science-Math Bargains. Request Free Giant factory guarantee. Individual quotations only. No Catalog "CJ". 128 Pages. Astronomical Telescopes, catalogues. Audio World , 2057 Coney Island Avenue , Microscopes, Lenses , Binoculars, Kits, Parts, Amazing Brooklyn 23, New York. Dept. HR . war surplus bargains. Edmund Scientific Co., Barring­ ton, New Jersey. WRITE for spec ial low prices on all hi-fi components, tape recorders, etc. Individual quotations only. No catalogues. Classi fied Hi-Fi, Dept. HR, 2375 East 65th THE Record Collector Journal. Comprehensive, valu­ Street. Brooklyn. New York . able data. Varied record mart. Introductory six issues -$1.50. Record Research, 131 Hart, Brooklyn 6, PRICES? The Best! Factory-sealed HI-Fi Components? New York. Yes! Send for Free Catalog. Audion, 25R Oxford Road, J Massapequa, N. Y. WRITE for quotation on any Hi-FI components. Sound Reproduction Inc., 34 New St., Newark, N. J. GIGANTIC Collection Free! Includes triangles, early Mitchell 2-6816. MOVING United States, animals, commemoratives, British Col­ DISGUSTED with "HI" Hi-Fi Prices? Unusual Dis­ Make sure you notify our sub­ onies, high value pictorials, etc. Complete collection co.unts On Your High Fidelity Requirements. Write plus big illustrated magazine all free. Send 5¢ for Key Electronics. 120 liberty St., New York 6. N. Y. scription department about any postage. Gray Stamp Company , Dept. Z2. Toronto , CLoverdale 8-4288. change of address_ Be sure to • Canada . AMPEX, Concer·tone, Magnecord, Presto, Bogen, Tand­ include your postal zone number berg. Pentron, Sherwood, Rek-O-Kut, Scott, Shure, Dynakit, others, Trades. Boynton Studio, Dept. HM, as well as both old and new 10 Pennsylvania Ave ., Tuckahoe, N. Y. addresses. Please allow four WESTERNERS! Save Money on Your Components! Free weeks' time for processing_ Delivery and Advisory Service. Special Prices on Package Deals. Charles Munro-Audio Components, 475 HI-FI/STEREO REVIEW linden Ave .• Carpinteria, Calif. 434 South Wabash Avenue OVERSEAS Employment. American Firms and United COMPONENTS, Recorders. Free Wholesale Catalogue. States Government. Comprehensive job Information Carston , 125-L East 88, N.Y.C. 28. Chicago 5. Illinois $2.00. Foreign Opportunities, Box 172, Columbus 16, TREMENDOUS savings! Sherwood, Dual , AR, all others. Ohio. Immediate reply to your correspondence. Sound Room , EARN Extra money selling advertising book matches. 1509 Bedford Avenue, Brooklyn, N. Y. Free samples furnished. Matchcorp, Dept. MD-80, Chicago 32, Illinois. HIGH Pay Overseas, Domestic jobs. Men, Women. Generous Benefits. Companies Pay Transportation. For info; write: World Wide , Dept. E-l, 149 N. Franklin St., Hempstead, N. Y.

SONGS into Dollars! Share 33 million dollars yearly for New Songwriters, songpoets. Any subject, songs composed, published, promoted by largest firm. In­ TAPE recorders, Hi-Fi components, Sleep Learning formation, appraisal Free . Send Nordyke Music Pub­ Equipment, tapes. Unusual values. Free Catalog. lishers, 6000 Sunset, Hollywood 283, California. Dressner, 69-02HF 174 Street, Flushing 65 , New York. POEMS Wanted for musical setiing and recording. Send poems . Free examination. Crown Music, 49-TM RENT Stereo Tapes-over 1500 different-all major labels-free catalog. Stereo-Parti, 811-G Centinela West 32, New York 1. Ave., Inglewood 3, California. SONGWRITERS-A Publishing House for Amateurs. MAKE $25-$50 Week. clipping newspaper items for Free Music-Free Lyric Course . The Amateur Song­ publishers. Some clippings worth $5 .00 each. Particu­ LEARN While asleep. Hypnotize with your recorder, writers Association, 1075 Boylston St. , Boston, Mass. lars free. National, 81 -DG, Knickerbocker Station, phonograph or amazing new Electronic Educator end­ New York. less tape recorder. Catalog, details free. Sleep­ Learning Association, Bo x 24-ZD, Olympia, Washington. STEREOPHONIC Components, Recorders, Tapes. Pack­ age quotes. Bayla Co., 1470-R Elmer Rd., Wantagh, N. Y. RECORDS From your tapes, LP's-78's-45's. 12 inch LP-$6.00; 3/ $15.00. I.M.P., Box B-1266, Oak Bluffs, Mass. $250.00 WEEKLY Spare TIme with a Tape Recorder! Proven , Guaranteed, Tested Plan $2 .00 (Refundable). EXCELLENT quality recording tape-7" reels. 30- Dixieland Sound, Asheboro 5, N. C. IIWINEMAKING," "Beer," "Ale Brewing/ ' Heider." 15000 cps guaranteed. 1200' Acetate 3/ 3.90-6/ 7.50, Methods, illustrated, $3.00. Eaton Bookstore, Box 1800' Acetate 3/ 5.10-6/ 10.00, 1200' Mylar 3/ 4.80 1242-VF, Santa Rosa, California. -6/ 9.00, 1800' Mylar 3/ 6.60-6/ 13.00, 2400' Mylar KEY chains, personalized ashtrays, smoke sets­ 3/ 9.60-6/ 19.00, Plus 15¢ PP & Handling per reel. useful novelties for home , office and gifts. Inex­ Foto Sound , 88 Harbor Road, Port Washington, N. Y. pensive items. Write for free catalog. House of 'rAPES copied to Hi-Fi Discs. Free price list­ Brand, H-4, 3458 Fish Avenue , New York 69, New York. Vance StudiOS, 3409 Grand Ave ., Oakland, Calif. BUSINESS cards $3 .75 Thousand postpaid, Free sam­ OVER 150,000 buyers and sellers will read your ad ples. Imagination. Box 761, Hollywood 28, Calif. when placed in this space . It costs only 40¢ per GOVERNMENT Surp lus Receivers, Transmitters. Snoop­ GOLF Clubs wholesale. Free price list. Crystal Golf word; minimum of 10 words including your name erscopes, Parabolic Reflectors, Picture Catalog 10¢. Sales. Crystal. Mich. and address. Meshna , Malden 48. Mass. DIESEL injector parts and fuel pumps wanted . GM51 - CRIME pOlice-recorded! Dramatic episodes including FREE! New 1960 catalog of all photographic books 53-71-110. 2093 East 19 Street, Cleveland 15, Ohio. gunfights / robberies / raids / narcotic traps. Personal available for your copy, send postcard with name and tape copies: 2 Hours @ 33J~ ips-$10. F. E. Meredith, address to Catalog Popular Photography Book Service, EMBOSSED Business Cards $3 .95 per 1000. Edward LAPD (Retired), 9651 Foxbury, Rivera , California. One Park Ave. New York 16, N. Y. Printing Service, 7430 Selwick Dr., Parma 29, OhIO. A UGUST 1960 77 ;/

BE OUR GUEST (Continued 1'1'01/1. /Ja ge n)

Night On Bald Mountain. The Philha rmonia Orchestra, Carl Ma ri a Giulini condo Angel S 35463 $5.98 I nterest: Some Pe rformance: Good ,,\ \ \ I ' / / ~ GENUINE Reco rding: Excellent jPNfQ ~ Ste reo Directionality: Very good V DIAMOND NEEDLE Stereo Depth: Just right ONLY $2.95 ANTENNAE T his shortes t of Tchaikovsky symphonies THE FINEST OF ITS KIND No need to pay fantas tic prices for a diamond is given a brisk interpretation by ~[r. need le. If your needle IS replaceable chances are Get more FM stations with the world's most Giulini. Ca lled by the composer "my im­ 10 to 1 th at we ca n replace it for only $2.95. powerful FM ' Yagi Antenna ' systems. Simply remove your old needle from the cartridge, mature m ediocre symphony," it was first tape it to a piece of paper wi th your name and To be fully informed, perfOrilled in 1873 and thoroughly revised address, enclose $2.95 check or money order and mail to us. By return Air Mail postpaid we will send 25~ for book in 1881. The revised versio n appears here. send you a brand new ·genuine diamond needle for "Theme And Varia · Though not major Tchaikovsky, his appli­ exact replacement. Your old needle wil l also be tions" by L. F 8. Carini returned. Complete satisfaction or money back: In cation of .Russian folk songs and the ab­ rare cases where we cannot furnish r'ep lacement and containing FM sence of the brooding fate themes so preva­ your money and needle wil l be returned by. Air Station Directory. Mail. No COD's. lent in h is later works make this symphony "APPARATUS DEVELOPMENT CO. a refreshing listening experience. SOUND ACCESSORIES Although one m ay quarrel with Mr. P.O. Box 3402 Oklahoma City, Okla. Wethersfield 9, Connecticut Giulini about some of his tempi (the last movement seems somewhat fast), his inter­ pretation brings Ollt the chulll and fl avor Selachron® of the work. The recording is one of DIAMOND NEEDLE TIMER Angel's best, having jllst the rightamouJ)t of spread and depth. Selachron The MOllssorgsky is given a fi ne pcr­ TIME INDICA TOR only formance. H ere, too, the superior record­ AIR MAil us your 500 HOURS Tl5 VOLTS ing brings out with startling l'ealism the requirements for an $3.95 full nuances of the work. All in all, a IMMEDIATE WHOLESALE fine disc. G. O. Components, Tapes' and 11:"'-=---­ Recorders SH IPPED A HAYDN: Quartet in C Major, Op. 76, PROMPTLY AT LOWEST PRICES Hl!I!P.ti Automati ca lly reg isters total operation ti me of your No. 3; MOZART: Quartet in C Major, K. phonograp h- reliably indicating present co ndition of 465. The Paganini String Quartet. Kapp S your styli. Get this low cost in surance poli ey for your 9045 $4.98 AUDIO unlimited ~~ cherished record co ll ection and enioy faultle ss listen- I 714-5 Lex. Ave., N. Y. 22, N. Y. in g pleasure . , At 'your audio or record deal er or order direct-postpa id . I nterest: Top quartets Pe rformance: Very good SELA E LECTRONICS CO. Recording: Excellent 545 West End Ave., New York 24, N. Y. Stereo Di rectio nality: Good Ste re o Depth: Fair T h-ese are two of the fi nest qua rtets ill the classica l repertoire. The Paga nini String Quartet plays both works with fervor and insight. T he Hayd n receives a just, straightforward , outgoing performance. The beautiful second movement is given Look to our classified pages for fast a ll especially fine reading. results a nd bargains galore! For just 40¢ a word, you can place your u sed In the Mozart, which seems to ponend equipment, accessories or records be­ the romantic movement, the extremely fine fore 150,000 hi-fl enthusiasts like y ourself. L et the HIFI / STEREO tone of the ensemble comes to the fore. S HOPPING CENTER in HIFI ! ­ The recording capably reproduces the ~, STEREO REVIEW be your market place for selllng, buying, or trading strings without ever becoming harsh or "QUICK-SEE" RECORD CABINET your used equipm ent or accessories. strident. Stereo directionality is good, but E nd table rccord cabinet. One compartment features slide out QUICK·SEE album fi le for frent vicw, ftip through stereo depth is laCking. In tbe case of se lection. Other compartment conventional storage. Cabinet For . i Martin Lincoln a quartet, this is not really too important. of hardwood "enccr in oiled wa lnut, oiled chony, blonde and mahogany. 22 14 " H x 32" 'V x 1 6" D. $40.95 Dclh"cred. further ! HIFI/STEREO REVIEW For devotees of chamber music, this reco rd S~parnte slide Oll t QUICK- SEE album fil es fo r e il SY in­ is a " must buy." G. O. ~: lall lltioll in your cabinet, closet or shelf arc nntilahlc in information : One Park Avenue ~e \'e r a l dcslgm and s izes. Medel show n only $ 7.9;} 1lI1d. KERSTING MFG. CO., 504 A S. Dat.e, Alhambra, Culif. write: : New York 16, N. Y_ Dealers inquire. . . i • PATENTED BY EDISON. Harry "Sweets" Ed is on Quintet. Roulette 5 52041 $5.98 Interest: ? SEND HiFi/5TEREO REVIEW EVERY MONTH Pe rfo rm an ce: Good Recording: Clear name ______Stereo Directiona lity: Poor Ste reo Depth: None address ______T his recording has very little to recoUl ­ mend it. Although Mr. Edison, who plays city------______zone _____ s tate'______a fine trumpet, does his best and has in­ Check one: 0 3 years for $12 0 2 years for $9 0 year fOt, $S cluded some of the most popular numbers IN 'rH E U . S., ITS PO SSESS JO~ S AKD CA.l",.ADA around in this album, the lack of origi­ o Paym ent Enc losed 0 Bill Me nality and the shortness of the selections Foreign ra tes: Pun Arnericn n Uni on countries, add $.50 give one very little to sink one's teeth into. pe r year; a ll other foreign countries. ~\dd S 1.00 p e r year. The recording is clear, but it so unds al­ Mail 434 S. Wabash Ave., most as though it were monaural. G. O . • #,0: HiFi / STEREO REVIEW HRS·860 .Chicago 5. III. 78 HiFijSTEREO HiFi/Stereo Review A.DVERrlSER'S INDEX HiH/SteIt;~ August 1960

CODE PAGE NO. NO. INFORMATION Acoustic Research, Inc. 13 149 Aero Products Company Kit SERVICE Di~ ...... 8 69 Airex Radio Corporation. . 62 l1cl'C's how you can gct additional infOl'ma­ 3 Allied Radio ...... 73 tion, promptly and at no charge, concern­ 70 American Electronics Inc . 69 ing the products advertised in this issue of Hi Fi/ Stereo Review. This free information 53 Ampex Magnetic Tape will add to your understanding of high . Products ...... 67 fidelity and the equipment, records and 100 Apparatus Development Co. 78 tape necessary for its fullest enjoyment. 15 6 Argo Record Corporation ...... 61 , 63 Print or type your name and address on 196 Atlantic Records 75 1 the coupon below. 5 Audio Devices, Inc .. . 4th Cover 21 8 Audio Unlimited ...... 78 Check in the alphabetical advertising index, 2 15 Audion ...... 69 2 left, for the names of the advertisers in 83 Audio Fidelity Records. . . 9 whose products you are interested. 199 Bel Canto Stereophonic Recordings ...... 57 In front of each advertiser's name is .a 9 British Industries 3 code number. Circle the appropriate num· Corporation ...... 2 ber on the coupon belo.w. You may circle III Columbia LP Record as many numbers as you wish. Club ...... 3rd Cover 146 Dynaco, Inc. 12 Add up the number 01 reqllests you have 10 EICO ...... 16 4 made and write the total in the total box. 115 Electro·Sonic Laboratories, Inc...... 57 5 Cut out the coupon and mail it to: II Electro-Voice Inc ...... 14, 53 Electronics Book Service .. 54, 55 209 Epic Records Hi Fi/STEREO REVIEW 13 Fisher Radio Corporation . . 5 P. O. Box 203 VILLAGE STATI O N 99 Harman-Kardon Inc...... I I New York 14, New Y o rk 41 Heath Company ...... 6, 7 201 Hi-Fidelity Centre ...... 60 77 JansZen Loudspeakers . . . . 10 HI FI/STEREO REVIEW P.O. BOX 203 860 TOTAL NUMBER r--I 203 Kersting Mfg. Company . .. 78 VILLAGE STATION OF REQUESTS L..-J New York 14, New York 86 Key Electronics Co...... 69 Plense send me additional information concerning the products of the advertisers 77 Neshaminy Electronic Corp. 10 whose code numbers I have circled. 221 Pip Records ...... 62 3 5 9 10 11 13 29 31 41 53 69 70 222 Prestige Records ...... 73 109 Radio Shack Corporation .. 60 77 83 86 91 99 100 109 111 115 122 146 149 156 91 Roberts Electronics Inc. . .. 70 177 196 199 201 203 206 209 215 218 220 221 222 177 Schober Organ Corp. 4 29 Scott Inc., H. H ...... 2nd Cover NAME 206 Sela Electronics ...... 78 31 Shure Brothers Inc...... 15 ADDRESS 220 Sound Accessories ...... 78 CITY ZONE __STATE 122 V-M Corporation ...... 64 AUGUST 1960 79 /

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GOOD MUSIC AND THE ADMAN

Seen in broad perspective, the most encouraging (eatu"t'e [or the resurgence of FM. R adio advertisers seldom thought in the current high fidelity scene is the r apid spread ot FM a minority audience worth approaching- especially if this broadcasting. The birth r ate of FM transmitters operated audience gave dangerous signs of being intellig'e nt and dis­ as indep endent stations with a high proportion of good criminating. But today's gTowing m arket in luxury goods music programming is steadily rising. Moreover, infant mor­ and services predicated on leisure and quite a bit of sp are tality during the first year of life (a tragedy fa r too common cash needs an audience of precisely this kind. And FM ap­ among independent broadcasters) is on the decline. As a peared just in time to deliver it. result, our n ational landsca pe is becoming more densely . The old-time broadcaster's notion that good music is a dotted with electronic fonts of music pouring out the clear bad source of revenue is obviously in for a thorough over­ sound that only FM can provide. haul. After more than a decade of being shunned by adver­ The fertilizing force behind this sudden growth is the tisers and bitterly fo ught by powerful interests vested in discovery by advertising agency timebuye rs that the si zeable AM and TV, FM at last emerges vict,orious and viable. minority listening to F ]'vI is the only select audience reached As the only r adio transmission method capabl e of high by electronic media. fidelity (in terms of frequency resp onse, d ynamic- range and Until very recently, nobody knew for sure who or what signal-to- noise ratio), FM service is vital to the audio fan. was that unseen and miasmal populati on sprayed with music Moreover, the· imminence of multipl(}x FM, carrying two via FM. But researchers have now dispelled the obscurity channels simultaneously, .may soon furnish countless audio­ of this important splinter group. fa ns with stereo off the air, free from the imbalance inherent Nationally, it now appears from va rious surveys that , in paired AM/FM transmission. around 37% of the FM audience are in the 35-40 y'ear age . T he Federal Comm unications Commission (FCC) is ex­ group and some 46% have an annual income between 5,5 ,000 pected to choose among th e various proposed FM multiplex and .$ 10,000. More than 21% of FM listeners earn from sys tems and authorize such broadcasts within a year. Field .$7500 up. That's quite a contrast to the largely teen-age testing is to be concluded and complete reports fil ed by the audience of the disc-jockey dominated AM fi eld. end of July, and op timists hope for an ans'wer by December The survey also disclosed other surprising facts: 68 % of all 31, 1960. Of course, if the presidential election brings a FM listeners in PhiI"adelphia are college graduates (earning change in administration, some lame duck FCC jobholders an average of .$9,000 annually) with San Francisco not run­ may want to pass the hot potato of a choice to their succes­ ning far behind. A similar p ercentage of the Fiv[ audience sors, in which case the matter might take a bit longer. comprises professional men or executives, and the picture is But with an increasing'ly solid economic base, there is no about the same in most northeastern and western cities. doubt that in one way or another FM is bound to bring This means that for the first time since AM got pu s h~ d quality stereo to the American air, adding the final momen­ down the skids to the kids does radio o ffer an audience that tum to the ascent of stereo. can be taken seriously by quality advertisers. Moreover, the The above thoughts on FM broadcasting were prepared by size of this audience is attested by the 15.5 million :rl\>f re­ Associate Editor Hans Fantel-in the absence of Editor Fer­ ceivers now in use in the U nited States. rell, who has been spending weeks testing and re-testing stereo A turn in advertising philosophy must also be credited cartridges for his extensive article that starts on page 26_

I - ~ PRIXTED IN U.S.A. , 80 HiFi/STEREO From 18 to 40,000 cps

R TA260 Festival 11-60 Watt Stereo AM-FM Receiver

The most powerful receiver of all-the new Stereo Festi­ The TA260 includes a powerful 60 watt stereo amplifier (120 watt val II, model T A260, delivers 60 undistorted watts from peaks), separate and remarkably sensitive AM and FM sections and dual preamplifiers with all the controls necessary to achieve 18 to 40,000 cycles. But the actual performance of the the finest performance from all program sources. Festival goes beyond the point of superb specifications. Features: SPECIALLY DESIGNED MASSIVE OUTPUT TRANSFORMERS It is the best sounding stereophonic receiver you can buy. insure superior bass and high frequency response; HEAVY DUTY OUTPUT TUBES, conservatively rated, provide high power output The "Citation Sound," acclaimed by audio authorities with far less heat and longer life; DUAL FRICTION-CLUTCH TONE CONTROLS; BLEND CONTROL to eliminate "hole-in-the-middle" effect; everywhere, was developed by Harman-Kardon in the SPEAKER PHASING; two MAGNETIC INPUTS; SPECIAL HEADPHONE RE­ design of its remarkable new Citation instruments. It is CEPTACLE; CLOSE TRACKING LOUDNESS CONTROL; CONTOUR, RUMBLE precisely this quality that distinguishes the performance and SCRATCH FILTERS; separate BAR-TYPE TUNING EYES for AM and of the new T A260: the clean, solid bass; the silky trans­ FM; THIRD CHANNEL AMPLIFIER OUTPUT. The Stereo Festival II is handsomely designed in brushed gold and charcoal brown. parent highs. And, there is power - power to spare, to The Stereo Festival II, Model TA260 ... $299.95. CX26 Metal drive the most inefficient speakers. The result: the new Enclosure ... $12.95. WW30A Walnut Enclosure ... $29.95. Stereo Festival II actually sounds recognizably best­ For more complete information on the Stereo Festival II, write: regardless of price. Dept.R-lO,Harman-Kardon, Westbury, N. Y. All prices slightly higher in the West. ·Music Power Output in accordance with IHFM standards, Ih% distortion.

kardon TEC has no tubes ... TEC alone generates no tube heat, no hum, no microphonics. TEC alo,ne provides such superb transient response. Precision engineering permits TEC to make a two year guarantee on both parts and workmanship. See detailed specifications below and listen to a TEC all transistor amplifier soon for unparalleled sound. General specifications: TEC s-25 stereo preamplifier­ amplifier. Power rating: music power output each channel 34 watts. Frequency response: 20 -20,000 cps. Harmonic distortion: 0.7%. Intermodulation distortion: 0.9%. Power requirements: 117vac or 12 to 18 volts dc. 70 watts maximum at full power, less than 15 watts at normal listening levels. Hum: inaudible. 16 inputs. Outputs: 4,8,16 ohm for each channel, tape recorder outputs for each channel, and a mixed A + B for a 3rd channel. TRANSIS-TRONICS INC. (TEC) 1650 21st Street, Santa Monica, California

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unique all transistor high fidelity preamplifier-amplifier