...... -_"...... \tI:~ 'ht_tli...... •• . llluttU+\II _i.t~ wa_Mltl...... -...... •• "" ."-'''iII\1 Hermon Scott faced a basic choice ... bring out his new Yes . .. Hermon Scott cou ld have made the LK·48 to sell LK-48 amplifier kit at $124.95 or make it to sell for $30 less for $30 less . . . but it would have meant compromising li ke many other amplifier kits. All his engineering depart life· long standards. This is something he would never do. ment had to do was make a few compromises. You can choose any Scott kit with complete confidence The LK-48 is rated at 48 watts. By using a smaller power - the LK·48, the LK-72 80 watt complete stereo ampl ifier, supply, ordinary output transformers, and pu shing the the LK-150 130 watt stereo power amp lifier, the LC·21 pro output tubes to their li mits, the amplifier might stil l pro fessional preamplifier, the L T·11 0 mu ltiplex tuner, LT-10 duce 48 watts at 1000 cycles w here many amplifier kits FM tuner or the LM ·35 mu ltiplex adaptor. These superb are rated. But measured at 20 cycles, where Scott en kits have all the features and performance you've come gineers feel power is really important, output wo uld be to expect from the world's leader in audio engineering. down consid erabl y. No compromise was made. The LK-48actual/y produces 28 watts per channel at 20 cycles, H.H.SCOTT and delivers full power throughout the audio range. H. H. SCOTT I NC .. 111 Powd ermilJ Rd., Maynard , Mass. Dept. 245-06 Many kits use a one co lor instruction book. Hermon Scott Pl ease ru sh me your new fu ll·color brochure telling decided to continue to use ful l co lor to insure factory .about Scott's full line of superb stereo kits. built performance, even at the hands of a novice. Important Scott engineering extras like the all-a lu min um N ame . •• __ ...... •••••.•.•• ~, ..•.. • ..• • •.•••••••.•• chassis, DC operated preamp heaters and unique hu m - null balancin g could have been el iminated. Hum would Address ...... •...... • : .•••.••••••••.•••••••• have been audibly hi gher and distortion at levels normal Cily ...... State ...... to many kits, but Hermon Scottfeltthatthe kit builder was entitled to the same performance he has come to expect Export: Morhan Exporting Corp., 458 Broadway, N.Y.C. Canada: Atlas Radio Corp., 50 Win~old Ave., Toronto .. from Scott factory-wired un its. Prices sli ghtly higher West of Roc;kles.
JUNE 1962 CIRCLE NO. 32 ON READER SERVICE CARD 1 Always playing, always tracking ... right side up or upside down. The sensational Empire Troubador demonstration of a continuously rotating turntable amazes the crowds at hi fi shows across the country. Right down the line, America's music magazines have been using some well-turned phrases in editorial evaluations of the Troubador. High Fidelity, 'turning to the United States Test ing' Company for its report, found the Troubador to be a " precision-engineered product of the highest quality . .. wow, flutter and rumble completely inaudible." Audio said: "precise ••• world's performance ... an excellent buy .. . no acoustic feedback." American Record Guide: " ... these (performance) figures have not been bettered by any turntable I have tested." most perfect If you think you 've never heard the Troubador, think again. More stereo FM radio stations across the country use the Troubador than any other record playback system. As Don record playback Hambly, station manager of KRE AM / FM said: " The Empire tables have all the basic requirements of design and simplicity of operation and maintenance." system
The Empire Scientific Corp. turns out a limited number of Troubadors for the music lover who appreciates the very finest in record playback. Com plete price $200. empire troubadour JUNE 1962 VOLUME 8 NUMBER 6
RiFi Stereo• reV.lew THE MUSIC 20 THE BASIC REPERTOIRE Schubert's " Trout" Quintet ...... MARTIN BOOKSPAN 29 CARL ORFF: THE SOUND OF WORDS A visit with that C a rmina Burana man ...... FREDERIC GRU NF ELD 34 CRITICS' CHOICE The outstanding recordings oj th e past season 51 A LITTLE HAYDN AFTER BREAKFAST Amateur music-m aking in the Berkshire Hills . . . JOHN J. STERN. M.D. 55 BEST OF THE MONTH R eviews oj the outstanding new releases 69 MUSIQUIZ T esting your musical knowledge ...... W ARRE N D EMOTTE
THE EQUIPMENT 16 BEGINNERS ONLY A basic approach 10 audio ...... HANS H . FAN T E L 25 TECHNICAL TALK Comment on current hi-fi de velopments ...... JULlAN D. HIRSCH 39 HOW TO CHOOSE A MICROPHONE A guide jor the prospective purchaser ...... J . GORDON H O LT 45 INSTALLATION OF THE MONTH Accommodating the second speaker 46 SOUND AND THE QUERY Prerequisites jor hi-Ii sound ...... 1. GORDON HOLT 47 THE WHY AND HOW OF CUSTOM INST ALLA TIONS Projessional ad vice jor th e do-it-yolII·selfe r ...... JOHN MILDE R THE REVIEWS 60 HIFIISTEREO CLASSICS 79 HIFIISTEREO JAZZ 85 HIFIISTEREO REEL AND CARTRIDGE 89 HIFI/ STEREO ENTERTAINMENT
THE REGULARS 4 EDITORIALLY SPEAKING 8 HIFI SOUNDINGS 12 LETTERS 14 JUST LOOKING 98 INDEX OF ADVERTISERS
COVER DESIGN B Y ROBERT T UCK ER
JUNE 196 2 (For information on faCing advertisement 3 circle no. 40 on reader service card. ) EDITORIALLY SPEAKING PUBLISH ER PHILLIP T. HEFFERNAN
EDITOR FURMAN HEBB by FUR M A N HESS MUSIC EDITOR DAVID HALL
M ANAGI N G EDIT OR HANKS to the genius of the late and truly great Major Arm ROBERT CAMPBELL T strong, we enjoy today the most marvelous medium for the ART EDITOR ROBERT TUCKER propagation of music that has ever been devised. FM radio, which ASSOCIA T E EDITORS the inventor always regarded as the favorite of his electronic brain HANS H. FANTEL children, is virtually an ideal system for transmitting and receiving JAMES HINTON, JR. music broadcas ts. ASSISTANT EDITORS And it is this very potential for perfection that makes all the more JILL BENGELSDORF BARBARA GLUCK disturbing the fact that the sound quality of so many FM stations is
CONTRIBUTING EDITORS substandard; and I base this on conditions as they are in the New CHRISTIE BARTER York City area, which I assume is one of the more favorable areas MARTIN BOOKS PAN insofar as the general level of program quality is concerned. WILLIAM FLANAGAN STANLEY GREEN At one time or another I have heard almost every hi-fi failing on NAT HENTOFF the air: turntable rumble, wow, and flutter; misadjusfed equalization JULIAN D . HIRSCH GEORGE JELLlNEK or tone controls; fluctuating volume levels; distortion caused by lint IGOR KIPNIS clogged playback styli ; faulty contact between tape and playback EDIT ORIAL CONSULTANT heads; and so on. It is not too surprising, perhaps, that these faults, OLIVER READ caused by inadequate equipment and sloppy control-room work, ADVERTISING SALES MANAGER could occur on some of the smaller, shoestring-operation FM sta LAWRENCE SPORN tions. But recently I tried to listen to a taped broadcast of the New ADVERTI SING York Philharmonic playing Bruckner's Ninth Symphony on CBS, a SERVICE MANAGER ARDYS C. MORAN network that one would assume to be in little danger of going bank rupt. Not only was the sound so distorted as to make listening entirely ZIFF-DAVIS PUBLISHING COMP ANY Editorial and Executive Otftce (ORegon 0·7200) One Park Avenue. New York 16. Ne w York unpleasant, but its restricted dynamic range made a mockery of the WiIJiam B. ZitI, Chairman of tho Board (1946.1953) William :liff. l' res iclent music's dramatic contrasts of loud and soft. \V. Bradford Briggs. Executive Vice Pres ident He r s he l B. Sarbln. Vice Preslfl C' nt and General Manager l\l. '1'. Birmingham, Jr. , It used to be that I would complain to the station in question when Vice Pres ident and Treas u rer Hobe rt P. nreedlng. CiI'eulaUan Director Ch:ll'lcs BOlls mnn . Financial Vice Pres ident its program quality was objectionable, but this never had much effect, SL:mlcy R. Greenfield, Vice Pres ide n t Midwes tern and eil'culallan OHicc (WAI):ls h 2-4911) ·1:14 Sou t h Wabas h Avenue. Chicago 5. Illinois so far as I could determine. Then I conceived the idea to hit the sta Mi dwes t ern Ad vertising Manager: Jack Tierney W estern Office (CHcstvle w 4-0265 ) tions where it hurts-in the pocketbook-and I recommend it to yo u 9025 \Vlls hh'e Boulevard. Bevel't~· Hill s , California Westcrn Ad\"cl'tls lng Manager: Bud Dean Southern Re presentative if yo u are annoyed by programs that are below standard in audio Willi a m G. BI'ownln~ BOti First N
<1""-If. Minneapolis Symphony 159 HERE IS A WONDERFUL SElECTION OF CLASSICAL RECORDINGS that belong in SOUND 'OFF! any record co ll ection! As a new member of the Columbia Record Club, you may MARCHES BY have ANY 6 of these records -up to a $35.88 value - for only $1.89. And you also receive a record brush and cloth - an add it ional $1.19 value - FREE ! SOUSA TO RECEIVE YOUR 6 RECORDS FOR ONLY $1.89 - fill in and mail the coupon FENNELLii below. Be sure to indi cate whether you want your six re cords (and all future se lections) in reg ul ar hi gh-fi de l ity or stereo. HOW THE CLUB OPERATES: Each month the Club's staff of music experts se lects outstanding class ica l recordings - as we ll as records from other fields of music. All of these se lect io ns are fully described in the Club's music Magazine, which you receive free each month. You may accept th e monthly Classical se lec tion . •• or take any of the wid e variety of ot her records offered in the Magazine ... or take no record in any particu lar month. Your only membership obligation is to purc hase six se lec tions from th e more than 400 to be offered in the comi ng 12 months. Thereafter, you have no further obligation to bu y any additional records .•• and you may discontinue membership at any t im e. FREE BONUS RECORDS GIVEN REGULARLY. If yo u wish to continue as a membe r VIVALDI after purchasi ng six records, yo u will receive - FREE - a Bon us record of FOUR CONCERTOS your choice fo r every two additional selections you buy! I.EONARU 8' . The records you wa nt are mailed and billed to you at the regu lar list price ~~:~I~~ ,.,!,. of $4.98 (Popul ar $3.98), plu s a small mailing and handling charge. Stereo NEW YORK .' records are $1.00 more. Mail th e coupon tod ay ! PIIILlIARMONIC""'" I NOTE: Stereo records must be played only on a stereo record player .· ilhsoloists~ _ 152 COLUMBIA RECORD CLUB • Terre Haute, Indiana ~'n i' IHtl?.[.j~ it·@jl{.!i!·i.!!F!i.""H!·'BBD'ijNi·'¢I":P_ COLUMBIA REC,?RD CLUB, Dept. 217 -1 CIRCLE 6 NUMBERS: I Terre Haute, IndIana I I accept your special offer and h ave circled at the right the 88 101 111 157 numbers of the six records I wish to receive for S1.89, plus small 90 102 112 158 I ~i'tl~l~rf o~'l~eh~l~ g1ing charge. Enroll me in the ClaSSica l I . 91 103 114 159 one) ... 0 REGULAR 0 STEREO I ~uet~~.mS~I~!t~~~~drna(~h~:~ 92 104 115 160 I understand that I may select records from any Division . I I ~!~~'~dt~~l~il~h~~~ ~~~~~1:Clt4°~~ lng~ ~~ere~~f:r tn:r p4r~g e t~ l~ ~ 95 105 123 161 I ~g',;'tVn:rea),'f~Tn~:{.%e~~{~i'b'.11ga';h r~~~·c:;;~:r:%~I''i3ol~ u~ ~~~~% ~~ 96 106 152 162 I my choice FREE for every two additional selections I accept. 97 107 153 163 I Name • ••••••• •• ••••• ••• • •••.•• •••• ••• ••••• ••••••.•••••••••••• ••••• •• 98 108 154 164 I (Plcnsc Print) 99 109 155 191 Addr.ss ...... I 100 110 I City ••••••••••••••• . • ••••••••••••••••• Zone •••• State ...... 93&94* 192&193* APO. FPO addressees: write lor special DUeT I CANADA : 1111 Leslie St., Don Mills, Ontario .COUNT EA.CH SET AS 2 RECORDS I IC you want this membership credited to an estabUshed Columbia or @I will also receive ANTAL OORATI Epic record dealer, authorize d to accept subscriptions. fill in: a FREE record London Symphony Oreh. I brush and cloth 'pllla Cannons &. Muakol.s Dealer's Nam e I and Address ...... 18 I "·RE (OE O) I " ' EE ( 'TEO ) I 108 .------~------~® "Columbla, "~. "Epic," c;:> Marcas Reg. © Columbia Reco rd Club , I nc., 1962 JUNE 1962 CIRCLE NO. 10 ON READER SERVICE CARD 5 Sample page from typical Strata Kit assembly instruction book.
Fisher StrataKits were the world's most difficult to engineer.
Few things are more difficult to design than a com plex electronic instrument that can be conveniently and correctly wired by a layman. When the task is to 0- 1 develop a full line of superlative stereo components The Fisher KM·60 5lralaKil, in kit form, guaranteed to meet laboratory standards world's most sensitive -FM Stereo Multiplex wide-band even when assembled without a trace of skill, the tuner in kit form, $169.50.* ::' engineering difficulties become rather formidable. The creation of the new Fisher S-trataKits had to , i Oloi\}1 '" be the industry's most difficult engineering project because each kit had to be not only the finest of its kind but also the easiest to build. Fisher would not The Fisher KX·200 5lralaKil, have it any other way. Even a brief look at one of the The Fi sher KS· l three·way louds peaker kit. world's first aD-watt single world's only slim· line (5~~" deep) speaker chassis stereo control-ampli incredibly explicit Strata Kit construction manuals system available in kit form, $59.50. :';. fier in kit ·form , $169.50,- · (see sample page above) will tell the story.
6 CIRCLE NO. 18 ON READER SERVICE CARD HIFI / STEREO R EV IEW STAGE 4
Is THIS SHe,- vou wil l wire II", Chanlle! A High F"·"".",,y Filter. 11.,. Step 4L Locate the th'O Equali~ation printed circuits and cut the Hi§!h F requt'llry filler $v.'ih-h ;--; 1 ond snme of tht.' wiring. in fJ tner ( · jf l:': uit~ . o lelld, of both as follows: o No. 1 -· 17 • inch Step 4A o :'{o. 2 - 3, inch o o No. 3 - , % inch Step 4B ",.'irf' nnd (~ C)n ne ct it he tw een Step 4M Position one of the pdnlfd circoits as CP2 on Ihe right hand Solder lug B. side o.f switch 53. The printing on the circuit plate ~hoold be o o facing you. Solder lead No.3 to lug F of switch 53. Step 4C lug Step 4N older lead No.2 of CP2 to log B (tl,e top lug I 01 switch o o 53. Step 40 ell! both hl,,,·k. hlll~ ) :\ t inch. Conopct the n·s;,t"r bet Step 4P Cut a I \'2 inch length of in,.,lating .pashelti and slip it over o lead No. 1 of CP2. Conne<:t lead No . ! to lug of strip 5T4. C of ~ witch S,> and lug A of slrip STa. Solder o .B Step 4E Rtfn",. % inch of insulation from one end of tl Step the remaining printed circuit CPl as shown in Fig. cahl~ and cut off the ground win:. Connect this o cable to lug 13 of strip ST3. the printing on the circuit plate facing away from o can't read it thi. way - but it isn'\ very the high frequency Jih"r prinkd rir(,ui! 3 ··· it is way! I Solder lead No.3 to lug E of switch of tlw Iii"... in StrlllUPU"k 1. CUI "aIr lead to ~~ Step 4R vertically 10 the pand liS show 'in fig ..1.-1. 3 to lug B of strip sn. o Step 4S 2 of CP3 to lug C of strip 51 . o
Step 4J Step 4T Sold er one end o o strip ST'~ . Step4K Solder one erul of the ~ inch whik wire . llw ~horter one' to Step 4U Jug J) of ",itch S L o 15
That's why they are the world's . easiest to build.
The Strata Kit method of kit construction permits assembly by error-proof stages (strata), each separate stage corresponding to a particular page in the construction r":;;-:;-;S-C~~~~:;-R-[!J manual and to a separate transparent packet of parts. Major components come FURTHER INFORMATION FISHER already mounted on the heavy·gauge chassis, and wires are pre-cut for every stage Fisher Radio Corporation ~-- 21-37 44th Drive which means every page! Long Island City 1, N. Y. Errors of omission, if any, can thus be checked stage·by·stage and page·by·page, , .• _._._-_._-- before proceeding to the next stage. There are no last· minute surprises with a Fisher Please send me without cha rge the I complete Fisher Strata Kit c atalogue. I Strata Kit, no unexpected problems, only the pleasure of accomplishment and of I effortless learning. For the first time, a totally inexperienced kit builder can achieve Name I the same successful end result as a highly skilled laboratory technician. I Address " In birch. sanded a nd ready for finish·. In walnut, $64.50. Factory a ssembled, I $84.50 in birch, $89.50 in oiled walnut. Prices slightly higher in Far West. I ~ ¢ Walnut or mahoga ny cabinet, $24.95. Meta l cabinet. $15.95. Prices Sli g htly City zone_Sta~'k61l i h igher in Fa r West . Export: Fi s her Radio International, Inc .• L. I. C. 1. N. Y. FISHER ------~--- ... JUNE 1962 CIRCLE NO. 18 ON READER SERVICE CARD 7 by DAVID H ALL
STRAVINSKY AT EIGHT Y
ALF A century after he nearly single-handedly changed the course H of Western music with his L e S acre du Printemps, Igor Stra vinsky, who celebrates his eightieth birthday this month, continues World's most to make news. The third and latest insta ll ment of his memoirs, Ex Complete Line of jJo sitions and Develojmu nts, has been the talk of musical cocktail parties over the past few months. T he premiere, on television, on Hi Fi Phased June 14 of his latest major work Noah and the Flood to choreogra FM Antennas .. . phy by George Balanchine is certain to stir up his su pporters and detractors. And in September Stravinsky will climax his eightieth birthday year by visiting Russia, the land of h is fathers, for the fi rst time since the Bolshevik R evolution. T here he will conduct not The "Top-Ra ted" "Best Buy" only the early mas terpieces for which he is known on both sides of FM ANTENNA LINE the Iron Curtain ; he will also introduce to his erstwhile country • No matter how well your FM unit men some of his music that not many years ago was condemned is performing, you ' ll hear the differ in Russ ia as hopelessly bourgeois and decadent. It will be inter ence a FINeO makes. Rich , luxurious esting to see if Stravinsky's Russian tour will aff ect the creative musi distortion-free sound is yours when cal climate in the USSR, which since the death of Prokofieff seems you pick just the righ t FM antenna to have lapsed into a state of reactionary parochialism. from FINeo's complete line. I t seems to me that few of us fully appreciate the astonishing scope of Igor Stravinsky's creative work. Most of us, after a ll , are still h ide bound to the trin ity of the three great pre-World ' Var I ballets, The Firebil'd, Petrouchka, and L e Sacre du Pl'intemjJs . Indeed, L e S acre
fM2KIT-$1450 did not become a concert repertoire work in this country until the 1940's-a quarter-century after it was written- nor was it custom ary to hear Petro uchka in any form but a drastically truncated suite. Today L e Sacre and the complete Petrouchka are standards. Part FM3 - $13.00 of th is is because a whole new generation of orch estral players has grown up, for whom the playing of n:usic in this style is as na tural "TOP as the playing of Beethoven, T chaikovsky, and W agner was fifty RATED" years ago. M ore recently we have seen Stravinsky's powerful orato "BEST rio, OedijJus R ex, which back in the late 1920's was considered a BU Y" perverse bit of H andclianism, come into its own with the broad $2490 musical public. T his would seem to bear out the idea tha t there is at least a twenty-year lag in the acceptance by the music-listening "TOP publi c of major creative works-even those by such an eminent RATED" composer as Stravinsky. Beethoven spoke of his middle-period string quartets as being "for a la ter age." So perhaps in fifteen or twenty FM5 - $36 35 years Stravinsky's currently controversial scores, such as the Canticum Sacrum and Thl' eni, will achieve the recognition long granted the Plus FMT-l Turnstile Kit - $ 14.50 three great early ballet mas terpieces, and which is currently accru Write today for Catalog # 20-213. ing to L es Noces and O edipus. ® Like many a living legend, Igor Stravinsky has been the object of incense burning in some quarters and of belittlement in oth ers. What must be remembered, however, is tha t the work of a creative artist FINCO has a way of living its own life. But we must be willing to put aside THE FINNEY COMPANY what is said about Stravinsky's post-Le Sacre music and periodically Dept. H.D. give it a fresh hearing. The new perspectives that emerge from such 34 W . Interstate Road Bedford, Ohio a survey can be surprising. (Continued on page 10) CIRCLE NO. 17 ON READER SERVICE CARD 8 H IF I / STERE O RE VIEW an accurate timepiece
A clock or watch is undoubtedly more conven'ient for telling You can see this flywheel effect with the turntable platter time. Yet, it is actually possible to keep accurate track of time removed. After starting the motor by lifting the arm from its with a hysteresis motor-driven Miracord turntable. rest, you let it run for about 10 seconds. You then shut the The speed of a hysteresis-synchronous motor is precisely reg· power off, by replacing the arm. The rotor will continue to ulated and timed by the frequency of the line current. This spin by the sheer momentum of its own mass for at least speed is constant even with variations in line voltage and load . . 20 to 30 seconds. Most motors will stop in about 3 seconds. Consequently, a hysteresis motor-driven turn· The Miracord is the only record playing instru· table will rotate at the precise record speed, and ment with hysteresis motor, dynamically bal· maintain that speed regardless of voltage fluctu· anced turntable and mass· balanced transcrip' ation, or the number of records on the platter. tion arm which you can play manually, or as automatically as you please. The Miracord is The Miracord 10H uses the famous Papst hys· also available with 4-pole induction motor teresis motor with the outside rotor. It's the the Model 10, priced at $79.95. The Miracord same motor employed by the finest professional 10H with hysteresis motor is $99.50. Prices turntables and tape transports. The external include arm, but are less cartridge and base. rotor is a dynamically balanced mass. As it spins, it acts as a flywheel, further smoothing Make it a point to see the Miracord at your and evening out the .motion of the turntable. MIRACORD high fidelity dealer soon. For details, write to:
BENJAM IN ELECTRONIC SOUND. INC. 97·03 43RD AVENUE. CORONA 68. NEW YORK .SOLE U . S. DISTRIBUTOR FOR EL"ECTROACUSTlCll RECORD PLAYING COMPONENTS
JUN E 1962 CIRCLE NO. 8 ON READER SERVICE CARD 9 For example, we discover that aside from being the painter of "fauvist" tonal canvases and the great liberator of rhythm ar;d percussion, Stravinsky is deeply pre-occupied throughout the DO YOU LIVE NEAR whole of hi s work with timeless hu man ritual, be it sacred or profane, ONE OF THESE and with basic problems of morality : L e Sacre, L es Noces, A /Jolla , Sym STEREO-FM CITIES? fJ lwny of Psalms, the Mass, Canticum
Ariz .. Ph oenr x' KEPI. KNIX Calrl . Fresno : KC IB. KXQR ~~~a~~fd~~sK~~ ~U ' KMLA Sacram enlo; KS FM San l a Barbar. KMUI San Orego : KGB . KLRO . KPRI San FrancISco. KPEN . KBA Y San Jose: KSJO Vi sa lia: KON G Wood land : KA TT Conn .• Newlon : WGH F Oela. Wilmlnglon : WJ BR' f la " Miami Beach: WA El. WVCG Orlando : WHOO Sar aso la' WYAK Ga.• Colum bus . WRBL I II" ChIcago: WEF M. WFMT . WKFM" Rock Island WHBF Ind .. Ev anSVI lle. WIK Y Indianapolr s: WFM S. WISH Iowa. Des MOInes : KO MI Kans " Lawrence : KA NU Wi chila : KCMB Md .. Towson : WAQE Mass .. Boslon (Waltham) : WCRB Lynn: WUPY Mich., OelrOII : WOT M. WGPR. WLD M Sacrum, Threni a pply in the fi rst in Easl Lansing : WSWM Grand Rapids : WJEF . WOOD stance, while R enard, L' histoire du Minn " Minneapolos : WAYL . KWF M Mo" Kansas Cily : KC MO S oldat, Dedi/JUS R ex, and The Rake's SI. Lou is: KCFM . KSHE , KW IX Nebr" Omaha : KQAL Progress are striking examples of the Nev " La s Vegas: KOR K N.J " Dover: WDHA second. Lo ng Bra nch: WRLB N.Y.. Garden Cil y: WlI R ot the least fascinating aspect of New Yor k: WQXR. WTf M Sch eneclady : WGFM Stravinsky's career is the fact that he Syracuse : WSYR Weslbury : WGFM has been the first composer of major N.C., Burlinllon : WBBB stature to attempt a systematic docu Ohio, Akron : WOBN Cl eveland : WH OB menta tion of his own mu ic as inter Columbus : WBN S Middlel own : WPfB preted by himself. More than two Ore .. Eugene : KfMY Portland : KPF M dozen Stravinsky-directed perform Penn " Johnslown: WJA C NorllSlown : WI FI ances are listed in the current record Philadelph ia: WfLN. WHAT, WQAl catalog, a nd fully a dozen more are ~n:~~~~~ ; r~: KJ:YIZ sla ted for release by Colum bi a before R.I , Providence : WPFM $-8000 FM, MX 6. Watt Stereo Receiver S.C. . Sparlanburg: WSPA the end of the year . For anyone at Texa s. Da llas: KI XL. KSFM 16 Y4 - x .'" I. 14· deep. $299 .50 Houslon : KODA . KFM K'. KGHM tempting a fresh eva lua ti on of Stra Wichila falls: KNT O Ravinia Model SR3l·way Speake, Sys lem Va .. Richmond : WFMV 26; X 1S ~ x 13 \1· deep. $139 SO (Hand rubbed walnul) vinsky's creative achievement, the WaSh ., Sea ttle: KI SW. KLSN WI se .. Milwaukee: WFMR . WM KE , WTMJ composer's own recordings are the Ca nada. Osh awa : CKL B Toronlo: CfRS, CHFI
·Slereocas(s use Sherwood·bullI FM ·MX eQui pm ent.
If so, see your Sher wood dealer right away! The FM sl ations list ed above are now-or soon will be - broadcast ing in St ereo . To enjoy fully this thri lling necessary point of departure. In con new experience , you need the nection with Stravinsky and his re incompa r able Sherwood S·8000 FM·St er eo Receiver and a pa ir of Sherwood SR3 cordings, we are proud to say that "Ravinia" l oudspeakers. next month this magazine will include See and hear Ihese superb s l ereo s t arters al you r Sherwood dealer. an article by Stravinsky in which he Sherwood Eleclronic Laboralories, Inc., discusses the state of contemporary 4300 N. California Ave .. Ch Icago 18, music and recording. IllinOIS. For details, wrile Depl R·6 In conclusion, for Stravinsky the creator, we hope for continued fruit ful production; for .stravinsky the SHERWOOD ~ man, good health; for Stravinsky the onl), (or those who) wa nt the u!limJ/,' ;;:::;;e .. ,'~ , ;.•.. ~ recording artist, sufficient time and energy to complete the disc docu mentation of all his major scores, from earliest to latest. • CIRCLE NO. 33 ON READER SERVICE CARD 10 HIFI/ STEREO REVIEW '- !:! :Il n r- '"z o ... '.~' ~ I ::~:·· o ~...... , . Z :Il '"l> The all new Bell 2419 The all new BELL T-347 4-Track Stereo Tape g FM Stereo Tuner. Built-in Filters! D eck. Off-the-tape monitoring! Sound on :Il'" Bigh Sensitivity! Wide Channel Separation! Sound! Echo Effect! Plus Duosourid! '" ~ Here's a matched pair of stereo components that lets you do an ~ engineer - quality job of fine recording from FM stereo multiplex broadcasts :Il g Special built-in filter circuits in the Bell 2419 FM Stereo Tuner provide The new Bell T-347 4-track stereo recorder is the obvious companion piece interference-free recording .. No squeal, whine or other noise that so often to the 2419 tuner. Three motor professional tape drive provides full control plagues made-in-the-home off-the-air stereo tapes. and safety for your tapes through all functions and at all speeds. And, sep This new Bell tuner is extremely sensitive; ideal for fringe area recording arate play-back heads mean you always know that your recording is good, and listening. Its exceptionally stable multiplex circuits provide and main because you monitor off the tape giving you a constant check of the re tain wide channel separation (30 db) for drift-free, consistently top quality corded program. FM reception. Additional features permit sound-on-sound recording, while built-in, vari able echo provides many special dramatic effects. And, the sensational 1'. t DUOSOUND ... the most amazing recording feature you've ever heard ... lets you put new dimension in monaural recordings! Re-record mon aural records, tapes or broadcasts with such stereo effect that many ears ELL STEREO COMPONENTS will not detect the difference! Thompson Ramo Wooldridge Inc. Be sure to see and hear the new 2419 FM Stereo Tuner and the T-347 Tape . TRW Transport at your Bell Dealer soon! They are your answer to professional ~~ 6325 Huntley Road Columbus 24, Ohio quality stereo recordings at a modes t price. You'll be absolutely thrilled by Bell's DUOSOUND! Now is the time . LET T E R S TO THE EDITOR to come to the aid eu:tc/tJo'L o'E ~OUI;< party ! Cristofori's Other Piano ing as a serious a mateur photographer, it • J ohn M olleson's article on the evolu seems to me that this comparison is not tion of the piano " From Cristofori to wholly just. Steinway" (February, 1962) states cor A photographer can be creative by pre rectl y tha t the older of the two surviving senting his subject from a personal point pi anos made by Cristofori now stands in of view. H e can choose his li gh t and hi the M etropolitan Museum of Art in New perspective, his colors and textures. What York. H owever, M r. Moll eson says noth comparable expressive freedoms a re at ing about th e other C ri stofori piano, and the di posal of the tape recordist? I understand that there has been some Granted, the tape recordist can seek uncerta inty about its whereabouts and out and select his subjects m uch as the cond ition . photographer does, but he cannot infuse I t is my pleasure to ass ure you that the a personal element into the recording it other piano, bui lt in 1726, was not de self. Unlike the camera, the ta pe recorder stroyed d uring the recent wa r, as has been always remains obj ecti ve. One may, to be rumored. T he piano, along with th ree sure, create sound sequences that empha ha rpsichords and a virgin al built by C ri - size a mood or a message; but this is an tofori , has been returned from a wa r-tim e editorial, rather than a creative, skill that repository to the G rassi Museum at Leip might be compa red to assemblin g a suc zig, where, to the best of my knowledge, cess ful photolllontage--not to the taking it is still on view. The outer case and the of a great picture. legs have suffered damage, but the essen D ONALD A~rr::s tial mechanism of the instrument is well H artford, Conn. ~~~c~® preserved. The person responsible for the High-Fidelity Speaker System return of the three instruments to Leip • T ony Schwartz's a rticle on creative ... it's Weather-Proo fed! zig is Friedrich Ernst, presently a mem tape recording has given me a whole new ber of my staff here in Berl in. You may approach to m y tape recorder. I had Now you can easily add the lUxury of therefore regard as authentic the infor never before reali zed how much could be high-fidelity music to your outdoor fun ! mation h ere provided. done on ta pe. Even the mos t ordina ry ALFRED BERNER , D irector materi al takes on new m ea ning when Whether you're dancing under the stars, I nstitute for Music R esearch treated in the ways that Mr. Schwartz swimming in the pool or relaxing around Berlin, Germany suggests. the bar becue . . . the new Electro-Voice I have already started on a project I Musicaster provides high-fid elity music Power Ratings call " Sounds of a Family," which in from your present hi-fi system, radio, • R eadin g Hans Fantel's di sc uss ion of cludes, in addition to the voices of the phonograph or TV set. the va ri ous methods of measuri ng ampli members of the fami ly, the barking of Ollr Specially designed for indoor-outdoor use, fier power ("Begin ners Only," March, dog, th e sounds of friends coming to ca ll , the E-V Musicaster features a heavy-d uty 1962) reminds me of the terminology the racket of an argument between our weather-proofed speaker mounted in a employed by some fi nance compani es. If children, and so on. When this is edited rugged aluminum die-cast enclosure. It's the company says "six per cent interest," and spli ced together I wi ll have a perfect easy to connect for permanent use out one is still left wondering whether it's audio counterpart to our family photo side. And you simply move it into the per year or per m onth, or whether it is album. recreation room fo r year-'round pleasure. on the fu ll amount or the unpaid balance. I have also tried ta ping radio and T V Similarly, you see a lot of audio adver commercials, then splicing one type of Send now fo r full information . •. plus the ti sing proclaiming forty watts, sixty wa tts, sales pi tch to another. T his is a lot of fu n, name of your nearest E-V sound speciali st ! or whatever, without specifying whether and the result is oft en hi larious. it is sine-wave power, music power, or M y thanks to Mr. Schwartz for givi ng peak power, and at what per cent dis m y tape recorder a new lease on li fe. tortion. ARTHUR lVf EN IN I th ink th e industry wou ld ga in a great Fall Ri ve r, Mass. deal of public confidence by settling on a single standard so that all power ratings Sonic Overdose could be compared directly. • I wish that Dr. Stem , in di scussing O SCA R K EMMER " Music and M edi cin e" ( M a rch, 1962) T arrytown, N .Y. had dealt with the wholesale dispensation of mllsical sedatives now prevalent in res Creative Tape Rec.ording taurants, plants, offi ces, hotel lobbies, air • In his articl e "Communicating with line terminals, elevators, and pl anes. ELECTRO-VOICE. INC .. Dept. Buchanan, Michigan T ape" ( March, 1962) T ony Schwartz Wha tever therapeutic value music may Please send me you r free booklet, " How to En joy Hlgh a rgues tha t tape recording can be a cre have in specific cases, should it be indis Fid elity Outdoo rs" and E-V sou nd specialist li st. ati ve a rt rather than a mere copying of criminately sprayed on the popula ti on in Name ______sounds. T o substantiate his point, Mr. massive doses, li ke DDT during a typhus Add ress ______Schwa rtz draws pa rallels between the epidemi c? C ity State imaginative use of a tape recorder and G LENN M ANLEY the imaginative use of a camera. Speak- Chicago, Ill. CIRCLE NO. 16 ON READER SERVICE CARD 12 H 1F I / ST E R EO REVIEW LONGINE8 ~@)f/~~c STANDARD OF EXCELLENCE FOR ALMOST A CENTURY It is not hard to find the reason why those who own, servatory First Prize in 1883. Sillce theil, in a lmost or those who merely know of Longines, regard them so continuolls competition. Longincs watches have estab· highly. Over the past 95 years Longines has become lishcd many records for accuracy, won thousands of the standard of comparison among watches. Decade prizes. In 196 1 a t Ncuch atel Observatory Longines after decade Longines watchmakers have been guided "Vr ist Chronometers esta blished a new record and won by one simple principle: constantly to strive, not a total of 43 First Prizes, a major horolog'ical record. I N TERNATIONAL merely for Excellence, which was attained a t the be· ginning, but for absnlute Perfection. 1 he truth abou t In Aviation, Explo'ration and Science INSTITUTE OF Longincs can be read in its many achievements. * Over the years Longines acquired the re putation of TIMING At Wo1'ld's Fail's and Intel'national Expositions "doing the impossible" in watchmaking. As a result, * requests came for special watches. They were used by Competitive sports , world . In the era of great invention-of the electric light, the pioneer avia tors; helped chart comme rcial a irways; championships, and new speed telephone, the automobile, the airplane-the interna· served a host of explorers, scien t ists, astronomers. tional juries at World's Fairs and International Expo. records on land and sea and in the air have become im sitions established a product as representing the high. In SP01·ts Evenls and Time Competitions est achieve ment of its special art. From 1883 to 1929, * portant to nationa l prestige. Longines received this distinction 38 times, winning Longines wa tches and timing instruments meet the For almost a century Longines has pioneered 10 Grand Prizes a nd 28 Gold Medals. rigid standards of accuracy of all International Sports in the scient ific timing of such events. and Contest Associations. "OFFICIAL T IMI NG BY LON· The Longines Internationa l In stitute of Timing will put this vast experience to greater In Observatory Accuracy Competitions GINES" is a Itnive'rsally accelJteli gtlamnlee of accuracy. * Annuall y, Longines times more than 1000 major na· use. Acting through its directors and quali· Safety of a merchant or war ship at sea depends on a tional and international sports even ts. In the U.S.A. fied committees, the Institut e will e nd eavor timepiece of known and predictable accuracy. T h e na· the roster includes major league baseball, college a nd to : (1) Foster the adoption of uniform stan· tionai observatories began testing timepieces as a "pro" foo tball , the national horse sholl'S, the great dards in timekeeping; (2) Give to qualified matter of national security. Longilles won its first Ob· regattas, automobile rallies and races, and many olhers. timing officials recognition and professional standing; (3) Furni sh timing facilities for major national and international events; (4) THE LON GINES OREDO Research into methods for accurately mea su ring and recording extremely small inter Every Longines watch, whatever its type, fm' whatever its purpose, va ls of t ime for scientific and space use. today, as for almost a century, is manufactured to be the finest of its kind and worthy in every respect to be called the world's most honored watch ~~~-{jj)y~{jj)ytJ£d~~ LEADING MAKER OF WATCHES OF THE HIGHES'l' CHARACTER FOR ALMOST A CENTURY CIRCLE NO. 27 ON READER SERVICE CARD just leGking .. . at the best in new hi-fi components • A ltec Lansi ng introduces a pa rtly transpa rent bins. Price: $219.95 (ki t), transistorized stereo tuner-am pi i fi er, the $299.95 (factory-wired ) . (H a rman-Ka r 1-.ifodcl 708A Astro, which includes an don, Inc., Plainview, N.Y. ) FM: tuner with built-in stereo ada pter, an circle 177 on r eader serv ice card AM tuner, and a dua l- channel amplifi er with com plete control faci lities. • Kodak enters the h.igh-fid elity fi eld Outpu t is rated at 22.5 watts music with a new sound-recording tape. The power per channel with less than I . per K odak tape maintains a high degree of cent to tal hu m and distorti on at 20 watts uniformity, assuring constancy of fre over th e range fr om 25 to 10,000 cps. quency res ponse and level, and a low O \'{'r-a ll fre quency re ponsc co\:ers 20 to signa l- to-noise ratio. The magnetic coat ing is applied to the same tri-acetate base used in K odak fi lms, whi ch is said to have suffi cien t chemi ca l stabil ity to last a thousa nd yrars in storage. A radial slot in the reel Aange sim plifi es threading, and a splicina guide is molded in to each reel. Kodak tape is ava il able in 1200-foot and 1800-foot 7-i nch ree ls as well as in 3- and 5-inch reels. (Eastman K odak Com pany, R oc hester 4·, N .Y. ) 20,000 cps ± Idb. fM usable sensitivity is circle 178 on reader s e rvice card 2 mi crovolts; tl1l' detector bandwith is 650 kc.; and the FM te reo circui t provides • Lafayette off ers a stereo-FM tuner, 30 db channel se pa ration over the audi o the M odel LT-81, that has a sensitivity range. T he power sta,ges of thr amplifi er of 2 mi crovolts and frequency res ponse are full y transistorized, pr rmi tting com from 20 to 20,000 cps ± 0. 5 db. T he pact drsign and heat rcdur li on. Dimen stereo circuit provides sepa ra ti on of 30 sions : 15 x 6 x 13Y2 in ches. Price : db with less than 1 per cent ha rmonic distortion. $597.00. (Altee Lansing Cor p. , 1515 South lV[an r hes ter Avr., Anaheim, Cali f. ) The tuner employs dual limiters, a F os ter -Seeley d iscri m ina to r, a nd a circle 1 75 on rea d e r s e rvi c e card grounded-grid fron t end. Operating fea • Gr aetz , a West German ta pe re tures includ e dcfeatable AFC, a sterro cordr r, is now imported by "Va rman Pre pil ot li ght, a noise fi lter, and a separation cision Products Corpora tion. Thr four control. D illlrnsions: 13Y2 x 5% x 9Ys track rrcord er is a lugg:agr-ty pe porta ble inches. Pric(' : $76.50. (Lafayette R adio, with se lf-rontained playbark a mplifi ers II I J eri cho Turnpike, Syosset, Long and a single spea kr r sys tr m that rr pro Island, N .Y. ) duces a monophonic blend of both chan circle 179 on r e ader service ca rd nels. For strl"(,O playba ck, an extrrn al • Mcintosh announces a new stereo speakr r can be plugged in to reproduce preampl ifie r, the M odel C- I I. T he uni t on e channr l whil r the intr rnal spea ker has a frequency res ponse from 20 to reprod uces th e oth r 1". Altr rn atr ly, ex ter 20,000 cps ± 0. 5 d b with di storti on of nal sprakrrs or amplifi er-spea ker systems can be usrd . T he G rartz operates at 7Y2 and 3'0 ips and has a dynami c range of 48 db at 7Y2 ips a nd lrss than ±0.5 pr r crnt Au tter and wow. It features a hysterrsis motO r, sepa rarr. recording levri controls for phono/ tuner and mi crophone inputs, and a m('c ha ni sm to stop th(' machine at th e end of a tape. Di mensions : 15 x 6Y2 x 12 in ches . Pri ce : $399.95. (' Va rm an Prec i less than O. I per cent at 2.5 volts output...... sion Products Corporation, 172 Madison Sensitivity of the magnetic-phono inputs . Wr.ite· Avenu r, !\fe'w York 16, N .Y. is 2 mill iYo lls, and concealed input-level , on conwl ete Mo sl ey circ l e 176 on reader se rvice ca r d controls a re acce sible from th e fron t. I".;.. Treble a nd bass controls (separate for • Harman-Kardon updates the C ita each channel) have cleven stepped pos i t;ii$/~ _''e,¥.@~, tion line with the new C ita ti on III-X tions. Dimens ions : 15 % x 5 Ys x 12. tun er, which incorpora tes a stereo-FM: Price : $199.99 (walnut cabinet $25.00) . ~~dML. circuit. Thr C itation III-X i available ( M elnto h La boratory , Inc., 5 C hambers -"\- both as a ki t and factorY-\\'i recl. The ki t f 4610 N. LINDBERGH BRIDGETON , MO-:' Street, Bingha m ton, N .Y. ) " , <~~ '; '~.M~ com es wilh a Li pa rts so rted in se pa ra te circle 180 on r e ade r service c ard CIRCLE NO. 29 ON READER SERVICE CARD 14 HIFI / STEREO R E VIEW SENA " .<, MARIA JURINAC .PEE STADER as LEONORA "She has never sounded so rich and "The enduringly admirable artist of lOA splendid Marcellina, bright but ample"- N.Y. HERALD TRIBUNE old"-SATURDAY REVIEW full, and never cOy"-HIGH FIDELITY uPerformance is admirable, recording is excellent" NEW YORK TIMES ·FIDELI Hans Knappertsbusch, Conducting Bavarian State Opera Orchestra and Chorus 3 rec ord set- WST·318 (Stere o) $17 .94. ~ . PAR AM OU",. • XWN-3318 (Monaural) $14.94 ." ® Other new releases: Fr ee - Complete new cat BACH: St. John Passion, conducted by Scherchen. a log . Write Dept. HS-8, Wes tmin ster Re cord ing Co. , ~AYDN: Seven Last Words of Christ, Scherchen. Inc. a subsidiary of ABC Paramount Re cord s, Inc . MARTIN: Le Vin Herbe , conducted by Victor 1501 Broadway, N. Y. 36 . Desarzens, with the composer at the piano. The Westminster listener is the selective listener JUNE. 1962 CIRCLE NO. 38 ON READER SERVICE CARD 15 by HANS H. FANTEL T AST MONTH I spoke about the sonic factors determined by the L reverberation and reflectivity of your listening room. Now I shall round out this discussion of room acoustics with the equally important topic of loudspeaker placement. Proper speaker place ment results mainly in efficient bass projection and good distribution of sound. To operate efficiently in the lower bass range, a loudspeaker should be at least fifteen to seventeen feet from the wall toward which it faces. This allows a sound-projection path long enough to accom modate half the wave lengths of the lowest musical notes and lets these deep tones come through more powerfully. That is why, es pe cially in rooms of moderate size, you often get richer sound by placing the speakers against the short walls so that they face the full length of the room. Setting the speakers in corners provides still stronger bass, and such placement might be advisable in small rooms where extreme lows are difficult to reproduce. In searching for the optimum stereo effect, the general rule is to separate the two speakers so that they subtend an angle of roughly thirty to forty degrees as seen from the listening position. But si nce each room has its individual ch aracteristics and since furniture ar rangements are rarely alike, this general rule is subject to all sorts of variations. More often than not it serves merely as a starting point for experiments. For instance, you can put the speakers farther apart and compensate for the added separation by means of the blend control provided on some amplifiers. Or, if your room is so narrow that you cannot separate the speakers far enough, you can place them at right angles against two adjoining walls with the listening area approximately at the intersection of the two sound-projection Jines. It is also possible by means of speaker placement to emphasize either the directionali ty or the depth of sound that together make u p the stereo effect. Directionality is stressed if the speakers face di rectly toward the listener . But if your preference runs towards greater depth of sound, with music seeming to fill the whole room without a discernible source, try angling the speakers outward towards the nearest wall so that they face away from each other and their sound reaches the listener only on the rebound. This method is especiall y effective in enhancing the sense of acoustic spaciousness in small rooms, although with it a good deal of stereo se para tion is lost. In high-ceilinged rooms or under a gabled roof you can even turn your speakers on their backs so that they face upward and their sound is reflected from above. Though this reduces stereo separation, the use of refl ected sound widens the area of the stereo effect so that the location of the listener becomes less critical. When a group of people are listening, it is then no longer n ecessary for them to huddle close to the imaginary center line between the speakers. It may take several evenings of experimentation with various speaker locations until you find the one that best suits your surround ings and your tas te. But once yo u have discovered the right spot fo r 809F N. Cah uenga Boulevard, Los Angeles 38. your speakers, the effect is like getting the best seat at a concert. C IRCL E N O . 11 ON R EA D ER S ERVI CE CARD 16 HIFI/ STEREO REVIEW Let it guide you to the wonders of stereo music being broadcast by FM Stations throughout the country. With this all new Heathkit Stereo tuner you can enjoy AM, FM, or FM Stereo . .. listening unlimited (and when your FM station shifts to stereo, the light turns on; automatically alerting you). Throughout this amazing unit, both professional and hobbyist will appreciate the design, performance, durability, and styling that has made Heathkit the world leader in high fidelity electronic kits. And, as 1. Listen 3 Ways; AM. FM, or FM Stereo 2. Se parate Tuning M eters (AM & FM ) Insure Precise Station Settings 3 . " Squelc h" elimi· always, this superb engineering is accomplished within a nat es noise between FM Station s 4. Phase Contro l f o r d istortion· less stereo receptio n 5. Automat ic Frequ e ncy Control " Ioc k s·in" price range that makes this truly remarkable instrument avail st ation signals 6 . Fact o ry·A sse m bled, p r e·alig ne d FM f ront end able to any one really interested in fine music. 7. Circuit Board Constructio n f or easy asse m b ly 8. Built· ln AM and FM A nten nas 9 . Multiplex Cir cu it a n integra l p a rt o f unit Kit AJ-41 . .. . $119.95 Assembled AJW -41 .... $189.95 r------. I Th e remarka bl e AJ·41 is 0 Please send me a free co py of the Hea th kit 1962 Catalog I I just one of ove r 200 diNer· I \ f€...... ~.:-- fff.¥.iibi@ :~at il :~~ec ;:oO;i:e~~:k~;. i ;~ Name I I see all of th ese eco nomica l I I THE H EAT H COM PAN V uni ts. do n't fail to write for Ad dress I I Benton Harbor 41, M ichigan yo ur free copy of th e gia nt I I 100·page Hea th kit Catalog. City Zo ne__ Sta te I ~------~------~ JUNE 1962 CIRCLE NO. 21 ON READER SERVICE C A RD 19 RANZ SCH UBERT was a ripe old twenty-two at the tackl e the string-quartet literature only after becoming time he' wrote his "Trout" Quintet, but he had acquainted with some of the masterpieces for piano Falready composed six symphonies, eleven string and strings, or clarinet, oboe, or flute and strings. quartets, four masses, and nearly four hundred so ngs. The circumstances that produced the "Trout" Quin 'What gives the "Trout" Quintet pride of place in the tet were extremely casual. Schubert was spending the composer's instrumental output up to that time is its summer of 181 9 on a walking tour of Upper Austria wonderfully effective blending of the qualities that to with his friend, Johann Vogl, the renowned baritone gether add up to the magic of Schubert's early art. It of Vienna's Imperial Opera. Only once before had the gives off an irres istible lyric glow; its instrumenta tion composer been out of Vienna, during the previous is transparent and pure; its thematic development is year. when he spent some dreary time as music teacher masterful. To this I might also add tha t this combina to the Esterhazys. Now he was enchanted by every tion of sheer melodiousness, together with the instru thing-the beauty of the countryside, the congeniality mentation that calls for piano with strings, makes the of the people, the excitement of discovery. "Trout" Quintet an id eal introduction to ch amber The two friends spent some time in the little town musIC. It has always seemed to me that one should of Steyr, the birthplace of Vogl, and they soon became 20 HIFI/ STEREO REVIEW with UNIVERSITY true outdoor high fidelity speaker systems Now-outdoor systems that not only promise high fidelity performance- but MUSIC UNDERWATER, TOO! deliver it. Just as they do in concert halls around the world, -and for all the That's right. For the penultimate in outdoor living, without ever missing astronaut countdowns. Now these same superb outdoor speaker systems a note when you dive into the pool , systems chosen by discerning music lovers as well as top government sound University oilers-in limited supply engi neers-are yours : to perk up your barbecue with frankfurters and fugues; -the same underwater speakers that are required equ ipment in commer· to make mere swimming a new and exciting experience; or to bringthe finest cial and luxury resort pools. Write indoor concerts to your backyard! for separate information about the MM·2FUW and the MM·2UW under· You can connect a University outdoor speaker system (or two, for stereo) to wate r speakers. Just another 'first' the speaker term inals of your radio, TV set, phono or hi-fi amplifier and thrill by University. to full -bodied high fidel ity outdoors-at any time. Because they're totally weather proof, they stay outdoors for good. Why hardly anything short of a hurricane can mar their performance. And they can be put anywhere-at patio or pool, on the house, a pole, a shelf, a fence-even on a tree. All you need is a screwdriver; adjustable 'U' brackets make installation a snap! Interested? Really interested in how outdoor high fidelity speakers can glorify your summer and make the neighbors sit up and take notice? Just write: Desk 0-6, University Loudspeakers, White Plains, N. Y. A Division of Ling-Temco-Vought, Inc. JUNE 1962 CIRCLE NO. 36 ON READER SERVICE CARD 21 ~ . .d r' mth(O)~ Outstanding ,tereo recordings 0/ Schubert's "Trout" Quintet in clude London's. which Jeawres Clifford Curzon's distinglLished pian ism . and A ngeL' s. which is notable Jor the string playing oj the Amadells Quartet. UniqlLe as all. artistic do cument, and with SILr· Wisingly good sound, is the 1935 ArtlLr Schnabel-Pro A rte readi Itg. llvailable in Angel's Great R ecordings 0/ the Century series. the leading participants in the town's intellectual li fe. fo rmances from among the eight available. (Is there R egular musical evenings were held at the home of a ny other piece of chamber music so abundantly repre Sylvester Paumgartner, a n amateur celli st and the as sented in the record catalogs?) M y own first choice sistant manager of the local mines. Paumgartner con a mong them, des pite its moments of untidy ensemble, ceived the idea to commission a work from Schubert, is the version by Clifford C urzon with members of the specify ing that one of the movements should be a set Vienna Octet (London CS 6090, CM 9234). The of variations on Die Forelle (The Trout), a charming pianist's limpid tone and gentle genia li ty are a thor song Schubert had composed about two years earli er. ough delight, and the recorded sound offers fine depth Schubert set to work on the piece soon after his a nd balance. return to Vienna in the early autumn. H e was fill ed Angel's version (S 35777) by H ephzibah Menuhin with the pleasant memori es of his delightful summer, and members of the Amadeus String Quartet reverses a nd the music he produced was the perfect mirror of the order of values. H ere it is the string playing that is his warm, amiable experi ences. It is quite likely that uncommonly perceptive and imaginative, but there are he composed the work with specific performers from moments when the performance verges on the pre the Steyr circle in mind, which probably explains the cious. The reproduction is very impressive, "vith wide unusual instrumentation: piano, violi n, viola, cell o, frequency and dynamic range. and double bass. Only one other work for the same A clean-cut, healthily extroverted account of the combination is readily recalled, a quintet by Schubert's m usic is provided by Frank Glazer, with members of contemporary, Johann Nepomuk Hummel. An earlier the Fine Arts String Quartet and H arold Siegel, theory had h eld that Schubert was acquainted with double bass (Concert-Disc 206, 1206). The reproduc the quintet by Hummel, that in fact the score might tion is really outstanding, with especially fine stereo have been one of those played in Paumgartner's house. spread. R ecent research shows, however, that Hummel's quin vVestminster's newer recording of the score with tet was not published until 1821 , in Vienna, and the Badura-Skoda and the Barylli Quartet (WST 14074) likelihood of a performance from manuscript two doesn't have quite the exuberance and spontaneity that years earlier is extremely slim. It is more probable that marked the pianist's original recording with the Vi Hummel took Schubert's quintet as a model, rather enna Konzerthaus Quartet (XWN 18264), but it is a than vice versa. perfectly agreeable, if small -scaled, performance. Vanguard (VSD 2019, VRS 1034) has an edition THE "Trout" Quintet has been well represented in that is most sensitively played by pianist Dennis M at recorded literature for a quarter-century, ever since thews, but his warmth and insight have failed to excite the release in the mid-1930's of the performance by similar qualities from the rather stodgy players of the Artw' Schnabel with members of the Pro Arte Quartet, Vienna Konzerthaus group. A version on D eutsche and Claude Hobday, double bass. One could occasion Grammophon (136,038,19206) has Joerg D emus in ally raise an eyebrow at the out-of-tune playing from the pivotal pia no part, but it is for the most part a de the violinist, Alphonse Onnou, but the performance tached, unsmiling performance that is further handi was one of great good spirits and contagious ela n. It is capped by recording that is unbalanced in favor of the now available once more in Angel's Great Recordings piano. Finally, T elefunken ( 18023) offers a bargain of the Century series (COLH 40 ), with astonishingly price ($2.98 ) stereo edition with Helmut Roloff a good sonics (no other recording captures the bite of pianist in a straightforward and sincere performance the double bass so successfully) and in a smooth tha t is beautifully recorded. surfaced LP transfer. Unless you must have stereo, the When all is said and done, however, it is to the Schnabel-Pro Arte version is still the one to own. Schnabel version that I find myself returning most In stereo, however, there are several excellent per- frequently. 22 HTFI / STEREO REVIEW INC., rntable Th'e corporate charter of ACOListic Research , filed in the Massachusetts State House, states the purpose for which AR was founded: "To engage in research, development and manufacture . . . in the field of acoustical, electronic, electrical, and mechan ical engineering and devices ..." AR now introduces its first product outside of the loudspeaker field . The AR turntable cannot be used for records other than PROFESSIONAL quality. The AR turntable is guaranteed , 33 1f3 rpm, and its starting time is not short enough for cueing as a condition of sale, to meet NAB specifications for broad 'applications. Apart from these qualifications, its performance ca st equipment on wow , flutter, rumble , and speed accuracy. should be judged by professional standard s and on an ab so· The 3.3 lb. machined, individually balanced aluminum platter lute basis, without consideration of price, is belt·driven from synchronous motors. STABLE performance . The su spension design makes it pos· FOR BUTTERFINGERS. This is a picture of the tone sible to deal a moderate hammer blow directly to the top plate arm a second after it has been "accidentally" dropped . It without making the needle jump grooves. This is not a recom · floats down to the record , yet as soon as the needle touches mended procedure, but it doe s serve to demon strate the turn· the groove the damping is relea sed and the arm is freed of table's insensitivity to floor stomps or to acoustic feedback .. re stra int. N,eedle s and record s are prot ected against predators. Th e AR turntable is sold under a one -year guarantee that in clude s part s, labor, and reimbursement of any freight to and from th e factor y. It is on demon strat ion at dealers' show room s and at AR Mu sic Room s, on the west balcon y of Gr and Central Terminal in New York City, and at 52 Brattle Stre et, Cambrid ge, Massac hu setts. No sa les are ma de or initiated at th ese showroo ms. COMPL ETE (except for cartridge) in clud ing ar m, cable s, oiled walnut base , transparent du st cov er, and even needl e force gauge and overhang adjustment devic e. Overall dimen· sions with the dust cover are 12%"' x 16 3,4 "' x 5W '. $5 8L~~ CARTRIDGE. ACOUSTIC RESEARCH, INC., 24 Thorn d ike Street, Cambridge 41, Massachusetts JUNE 1962 CIRCLE NO. 41 ON READER SERVICE CARD 23 • SONY Stereo Tape Deck 262·D-4 &: 2 track stereo recording -Pocket size mike and transmitter providing complete free- and playback tape transport to add tape to yo ur existing hi fi dom from entangling microphone cables. $250 .• SO NY Con- sys tem. S89.50. (A lso available. not pictured. the new SRA·2 denser Microphone C·37 A- For purity of sound reproduction, stereo recording amplifier for the 262 D. ,------, the unqualified choice of professional stu $89.50.) • SO NY Sterecorder 777-AII B dios throughout the world. $295. • SO NY transistorized professiona l stereo recorder 777 S Sound on Sound Recorder 262 SL-The featuring exclusive Sony Electro Bi- 8 . ~ perfect recorder for language. music and Lateral 4 & 2 track playback head . ij B~ drama students. \>Vi th 4 track stereo play- ''''orld's fin es t tape recorder. $595 .• SONY ~ 4640 B back. S 199.50. • SONY T apecorder Ill-A Sterecorder 300-A complete profe·ssional. ~ 262 SL popularly priced , high quality bantam re- quality hi fi stereo tape sys tem wi th 4 &: 2 CR4 d ~ corder for everyday famil y fun. $79.50. track recording and playback in one por· • ~ EM 1 • SONY Condenser Microphone C·17 B- table unit. $399.50. • SO NY Portable 101 ~lll g ~ Miniature size (3 3;' "x %" diameter) and -2 speed. dual·track. hi·fidelity recorder ~ exceptio nal background isolation unidi- with 7" reel capacity. $99.50. • SO NY Stereo rectional cardioid pattern. $350 .• SONY corder 464·D- Dual performance 4 track stereo tape deck with Newscaster Portable EM· I-A professional on·the·spot battery built-i n recording & playback pre·amps for custom install ations powered portable recorder wi th precision spring wind con· and portable use. SI99.5 0.· SONY Wireless Microphone CR·4 stant speed motor. $495. All Sony Storecorders are Multiplex ready! For additional literature and name of neMeJt /ranchiJed dealer write S1t.perJ Co/Je, In c., D ept.8 S11.1l Valley. California SUPERSCOPE Ii'".. 24 CIRCLE NO. 3S ON READER SERVICE CARD H1FI/ STEREO REVIEW CORDING to their proponents, transistorized am port that those transistorized amplifiers I have checked Jr...plifiers are ultrareliable, free from hum and so far have not equalled the performance of com noise, nonmicrophonic, cool-running, and have parable conventional units. It could well be that the a unique sound character that distinguishes them from units I haven't tested measure up better, but I haven't tube-operated equipment. Although at the present been very impressed with the models I've had experi time there are relatively few manufacturers that are ence with so far. offering transistorized equipment, according to the There is also the problem of damage caused by over grapevine some of the oldest and most respected names load. In contrast to a tube, which can take short-time in high fidelity will enter the field before the current overloads without damage, a transistor can be burned year is out. out by even a very brief overload. This difficulty can On the surface, the advantages of using transis presumably be gotten around by careful circuit de tors in amplifiers appear to be overwhelming. They sign, but most of the transistorized units I have checked are vastly more efficient than tubes, and they are well have exhibited this weakness. suited to driving low-impedance speaker loads without It does seem to me, however, that there is something the use of an output transformer, which is an ampli in the idea that transistorized amplifiers produce a fi er's chief performance limitation. Transistors are in special type of sound. The units I have tested have herently hum-free and nonmicrophonic. And some sounded far better than their mediocre measurements transistors have noise levels that are as good or better would indicate. In general, I find transistorized ampli than those of tubes . fiers to have a tight, well-controlled sound that is quite Sounds good, does n't it ? But surely transistors must pleasing. have some disadvantages. Their detractors point out Looking to the future, it seems to me that there are quite a few. One stumbling block is the frequency re no technical reasons why transistor amplifiers should sponse of moderate-price power transistors. M any pop not live up to their special potential. This level of per ular types cannot span the 20,OOO-cps width of the formance, however, will most likely be rather expen audible spectrum, to say nothing of the several addi sive to achieve, and I believe that for some time to tional octaves required for stable application of dis come reall y good transistor amplifiers will sell for tortion-reducing negative feedback. Wide-band, high somewhat more than comparable conventional units. power transistors are available, but they are expensive As to whether their aural characteristics will make compared to audio power tubes . them worth the difference in price, we will just have The elimination of the output transformer, attrac to wait and see. tive though it may be, requires a fair amount of circuit complexity. Some transistor amplifiers use a capacitor to couple to the speaker, but this limits low-frequency performance. A stable direct-coupled output stage, the most desirable type, is likely to be costly. Another drawback to most transistors is that they SCOTT LT-ll0 are sensitive to heat. It is therefore customary to in STEREO TUNER clude temperature-stabilizing circuitry into the ampli fier. This design technique works satisfactorily, but several transistors may be needed to do the job for • THE SCOTT LT-110 is a kit-type stereo-FM tuner merly handled by a single tube. H ere, again, the tran that is furnished with its two most critical sections sistor is at an economic disadvantage. the front end and the stereo demodulator-prewired My personal feelings about transistorized equipment and aligned at the factory. Like other Scott kits that I are mixed. I haven't tested all the units that are now have seen, the LT-II0 is designed for easy and fool available, so it is perhaps not entirely fair of me to re- proof assembly. There is a separate bag of parts and JUNE 1962 25 wires, cut to size and pre-tinned, for each of twelve ing and extraordinary quality control that go into construction steps. The instruction manual shows a Marantz products have built an enviable reputation full-size pictorial view, in color, of the section of the for the company among knowledgeable audio hobby set being constructed. The kit I tested took ten hours ists. The Model 8B dual 35-watt stereo power ampli to construct and align, and I believe this would be a fier is a good example of the Marantz approach to typical time for the job. high fid elity. The LT-110's measured IHFM usable sensitivity The Model 8B is basically similar to the Model 8 was 2.5 microvolts, and total harmonic distortion at dual 30-watt amplifier, which it supersedes. A com 100 per cent modulation was under 1 per cent for parison of their circuits reveals the addition of some most signal strengths. Frequency response was plus or phase-correcting components in the feedback loops of minus 1.5 db from 20 to 20,000 cps. The drift was the the Model 8B, as well as redesigned output transform least I have ever measured on an FM tuner-less ers. The Model 8 was unusual in having a tertiary than 2 or 3 kilocycles from a cold start. The L T -llO's feedback winding on the output transformers instead hum was very low, being -60 db in reference to 100 of taking feedback from a voice-coil output. The Model per cent modulation, and its capture ratio was 6.7 db. 8B goes one step further, with two feedback windings The stereo performance of the L T -110 was very and various factory-adjusted components to trim the good. At times the quality of stereo programs seemed output transformers for improved stability. to leave something to be desired, but I ascertained that Each amplifier comes with a certificate that gives any audible deficiencies were due not to the L T -110 specifications for that particular unit. In the past I but to the transmitted signal. have found this data to be so accurate and so reliable The L T -110 has two means of filtering ou t noise that I ordinarily use it as a check on the accuracy of that may occur during stereo reception if signal my test equipment. The specifications accompanying strengths are marginal. First, there is a switchable the Model 8B were no exception in this respect. subchannel filter that is quite effective in reducing The power response of the Model 8B at 2 per cent noise-at the expense, however, of a reduction in harmonic distortion was perfectly flat down to 20 cps channel separation at high frequencies. I found that at 40 watts per channel (with both channels being this loss of separation was hardly detectable. Also sup driven). It rolled off slightly at the high end, to about plied is a noise filter that cuts off the higher frequen 32 watts at 20,000 cps. At 0.5 per cent harmonic dis cies rather drastically. I would use this only as a last tortion the output was over 35 watts per channel from resort. 30 to 10,000 cps, dropping to 32 watts at 20 cps and I had only two criticisms of the L T-11O. Although 28 watts at 20,000 cps. Measurements were made on its distortion at 100 per cent modulation was accept the 8-ohm output tap, which usually gives somewhat ably low at signal strengths from perhaps 8 to 1,000 lower output than the 16-ohm tap. microvolts, at higher signal levels distortion increased Intermodulation distortion was unmeasurable below (although it would probably not be discernible to the 2 watts per channel and rose smoothly to 0.3 per cent ear). Of course, if one is located near a strong station at 20 watts per channel and 0.5 per cent at 40 watts it would be possible to attenuate the signal in the per channel. One of the most noteworthy character antenna circuit, but this is somewhat inconvenient. istics of the Model 8B was the similarity between its My other criticism is that the LT-110 provides no in channels. Both channels measured almost identically dicator to show when a stereo broadcast is being re in all respects. The suggestion is that variations in ceived. Scott recommends switching from stereo to tubes and components have practically no effect on mono position on the selector switch, in which case the the performance of the amplifier. sound is supposed to be louder in the stereo position. The Model 8B was outstanding in other respects. The difference, unfortunately, is not too apparent. A Its 6CA7 output tubes operate at only 70 per cent of positive indicator would be a welcome addition to this their rated dissipation. Various capacitive loads caused otherwise highly satisfactory tuner. no instability and had only a slight effect on the unit's The price of the LT-110 kit is $159.95. near-perfect square-wave response. The hum-and-noise measurement was extremely good, being 101 to 104 db below 10 watts, depending on the input termination. After all this, I have nothing to say about the sound of this amplifier. Quite frankly, I have never heard a Marantz amplifier, and I'm not sure anyone ever has. MARANTZ 88 It contributes no detectable noise, hum, distortion, or STEREO AMPLIFIER coloration to the sound, delivering simply an enlarged replica of the input signal to the loudspeaker. This, plus the probability that the Model 8B will continue to maintain the same level of performance for a long • IN HIGH-FIDELITY circles, the name Marantz con time, seems to me like enough justification for its notes quality of an exceptional degree. The engineer- $249.00 price tag. 26 HIFI/ STEREO REVIEW The new Award Stereo Festival actually has infinity balance control to balance any speaker everything. Picture a complete stereophonic home system regardless of listener's position in the room; music center on one compact chassis: sensitive stereo contour control to boost bass energies at low AM/ FM and FM Stereo (multiplex) tuner for unsur li stening levels. passed monophonic and stereo reception; dual pre In the way it looks, and in the way it performs. amplifiers with input facility and control for every the Award Stereo Festival is the embodiment of stereo function and a powerful 50 Watt stereo creative engineering at its finest. Simply add two phonic amplifier. speakers and a record player and your stereo in Features include: wide-band Foster-Seeley dis stallation is complete. The Award Stereo Festival criminator and 6EN6 gated beam limiter to insure III, Model TA5000X-$299.95. Walnut Enclosure freedom from distortion and noise; D'Arsonval WW80--':"$29.95; Metal Enclosure CX80-$12.95. All movement tuning meter which measures dis prices slightly higher in the West. criminator balance and permits perfect visual tun For further information on the Award Stereo ing of all FM s ta tions; convenient front-panel stereo Festival and other fine Harman-Kardon products headphone input receptacle; illuminated push write Dept. R-6, Harman-Kardon, Inc .• Plainview. button on/off switch; blend control which elimi New York (Export Office, EMEC. Plainview. N. Y.) nates "hole-in-the-middle" effect by introducing a variable amount of blend between the two chan nels; stereo indicator lights for instant visual iden tification of mode (FM or Stereo) of operation; kardon individual bass and treble tone controls; zero to I CIRCLE NO. 20 ON READER SERVICE CARD 9 Ne,v Featllres No,v III TIle Ne,v 1962 EICO RP100 A great tape recorder made greater: 1·. New professional studio recording hysteresis-synchronous capstan motor: 24 stator slots for ultra-smooth drive, ultra-quiet and vibration less professional bearing system. Trallsis to rized 2. Two new take-up and rewind reel motors, both extra-powered for effortless operation. 3. New cored-out steel capstan flywheel with all the mass concentrated at the rim for improved flutter filtering. Stereo I Mono 4. New optimally designed capstan drive belt brings wow down to negligibility. 5. New relay provides instantaneous extra power to the take-up reel motor at start to minI 4-Tracl{ mize tape bounce. Provides near-perfect ~top-and-go operation and eliminates any risk of tape spillage when starting with a nearly full take-up reel. 6. New automatic end-of-tape stop switch cuts·off take-up reel motor power. Also permits 'llape Decl{ professional editing techniques, whereby tape being edited out runs off the machine while you are listening to it. 7. Playback preamps remain-on"during stop-standby mode to permit cueing. Semikit: Tape transport 8. Recording level adjustment during stop-standby. assembled and tested; 9. Shock-absorbent helical spring tape lifters practically eliminate tape bounce at start of fast electronics in kit form $299.95 winding. 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Timing Accuracy: ± 0.1 5% (± 3 seconds in 30 minut'?s) . Frequency Response: ± 2db 30-15,000 cps al' 7th IPS, 5Sdb sig na l- to-n oise ratio; ± 2db 30-10,000 cps at 33/ 4 IPS, SOd b signal-to-noise ratio. Line Inputs Sensitivity: 100mv. Mike Inputs Sensitivity: O.Sm v. FM MULTIPLEX AUTOOAPTOR MX99 (Pa te nt Pending) ®1962 EICO Electronic Instrument Co . Inc. Kit $39.95 Wired $64.95 Co ve r Optional $2 .95 3300 Northern Boulevard. L. I. C., I, N. Y. An original EICO contribution to the art of FM-Multiplex reception ------j EICO, 3300,N. Blvd., L.I.C. 1, N.Y. HR-6 I FM-AM Stereo Tuner ST96 The MX-99 employs the EICO·originated method of zero phase-shift fIIterless I Kit $89.95 Wired $129.95 detection of FM Stereo signals (patent pending) described in the January 1962 I 0 Send free 32-page catalog & I Includes Metal Cover and FET issue of AUDIO Magazine (reprints available). This method prevents loss of channel I dealer's name I separation due to phase shift of the L-R sub·channel before detection and matrix 0 Send new 36·page Guidebook to I _-__""'~-"".""v" ing with the L+R channel signal. In addition, the oscillator synchronizing circuit I HI-FI for which I enclose 25¢ is phase-locked at all amplitudes of incoming 19kc pilot carrier, as well as ex I for postage & handling. I tremely sensitive for fringe-area reception. This circuit also operates a neon lamp· indicator, whenever pilot carrier is present, to indicate that a stereo program is I Name , in progress. The type of detection employed inherently prevents SCA background music interference or any significant amount of 38kc carrier from appearing in the I Address I 70-Watt Integrated output. However, very sharp L-C low pass filters are provided in the cathode-fol , I Stereo Amplifier ST70 lower audio output circuit to reduce to practical extinction any 19kc pilot carrier, City zone-State__ Kit $94.95 Wired $149.95 any slight amounts of 38kc sub·carrier or harmonics thereof, and any undesired IL ______I Includes Metal Cover detection products. This can prove very important when tape recording stereo 4O-Watt Integrated broadcasts. The MX-99 is self-powered and Is completely factory pre-aligned. A Stereo Amplifier ST40 very high quality printed board Is provided to assure laboratorY performance from Over 2 MILLION EICO Instrument. In u ••• Kit $79.95 Wired $129.95 every kit. The MX-99 Is designed for all EICO FM equipment (ST96, HFT90, HFT92) Most EICO O •• le .. off.r budget terms. Includes Metal Cover and component quality, wide-band FM equipment. Add 5% In We.t. Listen to the EICO Hour, WABC-FM. N. Y. 95.5 MC. Mon. -FrI.. 7:15-8 P.M. Export Dept.. Boburn Agencle. Inc., 431 Greenwich St.. New York is 28 CIRCLE NO. 15 ON READER SERVICE CARD HIFI/ STEREO REVIEW utation during the postwar years. Recognition has been CARL late in arriving, for Orff will celebrate his sixty-seventh THE SOUND OF 'YORDS birthday on July 10, but now he is a prophet with ORFF honor in his own country and abroad. German critics credit him with having brought about the renascence that he was a modernist and experimenter who had of their musical theater, and he is often compared with made a name for himself in the German musical the Richard Wagner. Certainly he ranks as the most ver a ter. Yet the score was surprisingly free of the disso satile and original figure in this fi eld since the halcyon nances a nd key-clashes that roil the twentieth-century days of Bayreuth. eardrum, and perhaps that was what accounted for its success among collectors who normally give mod PHOTOGRAPHS of Orff tend to stress his magisterial ern music a wide berth. Audiophiles were further side-his cerebral forehead and stern, hawklike gaze. intrigued by the plangent sonority of the orchestra, a What the camera usually fails to capture is the aston heady mixture of brass and percussion that has since ishing energy and puckish wit that make him a genial become known as the Orff Sound. host and brilliant conversationalist. His whole vigor Since the establishment of that initial beachhead ous manner suggests an affinity for the mountains of with Decca's release of a D eutsche Grammophon mas his native Bavaria; he brings to mind those resource ter, Orff's music has cut an increasingly wide swath in ful schoolmasters one still encounters in remote Alpine the U.S. His popularity on records is all the more re villages, men who can quote Virgil or lead a climbing markable because his works are all intended for the expedition with equal facility. theater, don't translate well, and are rarely seen on In the past thirty years, Orff has composed no con stage in this country. certos, no symphonies, n6 chamber music, in fact prac When Orff visits the New World for the first time, tically no purely instrumental works of any kind, but as he intends to do this summer, he may be puzzled tQ he has written the texts for many of his own "pieces" discover how many thousands here a re fascinated by -he never calls them operas. Richard Wagner may his music without understanding a word of his texts. have done the same, but the comparison is misleading. When I saw him in Germany last winter he made it At best, Wagner's librettos are third-rate literature, perfectly plain that words are what interes t him above totall y valueless. without the music they are meant to a ll else. He loves the sheer sound of them and the support. Orff is a noted poet in his' own right who magical meanings they can convey. "With everything comes close to Britain's Christopher Fry in his use I write it's not a question of music but of ideas," he of language. As a result, his texts are not subordinate told me. "Just to make music by itself doesn't interest to the music, as librettos have been ever since the dawn me. Music is an inborn means of expression for me, of opera. Words and music stand on an equal footing, but surely there are others who are better a t it." as closely and intimately rela ted as the Gemini Broth Des pite the modest disclaimer, Orff is the only Ger ers of the old Zodiac Circuit. The clangorous Orff man composer who has won a solid international rep- Sound never illustrates the words; rather, it intensi- Reading from the ribald verses of Carmina Buralla, OrfJ explains the text as folk so ngs that had lost their music. His composition, he feels, restored th e missing element. fies them. Usually Orff has about ten percussionists in stroyed during the war, music education for children hi~ theater pit, playing drums, xylophones, glocken remains one of Orff's chief preoccupa tions. Over the spIels, and a vast assortment of other instruments de years he has compiled an ela borate teaching method signed to be struck, rattled, or clashed. But unlike known in German as the Orff-Schulwerk, which'begin: avant-garde composers who value percussion for its with the simples t so ngs and leads to the musical eq uiv own sake, Orff uses it for the very practi cal reason a lent of calculus. I have seen the 0l'ff-Schulwerk in that it does n't cover up his texts. "Horns and strinO's to action: a pretty yo ung teacher in a sunlit German blanket the sound of words," he explains, "percussion kindergarten leading a chorus of enraptured fi no'er- emphasizes it." . to pamters. Half the class chants "Rumpate, pUl11pate, Orff doesn't see the point of writing music tha t is pumm," wh il e the rest too'a ll ol) a lontoO' to "Rumpate, not for the theater. "Why should I bother composing pumpate, rumpate, pumpate, pUl11p ate, pumpate." To a concerto when I know it is a form now undergoing get into the rhythmic swing of things, they a lso learn its decline? All I care about is telling j)eople some to mani pulate a whole battery of percuss ion. Orff's thing that will make them think. There are a lready kindergarten orches tra bears a startling resembl ance enough of those who give audiences what pleases to the arsenal with which his theater musicians are them ." In common with other theatrical innovators of our time- one thinks of Brecht, Becket, and I onesco Orff has a slightly sadistic urge to administer trau matic shocks to this a udience, to outrage their feel ings if necessary. The Swedish director Ingmar Berg man once told me that so long as each of his films "assaulted people's nerves in a new way," he consid ered himself satisfied. Orff says, "I feel I've accom plished something only when I strike the hidden nerves that a ll people possess. But that takes more than mu sic." Violence and eroticism are scarcely newcomers to the world of m usic-drama, but in Orff's hands they become stylized and primitive. When his Burana cho ruses sing about deflowering virgins, or when Catullus' cry of " Breasts ! Breasts!" goes up, he seems to be in voking the powerful spirits of the Black Mass. ORFF, always the slow, m ethodical craftsman, ar rived at his theory of theater only after many years of experiment. Born in Munich, he comes from an old Ba varian family whose sons traditiona lly served as of fi cers in the army. Orff preferred music, and went on to the Munich conservatory after classical studies a t Costullles. scenery. und uction lorm a context for the music in Ca rmin" Burana, Orf!'s tribute to revelry. a boys' school. As an adolescent he wrote poetry and music, including an ambitious series of songs and a chora l setting of Nietzsche published before he was equipped, and the "rumpate, pUl11pate" chorus is first twenty. From the very first he struggled against the cousin to the· insistent ostinato chants that occur in so suffocating influence of late German Romanticism, many Orff scores. and despite his academic training h e regards himself Most modern composers of the Twenties a ligned as a self-taught composer. themselves with either the Stravinsky or the Schoen For several years Orff conducted orchestras in vari berg camp. Orfl', who was still trying to get his musical ous theaters - though, significantly, never in a n opera bearings, found himself dissatisfied with both. "I am house-and wrote incidental music for new plays. In not one of those who can make music out of their inner the early Twenties he launched a trial balloon in music sensitivities and conflicts," he comments drily. Orff's education. Together with the dancer Dorothee Guen search for a style led him, ultimately, to the old mas ther he founded a school whose purpose was to teach ters, notably to the ha lf-forgotten giant of the musical dancing and gymnastics "so as to restore the natural theater, Claudio Monteverdi (1567-1643). His tran unity between music and movement, which both arise scriptions of three Monteverdi scores, including Orleo from a single source." Although the school was de- (which the wags call O rffeo ), are still in the German JUNE 1962 31 CARL THE SOUND OF WORDS ORFF repertoire. Further research into the dustier recesses of the library produced Entl'ata, the only pure orches tral work still listed in his catalog, based on W illiam Byrd's h arpsichord study, The Bells. Orff scored it for five separate orchestras, principally brass and per cussion, tha t build up an immense web of sound over a two-note bell ostinato. Carmina BU1'ana, the turning point in Orff's career, arrived like a bolt from the blue in 1937. I ts unin hibited lyrics stemmed from the goliards, the wander ing scholars of "t he thirteenth century, whose L atin verses were preserved by the scribes of the Bavari an monastery of Benedictbeuren . "The Carmina Burana manuscript had been famous among literary scholars si nce its rediscovery in 1803," Orff told me. "They used to quote little pieces of it in textbooks. But it was not really alive because one important element was missing : the m usic. Whenever folk songs lose their music they wind up on the library shelf. After my work appeared, students became excited about the poems. That proves, I think, that music is an indispensable function of such poetry." Herm.ann Uhde and Joseph. Traxel in A nti gonae, Orff's m.odern Since C arm in a BUl'ana consists of a series of verses musical recreation of Sophocles' tragedy. without a rea l story line, m any people have wondered why Orff went to the trouble of mounting a complete from the h eavens and then restored. Die Kluge deals stage production, with scenery and costumes. "I didn't with a clever wife who succeeds in taming h er moody write it that way just to amuse myself," he explains. husband. "Those poems can't be declaimed on a concert plat As the war drew to a close, O rff wrote a stage work form; they h ave to be acted out. T ake the drinking epi in which his daughter, the actress Godela O rff, could sode. Could tha t be carried off in white tie and tails ? play the title role. Die Bernauel'in, a fifteenth-century You need costumes, miming, body movement. The tragedy of a woman condemned for love, is essentially theater is the only place where words, music, and ges a vehicle for actors, with tightly interwoven strands tures can make their full impact." of incidental music. It was Orff's first venture into Old Bavarian, a broad and beautiful dia lect that has AFTER the premiere, Orff told his publishers, "You a far more lilting rhythm than contemporary High can scrap everything I've written up to now. M y col German. Like Latin and Greek it holds a special fasci lected works begin with Carmina Burana." But des pite nation for Orff because it is a dead language. "Actu its success with the German public, the work drew ally dead languages are the most a li ve of languages," sharp criticism from the Nazi authorities . Orff was he says. "Nothing can be added to them, and nothing called a Communist (h e had composed music to works taken away." by Bertold Brecht, the exiled Marxist poet ) and pil In Astutuli-the astute ones, or better yet, the know loried for his close friendship with leading J ewish mu it-alls- he tried his hand at an Old Bavarian comedy, sicians. Gradually he withdrew into a state of semi and two further works in this archaic dialect h ave retirement that German writers have since termed "the earned him critical plaudits as a "literary and linguistic inner emigration." genius." Both 'of the latter are based on the tradition Yet the war years were productive. Orff worked of the medieval mystery play. The E aster legend, Co steadily on new scores, including C atulli C al'mina, m oedia de Christi R esurectione, h ad its premiere in based on erotic Latin poems by Catulius, and two 1956; the Christmas parable, Ludus de nato Infante one-act fa iry-tale operas for which he wrote both text m irificus, in 1960. "Everything in them proceeds di and music. D el' M ond relates how the moon is stolen rectly from the text, and the words themselves are 32 HIF I/ STEREO REViEW almost a spectacle," Orff says. "When I read the plays the Baroque with all their pomp and ostentation. aloud people claim they can actually hear the music Shortly after the premiere of T rionfi at La Scala, in them. I call it primal music, Urgrundmusik. It is Orff and his wife moved into a large country house strongest in ancient languages. Long ago people talked that stands at the edge of a forest about an hour from much less, but more graphically. Our language grows Munich. "H ere with my garden and trees and mead more and more abstract all the time, and there are no ows I can have some peace," he says. But he still leads images in it. But Old Bavarian is full of vivid pictures, a hectic and peripatetic life, supervising stage produc and language that is close to the visual is also close to tions, revising S chulwerk editions, sitting in on record the musical. And, naturally, close to the theater." ing sessions. He is not unaware of his increasing fame It was Antigonae, in 1949, that first called interna as the hi-fi composer flar excellence. tional attention to Orff's work. In this classic tragedy and its 1959 companion piece, O edipus der TYl'ann, LAST December the Salzburg Mozarteum officially Orff fused all the elements that have marked his style inaugurated a permanent center "for the propagation since the Thirties : rhythms that echo the motions of of the Orff-Schulwerk," which h as already appeared actors onstage, speech that breaks into chant, percus in American, D anish, Dutch, English, French, German, sion that rings clear as a silver hammer. "Here I had Portuguese, Spanish, and Swedish editions. African, to come to grips with the whole weighty problem of J apanese, Turkish, and South American versions are Greek drama," he told me. "And to complicate mat~ in preparation. In Canada this summer, he will address ters, the texts I used were Holderlin's versions, which a full-scale conference of American S chulwerk teach are not translations but free poetic interpretations. ers. "Gradually, though, I'd like to pass the educa When I began, everyone said 'Why Holderlin, of all tional problems into other hands," he says, a trifle people, with his dark language?' but now even the wearily. "It takes up a tremendous amount of time, Viennese have grown used to it." and I have only twenty-four hours a day." In 1953, Orff completed his tryptich of theater spec Last year, Orff completed his latest setting of A tacles that began with Carmina Bura7w, a hymn to Midsummet· Night's Dream, a play that exerts a per petual spell over him, although, since he speaks no English, he knows it only in Schlegel's translation. "I composed my first version when I was twenty. Then I returned to it every ten years-at thirty, forty, fifty, and sixty. Four of these settings were published and wi thdrawn. Now I look forward to the premiere of the new one. People think I'm mad; I could have written four other pieces instead. But I tell myself that since I know this piece so well, I can do it better each ti me. It's something that can only be improved, never perfected." Orff remains a so litary figure among modern com posers. His style, like Bartok's, is too personal to be effectively copied by his students. But his example has aiven German music-makers a powerful push in the b direction of the theater, and toward a simpler, more muscular kind of sound. H e finds that his own work is growing more primitive all the time. "The more I try to refine my sounds, the more they lead me back to the most elemental simplicities," he says. "I've sent Keenly sensLtwe to the sonic qualities of his scores, OrfJ my music up to such dizzying heights that very soon supervises the recording of Anti go nae. I'll be able to catch it a ll as it comes down, on the head of a single drum." Eros and Lady Fortune, and continued with Catulli Carmina, a sharp-honed dissertation on the uses of passion. The third panel, Il Trionfo de Afrodite, cele Frederic Grunfeld, form erly a muslc co rnl1lentator and record brates the triumph of love, intoning Latin and Greek producer in IV ew Y orlc, now covers the European scene as a poetry by Catullus, Sappho, and Euripides. Orff called fr ee-lance reporter. His most recent article for this magazine the entire cycl e Trionfi, acknowledging his old debt concerned RI AS, the U.S.-sponsored radio station in J17 est to Monteverdi and suggesting the court pageants of Berlin, which appeared in the May, 1962 isslLe. JUNE 1962 33 C,.itics~ N THIS and the following pages the record critics of HIFI/STEREO REVIEW have indicated Choice O their choices of the best records issued during A selectio" the 1961-1962 season. The record listings refl ect con sidered critical judgments, made over a period of .1 the best recor,ls time, and the records chosen are discs the reviewers 01 the 1961-1962 se4SO"!> have enjoyed living with and listening to repeatedly. 4S chose" by Of specia l note are the six records that were se the recor,l-revierving st",11 lected by more than one reviewer. H eading these 01 HIPI/STEREO REVIEW are two triple-choices, both operas and both on the Deutsche Grammophon label, Richard Strauss's Elektra and Maurice Ravel's L'Enfant et les Sort ileges. Other multiple-choice discs include Columbia 's de luxe package of Stravinsky conducting Petrouchka and L e Sacre du Printemps ; the same company's release of the late Bruno W alter's reading of the Bruckner " Romantic" Symphony; RCA Victor's com plete version of Ravel's DajJhnis and Chloe, with Charles Munch conducting the Boston Symphony Orches tra ; RCA Victor's recording of Artur Rubin stein playing the Chopin First Piano Concerto; and, in the fi eld of jazz, Columbia 's four-disc anthology, "Fletcher Henderson: A Study in Frustration." Cr·itics!> ClIo ice MARTIN nOOKSP.4N ® ® BEETHOVEN: Missa Solemnis. Wes tminster Choir, Soloists, New York Philharmonic, Leonard Bern stein cond o COLUMBIA M2S 619 two 12-inch di scs $1 1. 96, M2L 270 $9 .96. ··N"bilit", gr",,,JeJlr. ""na",ie dra,n,,, In"rl~ thiIJ 81"perl"ti.ve IIC c o", 1,'i8h.,ne n t." ® ® BLOCH: Sacred Se1·vice. Robert Merrill, choru s, New York Philharmonic, Leonard Bern stein, co nd o CO L U ~ [ B I A MS 622 1 $5 .98, ML 562 1 $4.98. ·' TI,.e HI"I,re",e wor';. 01 JelVi.sh CIIIIce,·t ""lSic iH given" definitiv e ~e"di"g of tlltal "'H'oti"l1 and "erception." ® ® BRAHMS: Syml)hony No.2, in D Major. Pittsburgh Symphony Ot'ches tra, William Steinberg cond o C O M ~ IA N D 11002 SD $5. 98, 1 1002 $4·.98. "";.,.;traordillary e llf,i"eerillfJ "h(lf a " e " c el' ti f>e r e lldillfl ",. a'~ e t his r ecording an. 1&11- IlH''''''" I,,,,filli,,,, ex" e ,·ie llce." ® ® BRUCKNER: Symt)hony No.4, in E·flat ("Romantic"). WAGNER: Ta.nnhiiuse1·: Overture and Venus berg Music. COL UM BIA M2S 622 two 34 HlFI/ STEREO REVIEW 12-inch discs $11.96, M2L 273 $9.96, ·,,,,,,lter's ® ® CARTER: String Quartet No, 2. SCHU cr"wla.illg achi.evelnent lor the phonograph, MANN: ·String Quartet No. 3. Juilliard Quartet. thill perlor,nanee ill IIniq'l.e in the annalil R CA VICTOR LSC 248 1 $5.98, LM 2481 $4.98. 01 recorded Br'l.cl,ner." " "ere ill dl8U"guilll.ed cfllltelllporllrg chll.lIIber "'rt.llic, CII.rter'x qrt.artet, i" pII.r t l,! ® ® CHOPIN: Piano Concel·to No.1, in E Minor. .dllr, bei"" that 01 II co'''p,."er who is POII Artur Rubinstein (piano); New Symphony Orches tra sibly the first ."III.ericall co"'poser to hll. ..·e of London, Stanislaw Skrowaczewski condo RCA IIII1t1e contribrt.tlflns to the ",edirt.lII. pllra.' VICTOR LSC 2575 $5.98, LM 2575 $4.98. "TI,e lelillg ill illl.llortan.ce those 01 Belli Bllrt. o/~." I,,,·st "u,ster 01 the CI,opi" " .rt here deliverll the srt."re",e staterne"t of the E Min.or COII ® ® CHANLER: Epitaphs. TRIMBLE: Fow' eerto on discs." Fmgments from The Canterbul'y Tales, Phyllis Curtin (soprano) , Adele Addison (soprano) with ® ® RAVEL: Daphnis and Chloe. Boston Sym piano and chamber ensembl e accompanim('nts. Co phony Orchestra and New England Conservatory LUMBIA MS 6198 $5 .98, ML 5598 $4.98. ~' '''eU-re Chorus, Charles Munch condo RCA VICTOR LSC I! or,led IIlId eleg"lI.tly S.II.g, this ,lilli' offerlf 2568 $5 .98, LM 2568 $4.98. "(Jlle 01 the grellt II lIong-cycle n,"sterpiece by the la.te The perforllu",• .eell 01 o"r all• .e, recorded ill I}llllre Chllnler-II gelll&ille 'liUle IIIl1ster' 11,,1 ell did opell sO.lI/.d." all'"I1" ."".eric,", CIIII'IIollerll." ® ® STRAUSS: Ein Heldenleben. Royal Philhar ® ® DEBUSSY: Fetes galantes I and II; Le Pm· monic Orchestra, Sir Thomas Beecham condo CAPI memoir des deux amants; and other songs. Gerard TOL SG 7250 $5.98, G 7250 $4.98. "A IiUi"" Souzay (baritone), Dalton Ba ldwin (piano). lI,e",orilll tfl tI,e lll.te cflndllctflr, thill per DEUTSCHE GRAMMOPHON 138758 $6.98, 18758 $5.98. ior"",nce reaches heights of spirit"al COIII ·'IIII"ort'I.I.t wcdges 01 tI.e Deb.us" repe r " ..., ... ielltifln lI.1I.,II,rlllleled by II."Y relldl"!1 ,,1 I.llire Sl&lIg witl, ,'egrees 01 relillelllelll., ,1I!r thill """,ie I've ever hellrd." lectioll, "lId sII.bt.let" that lire IIIOSt "r"b"."" " .11 11 II.r,lI's B" ble." ® ® RAVEL: L'Enfant et les S01·tiU:ges. French National Radio-Television soloists, orchestra, and chorus, Lorin Maazel co ndoDE UTSCHE GRAMMOPHON 138675 $6.98, 18675 $5.98. ' eM"gnifil!ellt sc"r,'; IIl1'glliiicellt "crlorlll.II.fI,ce; 1II11." ... Ui.cellt re f! ordillf/'" ® ® STRAVINSKY: Le Sacre du p,.intem1JS; Pe· e,'itics' elwice tro'Uchka. Columbia Symphony Orchestra, Igor Stra ""LL'AM FLAN."GAN vinsky concl. COLUMBIA D3S 615 three 12-inch di scs $14.50, D3L 300 $12.50. "SlIperbl" ref'or",-tl' ,1.1111 il~""ecclI, "'" "erllll'lIIctl, Strll. v insl~fI'x ret,'oB"ective visi" .. III hi.s ow ... bll.lIet ""M ter"ief!e is, ,tl",os ~ b" tlefilliti,,", II dOf' '' II. ell i. "t hixt.flric i,fI,p0 rt.II.n ce." ® ® BARTOK, Music for Strings, Percussion, and Celesta. HINDEMITH: Mathis del' Male,.. Berlin Philharmonic Orchestra, Herbert von Karajan condo ANGEL S 35949 $5.98, 35949 $4.98. "TwfI "wIlel'" lII11ster'l,ieces ill. pel'lor"u,,,ces thllt IIrc str'it,i"" tOl' theil' lIIell')lvlI.ellS, lloise. ex llressivity, II"d ",etic.dous IIUelltio" to """,icld detllU. Tlw stereo I'ecordi"!1 ill rel·e lldory." ® ® BRITTEN: Sp,.ing Symphony. Soloists and e"itics' elwice Covent Garden Royal Opera Chorus and Orchestra, DAVID 1l."LL Benjamin Britten condo LONDON OS 25242 $5.98, 5612 $4.98 . ...." COli telUl,oI" "'Y cI'Ol'1I1-ol'(! h ex t,',d to •• , de lo,'ce tht&t co".bines tech"icIIl "H'ster'" IIl1d convi"ci,,!} """,iclIl feeli"!1 ill II ",.",icld style tht&t ill liS ,; itlll IIlId co"telll pflr,"'y 1111 it is IIcc'!lIsible ,".tI exp,'essil·e. ® ® BEETHOVEN: Piano Sonatas: No. 23, in Pe,'lor".II"ce 1I",l recor,li"" ,,,'e ii"Rt-I'lIte." F Minor (UAp passionata"); No. 12, in A·flat, Op. 35 JUNE 1962 Critics~ Choice C"itics' Choice 26 ("Funeral Mm·ch"). Sviatoslav Richter (piano ). GEORGE JELLINEK RCA VICTOR LSC 2545 $5 .98, LM 2545 $4.98. "Richter is g'o,'io.u in the IIIII-ch-abllsed · ~4.I,passionata.' Every note is r£tter1u con vincing. One of the most su.tisfUing of all Richter discs." ® ® BRUCKNER: Symphony No.4, in E·flat ® ® DONIZETTI: Lucia di Lammermoor. Suth ("Romantic"), WAGNER: Tannhii'USer: Overture erland, Ciani, Merrill, St. Cecilia Accademia Or and Venus burg Jl1usic. COLUMBL-\ M2S 622 two 12- chestra and Chorus, John Pritchard condo LO NDON inch discs $11.96, M2L 273 $9.96. "The 'ate OSA 1327 three 12-inch discs $17.94, A 4355 $ 14.94. Br.u.o W,dter inter"rets Bruc'".e,"s 'o('e'" "T',e first coml,'ete Lucia 0" ,'ccortls, ","l b.I-colic piece as tllouflh he owned i.t. The S.£t',erlnlld i,s tech"icallU brenth-tnl"ing." Tannhauser .nnsic cOll.es I&S even lIIore of 1& s'I-rprise, so ""I-C" s'I-rlle, vigor, 'I.nd 'urical ® ® MOZART: Don Giovanni. Wachter, T addei, ,"I-be does lVa'ter brinfl to it. SII,H?rb "lau Sutherland, Schwarzkopf, Philharmonia Orches tra illg, topnotch ,'ecordinfl." and Chorus, Carlo Maria Giulini condo ANGEL S 3605 four 12-inch discs $23,92, 3605 $19,92. "All e.l: ® ® RAVEL: DalJhnis and Chloe. Boston Sym cc"tiorlldlU vivid ,'ell-dillg bU Gi.lli,ni, ell phony Orchestra and New England Conservatory 'lfu.ced bU strong vocal cOllt"illl,tioIlS, ,"I-r Chorus, Charles Munch condo RCA VlqOR LSC ticlllllriu Oil the l,art of tl,e AI&lIa-Elvirn 2568 $5.98, LM 2568 $4.98. "Ravel's most '''" Ze"lill'l- trio." ',itio.u lIuuter"iece receives 1& readinfl tlu.t is an i,'eal bleil" of cl'I-ssic control 11.11' "0- ® ® PUCCINI: Madama Butterfly, De los An ma,lItic passion. F.dl-bodied so,,,,"l." geles, Bjoerling, Rome Opera Chorus and Orchestra, Gabriele Santini condo CAPITOL SGCR 7232 three ® ® RAVEL: L'Enfant et les Sortileges. French 12-inch discs $17.94, GCR 7232 $14.94. "A be,,,, National Radio-T eleyi sion soloists, orchestra, and tifuUU sling perfo"II1lu.ce, I'Il,rtic.dllrl" chorus, Lorin Maazel cond, DE UTSCHE GRAlIoro JIIelllornb'e a'l-e to BjoerUllg's rflre '"111 PHO N 138675 $6.98, 18675 $5.98. "St,cr'eo .'10.",,1 IIel'er-to-be-rel,ellted nl'l,e'l-r"rrce flS Ph,'. is "erfect fo,' Jl"vel's tellde.' alld sOllletilll(>s e,'toll." cOll,ic fal&tllsu, Sillflers, con,'rl-ctor. ,,,.d (>11- flil&eers '"ave all dOlle their job rdth lO"illfl ® ® STRAUSS: Elektm. Borkh, Madeira, Schech, (!'u'e ,,,,,lwitl, sll."e,"ative artistic ,'CSllltS." Uhl, Fischer-Di eskau. Saxon State Orchestra, Karl Bohm condo DE UTSC HE GRAMMOPHON 138690/1 two ® ® STRAUSS: Elektra. Borkh, Madei ra, Schech, 12-inch discs $14,96, 18690/1 $12,96. '·TI,e 'Ollfl Uhl, Fischer-Dieskau. Saxon State Orches tra, Karl nceded tef~hlli(!""y u"-to-fl,,ie l',!rsioll of Biihm cond, DEUTSCHE GRAMMOPHON 138690/1 two tI.is ,'e",Ilndinfl 0l,e,'" ",,,,,t.,,,(>.'1 fill of its 12-inch discs $14.96, 18690/1 $12,96 .. • , ~ , 'rell-fOl' illlle,'ellt tellsion Ilnd e .l:cite",ent. llorl;I, is le'I-t',,!r perfo"II",nce of ti,e Jlic'lI.r,1 o"er,el,ellllin" in the title .'ole: tile f'IItire Strallss s'Ulcl;c,'. '"ge Borkl, is tlu'ill;IIfl CllSt is first-rfl,te; ,,,"l cOlldllCtO" no'"" is in tI,e title role; Bohm is a',solllte'u fir'st III"ste,"y." ",de; 'I-nd sOllicully tI,e set is sUl,e,'b." ® ® WAGNER: The Flying Dutchman. London, ® ® STRAUSS: Don Quixote. Pierre Fournier Rysanek, Li ebl, Tozzi, Covent Garden Royal Opera (cello ), Cleveland Orchestra, George Szell condo Chorus and Orchestra, Antal Dorati condo RCA EpIC BC 1135 $5.98, LC 3439 $4.98, " S:ell ,,,,,1 VICTOR LSC 6165 three 12-inch discs $17.94, LM FOllrrrier cII,pt.",'e fill f'l-cets of Strallss' s 6156 $ 14,94, " All exciting, st"""i",,lpi ,'e f'f,8cinatillfl c'''l-rncter portrfly,d. Fl,uv'ess c or,'ed trent",ent of l1' IIgller's t."rb.deut (,(auillfl, crystal-clenr recording." ellr1u rll"ster"iece. Borati is ",ost t",,,,res Hive, ""d aU "ri,I&cipnls ,u'e 'I-t the "enh of ® ® STRAVINSKY: Le Sacre du PrintemlJS; Pe their for,n,." t1'Ouchka. Columbia Symphony Orchestra, Igor Stra vinsky condo COLU,(BIA D3S 615 three 12-inch di scs ® ® MARIA CALLAS: French Operatic A,-ias, $14,50, D3L 300 $12.50. "All 'I-rtistic docll,lIIellt ANGEL S 35882 $5.98, 35882 $4.98. "E.\·cel,tiolUrl of sllrpnssin!, illl"ortfln,ce. The third disc II,'t , absorbint,ly dis(""yed ill what """" le'lfl offers n bOl&.u: Stravinsky telling how Le to lin ,,,rtistic rellllscellce for the illtrepid Sacre W,f,8 ii,'st (:fJlllpOsed ,uld plaued." 'Illd inscrutllble Callfls." 36 HIFI/ STEREO REVIEW C"itics' Clwice C"itics' Clwice IGO" KIPNIS PETEn. J. lVELDING ® CHOPIN: Etudes, Op. 10 and 25; N octurne, ® ® JOAN BAEZ: Joan Baez- Vol. 2, VANGUARD 01). 9, No.3; Ballade No.2, 01). 38. LISZT: Me VSD 9097 $5.95, VRS 9094 $4.98. " .Ui"" 11m'':'" l)histo Waltz No. 1. Vladimir Ashkenazy ( piano ) . ""f'"'''' "11,,,,,, ""r,14'''1I1'1I IIt!r Ptlrlier. ".,,{·h. AR TIA MK 203 B two 12-inch discs $11.96 ." .\ .~/,,,, IIIlld('l' ""b"t di"c, lIe,'e "',e lIillflH witl, '"" II;IIU ,l;"",,,y of "oil, (."".11;"'" fi,.(, •• ·o,·'''' t1ihdcd ,""'itU nll,l ('Itll'ittl (Ii "(li('c, il 1'('11"" '1I11t "roft""", styli"tic ;II"i",,,, In,.'.cs II.;" "f '1(!",,(III1,1 i,II'{''''('lIlCII£, ,".d It "till f/row ,11'1 tllC 'H'st ,u'"il"I,lc v(,""io" of tI.c CI.,,· ;"!I "SHIII'·flIII·.' ...... 1';11 ."lIde's '"Id nle mo"t lufi""'I1;,,;,,!, ,.(.". ,Iiti .... oi tI.e ilfe"";,,to U'"lIz," ® BIG BILL BROONZY: The Bill Broonzy Story, VERVE M GV 3000/5 fi ve 12-inch di scs $4·.98 ® @ CHOPIN: Piano Concerto No, 1, in E Mino,., each. "TI,,' lif" ""d tillle" IIf (h(' In/,' f',.i· Artur Rubinstein (piano); New Symphony Orchestra ,'fff/" ",,,,.,, I.illfl {"'(' liif"ll" ,!I't,l;ed ill thi" of London, Stanislav Skrowaczewski condo RCA VIC ""lIef'ii,,,, of '·fJ,.Iu,1 tu," ('(lcal ,-,t!",i"i,,· TOR LSC 2575 $5.98, LM 2575 $4.98. "T'ff' ",'1- "('III'es """",.d(·" jrr"t ""fo,.e I,is ,I"IItlt, TI.i" ""'". I,;""i ... t, ill ,.i" tI';I'II ,·.·","'d;II" "f II,., i" fill 1II,If'I, 11,(> "I,,,,,, "f tI.c ',h.fJ" 1/11 it ;" ,'(,,,,'c,'l,,. ,'('111";11" (It til(' 'H·ifll.l "f IIi" ,14"'" til(' "i."", flf lIill 11,-,,,,,, zf/," 1"'14 fnlll I,rlJL·;tles " l,e"lo"m,,"c,' i,dl flf IHH!I ry "lid [,iUfll'," ® ® JOHN COLTRANE: My Favorite Things. ATLANTIC S 1361 $5.98, 1361 $4.98. "..I",,,, f'",· ® ® HANDEL: HaI'l) Conce1·to in F, 01). 4, No. 5; i,.'II"·, till! "",jor j"z~ ""i,'c "f tI,e 1'0,,1 Lute and HaI'P Conce1'lo in B'flat, 01). 4, No.6; .tlf)f"4·,·,,1 ,,1·"1"1' .. iN I,.",,*! Il(""'" jll " I,r()flr."" Concerto Grosso in C (Alexander's Feast Concerto). flf f"",· f/";I",ill(I, ,HlSllitlllf.te eX£f'II'·lIfJ";z". Osian Ellis (harp ) ; D esmond Dupre (lute); Thurston ti""" "t,tlltl'fJ,1 II'Uh ,,,'i,/inality. force, ,u,d Dart (harpsichord and organ); Philomusica of Lon ~'''", pI", "''''''101 of II clli"", Tlffl IIrti Ht lIt ";N don, Granvill e Jones condo L'OI SEAU-LYRE SOL ",,,,,t ill If'II IH' tr",1 f""""e,,t." 600 13 $5.98, OL 50181 $4.98. ",:"·",,,,1, "1,,IiNl, "",ulitio,,,, lIf i,.",ili(lI· 1I,,,ulel ill somc "", ® FLETCHER HENDERSON: A Study in FnLs f,.",ilitll' "eUi"""," tmtion, COLUMBIA C4L 19 four 12-inch discs $15.92. """,'hlll'" Ih(' "",,,1 "i,,,.ifi,,,tllt j"~; ,,,,,,1;. ® ® RAVEL: L'Enfant et les Sortileges, French II"~"~ "j lht' """". tI.i" ('"llc('lion ofh·rl.< " . Nationa l Radio-Television soloists, orchestra, and t,'"',, "'''fI"ifi{, •• "t C"O"II-"e('Ii"" oi tI,e liit'"" chorus, Lorin M:aazel condo DEUTSCHE GRA~(~!OPHON /('01'1. of the ",,,,, ''''ho "'irtJl,d'y 1I1""",,('d 138675 $6.98, 18675 $5 .98. · ' lflll·,·t'" "11 f"'''" I· II", ";".1",,,,1 j,'zz i,li'JlII. ,til eSlwllti"l /lcl, ;11" I fill i " " tI 0 I' c,' ", Ilfl I'If'" "UHI, .".; t h .v i t ("ul I,,, ,,,.,, """"l"rd"." i",,,,,hu,tio,,, is "idell by stCl'e .. ,'tlcf,rdi"fl flf .",cflm".. ", clnrity." ® ® CHARLES MINGUS: Presents Chlnles Min gus, CANDID 9005 $5 .98, 8005 $4.98. "C"rro"if'(', ® (!) RAVEL: Piano Concertos: G Major, D Minm' I." rt ,",(,,,, u,·'. Nlr""f,l" ['it".l .nllsic "" Ole fm' the Left Hand, Samson Franc;ois (piano); Paris ,. f'lf 01" Ie'" ill dir'i ,,,,,.Ii /lti,' "fI""i st-"'"11 ,"'/1"1' Conservatory Orches tra, Andre Cluytens condo ANGEL ""'.0 '''.Ii bc(>n jll::':'s iore",olit ;co"lJclll"t S 35874 $5 .98, 35874 $4.98. " " ,"','110"" flrlf' "",I 1If'Ii·trPllfJ;"tcll flrc"rdi,," of trllth." .!o'"ri," I"lftlillfl ""r.J~e th.ese "erformtlllctls " mllSt for IU'lI collecti ..lI." ® ® MODERN JAZZ QUARTET: Eumt)ean Concert. AT LA 'TIC S 2-603 two 12-inch discs $ 11 .96, ® ® STRAUSS: Elektra, Borkh, Madeira, Schech, 2-603 $9.96. "Th,· ii""t (,,,,,,,,!ri rCl,,.r,li,,,, "". Uhl, Fischer-Dies kau. Saxon State Orchestra, Karl Ih.c lI. elilh(~tie"ll" "'''lft 8"tisfyi,," fIr""" ill B6hm condo DEUTSCHE GRAMMOPHON 138690/1 "",dern. j"'::::' thi" tlVo·,lisf~ IIct f!ftll "t" .. " two 12-inch di scs $14.96, 18690/ 1 $12.96 . •' .' fill " 8"",,,ult;on "nd telltilf..,If.i,d of th,' f/";"",,,,, drUmtl, fit t,ut ""'flilnble ill sterN', qllnrtct',. Hiff."d "chieL'('nrent: " brilli,,,,I, ,'erl"rllltld .vith t.rem.e ... dOIlH powcr by •• """the";,, of jlu:: Irectll"" ""d ell/ssie"l or ,.,"(·IIdifl or4!hc"t.rn 1111,1 " lirltt-r"tc ellllt. • " ,l.!r 'llul "'"" ,,,cl,r,,." J UNE 1962 37 C,.itics~ Choice C"iiies" CII,oiec S T .-lNLEIT GR.EEN C"ities" CII,oiec N ~'T lIENTO ... I<' ® ® Ca.melot (Lerner·Loewe). Original-cast re co rding. CO L u~ r B I A KOS 2031 $6.98, KOL 5620 $5 .98. '''1' illl I' O,·...,"'U! "'0"'. tllllt, 'U'IIIItii,dl" ("fll't''' · I· .~ til(' ,"11111' IIIHI,llllyi,dlle.'I.'i oi Ki'lfl .-t ,. till"'" s E,I fl I IlIul." ® ® STAN GETZ: Fo cus. VERVE V 68412 $5.98, V 8+12 $4·.98. "Eddie S"lIt,(!I"S dlllllell!lill!I ® ® On the Town (Bernstein-Comden-Green). "elV "1'I"' Ollcll to st"ill!I IIl.cl",'·Ollluls for lvlembcrs of ori ginal cast; Bernstein condo CO LUMB IA .j":::: illfl,,·ovisl,tiOIl. witll Get:: ill b,.illi,,,,t OS 2028 $5.98, O L 5540 $+.98. "T'li.~ fOIl"'Y h"·II•• " l'IHIICIIII,e"e,1 cif/'rtl'clI'lIcIII'-r"ll SCOl"C i.'I .~t'"l11illf,I" b"O"f/'lt II(H!'~ to liic IIIHlm' tile ® FLETCHER HEN DERSO J: A Study in hus (·om"osc,·· .~ tli'·CCtillll." tuttion. COLU\IBIA C4L 19 four 12-inch d iscs $ 15,92. "Tlle fi"st cOIIII"' e',ellsi"e s'IITe!l of tile ® ® West Side Story (Bernstein·Sondheim). Sound (I,c',ievelliellt.'i of lIelllle,·so'l. 'Ii.'1 III·'·'lIlye,·s. track recording. COLUM BIA OS 2070 $5.98, OL 5670 IUld Ilis .~o'oists." $4· .98. ~ 'I'I IIIILlI" WII"II this dr';ll SO'III1I- t ' ·I' (" . ,·t'c,·ella,)fl oi tllC n"I,I,dwI'" SCII"C is S,I, ® CISCO HOUSTON : Songs of Woody GuthTie. "c"io,' to tllC o,·ifJilllll." V ANGUA RD V R S 9089 $+.98. " .h. IIHectioru.te t,.ib"te to i lllle,.i(·I.'S ',est 1i";II" 1I.'1·ite,. of ® ® T'Vin s ton Cht£Tchill: The VaHant YeaTS Ioll. sOIl"s. IlI.d '111 1.11""" tlUf,t tlll'lIell o"t (Rodgers). Orchestra, R obert Emmett Dolan condo to be HOII-stoll' s '''.'1t.'' ABC P AR."'~ r ouN T S 387 $4.98, 387 $3 .98. "~I ... I,·iI.i,I,J "el" 'cllti'''1 of tllC Sl,i.,·it of C'III1'c/l ® ALAN LOMAX: The Folksongs of Gl'eat BTit· UPs E'lfl"1I111 '''... ·illfl its SCL'C"CSt test." ain. CAE DilWN T C 11 +2 / 4·6 fi ve 12-inch di scs $5 .95 each. ".' l'el'I'nU'lfl'" l'III'ied ,·,·oss-sec·tioll ® ® RodgeTS and HaTt Revisited. Charlotte R ae, of liL'illY B"iUd, I"I1, mlldl' ,u I'~'t'o"ded Dorothy Loudon, Danny M eehan, Cy Young; with ill I"l.bs. I.itchells, 'flftl. ill tI.c "I'CII (1;"," orchrstra, lorman Pari s, condo SPRUCE BB 10 1 SD $5 .98, BB 101 $4·.98. "' 1' b";f/'lt, IlIId imll"illll ® ® ALAN LOMAX : Southern Folk H eTitage (h'C collcctioll of lIomc "III' C 1l-llIld- Il f/cmS." SeTies. ATLAN TIC 1346/52 SD seven 12-inch di scs $5 .98 each, 1346/52 $4.98 (' ach. "1""",,.\' I"'(I[' es ® ® .Ju dy at Camegie Hall. Judy G arl and (vocals) . "e is still tile IIIoSt sl.iIlI,d-Iflftl illdcfll CA PI TO L SWBO 1569 two 12-in ch discs $11.96, WBO ti'J"b'c- collccto,' Ilf fol1~ l,c,·io,.mllllccs $9 .96 . ··MisH G,II·IIIIII" .., III1'fl'ICtiC "c,.Io,·m ill tile ficl.d ." IlIlce 'u,s "lIl1/c t"is CO.ICC,· t wcJJ !V 0"til I"'C ... t"Ti'I"." ® ® New OTleans: Living Legends. RIVE RSID E 9356/ 7 two 12-inch discs $ 11. 96, 356 17 $9.96. ® ® JlII01'e Piaf of PaTis. Edith Pi af (voca ls) . "E.n .. bc'·I",t ,"'IIof nu,t 1I11t1.t'IItiC Ncw 0,, CAPITOL ST 10283 $4.98, T 10283 $3.98. /··1' lI"el IClf,,,S jll.:::: is still III'"U(lblc lit tile sIIIII·ce." "omc IUSC of tile wol"l,l's fO"elllost to"c/, sillyc,. ... ® ® MARTIAL SOLAL: The Debut on Discs of EUTOIJe's GTeatest Jazz Pianist. CA PITOL ST 10261 ® ® PeteT Sellen and Sophia LOTen. ANGEL S $+.98, T 10261 $3. 98 ...... co",I,i.II(1.tiOll of 111':: 359 10 $5.98, 35910 $4.98. "C"clltc,l cx,,,·cs.dy :: Ii" ~J two -1,,11111 I'd if'I'" II i clIl s'd II wit" f,,,' tlIC ,"IO'IOf/"",II" tllill ... II;qrrc ;lI.tilllllie WI... ·" .. t11. wit. 111,,1 o,·iyilurlity. "Cl'IIC is errsil" thc tOI' comcdy LP of tile !lCIIl· ... ® ® SARAH VAUGHAN: AfteT Hou1"S. Sarah Vaughan (vocals) . RO ULETTE SR520 70 $5.98, ® ® Songs and StoTies of the Gold Rush. Burgess R52070 $+.98. " ,1 ('COIfI I"fli ierl I,,, J..... t ,,,'-"s M eredith (narra tor) ; chorus and orchestra. EpIC BN '1I1d ,,"itlll', ~l-!is ... l "'lIlfl'''II. Ilt'rrH,".~t, '·lIteH 590 $+.98, LN 3768 $3.98. " .-t ·'1lllemli,' 1'1' 0(,'1- tlu,t slw is Hlill 1111 Olltstlllllli'lfJ jl,::: sillye,.... tiOll of 'I, t'me gOllc "". T"II'" CXCi(ill!I'" 38 HIFI/ STEREO REVIEW Push-button auto- mation has simplified the tape recorder to the point where just about anyone can make a tape. But making a good recording demands more than just a recorder, a microphone, and someone capable of punching a record button. It calls for the right microphone, as well as a recordist who knows how to use it to best advantage. The right microphone doesn't necessar ily mean the highest-quality one, either. A microphone should be good enough to meet your fidelity standards, of course, but it must also suit the application to which you will put _ it. It must be durable enough to withstand the kind of treatment you will give it; it · must match your tecorder electrically; and it should also be acoustically suited for the kind of re cording work you have in mind to be doing. HOW TO CHOOSE ,A MICROPHONE When you first look through the scores of listings in microphone catalogs, the task of finding the one mike that is best suited to i your own needs may at first seem staggering. But the job is actually not too difficult as long as you approach the situation logically. Of the four basic types of microphone you will find listed, the crystal and ceramic varieties are the least expensive, and they range in quality from mediocre to quite good. Dynamic microphones range from cheap and mediocre to very costly and correspondingly excellent. Ribbon microphones range from quite good to excellent, and are priced according I y. Ca pacitor microphones, other hand, if you plan to do frequent tapings of local band, orchestral, or choral concerts, and aren't ha ppy with anything but the best possible sound, your micro HOW TO CHOOSE phone should have as good a frequency response as you can afford. A microphone's frequency response, like a loud speaker's, is usually expressed in terms of a range be AMICROPHONE tween whose limits the mike will yield usable output. Response curves, or numerical ratings that include a statement of maximum frequency deviations in dec associated electronic equipment, are the highes t-priced ibels, give a more accurate indication of a micro of the available types. They are the most favored by phone's capabilities, but since most microphones are professional users, mainly because of their outstanding far less smooth in response than even the cheapest hi-fi frequency range and transient response. amplifiers, this information is rarely volunteered. Which of the four types is for you? To answer this, When it is, this in itself is often a sign that the response you must ask yourself how often you will be using your is unusually smooth within its specified limits. microphone and what you will be using it for. There's For recording speech only, a microphone's range no sense in spending several hundred dollars for a need not exceed 100 to 5,000 cycles, although a wider microphone that may be used a few times to record range unit will of course give more natural voice re party guests and daughter's piano practice before it production. For recording music, no microphone is too ends up gathering dust in the hall closet. And even if good, so let your own quality standards and yo ur you expect to use your microphone often, it is point budget be your guide. less to buy one with a 20-to-20,000-cycle response if you're only going to use it to record speech. IF YOU'RE buying two microphones for stereo record In general, your microphone should have about as ing, should you buy two modest ones now or should good a frequency response as your main speaker sys you get one excellent one now (and record mono only tem. If most of your recordings will be of voices or for the time being) and add the second matching one solo instruments (excluding organ, which is something later? It is a strong temptation to go ahead and get else again ) , and you don't demand the nth degree of the two so that you can start right in recording stereo. realism, something less ambitious wi ll suffice. On the But if you're quality-conscious, you'd do well to be Crystal or ceramic microphones work by having a diaphragm Dynam ic microphones work like loudspeakers in reverse. olllld concentrate sound pressure on a ro chelle salt crystal or a ceramic pressure acting on th e diaphragm moves a coil within a magnetic slab whose vibrations then generates th e signal to be amplified. field, thereby indncing a voltage proportional to the m.olion. patient and follow the second course. Two mediocre tivity remains. Prolonged exposure to temperatures m icrophones won't sound any smoother than either one above 11 5 degrees, such as might be encountered in a by itself, and pairing nonidentical microphones will closed automobile under the summer sun, will ruin usually yield unpredictably weird stereo effects. any crystal microphone. Ceramics and alI other types The best microphone made won't be of much use are unaffected by heat and humidity, although extreme to you if it spends half its time at the factory's repair humidity may cause extraneous noises from some department, so it is wise to rule out ~ t the start any capacitor microphones until the unit warms up enough units that will not withstand the kind of treatment to dry itself out. yo u're going to give them. Ruggedness is not a measure of quality; some of the finest microphones are exceed A MICROPHONE works best when its internal electri ingly delicate. The better units often do have some sort cal impedance is properly matched to the tape record of internal shock-absorber arrangement, but by and er's input impedance. Microphones come in three large, a microphone's ruggedness depends on what widely differing ranges of impedance, which are arbi kind of moving element it uses to convert sounds into trarily categorized as high-impedance (Hi-Z), me audio signals. dium-impedance (Med-Z ) and low-impedance Ceramic microphones, for instance, are exceedingly (Lo-Z) . Values of 25 to 50 ohms are considered as rugged, and will survive just about anything that Low-Z, 125 to 250 ohms are M ed-Z, while anything doesn't actually break thei r cases. Dynamics are rather over 1,000 ohms is Hi-Z. It is not necessary to match a rugged, too, but a hard knock or a drop onto a hard microphone's impedance exactly to the impedance of floor can do them serious, and possibly permanent, the recorder, but it is essential that a Hi-Z microphone damage. Capacitor microphones vary in ruggedness, be used with a Hi-Z input, a Med-Z mike with depending on their construction, but most of them M ed-Z input, and so on. are comparable to dynamics in this respect. Crystals, The first tube in a microphone preamplifier has a on the whole, are quite fragile, while ribbons are ex high-impedance input, and a high-impedance micro ceedingly so. Ribbons are also very susceptible to wind phone will match this directly. This mike-to-tube ar damage, outdoors or as a result of close talking, but rangement is standard for nonprofessional tape re all other types are immune to wind blasts. corders, so all such recorders normally demand a high Two other aspects of weather-heat and humidity impedance microphone. To match a medium- or low - affect crystal microphones, and even though some impedance mike to the preamp tube, the mike's im models are sealed against humidity their heat sensi- pedance must be raised to Hi-Z. This calls for a special Ribbon microphones have a thin cormgated metal ribbon vibrato Capacitor microphones consist of two plates whose spacing ing between the poles of a magnet, thus generating a voltage changes in accordance with varying sound pressures. Th e co rre· that corres ponds to the sound waves striking the m.etal ribbon. sponding changes in capacitance then effect va riations of voltage. impedance microphone input, you will have to add a matching transformer. Some recorders will accept a special plug-in transformer (supplied by the manufac HOW TO CHOOSE turer), but if yours lacks this provision, you can use an external cable-type transformer such as the Shure A8'6A or the Electro-Voice 502A. This must be located at the recorder, not at the microphone. A'MICROPHONE If you expect to use short microphone cables, and don't require professional performance, choose a mi crophone that will match your recorder's present input matching transformer, an item that is usually included impedance. If yours is a nonprofessional machine, it with a professional tape recorder. will have high-impedance inputs. If it is a professional Since all microphones must eventually end up at or semiprofessional model, it may have high-, medium-, high impedance, it may seem rather pointless to con or low-impedance inputs, so check its instruction fuse the issue with Lo-Z and Med-Z models. But there manual. are very good reasons why amateur recorders have Hi-Z microphone inputs and professional ones have ANOTHER aspect of electrical matching that may be Lo-Z or Med-Z inputs. Cost is always a consideration important to you is the matter of output. Professional in nonprofessional equipment, and high-impedance recorders have high-gain low-noise microphone pre operation is the cheapest since it doesn't call for an amps, but many nonprofessional units are marginal in expensive input transformer. But while Hi-Z micro both these respects. Consequently, if you expect to be phones are fine in the home, where the microphone is recording fairly quiet material, such as speaking voices, always fairly near the recorder, they are not so good you may not be able to use a low-output mike with in auditoriums or out of doors, because they don't your recorder. work well with long cable connections. Output ratings are expressed as a certain number THE LOWER a microphone's impedance, the less it tends to pick up hum in its interconnecting cables. If these are short-fifteen feet or less-hum pickup is not likely to be any problem. But the longer they are, the more hum they'll gather in. Crystal and ceramic mi Reco rders that have a three crophones have extremely high impedance, so they are circuit microphone inpltt the most susceptible to long-cable hum interference. of the type shown here usu· ally have enol£gh gain to be Other types are available in different impedance used with professionnl- values, or with built-in facilities for selecting their out type low·ontpnt microphones. put impedance. Most professional microphones are available only in medium- or low-impedance types. Long cables will also affect a high-impedance mi crophone's frequency response, since the conductors in the cable, being in close proximity to one another, act like the plates of a capacitor. Each running foot of cable provides a certain amount of capacitive coupling between its conductors, so the longer the cable, the higher its total capacitance and the more high fre quencies are lost. The effect isn't noticeable with a short cable, because all the losses occur at frequencies Recorders equ.ip ped with above 20,000 cycles. But the longer the cable the lower inpnts either of the RCA type the frequency at which the losses start to occur, and (above right) or the phone type (below right) generally do not have it doesn't take much cable to cause marked loss of enol£gh gain to work well with audible high-frequency response. low·output microphones. If you anticipate having to use cables more than fifteen feet in length, or if you want professional-qual ity microphones, you must choose from those models that are available in low- or medium-impedance types. And if your tape recorder happens to have a high- 42 HIFI/ STEREO REVIEW of decibels below some reference level, for a certain performers. Balance between instruments is varied by intensity of sound. Unfortunately, however, different adjusting their relative distances from the microphone, manufacturers use different reference levels and sound and the ratio of direct sound to reflected sound is pressures for rating their microphones, so it is not al purely a matter of the microphone's distance from the ways easy to compare one output rating with another. entire performing group. For stereo recording, the On the other hand, there is a simple way of telling spacing between the microphones adds another vari whether or not your recorder has enough reserve am able, but again distance is the only consideration. plification to take a low-output mike. If your recorder is equipped with professional-type DIRECTIONAL microphones add complications, be three-circuit microphone sockets (see sketch), it is cause both their distance and their orientation will safe to assume that it is designed for use with profes affect the sound. Directional microphones are consid sional-type microphones and will consequently have a erably more flexible than omnidirectional types, and high-gain low-noise preamp section. Such a recorder they are a lot more fun to experiment with. But they will accept any high-quality microphone. are also quite a bit trickier to use properly, particularly If your recorder uses RCA jacks or phone-type jacks for stereo recording. Of the directional types, bidi (see sketch) , check it as follows. Using the micro rectional ones are the most difficult to use to best ad phone supplied with it, or any inexpensive microphone, vantage, because their live area is narrower than that make a tape of a voice speaking at normal volume at of most unidirectional microphones, and their rear a distance of about ten feet in front of the microphone. sensitivity must be considered when placing them. If you cannot get a full recording-indicator reading There is, however, one kind of directional micro the preamp doesn't have much reserve gain. If, on phone that makes an easy job of stereo recording. This playback, the tape is loaded with hum and hiss, the is the so-called stereo microphone, which consists of preamp's noise is too high for so weak an input signal, two directional microphones in a single case or or the microphone is feeding hum to the recorder. To mounted on a bracket that holds them a fi xed distance check the latter possibility, short a small wire across apart. These can give excellent stereo, with remark the microphone's conductors at the plug and record ably good center fill, and their fixed spacing eliminates some tape at the same volume control setting as before. one variable in stereo mike placement, allowing them If the noise level in playback is unchanged the noise to be used in much the same way as a single broad-field is coming from the preamp. unidirectional microphone. They are, in fact, easier to use than a pair of omnidirectional microphones, so THUS FAR we assumed that a microphone will pick if you want the best stereo with the least possible ex up every sound that reaches it. This is not always true. perimentation, a stereo microphone will be your logi Some types favor sounds coming from certain direc cal choice. tions and discriminate against sounds coming from A stereo microphone cannot be used to make hyper other directions. A microphone's behavior in this re stereo recordings with extreme separation and ping spect is called its directivity characteristic, and this pong effects. If you want to experiment along these can be plotted as a polar pattern on a graph that re lines you will need separate microphones that can be sembles a map of the top of the world, with latitude well isolated from one another. In this case you should and longitude lines surrounding the North pole. Ac choose their directivity on the basis of how much time cording to its pickup pattern, a microphone is classi and experimentation you're willing to devote to learn fied as non directional (or omnidirectional) , unidirec ing to use them properly. tional (or cardioid), or bidirectional (which indicates Your final choice of a microphone will depend on a fi gure-8 pickup pattern) . the points just discussed and on the basis of the manu The average inexpensive mictophone that is sup facturer's reputation and the price of the microphone. plied with a home recorder looks as if its "live" area is Although price isn't always an accurate index of a in front, where its grille cover is. But such a micro microphone's quality, it usually is, and you're never phone is, in fact, nondirectional over most of its fre likely to be sorry for having paid a little more than you quency range. Only at high frequencies will it exhibit originally intended. a unidirectional pickup pattern. Nearly all micro phones tend to be directional at higher frequencies, which is why polar graphs often show several direc J. Gordon Holt speaks of microphones with the first-hand tivity patterns, at different frequencies. knowledge of an experienced engineer whose recordings for the Since an omnidirectional microphone receives Dyer-Bennet label have been noted for their excellent aural sounds equally well in all directions, the only thing you characteristics. A regular contriblttor to this magazine, Mr. need consider when using it is its distance from the Holt conducts the monthly collwln "Sound and the Query." JUNE 1962 43 ...... ' ': . 0 JERRY ?l.l ARTIN 44 HIFIj STEREO REVIEW ACCOMMODATING THE SECOND SPEAKER INDING a place fo r that second speaker has been a The amplifier, a Scott 272, is mounted in the walnut problem for many stereo owners, including George equipment cabinet along with the tun er and a FE. Schroeder, an attorney who lives in Ottawa, Garrard T ype A record changer equipped with a Ohio. When Mr. Schroeder began to plan his stereo Shure cartridge. H eat generated by the amplifier system he decided immediately to fit one of his AR-3 is exhausted out the open back of the cabinet by a speakers into a custom-built cabinet for equipment small fan that turns on and off with the amplifi er. and records. However, the logical place for the second The components were purchased from Allied Radio speaker on the other side of the room was occupied in Chicago, but Mr. Schroeder takes pride in having by Mrs. Schroeder's piano. The problem was solved designed the entire setup himself. rather ingeniously-by suspending the second speaker between the legs of the piano bench. Not only did this One of Mr. Schroeder's speakers fits into a comer cabinet that provide a place for the speaker without taking up also houses his tuner, am plifier, and record changer. additional floor space, but it made the speaker easil y movable, allowing it to be faced at different angles for shifting the optimum stereo listening area to vari ous parts of the room. Because of the sparsity of near-by FM stations, Mr. Schroeder has installed a T aco ten-element antenna with an Alliance rotor atop a fi fty-foot tower behind the house. This enables his Scott 350 stereo-FM tuner to pull in about a hundred stations within a radius of 250 miles, with dependable reception up to 150 m iles. JUNE 1962 Hideaway Speaker Leads have to mount the phono faTthe1' from SOUND Is there any reason why TV an the other components, install a less Q • tenna lead-in wi re cannot be hum-sensitive cartridge, or use an am used for speaker wire? It is much easier plifier that has a carefully shielded and the to conceal under a rug than is ordinary power transformer. lamp cord. Foreign Power MIKE HAYES QUERY Cambridge, Mass. I will be moving to Germany Q. shortly for a stay of a few years, by J. Gordon Holt T he wires in TV twin-lead cable and would like to take my audio equip A . are lighter than those in lamp ment with me. I am told, though, tha t cord, so less of it can be used before the electric power provided there is a forum for eliminating cable resistance starts to become a prob 230 volts at 50 cycles, and I would like the most common-and lem. Otherwise, there's no reason why to know whether I can use my Amer it shouldn't be used for speaker inter ican-made components with th e differ often most exasperating connections. ent a.c. supply. If you must run the speaker leads I imagine a step-down transformer problems of stereo hi-fi farther than about 25 feet, though, would take care of the voltage differ you'd be wise to use heavy lamp cord ence, but what about the frequency difference? My turnta ble has a syn Order ly Conversion chronous motor, and I'm a lso wonder I am about to convert my mono ing if the lower frequency might not Q • system to stereo, but I must do damage the other components. What so in small steps. What would seem do you advise? to yo u to be the most logical order in '------FRED LEWIS • which to do this ? I would think the H a rtford, Conn. cartridge should be replaced first, but for exposed cables, splicing to the TV The step-down transformer will I'm open to suggestions. twin-lead only wheTe the wires Tun un • indeed take care of the voltage ROBERT H. ELWELL A d er carpets. diffeTence, but in ordeT to use your Silver Spring, Md. synchronous turntable fr om a 50-cycle Variable Hum power source, you'll have to obtain a First, Teplace the caTtridge, so My stereo pickup is behaving as 50-c)lcle adapter sleeve for its dTi ve • you can start buying stereo discs A • if it is picking up hum from motor. N eaTly all tum.table manufac right away and listening to them mono Q my turntable motor, but this doesn't tUTeTS can supply such an adapteT, with phonically. seem to be the case. The hum is barely installation instmctions, faT a nominal S econd, add the second speaker and audiIJle when the cartridge is over the charge. use this in parallel with yow' present rim of the turntable, but as it moves As faT the otheT comfJonents, these one. toward the spindle, the hum rises to a will fJTobably work fin e {Tom the 50- Finally, buy the stereo amf)lifier, or deafening level. This would seem to cycle sul)l)ly through a step-down trans a steTeo converter and another mono be a case of pickup from the turntable form eT. Their f)OWeT tmnsformers will phonic amf)lifier like the one you are motor, except that it does the same tend to run a little warmer, though, so using at fJTesent. thing when the motor is shut off. if they get very hot when operating on I haven't been able to do much ex GO-cycle cUTTent, I would think twice Fuzzy-Fi perimenting to try and locate the source befoT e using them with 50-cycle CUTTent. My British-made speakers have of the trouble because all my equipment The resulting oveTheating could shmten Q • been my pride and joy for over is in a cabinet and isn't very accessible. theiT life. four years, but one of them has recently I am hoping you'll be abl e to put your d eveloped fu zzy, di storted reproduction. finger on the trouble 0 I won't have to W orn-Record Stylus W ear I have tried changing the speakers to pull everything out of th e cabinet. Vil e are always being told how a the opposite a mplifier channels and the . E. B. ' ''' RIGHT Q • stylus that's in bad shape ca.n di stortion stayed in th e same speaker, Barrington, N.]. ruin a record with a single play. What so I'm pretty sure the amplifier isn't about the reverse? Can a record in bad acting up. You may have to pull everything shape ru in a stylus? If not, will it wear What is the probable cause of this, A • out of the cabinet anyway. A the stylus fa stel' than a new record ? and how can it be corrected ? tU Tl1 table motor isn't 'he only SOUTce Roy H. T OU.FELDT ROBERT H. D AVIS of this kind of hum; anything that con Aberdeen, Wash. Orange, Calif. tains windings that cany alternating current can cause inductive hum inter A recmd t hat has been f)la yed This sounds like a Tubbing voice ference, and in YOUT case, a poweT A • seveTaI times with a worn m etal A • coil, peThaps as the Tesult of a tTansfonner in the arnf)lifier or tuneT stylus will acceleTa te stylus wear, be warf)ed cone OT voice coil aT an ac is probably the culf)rit. cause of the abTasive action of tiny cumulation of m etal particles in the T o check this, Temove the phono unit particles of the stylus that become em magnet gaf) . In either case, the Tef)aiT fTom the cabinet and tTy it ab out two bedded in the grooves. OtheTwise, a is a job faT the factoTY aT faT the U. S. feet away fr om the associated equip WO Tn Tecmd will not wear styli signifi import agency faT the speakers. m ent. If the hum is gone, you'll either cantly fast eT than will a new one. 46 HIFI/ STEREO REV IEW Advice from an expert on installing hi-fi equipment in the home VER SINCE the early days of high fidelity, a propriately camouflaged by, a residential brownstone limited but , growing number of listeners has house on New York's upper East Side. E been willing to pay premium prices for custom Singularly qualified for the role of audio advisor, assembled sound systems. Whether because of lack of Mr. Hardoff has an approach to audio that is un time or a disinclination to investigate the component usually direct and systematic. Shortly after coming to market on their own, they often seek out the help of this country from Israel in 1949 he enroll ed in Brook a custom installer, both for the choosing of compo lyn Polytechnic Institute and decided to make high nents and the handling of all details, including cabinet fidelity his major, as far as was possible at a time work, involved in an installation. when there were few formal courses on the subject. To get an expert's view on these and other matters, ''\lith permission from school authorities, he went on a trip was made to the New York shop of Jack Hardoff, to do semi-independent research, and after graduate one of the top custom installers in the country. Mr. work he spent some eighteen months in diverse prac Hardoff is the owner of Amperon Electronics and tical training in the plant of the David Bogen Com Sound Systems, a custom salon located in, and ap- pany. Then, after a brief period of free-l ancing in by John Milder JUNE 1962 CUSTOM INSTALLATIONS industrial sound systems, he founded Amperon, which, apart from occasional excursions into the more prosaic industrial fi eld, has kept him happily occupied with hi-fi ever since. With several years now behind him at Amperon, Mr. Hardoff has some decided views on what a custom installation should be. But he is not doctrinaire on the ground rules for successful stereo. "Good stereo," h e says, "doesn't always measure on graph paper-less so, in fact, than mono. Two speak ers tend to break up standing waves and smooth out response in almost any room. And even two slightly Audio consu.ltant Hardoff prepares detailed plans 0/ each dissimilar speakers sound better together than they sou.nd system. so the client can visualize the whole installation. have any right to. But that doesn't mean that there's anything mysterious about stereo. A good dose of the family can operate the system conveniently and common sense works every time." get good sound into the bargain. I had to deal with "Any custom installation," he points out, "begins one situation recently where the only way to see the rjerhto where it ends- in the owner's living room. Un- controls on the amplifier-where the decorator wanted less it is completely impossible, I go to a customer's to put it-was to lie fl at on the floor." home before we begin to discuss any specific com Assuming there are no insurmountable difficulties ponents. This is worth more than hours of general with the female side of the family or with the deco conversation - and drawings. I can see for myself rator, Mr. Hardoff's next step is to help the customer what the listening area is going to be and what ob select suitable equipment. "There are two basic ques stacles there may be to conventional speaker place tions," he says: "how much equipment and how much ment. I also meet the whole family. " money there is to spend. Unless the customer is really familiar with hi-fi and knows what equipment he Lns last is Mr. Hard~ff's way of acknowledging wants, I do two things. If price is no object, I try the problems occasionally caused by wives. "Anyone to explain what I call the exponential price curve of who wants to enter this business," he says, "should audio equipment: the fact that your investment pays be ready to be a domestic-relations counsellor once definite dividends in sound quality and reliability up in a while. Women aren't so much opposed to hi-fi; to a certain level, and that the return then slopes they just want to make sure their living rooms don't down as fast as it went up. Without getting too in become laboratories. The only real problem comes volved, I try to give the customer a good idea of what when a husband wants to give his wife a stereo system costs most and least. If price is an object, I do the instead of a fur coat." same thing, and I try to find the right level. But here With men the problems have mainly to do with misconceptions about stereo, according to Mr. H ardoff. "I'm always surprised at the number of people who To gain floor space for large speakers and record storage, think that good stereo is .a ping-pong affair," he says. Hardoff designed wall·suspended equipm.ent cabinet. "I have to point out that seating positions aren't as important as most people think, and that their living rooms aren't too small or too big or too oddly shaped for good stereo. At the same time, though, I have to talk down any interior decorator who thinks that a speaker by yo ur elbow would be nice." In fact, on the subject of interior decorators, Mr. Hardoff's views are quite positive. "I think they have to be kept under control," he says. "And the same goes for the ladies who edit the home-furnishings mag azines. Putting a stereo system into a credenza doesn't make it a custom insta lla tion- unless the members of 48 PHOTOS BY JOE l'ETHOVEC there is also the question of how many program sources customer. First of all, with stereo, there's making sure the customer needs and of what is the best way to that there's no acoustic feedback. Then there's the provide for an expanding system later on. Apart from matter of servicing. I believe in frontal servicing un the ethics of the question, there's no point in pushing less there's room to actually walk behind the equip any customer into buying an overly expensive system ment without moving anything. Generally, we hinge - or in trying to make him care more than he really all panels to tilt forward. If we can't provide for easy does about sound quality. servicing-which almost never happens-we won't "But," he continues, "almost every customer says build in at all. that he just wants to listen to good music. And the "Aside from the provisions for servicing, the main only way to find out what he considers good is to thing is to provide for the expanding system, or the take him to the shop for a listening test, starting with changing one. If the customer is a really dyed-in-the a medium-price system and working up or down." wool audiophile who plans to keep up with every im provement, we automatically set aside extra matching FOR this purpose, or for comparing the merits of wood panels that can be cut out for new equipment. competing equipment at the same price level, Mr. Another important matter-which has to be worked Hardoff ushers the customer into Amperon's main out with the customer-is storage for a growing Ii- showroom, a realistic living-room arrangement with a full complement of furniture. Conv ~nient plug-in facilities permit two-at-a-time comparisons, but Mr. Hardoff does not favor a complex switching arrange ment because, in his view, it encourages endless com parisons and is an invitation to confusion. After the equipment has been decided upon, Mr. H ardoff prepares a complete estimate of all costs, in cluding any made-to-order cabinetry, and presents it in contract form. The total cost generally comprises the net price of the equipment, the cost of cabinetry, and a ten-per-cent premium for the usual built-in installation and a year's unconditional warranty cov erage in the home. As for the installations themselves, Amperon is equipped to handle all details. Besides the showroom and office, the facilities include an enviable electronics laboratory and a woodworking shop. No components except speakers ever leave Amperon in their original T he owner 0/ this installation insisted on preserving period sealed cartons. They are thoroughly tested in the lab. /nrniw,re appearance. so tall/bolu doors that can be closed over Some amplifiers are left on to "cook" during working ' the entire system were provided. hours for a week. Whenever necessary, tuners receive touch-up alignment. brary of records and tapes. With a good stereo system "This is what the customer pays that ten per cent he's going to buy more records and tapes than he for," says Mr. Hardoff. "And when you provide in thinks he will." the-home service for a year, you can't afford not to For the audiophile, probably the most interesting check out equipment in advance. aspect of an Amperon custom installation is the spe "Now," he continues, "what does 'custom' imply cial control panel designed by Mr. Hardoff that is when the equipment arrives for installation in the incl uded in almost every system he sells. It is designed customer's home? Well, the most difficult-looking part to extend the convenience and versatility already built of it-the actual building-in-is actua lly the easiest. in to the components themselves, and it has several The challenge is to make things really convenient for noteworthy features. First, a pair of microphone inputs the customer's use. The equipment should be installed provide for making live tape recordings; whenever where the owner can use it without lying down or necessary, transformers are built in to permit the use getting on his knees. What many people don't realize of low-impedance microphones and long cables. A pair is that this aspect of convenience will have at least of special high-level tape inputs are also incorporated as much to do with their enjoyment as the quality for sound-on-sound recording and dubbing. (Normal of the equipment itself. high-level connections for taping off the air or from "The other touches may never be noticed by the records are made out of sight, since they needn't be 49 J UNE 1962 get interconnecting cables between shelves out of sight, but it can be done. And if you don't place speaker sys CUSTOM INSTALLATIONS tems on the same shelf with a record player, there disconnected in normal use.) A headset output, with should be no trouble with acoustic feedback. a resistor network to prevent overload, is wired for "''''hat the average person should avoid," he con the customer's choice of the new low-impedance tinues, "is building something in irrevocably. Don't stereo headphones or a professional h eadset of higher mount speakers in a wall , for instance, unless yo u're impedance. Also provided is a set of four switches for sure their stereo separa tion is right. Don't cut out an present or future extension speakers, together with a expensive piece of furniture to mount a component level control for one set of remote speakers. Two VU unless yo u're sure you intend to keep it, or to get one meters permit phase-checking and precise balancing that will require a still bigger cut-out. And, above a ll, of stereo channels . Finally, a heavy-duty on-off switch don't make servicing impossible or nearl y impossible." and master fuse provide for switching a heavier com plement of equipment than the average amplifier is To non-Am peron customers, 1"v1r. Hardoff offers meant to handle. wha t he feels to be important advice for hi-fi shopping. All of this supplies evidence as to what Mr. H ardoff " If you can, buy from a dealer who offers a secure feels a custom system should be. But what about the store warranty on the equipment he sells. This is listener who is not in a position to use, or afford, the more important than the biggest discount ba rgain yo u services of a custom installer. will find. The cut-rate dealer may be conveniently "I'm resigned," he 'says with a smile, "that not 'out of town' when you bring something back for everyone who is interested in good stereo is going to service. The importance of a store warranty cannot come to me, and tha t custom work isn 't a necessity be overemphasized. Component manufacturers run for everybody. But that doesn't mean that I approve quality-control checks that are far more thorough than of the hook-it-up-and-hope approach for anyone. If those run on mass-market radios a nd phonogra phs. you're interested in components in the first place, the I've seen both types, and the difference is almost in point is to plan to ma ke full advantage of the custom credible. But human beings are human. and defects features that are built into them. occasionall y slip by. If so, the manufacturer wi ll make "The first thing I'd recommend for anyone who good on his warranty. But he's probably not around wants to put together a custom system on his own is the corner, and the shipping and elapsed time make to take a good, hard look at his listening room. The for aggravation. Since the chances are that any defect idea is to position your speaker systems where they is a minor one, a good dealer can usually take care will provide a good coverage of yo ur favorite listening of it in a matter of minutes in his shop. But no matter location- not just where there's a convenient place how impressive a dealer's warranty seems, make sure for them. Second, there is tha t all-important matter he has a real servi ce department to back it up. of convenience in use. If you can't use existing furni "I wo uld like to stress one bit of advice again," says ture or shelves, I would suggest investigating the wall Mr. H ardoff. "Of a ll the considera tions for a good hung furniture on the market. It is simple and fairly custom installa ti on, the most importa nt is utility, and inexpensive; it lets you put control units at convenient I don't mean fancy cabinetry or an interior decorator's heights; and it doesn 't give the average room a clut concept of handsome stereo. If you consider buying tered look. You may have to go to a little trouble to hi-fi at a furniture store or through a decorator, make sure that either can supply a wide choice of current Mr. HardofJ instructs one 0/ his technicians in a rigid rontine components and the know-how for a good install ation. 0/ pre·testing components be/ore final installation. " M ost of a ll , don't feel tha t 'custom' and 'expensive' are synonymous. Custom systems come in a ll shapes, sizes, a nd price ranges. If you choose equipment that is scaled to your needs and install it after careful con sideration, you will, in fact. have wha t amounts to a true custom music system." John Milder, himsell a hi·fi salesman. has /requentlJ' writ· ten OIL customer problems relating to home·music systems. " The Do's and Don'ts 0/ Buyili,g a Tape R ecorder" (March, 1962) and " [-[ ow Much to Pay jor Stereo" ( February, 1962) are his most recent contributions to this magazine, 50 HIF I/ STEREO REVIEW A LITTLE HAYDN AFTER BREAKFAST by John J. Stern, M. D. I/F-=--:------· - .------__ . Was ever played a tune more fair than one upon the sylvan air~ N T HE F L ANK of a rise in the Berkshire Hills When yo u a pproach it by car at night, a pecul iar of M assachusetts, overlooking a pleasant va l rise in the road makes the headlights throw a shadow O ley and nes tled in a lush growth of wa ter tha t obscures the last line and causes many a second ashes, firs, and birches, there stands a proud house, its look and a shake of the head by passers- by. Lovers pillared fac;ade like the bridge of a ship accepting are not excluded at Braebrooke, of course, but they homage from the rolling waves of the green hills_ must also love to make music. Where the winding driveway leaves the wooded road, Braebrooke is to a group of chamber- music lovers a hand-painted sign displays a violin, its bow point wha t Mecca is to pious M os lems. It was dreamed up ing like an arrow, and bears the words: by two improbable people, M ax Weiser. a violinist, BRAE BROOKE , and Mildred di Lorenzo, a pianist, and, li ke a dream, A R E SORT FOR LOVER S it is intense ly personal, unlikely, and r ec ll rrin~·. Once OF M USIC AND ART cha mber-music enthusiasts have inhaled t h(~ air of JUNE 1962 A LITTLE HAYDN AFTER BREAKFAST Braebrooke, they always come back, attracted like premeditated and improvised, there is always the butterflies to a flower. guiding spirit of Max Weiser in the air, whether he The flower is the stately building, made over into plays or just hangs around. H e is a fine violinist, a guest house accommodating twenty to thirty people; once a member of one of the great string quartets, and the nectar, of course, is chamber music. Amateur with an uncanny knack of guiding and teaching musicians congregate here all summer long to make music together. Some stay just over a weekend for a sip of Mozart and Brahms. Others stay for weeks, resting, swimming in the pool, reading, going for walks, always ready to open their instrument cases ------_.. _._---- at the sound of an A. They are business men, teachers, housewives, and doctors, old and young, frQm near and far. Brae brooke does not advertise. It draws its gues ts from a large circle of chamber-music devotees who once have heard about it and have been coming back ever since. They may not see each other for a year or two, but when they stop their cars in front of the portico a nd hear the strains of a Mozart quartet flo a ting through the windows, they know that they a re going to meet some friends from last year or the vear before. MIsFITs a re somehow weeded out after a VISit or two. The angular woman cellist who cannot count will either learn to keep time or will not come back. The violent violinist who grabs the first violin part a nd proceeds to murder a Beethoven quartet will not last long. Yet there is no auditioning, no tutor ing, no coaching. It is the spirit of the house that separates the visitors. Selfishness, poor musicianship, lack of humor just don't last. Far from being an organized music camp, Brae brooke is a place where things musical just happen. "How about a little Haydn after breakfast ?" you may hear in the sunlit dining room some morning. "Sure; who will play viola?" "Why don't yo u ask Fred; I think he just finished breakfas t." "Right- by the way, what's Fred's last name?" "Golly, I don't remember, I don't know him tha t well." It turns out Fred is delighted to play, and his last name becomes common knovv ledge when he ex ama teur players without seeming to. H e may pick changes addresses as he leaves at the end of the out a few difficult passages and smooth them out week. "A little Haydn," of course, means one of before you embark on a difficult work, but most of those heavenly string . quartets ; and after that, a the time it is just his sensitive tone-he is one of Mozart string trio is pulled out because the second the rare violinists who can play pianissimo-and his violin insists on going down to the pool to have a beautiful phrasing that make playing with him a swim and a tanning session before lunch. revelation. H e even knows how to ha ndle pianists; While the chamber-music sessions seem to be un- string players look at pianists with misgivings : pian- 52 HIFI / STEREO REVIEW ists all play too loud, they say. But Mildred di Lorenzo the tact and sweetness of a Max to convince him is an angel. To playa piano quartet or quintet with that he must listen to the others, and to persuade her is like floating on a cloud; she carries without the others that they must try and adapt themselves making herself felt. a little bit to him. Still, there are other pianists, nice people, fine mu M ax has a na tural gift for finding the right word. sicians, but problems when it comes to chamber music. There was the enthusiastic lady who played her There is the devoted gentleman who plays a ll year . piano parts like a soloist with an orchestra, not like by himself, lovingly practicing the piano part of a member of an ensemble. She didn't take it at all chamber-music works. When his weeks of fulfillment badly when the cellist finally blurted out in despair, "Look, Anne, you play too damned loud!" But she kept playing loud all the same. When Max walked ILLUS TRATIONS BY ALAN COB ER in and listened for a few minutes to the struggle, he smiled and said gently, "Now look, let's all under play the dynamics." That did it. The unhappy string players had tried to outplay the pianist, who was bound to win in this competition because she had ,:::;; the loudest instrument. When Max took over, they all played softer, so that Anne simply had to play softly, too, in order to hear them. Not that string players are not sometimes prob lems, too. There was the puckish little old cellist, somewhat hard of hearing, who did a ll right with his hearing-aid glasses, but who had to change them to his "music glasses" for playing. While he saw bet ter, he heard less, and his fellow players had quite a time staying with him. Or the television producer who had come from twenty years of playing the violin in the orchestra pits of Broadway and ten of producing television shows to fall in love vyith cham ber music. His show-business slang, applied to the deli cate qualities of chamber music, came as a shat tering experience to many. After the slow movement of a late Beethoven quartet, a glimpse into Heaven after which one- can only lo wer one's bow, take a dee p breath, and try to get back to earth, he would blurt out happily: "Gee, that's a nice number!" BRAEBROOKE is run in an unobtrusively business-like fashion by Mildred's husband. Mr. di Lorenzo sits in the office, with big charts in front of him, show ing reservations, arrivals, departures and room num bers. Minna, Max's charming, motherly wife, operates the kitchen and dining room, and Mildred, in addi tion to serving as staff pianist, supervises the house and the chambermaids, who are reall y music stu dents, as are the two waitresses; after work is done they are always ready to help out in music sessions. come and he turns up in Braebrooke with his care The cook is a tenor and practices with records on fully annotated scores, he continues to listen only to his little porta ble phonograph while he washes the himself and is hardly aware of the presence of the dishes after dinner. other string players. If they don't follow his rather Things usually go smoothly, but it has not always erratic tempos-slow when the going is hard, fast been that way. Before Mrs. Weiser and Mr. di Lor when he can afford it- that's just too bad for them. enzo pitched in a couple of years ago, Max and This is the way he has practiced for a whole year; Mildred tried to run the house alone, and this this is the only way he knows how to play. It takes sometimes caused a breakdown in the organization. JUNE 1962 53 A LITTLE HAYDN AFTER BREAKFAST There is the story of the yo ung lady with a suitcase point. The waitresses are watched by Minna Weiser and h er fiddle turning up one day and being shown from the adjoining kitchen, but it sometimes hap to the room reserved for her by Mildred. She washed pens that one girl takes your pla te away and the up, stacked her little suitcase away and departed for second comes a minute later with a big platter, offer a concert at Tanglewood, which is only five min ing you a second helping of roast. utes away. An hour la ter, a couple of young fellows came in and met Max, his violin under his arm, BUTa ll that really counts is the music. The library looking for his players. They wondered if he could holds everything from duos for two violins to works put them up overnight. "Sure," Max said, thinking for string orchestra, from Buxtehude to Shosta kovich. mostly of the post-siesta quartet he had arranged, And everything is played a t one time or another. }'1ax and they went upstairs together. Opening a couple will take a shy, inexperienced violinist under his of doors he found an empty room with two pristine wing in the library and play some simple duos while beds. "There," he said, "this will do nicely." The others playa Bra hms sextet in the music room. Mil two boys dropped their knapsacks in a corner, brushed dred will take pity on a surplus cellist who is wan their hair, and went off to Tanglewood. Three hours dering around and give him a wonderful time by later, returning from the concert, the young lady playing Beethoven sonatas with him. Everybody is had a cup of tea with the other guests, who had somehow kept happy, regardless of the number of just finished a session of ch amber music, and went eager players present. If there is a seemingly im to bed. The two boys had met some friends at the possible imbalance, like the six cellists who turned concert and had separated. The first one to return up one week, there is Popper's Prayer, for six cellos, saw a sleeping form in one of the beds and did not to keep them happy for a day or two. turn on the light. H e undressed quietl y in the dark, As a matter of fact, though, cellists are a special slipped into the second bed, and fell as leep. A little breed. Two can a lways be used for sextets, Schubert's later, his friend came home. H e, too, not wanting C Major Quintet or Mendelssohn's Octet; a third can to disturb his friend, did not turn on the light ; the play sonatas with a pianist, 01' pick up one or two bed on the left contained a sleeping body. H e went more string p layers. When there are more, or when to the other bed; here was another sleeping body. no extra string players are available, they sit around, There was nothing left but to turn the light on. seemingly unconcerned, but with one ear carefully Tableau: his friend in one bed, a strange pretty girl attuned to the sound of Max' voice calling out in the other. They sat up, blinked, stared at him and "Anybody for a Dvorak quartet''' or to the sound then at each other. The people at Braebrooke are still of tuning in the music room. It is a matter of sur talking a bout it. viva l of the fittest, and only sharpness of ear and fl eetness of foot will make sure that the poor cellist WIlLEinform a lity does not go this far anymore, gets to play. To t one of them dares to leave the activities at Braebrooke are still very much played house for a walk in the woods or a drive into Lenox by ear. It is not rare that Max has had to give up to get the pa per lest he miss his chance to play. his room and sleep on a couch in the music room After all, how often can you play Popper's Prayer? because a guest has arrived who was somehow ex But usually the law of averages prevails, and the pected a week later. And it is a common sight to balance among violins, violas, and cellos is fin e. The see a new arrival, carrying an instrument, wander result is evenings of deeply satisfying, unforgettable into the hall, while a string quartet plays in the music chamber music, afternoons of leisurely delving into room, a pianist practices in the library, assorted the unbelievably rich literature, and mornings of a spouses wander around or sit on the terrace playing little Haydn after breakfast with old and new friends. bridge, with nobody on duty in the office to take care of him. However, within half an hour he is likely to be a bsorbed into the ensemble and be playing a string quintet, while his suitcases still stand in the ha ll waiting to be taken up to his room. The same Dr. John J. Stern has supplied th e cello part on many im promptu clwmber·mnsic sessions at Bruebrooke. In his last informality prevails in the dining room. M eals are article in this magazine, "Music and Medicine" (.III/arch . 1962), little festivities by themselves, with light banter and Dr. Stern explored the relation between his two principal serious musical discussions making a lively counter- interests. 54 HIFI / ~TEREO REVIEW HI FI/STEREO REVIEW'S THE TOP RECORDINGS BEST OF THE MONTH CLASSICAL KARL RICHTER LEADS A SUPERB BACH B MINOR MASS The Munich Bach Choir and Orchestra join in a near-perfect performance ROM the opening outcry, " Kyrie .'» by the full choral-orchestral body in the new Deutsche Grammophon Archive recording of Bach's B Minor Mass, it was evident F that this was to be no ordinary performance of the mighty masterwork. And, won der of wonders, throughout the two-hour span of SL,( LP stereo sides, the promise of that opening phrase was magnificently sustained. It is perhaps DEUTSCHE GnAMMO I'I-IO!': sacrilegious to speak of a defi nitive recorded performance of such a many-sided, deeply probing score as this, but the Munich Bach Choir and Orchestra, with a splendid ros ter of soloists, under Karl Richter's direction has come about as close to achieving such a miracle as I expect to hear in my lifetime. The first impression from this recording is one of enor mous power and rhythmic life with a complete absence of strain or excess tension. But Richter and his singers and instrumentalists bring yet another quality to their perform ance-a warmth and polish that can come only from loving familiarity with a vital tradition of Bach interpre K ARL RICHTER tation. Perhaps the most imposing accomplishment of all, R ichly communicative Bach is in the singing of the twelve-minute fugal "Kyrie eleison» that is the opening movement of the work. Under Richter's direction, it sounds as an ever more intense plea, "Lord.' Have Mercy on us.'» building inexorably to soul-shaking anguish. And so one could summarize through one movement after the other of the twenty-five. Similarly, the instrumentai playing is phenomenal in both solo and ensemble passages . With one exception, the soloists are all but perfect. Maria Stader's tone and phrasing are clear and true as a bell; Ernst Haefli- (continued overleaf) fi;,~iIJ ~ 55 JUNE 1962 ger's Benedictus is a joy; Kieth Engen does a fin e, a while, it becomes eviden t that Birgit N ilsson, bluff job with the trying " Q uoniam" bass solo ; Eberhard Wachter, Gerhardt Stolze, Grace H off and D ietrich Fischer-Dieskau fully lives up to his man, and the Vienna Philharmonic under Georg artistic reputation in the " E t in S piritum Sanc Solti have teamed up with the record company's tum D om inum" episode of the Credo. Only the production staff to produce a magnificent com alto H ertha Topper seems a bit out of place be panion-a lbum to the superb D eutsche Gram mo ca use of excessive vibra to in the L audamus te and phon recording of Strauss's Elektra. elsewhere. However, her minor sins m ay well be In a way the presentation of a really frigh ten forgiven in view of the poignance that she brings ing, blood-curdling S alom e is a tougher proposi to the Agnus D ei. tion than Elektra, because in the la tter there is The DGG recording engineers have done a the stark Sophocles-Hoffm annsthal text that glorious job from first to last in this recording. can more than meet the music on its own ground. The stereo sound has a fin e spread, a realistic The decadantly overcolored Oscar Wilde text sense of depth, and plenty of presence, es pecially of Salome, on the other hand, can defeat its own to the bass. Volume levels seem a trifle low, but purpose unless musical and dramatic values are the discs have fl awlessly clean, quiet surfaces. handled with great precision-as they are here. Last, but far from least, the d e luxe album pack The result is that one comes from a hearing of aging, typography, and accompanying booklet these four sides with a full realization of why are models of how a presentation of this impor Salome was such a devasta ting shocker to the tance should be handled. David Hall public when first h eard in 1905. ® ® BACH: Mass i1J. B Minor (BWV 232). Mu What is most rem arkable about this perform ni ch Bach Choir and Orchestra; Maria Stader (so ance is 'the care within which every role, large prano ), Hertha Topper (al to), Ernst Haefliger and sm all, is delineated by the singers. Birgit (tenor ), Kieth Engen (bass ), Dietri ch Fischer-Dies Nilsson in the title part sings with unerring power kau (baritone), Karl Ri chter cond oD EU TSCHE GRAM . and marksmanship the taxing high and low notes MOPHON ARCHIVE ARC 73 177/79 three 12-inch discs $20. 24, ARC 3177/79 $ 17 .24. that Strauss wrote into her music, and she dis plays a really keen sense of dram a. Powerful as is her confrontation with Jokanaan, she saves A GRIPPING NEW her real thunder for the scene with H erod, when SALOME IN STEREO after her celebrated dance, she dem ands the head of the prophet as h er reward. And the fin a l scene. S olti conducts in which Salome kisses the lips of the severed with Nilsson head, is a chilling study in the ecstatic and the in the title role grisly. O NCE one gets past the ludicrous cover art At times almost stealing the show from Miss of London's new Salom e a lbum and listens for Nilsson is G erhard Stolze, as the drunken, lech- GRACE H OFFMAN, G EORG S OLTI. AN D BIRG IT NILSSON Their great teamwork brings new power to Strauss's Salome 56 HIFI STE R EO RE VIEW erous, half-mad H erod. To the role of Jokanaan, Eberhard Wachter brings not merely harsh fa naticism but an element of genuine nobility, and the London engineers have done a remarkable job of conveying the difference between what is sung by J okanaan from the depths of his cis tern prison and what he sings before Salome without in any way obscuring the sense of the words. Grace Hoffman is a suavely malignant H erodias, and the singers entrusted with the epi sode of the argumentative J ews and Nazarenes do an absolutely first-rate job. The playing of the Vienna Philharmonic un der Solti's precise and exacting baton is nothing short of miraculous, and the engineers have done a stereo miking job that makes every detail of the Straussian tonal web audible without seem ing to indulge in mere microscopic dissection. The balancing of singers and orchestra has been handled with extraordinary care: the voices at first seem to be deliberately a shade out of focus, so that the orchestra at climactic moments DONALD BYRD almost but not quite overpowers the situation. His work has casual brilliance Only in the final scene does the microphone focus seem to be more fully on the voice. The resulting viously hidden melodic impulse to come through. effect is that of an actual performance heard His two best solos are the muted ones on Say from an ideal perch above the stage. Altogether, You're Mine and H ello Bright Sunflower. On this first stereo Salome is one that does not seem the latter, a charming variant of Lullaby of likely to be surpassed for some time to come. Broadway, he engages in a casually brilliant David Hall series of four-bar exchanges with drummer ® ® STRAUSS: Salome. Birgit Nilsson (soprano), Philly Joe Jones that are some of the high Salome; Eberhard W'achter (baritone), Jokanaan; points of the album. A trumpeter with more Gerhard Stolze (tenor), Herod; Grace Hoffman (mez technique than Miles D avis, Byrd has learned zo-soprano), Hcrodias; Waldemar Kmentt (tenor), Narraboth; J osephine Veasey (mezzo-soprano), Page lessons in restraint from the style that Davis' to Herodias; and others; Vienna Philharmonic Or limitations have forged into an art, and has chestra, Georg Solti condo LONDON OSA 1218 two emerged with a happy, personal style. 12-inch discs $11.96, A 42477:' $9.96. The other major solo voice of the group is Byrd's long-time partner Pepper Adams, who plays baritone in much the way that Sonny Rol ***** JAZZ ***** lins played tenor several years ago. The origi THE NEW nals, which are richly varied in mood and far superior to most new music on such records, are ASSURANCE primarily the work of pianist Duke Pearson. And OF DONALD, BYRD a special word is due the amazing Philly Joe His relaxation now J ones, whose drumming manages to be light and lets the melody easy while powerful and complex. The album, sing through though, is Byrd's, and it is a joy to hear. some years of relative obscurity, trumpeter Don Joe Goldberg ald Byrd has returned to the jazz limelight with a Blue Note release call ed "The Cat Walk." This ® DONALD BYRD: The Cat Walk. Donald Byrd set shows him as an assured, confident musician. ( trum pet) , Pepper Adams (bari tone saxophone), Duke Pearson (piano), Laymon J ackson (bass), No longer inclined to show everything he can Philly J oe J ones (drums), Say You're Mine; Duke's do in every number, he is sufficiently relaxed Mixture; The Cat Walk; and t11l"ee ' others. BLUE to employ space judiciously. This allows a pre- NOTE 4075 $4.98. JUNE 1962 57 that from Eddie Blackwell and the late Scott LaFaro. Both men solo with stunning imagina tive breadth and technical ease, providing Cole man with a rhythm section that is as ingenious in its complementary melodic ideas as it is in creating a complex but springy beat. Don Cherry, who has been erratic on previous Coleman re cordings, is much more confident and assertive in these performances. The Atlantic engineers have kept to their usual high standards of re production, and have exceeded them in their handling of LaFaro's bass. Nat H enloff ® ® ORNETTE COLEMAN: Omette! Ornette Coleman (alto saxophone ), Don Cherry (pocket trumpet ), Scott LaFaro (bass), Ed Bl ach ·ell (drums). W.R.U.; T. & T .; c. & D.; R.P.D.D. ATLANTIC SD 1378 $5.98, 1378 $4.98·:·. * ENTERTAINMENT * ORNETT E COLEMAN Complete co mmand 0/ emotion and technique THREEPENNY OPERA IN ITS CLASSIC RECORDING ORNETTE COLEMAN'S W eill's masterwork is available again LATEST WORD ,...... -, with its first cast H is originality 1. 0 ANYONE even vaguely familiar with the has its ow n original German-cast version of Kurt Weill's and inner logic Bertold Brecht's Die Dreigroschenoper, the good LOTTE LE YA A, THE "imul.ting Pirate Jenny is back once more new Atlantic release titled "Ornette !" dem onstrates, there are few modern jazzmen who are as immedia tely accessible as Ornette Cole man in terms of unalloyed emotional force and exclamatory, speech-like phrasing. Nor is it logi cal to exile so fi ercely expressive a bluesman from the precincts of jazz. An additional claim to attention is the sinewy boldness of Coleman's original themes, four more of which are introduced here-nor is there nearly as much discontinuity as has been claimed be tween the opening contours of these originals and Coleman's subsequent improvisations. What probably puts some listeners off at first is the fact that Coleman dispenses with the usual har monic guidelines; but as Gunther Schuller writes in his able defense of Coleman in the jacket notes, the alto saxophonist does create and sus tain his own "innermost logic and d iscipline." Coleman is in coruscating command of his horn, and his support is brilliant, particularly 58 HIFI / ST E REO RE VIEW news is that this masterpiece of the musical the solo tracks, one of which, by Ronnie Gilbert, is ater is again available in this country-and at done unaccompanied. only $1.98. The Weavers' singing is in the tradition estab All the bitterness and disillusionment of Euro lished by Pete Seeger (an original member of pean life in the late 1920's can be savored in this the group) and by Woody Guthrie, and they are remarkable work. By the time Hitler came to still at their best when evoking the peculiar power it had become one of the most popular rage and nostalgia of the D epression years, when stage works throughout Europe, but the Nazis unions were the answer to everything. To that tried to make sure that no production would end, they enlist a popular song of the 1930's, ever be given again by destroying all the copies Brother, Can You Spare a Dime. On such ma of the book and the score that they could find. terial, the superb instrumental rhythmic drive The recordings were smashed, and people were of the group and their inimitable, thrilling open arrested merely for humming the tunes. After the harmonies combine to give the unmistakable war, however, enough copies of the original discs aura of authenticity, no matter how much hid- were found to piece the sequence together, and to issue it on a long-playing record. The current release marks the third time that this particular version has been sold in the United States. But it is the first time that it has been sold at such a low price, and it is the first time that the origi nal recording of two songs from another out standing Weill-Brecht work of the period, Ma hagonny, have also been included. Lotte Lenya, Kurt Weill's widow, has practi cally made a career of the role of J enny, but the remarkable thing is that all the performers, and especially Kurt Gerron as the streetsinger, man age to create the mood of the era with such telling effect. T elefunken has put the songs in the proper sequence (not true in previous re leases) and has identified both the singer and the character for each song. The sound, granted its age, is acceptable throughout. Stanley Green ® DIE DREIGROSCHENOPER (Kurt Weill and BertoIt Brecht). Origi nal Berlin-cast recording. Lotte Lenya, Kurt Gerron, Willy Trenk-Trebitsch, Erika H elmke, Erich Ponto; Lewis Ruth Band, Theo Mack eben condo TELEFUNKEN TH 97012 $1.98. THE WEAVE RS Joyful spontaneity is still theirs THE WEAVERS: den artistry has gone into the performance. Here, FRESH AS EVER this approach is transplanted to the Civil War The group are for one song, Rally'Rou nd the Flag, making of at their best it an irresistible interpretation and a splendid ex in songs of j)rotest ample of what is best in their mUSIC. Joe Goldberg No MATTER how long the 'VV eavers stay to gether or how successful they become, they seem ® ® THE WEAVERS: The Weaven' Almanac. never to lose the first joyful spontaneity that Lee Hays (vocals), Fred H ellerman (vocals, guitar), made them famous, and this freshness permeates Ronnie Gil bert (vocals), Erik Darling (voca Is, ban their newest Vanguard release "The Weavers' jo). W e're All Dodgin'; JackhammeT John; Fight On; Bill; T ru e R eligion; When the Stars Began to Almanac." Their repertoire here includes spir Fall; Brother, Can You Spare a Dime; A- Walkin' and ituals, cowboy songs, and lullabies, and the pro A-Talkin'; Rally 'Round the Flag; and three others. gram is broken up by giving va rious members VANGUARD VSD 2102 $5.98, VRS 9100 $4.98. JUNE 1962 59 ® ® BIZET: The Pearl Fishers. J a siveness and vari ety to the Epic set. Nei E~' pl{/nat i o n oj symbols: nine Micheau (soprano), LeiJa; Nicolai ther the choral work nor its reproduc ® =lIIollophonie recording Gedda ( tenor ), Naclir; Ernest Blanc ti on is a ll it should be, and the record ®=stereo phollic recording (baritone), Zurga; Jacques M ars (bass), ing, for a ll its gloss and effective stereo *= mono or stereo version Nourabad. Chorus and Orches tra of the placem ents, reveals certa in balancing not received for review Theatre National de l'Opera-Comique, weaknesses. In sum, this is an enjoyable Pierre D ervaux condo ANGEL S 3603 two and convincing account of a charming 12-inch di scs $12.96, 3603+:' $10.96. opera, but I find that Epic 6002 (which is by no m eans outdated sonicall y) is Interest: Early Bizet more sa ti sfying. C. ]. Performance: Good BACH: Mass in B Minor (see p. 55). Recording: Satisfactory ® ® BIZET: Symphony in C Majol'; Stereo Quality: Good ® ® BACH: Musical Offering. Munich Jeux d'enfants; Fair Maid of Perth: Instrum(' nta l Ensembk: Heinz Endres, The PeaTl Fishers exud es the same spirit Suite. Suisse Romande Orchestra, Er Susa nne Lautenbacher, and J osef Rotten of youthful and romantic innocence that nest Ansermet condo LONDON CS 6208 fusser (violins) ; Fritz Ruf (vio la) ; Adol ph illuminates Bizet's buoyant Symphony in $5.98, CM 9277* $4.98. Schmidt (cello); Karl H e inz Zoll er C . It is true that this opera can be criti (flute); H a nspe ter W eber (Eng l ish cized for its naive pseudo-orientali sm and Interest: Ly rical Bizet horn ); Martin Gall ing (harpsichord ) . some of its all-too-obvious musical d e Performance: Excellent Vox STDL 500490 $4.98, DL 490'''' $4.98. vices that reveal the composer at a stage Recording: Handsome still short of full maturity (he was twenty Stereo Quality: Natural Interest: Royal chamber music four at the time). But it is equall y true Performa nce: Highly efficient that the high points of his haunting, Like most of his recent series of record Recording: Bright piquantly melodious score can charm ings for London, Ansermet's version of Stereo Quality: Unexaggera ted even the hardest-boiled cyni c. I-Ieard the Bizet symphony is relaxed, m ell ow, with frequency only at the Opera-Co leisurely, and completely without virtu Bach's thirteen-part offering to Frederick mique these days, The Pearl Fishers has osic high-jinks. This performance is, for the Great, at whose court h is son K arl been record ed three times prior to the ERNEST ANSERMET Phi lipp was harpsichordist, combines the appearance of this, its first stereophonic Mellow performances of Bizet lea rned, contrapuntal style (wh ich Fred version. (' ri ck quite despised) with the sensitive, In depth, brilli ance, and extended ga ll ant manner of the famous trio so dynamic range the new set clearly sur nata, a style much more compatible with passes all competition. Musically it of the not very broad tastes of the king. fers an idiomatic but unexceptiona l per R egardless of the monarch's reaction fOt'mance on the level of the earli er ( there is no record of his having ex Angel 3524 (with Angelici and Legay in pressed his a ppreciation of the gift ), the the roles of Lelia and Nadir) but less !\1l1sicnl Offering remains one of the impressive than Epic 6002 (with Alarie mi l('stones of the Baroque and has per and Simonea u ) . Nicolai Gedda does petuated Fred erick's theme, on which some very fine singing, and he performs the work is based. The edition used in the exceptional feat of delivering "Je this recording ( the scoring and solution CTois entendre encore" in the original of the canonic puzzles here has been sup key of C. (Caruso, M cCormack, and plied by Heinz J ansen ) achieves quite a Gigli sang this aria gloriously on rec bit of instrumental vari ety, a nd the order ords, but in a downward transposition of movements is somewhat different from of a half or a full tone). In the duet that found in other editions. The playing "Au f011d du temple sai11 t," however, he is ('xtremely good, with fine articulation is surprisi ngl y unstead y. There are fl ash f's and sense of style, and, although the per of lyric beauty in J anine Micheau's formance is not especially warm, it is L elia, but her performance is uneven crrtainly among the best on records. The (she finds the Act I coloratura air " Dans bright sound is resonant but with no loss Ie ciel" particularly tough going). The of drtail, the over-all reproduction being vigorously sung and well -characterized clean except for some distortion near the Zurga of Ernest Blanc is a strong asset, §'" o ('nd of the very long (twenty-nine m1l1- and J acques Mars is an acceptable Nou i;l utes ) second side. 1.K. rabad. z'" o D ervaux's direction is also satisfying, o BASSETT: Clarinet Trio (see PERLE). oZ though Jean Fournet brings more inci- -' 60 HIFI / STEREO REVIEW exa mple, qui te wanting in the crisp sas sin ess and lea n- textured cl arity of Capi tol's recent ve rsion 1",ith Beecha m. An serm et gives us Jess Mozart and more Carmen in his reading. Neither approach is wi thout truth, but my own leaning is towa rd Beecham's. The Ansermet p erformance of Jeu;r; MARIO D EL MONACO d'enfants is loving and lovabl e in every AND R ENATA TEBALDI way, and the recorded sound leaves noth For Adriana L ecollvreur, ing to be desired. W. F. . more passion BLACHER : ThiTteen Ways of Look than finesse ing A t a Blackbird (see EINEM). ® ® BOCCHERINI: Cello Concerto, in Bflat Majo)". HAYDN: Cello Con ce1·to, in D iVlttjor. M aurice Gendron (ce ll o); Orchestre des Concerts Lamou reux, Pabl o Casals condo E pIC BC 1152 $5.98, LC 381 r · $1.98. LONDON RECOHDS tuos ity as we ll as lYI 'i cism in his inter Interest: Original scorings Fourth, and also the liberties he some preta ti ons, although the quality of his Performa nce: Devoted and lyrical times took with tempos. The transfer to tone cannot be said to be the mos t hand Recording: Satisfactory LP has been done remarkably well , espe so m £' to be heard from today's cellists. Stereo Quality: Good spread ciall y in the matter of the reduction of The so und is sati sfactory, if not as ideally surface noise, but it is no use pretending transparent as one would like, and the In addi tion to the novelty of havin g Ca that the sound adequately befits the somr wh at distantly recorded orches tra is sa ls co nGuct for another cellist (Mau rea ding. The woodwinds have kept their eff ectively spread across the two chan timbre, but the upper strings are ghos tly, ri ce Gendron is a form er pupil ), this nels. I . K. recording boasts another noteworthy and the cellos and basses just grumble in the cell ar. R . B. o ri ~ in a l feature : the scores of both pi eces RECORDING OF SPECIAL MERIT are used. In the past, these concertos BUCCI: Arias; Vocalise (see LEE). have suffered in performance from heav ® ® BRAHMS: Symphony No.1, in il y tampered editions, parti cul arl y the C M in01', Oil 68. Pittsburgh Symphony CASALS: Song of the Bif'ds (see MEN Boccherirti , whi ch, until Gendron's re Orches tra, William Steinberg condo COM DELSSOHN). cent transcribing from the original man MAN D ] 1011 SD $5 .98, 1101 P' $1.98. uscript, always 11 as been performed in a RECORDING ,oF SPECIAL MERIT version by Friedrich Griitzmacher. The I nterest: Basic Brahms latter, it is now known, practi cally re Performance: Very good ® ® CILEA: Adriana L eco·uvTeur. wrote the B-A at con certo, substituting a Recording : Excellent R enata T ebaldi (soprano ), Adriana Le slow movement from another of Boc Stereo Quo I ity: Outstanding couvreur; M ario del Monaco (tenor ), cherini 's concertos, rewriting themes and M aurizio; Giulio Fioravanti (baritone) , passagework, and scoring the whole in One may question the rather sl ow tempo Michonnet; Giulietta Simionato (mezzo nineteenth-century instrumentation. Ev of Steinberg's opening movement, yet soprano), La Principessa di Bouillon; ery recording, including the one made when all is played and done, this is a Silvio M aionica (bass), II Principe; by Casa ls in the Thirties, has us ed this powerful, finely directed reading of the Franco R i ccia rdi ( tenor ) , L' Aba t e. synthrtic: concoction, and listeners who Brahms First. Clearly, the conductor fa Chorus and Orchestra of L' Accademia are familiar with it will be surprised to vors a cl assi cal rather than a romantic di Santa Cecilia, Rome, Franco Capu find ·that much of Gendron's edition conce ption of the work. It is the strength ana condo LONDO N OSA 1331 three 12- so unds alm ost like a new piece : much of will, the nobility, and the legitimate inch discs $17.91, A 1359·Y,· $11.94. li ghte r, wh olly charming, and infinitely drama in the music that Stei nberg em preferabl e to the bowdlerized Boccherini phasizes, not its sheer muscular energy Interest: Impending Met revival of Gri.itzmarher. The H aydn, in com and excitement. The recording itself is Performance: Vivid pari so n, has suffered less, but its authen excell ent. I have rarely come across a Recording: Opulent ticity at timcs has been highly suspect. di sc tha t offers so perfect a stereophonic Stereo Quality: Excellent The cri tical edition published several realism, in depth, breadth, stability, and yea rs ago (th ere is also a DGG Archive coherence of sound. R. B. Thanks to R enata T ebaldi's devotion to r£'cording of it) restores not only H aydn's the title role, Cilea's Adriana L ecouv nam£' as the composer but also his li ghter ® BRAHMS: Syml1hony No. 4, in E Te ur may now be able to capture Amer string accompaniment. The results of M inor, Op. 98. Amsterdam Concertge ica-something the combined tal ents of both pl' rformances, with an ideal ac bouw Orches tra, Willi am M engelberg Enrico Caruso and Lina Cavalieri failed co mpaniment by the senior cellist in the condo T ELEFU NKEN TH 97010 $1.98. to achieve when the opera was first pro role of conductor, offer an impressive duced at the M et in 1907. While hardly argument for the effectiveness of such Interest: Legendary reading a masterpiece, it is one of the better ex schol arship. Gendron, who had previ Performance: Very good amples of the romantic-veristi c genre ously rrcordcd the H aydn concerto a Record ing : Good of its kind that flourished in post-Verdi Italy. Ci decade ago in the older version, exhibits lea's music lacks Puccini's unmistakable none of the pi tch probl ems that plagued In this LP transfer from wartime 78-rpm originality and even the excitement of him then (the hi gh register in both, con masters, one hears again the urgency, the the best Giordano, but it is skillful and certos is a traditional stumbling block expansiveness and ' the excitement with melodious m an engagingly unsubtle for m ost ce llists). There is plenty of vir- which M engelberg pl ayed Brahms way. JUNE 1962 61 The plot relates, in an idealized and "'o somewhat inaccurate guise, a basicall y a" true story: the love affair between Adri "'" "c: enn(' L('couvl·eur, the celebrated actress z < of the Comedie Franc;aise, and Maurice, :;; :; Count of Saxony. It ends when Adriana a dies after receiving a bouquet of poi " soned flowers from a j ealous riva l. Scribe's drama, on which the li bretto is based, erved as a grand acting vehicle fo r Sarah Bernha rdt. As for the singing role of Adriana, it offers two lovely arias, sccnes of ra pturous love and pass ionate jealousy, and a heart-rcnding denoue m ent. The tessitura is grateful without being overly d emanding in range, and P I ERRE DERVA UX the vocal line is replete \v ith /rrmatl' on Superior sound for Debussy climactic h igh notes (for soprano as well as tenor) indica ti ng that Ci lea was un usually thoughtful of his singers. this rekase' to the domain of the extra of precision and elegance. A di stant T ebaldi's voice is not in its happiest ordinary. The so und is as spacious and cousin of Stravinsky's neo-classic man es ta te here. The warmth and velvety luxurious as a stretch of wi ld , sun-lit ner, it is taut, rather starched of texture, p lushness a re in evidence, but her toncs beach, and the clari ty with which the yet quite purl" in its res tra inr d sensiti vity. arc un evenly produced , by ]lC'r standards, fi gura tional d etail of La M er is brought Craft and content a re quite perfectly and sometim es uncerta in of intonation. forth all ows one to study D ebussy's subtle merged here. But she gives hers elf to th e part with orchestration as never before. Such cl ar B lach er, in spite of an occasional passion and utter sincerity, bringing rare ity is achieved, as a matter of fact, that ga uch e ri e in h is Eng li sh-la ng uage tenderness and heartbreaking pathos to one wonders if the characteri stic haze prosody, has mad e a remarkably tight, the music. that we think of as characteristicall y notably expressive' gesture out of ' '''allace 11m·io d el Monaco is not without im D ebuss ian is what the composer had in Stevens' oft-sf't chain of po('ms. The ex pressive moments, but his se ldom-modu mind at all! press ive intent is lucid, and the musica l lated, ferocious fortissimos do not sug D ervaux's readings srem to m e excel shapes work. gest the irresistibly suave lover M:aurizio lent of conception and styli sticall y are Egk's QuattTo Canzoni are rather ocld is supposed to be. G iuli etta Simionato, models of propriety. O ne has hea rd and in genuous with their heavily Latin on the other hand, is little lrss than per Fetes, for exa mple, performed with con ized musical accent, and, so far as style fect-her haughty, im prtuous Princess is sid erably greater drive and excitem ent, goes, I am a t some loss as to what the a perfect foil to Adriana, and she sings but it would be a mistake to ru le out com poser is grtting at. In any case, on(' superbly. The regisscur M ichonnet, who D ervaux's rathcr mor E' insistent, less the would never guess th is bouncy score to loves Adriana with a selRess, \'\1o lfram a tri cal pacing of the work. W.F. be by a German! li ke d evotion, is admirably sung by Giulio The recording is good DGG, and the Fioravanti. EGK: Quattm Canzoni (see EINEM). performances seem excell ent. W.F. Ca puana's reading communicates the ® FAURE: Comp lete Worhs for the score's vigor and lyricism with consistent ® ® EINEM: Conce1·to for Piano and Piano, JI olume 2: T hemp an.d Varia effectiveness. Aside from slio-ht distor 01·chestm, 01J. 20. BLACHER: Thir· tion toward the end of Side 4, the sound teen Ways of Looking at a Blackbi1·d. lions, Op. 73; Valse Caprice N o.3, in is opulent, brilliant, and startling in defi C-ftat Major, Op. 55; Barcarolle No.5, EGK: Quatt1·0 Canzoni. Gertly H erzog nition of d etai l. V ery informative back in F-sharp Minor, OJ). 66; N octurne N o. (piano) ; Ernst H aeRi ger (tenor); Irm ground annotations by Peggie Cochrane 7, in C-sharp Minor, 0/). 74; Barcarollt' gard Seefried (soprano ); Doric Quar are suppl ied . This is not a faultless per No. 2, in G Major, Op. 47; Nocturne No. tet; Bavarian Radio Symphony Orches formance, but it is a true-sounding and 2, in B Major, Op. 33 No. 2; N octur1/ (' tra, Werner Egk cond. Radio Symphony exciting one, and it is highl y recom No. 13, in B Minor, Op. 719; Valse Orchestra Berlin, Ferenc Fricsay condo m ended. C. J. Caprice N o.4, in A-fiat Major, Op. 61; DEUTSC HE GRMt~[QPHON SLPM 138759 Nocturne No. 71, in F-sharj) Min. or, Op. $5.98, LPM 18759* $4.98. COUPERIN: Conce1·tPieces (see MEN 104, No. I; Barcarolle No. 8, in D-ftat DELSSO HN). Major, Op. 96; Mazurka, Op. 32. Grant Interest: Conse rvative German moderns Johannesen (piano). GOLDEN CREST Performa nce: Splendid RECORDING OF SPECIAL MERIT CR 4046 two 12-inch discs $9.96. Recording: Very good ® ® DEBUSSY: La Me1·; Fetes; Iberia. Stereo Quality: Just In terest: Faure piano literature L'Orchestre des Concerts Colonne, Pierre Performance, Distinguished D ervaux condo Co~rMAND CC 1108 SD This r('rord of ronl('mporary Gcrman Recording: Good f $5.98, 1108 :· $4.98. music is a remarka bly pleasurable ex peri ence. One does not have to recom This is the second album of Golden Interest: Spectacular Debussy mend it for its " interes t," or because it Crest's extraordinaril y valuable project Performance, Splendid is " provocative." It is, for the most part, of having Grant J ohanneson record the Reco rding: Remarkable just extremely well -composed music of complete piano works of Gabriel Faure. Stereo Quality: Superb considerabl e sensibility, and it m ay be There would seem to be a stirring in the enjoyed for the precise, unproblematica l air these days of a reawakened i.nterest ' '''hile the performances of these works pleasure that it gives. in Faure-a composer whose Ameri can from the D ebussy cata log are quite be This is particul arl y so of Einem's reputa tion res ts too exclusively with his yond cavi l, it is Command's trul y spec concerto. H ere is an exquisitely made songs-and th is pro.iect seems a ll the tacular recording of the music that raises score' that says its pi ece with the utmost more a ppropriate in view of it. 62 H IF I/ STEREO REVI EW Johannesen's approach to the music is acclaim also as a ba ll et, is primarily an RECORDING OF SPECIAL MERIT se rious, properly grave of expression, and orchestration, with Stravinsky's persona l, the obvious resul t of a good deal of dry, yet imaginative colors lending a ® .® GLUCK: i/J/tigenie en Tam'ide thought. And he brings a beautifully completely modern twentieth-century (excel'pts)_ Rita Gorr (mezzo-soprano ), shaped line to the more reflective, lyrical dress to the sixteenth-century chroma Iphigenie; Ernes t Bl anc (bari tone), pieces. The recorded sound may be just ti cisms of Gesualdo. Ores t es; Nico l a i Ged d a ( t e nor ) , a li ttle lacking in brightness, but it is Craft's vocal group does extremely we ll P ylades; Louis Quilico ( ba ri tone), more than serviceable. W. F. with this difficult music and its probl ems Thoas. O rchcstre de la Societe des Con of intonation, although theirs is a fairl y ce rts du Conservatoire, George's Pretre FRANCK: Violin Sonata (see straight approach and not fully geared to cond o ANGEL S 35632 $5.98, 3563 2"" BRAHMS). the passions this music ideall y demands. $4.98. The instrumental pi eces are equall y we ll RECORDING OF SPECIAL MERIT done, and, of course, Stravinsky's own Interest: Important Gluck co nducting of the A10numentum may be Performance: Very good ® ® GESUALDO: Madrigals: VoLgi, considered authoritative. The spread of Recording, Good mia Luc e; 0 doLmom gioia; Ardo per te; voices and instruments in stereo is ex Stereo Q uality: Wide-spread Quando ridente; Che fai meco; Questa cellent, as is the naturalness and depth of cmdeL e; A1'dita Zall Za 1' elta. R esponses: the sound. I. I<.. Comprising about one half of lphigenie Recessit pastor; Aestimatus sum. CagLiarda; Canzon f1'on cese d e l Principe. STRAVINSKY: Monumen tum lJro Gesualdo. Gracc-Lynne Martin and Maril yn Horne (sopranos); Cora Lauridsen (contralto); Ri chard Levitt a thinly veiled ( coun tertenor ); Ri cha rd Robinson (tenor ); Charl es Scharbach (bass); Rob scheme ert Craft co ndo E. Power Bi ggs (organ, in Gagli arda); Carol Rosenstiel (harpsi to win friends chord, in Canzon ); Columbia Symphony Orches tra, Igor Stravinsky condo (in Stravinsky). COLUMBIA KS 63 18 $6.98, KL 5718 ';:' $5 .98. Interest, Gesualda tribute Performance, Laudable Recording: Very good Stereo Quality, Excellent Columbia's third record devoted to that fascina tinrr composer of madrigals, the Itali an prince who murdered his bride, her lover, and even (so it is said) his own child, is entitled "Don Carlo Gesuald o, Prince of Madrigalists-Tributes to his astoni shing life and music." As with Robert Craft's previous collections, most of the content here is vocal, with some fi ne examples ("Ardo tJer te" is among the most spectacul ar) of the co mposer's adva nced harmonic writing, guaranteed to raise the eyeb rows of any devotee of ...... -. modcrn as we ll as Renaissa nce music...... \,~ .... 9, .II Especia ll y in te restin g, too, are the two ':. ~ sacred responses, where Gesualdo's fan • J.. ~ . .:. t. •• •• • ···v ··· tastic harm oni c im agi nation has ful l pl ay (S1 35735 • OPTIONAL WITH DEALER in the so mbre texts of the tenebrae serv ice. Two insrrllm enta l selections, the Angel happily presents a glittering new re- sound of Angel. And to those who think only two that have definitely been cording of Rachmaninoff's Second Piano of Angel as the foremost opera label. not ascribed to the composer, are also con Concerto featuring Moura Lympany, with realizing the breadth of our repertoire. ta in ed here: a fairl y short galli ard The Royal Philharmonic conducted by Sir Thus, we present a vivid new recording ( pl ayed on a Dutch tracker-style organ Malcolm Sargent. The price * : $1.98 mon- of the most popular of all piano concerti, by Biggs) plus a ca nzon (harpsichord so lo), whose almost weird toccata pas ophonic, $2.98 stereo. superbly performed by Moura Lympany, sages makes it an instrumental equiva lent Is it less than first-rate in any way? Cer- one of the leading pianists of the day. Her to Gesualdo's vocal novelties. The final tainly not! Then why should Angel. the performance is rich and spectacular. Sir tribute (except for a lavish, illustrated recording name that means the ,------, Malcolm Sargent is in top form. brochure with f'xtensive notes and com ultimate in quality, make this of- The Angel sound is glOWing ex- plete texts and translations ) is the first fer available? citement. And at this price the of- recordinO" of Stravinsky's M onum entum Simple. It's our way of intro- fer is irresistible, we think. /)1'0 C es~a ld o ( 1960 ). This recomposi clueing that famed Angel quality .An.gel Allow us to introduce you to lion of three of the Renaissance com to those who have yet to hear the Angel in the nicest way we know. poser's madrigals, which has sin ce won CIRCLE NO. 3 ON READER SERVICE CARD 63 JUNE 1962 Interest: Th e Concord in stereo en Tauride, with a concentration on the score's strongest pages, this volume is a Performa nce: Interesting welcome replacement for a more com Recording : Good plete but far less successfu l earlier edi Stereo Qua lity: OK tion (Vox 7822, now deleted ) . G luck reached his summit as a m usi cal It seems entirely extra ordina ry that dramatist in this, his last important opera. Charl es I ves's long, ponderous, fa ntasti In a plot tha t is a chain oJ emotional cally difficult Concord Sona ta should crises, nearly every vocal utterance is cross this reviewer's desk in two per charged with pass ion. And the orches tral formances in as m any m onths. T his is writing, whi ch once left an ove rpowt'rin?; the case, however, and the job of rating impression on Berli oz, mirrors an aura of one over the other is uncommonly dis tension and turbulence with ('x pressi\'e tasteful. mea ns known only to G luck in that Interpretatively, the present version peri od ( 1789) . Georges Pretr(' commu and C R T's is ue of last month are very nicates this powerful music with un errin?; differen t. And in so rarely performed and skill and unabating excitcm rnt-his oc difficult a work-a work that, in fact, has casional tempo devia tions (sugg('stin g a yet no real performan ce. tradition- both revis(' d edition of the score ) invariabl y i\IAX GOIlERMAN seem legi tima te. Kontarsky stresses the Fin e recordin g of neglec ted Ha ydn b('nrfit the music. sonata's granitic formal span, and te nds, The ari a " 0 malheTeuse / phigenil'," BRARY OF R ECO RD ED i\IIAS TERP IECES HS 1 in fact, to play it with maximul11 "hard with its high soprano tessitura, prov('s a $8 .50 (5ter('0 or mono ) . (Ava ilabk fr om ness" and thrust. Pa ppa Stavrou, on CRI, bit taxing for Rita G orr, but else wh ('fe Library of Record (' d M asrerpi ('ces, 150 sea r ch es out t h e p oetry a nd r egiona l she is in radiant voice and ass urrd sty l W pst 82nd St., New York 24, N .Y. ) fl avor of the pi ece and sep l11 s rather less istic command. M eeting th e sustainrd concern ed with ma king it sound astoni sh power of decl amation a nd firmn ess of Inte rest: Authentic Ha ydn ing. tone that Gluck's writing demands is not Performance: Spirited Both, in sum, are interes ting, although always possible without a measur(' of Record ing: Exce ll ent I p er ona ll y in cline to wa rd P a ppa stra in . N evertheless, G edda, Bl anc, and Stereo Qua lit y: Good Stavrou's performa nce. This version, Qui li co rise to their tasks with eloqu(' nce however, provides better, more full and convicti on. Si ngers attuned to th e M ax Goberman's rnterprisin g Library of bodied piano sound. JII. F. R ecorded M asterpi eces label has now poise and discipli ne G luck ca ll s for a re add ('d to its complete Vivaldi, Corelli, not in ample supply; Ange l may b(' con RECORDING OF SPECIAL MERIT gratul ated for this well-conceiv('d and and Bach Brandenburg Concerto projects the even more prais('worthy job of re rewarding enterprise. C. f. ® LEE: Fiv e Songs on 1Joet1·y by cording the H aydn symphonies in their Federico Garcia Lm·ca . BUCCI: Sum,· HA YDN: Cello Conce,·to (see BOC recently authentica ted scori ng. A start in me,' A"ia and S1Jl"ing A,-ia from " T ale CHERINI). thi s di r('ction had b('en made som(' years for a Deaf Ea.r;" Vocalise and Tug of ago by Vanguard , but the proj('ct was W ar from "Concel·to fm' a Singing In· ® ® HAYDN: Quartet, in D, 01). 20, abandonpd after the issuance of th e last st1·um ent." Adele Addison (soprano); No. 4; Q~Ul1· tet, in D Minor, Op. 76, six of H aydn's 104 symphon ic in au Samuel Baron (flu te); R ey D e La T orre No. 2 ("Quinten"). Finr Arts Quartet. tlw ni c versions conducted by M ogens (guitar ) ; J ames Payne (piano ) . COM CONCE RT-DISC CS 22 8 $4.98, 1228 Wii ldik(' . POSER S R ECORDI NG S CRI 147 $5 .95. $4.98·· ... The gem of this fi rst LRM H aydn al bum is th e' Symphony No. 22, dating In terest: Young er Ame ricans Interest: Major repertoire from 1764, with its chorale-style open ing Perform ance: Exemplary Pe rformance: Excellent movpment scored for the un lik ely com Record ing : Good Reco rding : Excellent bina ti on of two English horns with Stereo Quality: Good perspective French horns and strings. The resul ti ng Noel Lee, a young American co mposer music is of an ex traord inary power and piani st, has for bptter than a decade been These two works make a ma rvellous beauty that overshadows the remall1l11 g expatri ated in France and, as a con choice for presenta tion on one disc, for three movements, li vely and agreeabl e sequence, is not nearly as well known in while both contain lovely and exciting though they are. our contemporary music circles as he de music, a comparison shows how great an It is good to havr thp heroic Symphony serves to be. Anyone who approaches this ad va nce in imaginative inventiveness No. 98, with its low movement " re personality through the music here re H aydn had m ade between 1772 and quiem for M oza rt," played fr om an un corded will quickl y see why he deserves 1797. corrupt text; and thou lTh both K lemperer to be, for this is music of un common The Fine Arts Q uartet's playing is and Beecham in their An gel recordi ngs delicacy and sensitivity. CR T's sleeve almost everywhere excell ent, perha ps a have more to offer in the way of power annotator tell s us that the work is cast triAc wooden in the remarkable minuet and fin esse, Gobcrman holds his own in a li mited, highly fl exible serial pro of the earl ier work, but elsewhere vital against such formidable competition . The cedure- a fact tha t will surprise most and, in the last movement of the Op. 76, Vienna musicians pl ay well for him, and listeners confronted with the sound of qui te dazzling. T his disc should be pl aced the recorded sound in both stereo and the music itself. For lyri cism and tender in the coll ection of everyone who takes mono is the bes t I have ever heard on ness of a near-Ravelian cast hover abou t pl easure in the music of H aydn. R. B. the LRM label-whi ch is to say it is very the songs. It is just possible that the work good indeed. D. H . fails in quite sustaining its length, but RECORDING OF SPECIAL MERIT the achi evement is an impressive one in ® ® IVES: Piano Sonata No.2 ("Con any case. ® ® HAYDN: Symph ony No. 98, in cord, Mass.-1840-1860"). Aloys K on The second side of this d isc has, for B.f1 at; Symj)hony No. 22, in E·fla t (" The ta rsky (piano ) ; T heo Plu macher (viola) ; a ll practi cal purposes, been squandered. Ph. i loso jJher"). V ien na State Opera W ill y Schwegler ( Au te ) . Tnm S 8005 I t is a mistake to represent the work of O rches tra, Max Goberman condo LI- $5.98; 8005-"- $4.98. any com poser through pi ano reduction 64 H1FI/ STEREO REVI EW of opera scor.es and orchestral pieces; and tion on the listener's part, but the works school as it has never been heard in our any comment I might make on my recol are quite fasci nating once one has become time, and the vitality of the performances lection of any of this music in its original accustomed to their sound with its " mod make these any thing but museum pieces. orchestral gui se would be beside the point ern" melodic and harmonic intervals Complete texts and translations are in so fa r as this record is concerned. In (especially the augmented fourth) and cluded with this splendid disc, but th e short, Bucci is yet to be properly repre rhythms. Compared with practically all recording of the church-like acoustics is sented on records. previous r ecordings of Machaut and marred by some di stortion on both the The sound is well above CRI's aver- Perotin, however, the present perform heavi ly cut mono and stereo copies. 1. K. age. TV. F. ances by the Deller Consort and ensem ble of ancient instruments are a revela RECORDING OF SPECIAL MERIT ® ® LISZT: Concerto No. 1,in E·flat tion: D eller's treatment of the music as Major; Concerto No.2, in A iUajOL a decoration of the plain chant (rather ® ® MAHLER: S)'mtJhony No.3, in Sviatoslav Ri chter ( piano ); London than a fu ll-fledged polyphonic work with D Mino)". i\lI a r th a Lipton ( m ezzo Symphony O rch estra, Kyri l Kondrashin full exposition of the disjunct melodic soprano ); ' '\Iomen's Chorus of the Schola rondo Pf.fIl.L1PS PHS 900-000 $5.98, PHS and rhythmic lines that in complexity Cantorum ; Boys' Choir of the Church of 500-000* $4.98. often ri val today's compositions) presents the T ransfiguration ; New York Phil the stylistic essence of the Notre Dame harmonic, Leonard Bernstein condo Co- In terest: Pedigreed warhorses Performance: Very good, on the whole Recording: Reasonably good Stero Qua lity: Very good Comparing this record with those of Ri chter recently revi ewed, one must con clud e that the Liszt concertos are not the id eal vehicle for the expression of the Russi an pianist's art. Richter is not a grandiose pianist of the sh attered key board, but rather an artist of concen trated intelligence and subtle perce ption. True, the melodic passages in these works are played with more pl asticity and at tention to shading than they usuall y re r.eive, but they do not seem to be strongly felt. Kondrashin does remarkably well AN with the accompanim ent, and at every point conductor and pi anist are as one. However, the recording is not to be rated better than good. R. B. ORCl ® ® MACHAUT: Messe de Nostl·e Dame. PEROTIN: Viderunt Omnes; Sederunt Principes. D ell er Consort (Al IN fred Dell er, countertenor; Wil fred Brown and Gerald English, tenors; Maurice Bevan, baritone); instrumental pnsem SOUND! ble, Alfred D ell er rondo BACH GUILD BGS 5045 $5.95, BG 622 $4.98. Here is one of the most overwhelming stereo recordings THE INTIMATE BACH @B) of the year! The phenomenal sensuality, grandeur, and LAURINDO ALMEIDA Guitar Interest: Medieval sacred music excitement of Sir William Walton's modern masterpiece Performance: Revelatory come to life in startling sound. The brilliant Roger Recording: Resonant but somewhat harsh Wagner conducts two choruses, baritone soloist, full Stereo Qua lity: Spaciou.s symphony orchestra, exotic extra percussion, and two -additional brass ensembles to produce a truly astonish Machaut's Notre Dame Mass, th e first ing recording of Walton's famed description of the Mass known to have been written by one orgies of Babylon. The music is thrilling; this recording composer, is one of the most celebrated does it justice at last. (S)P-8577 of pre-Renaissance works. In th e past it Just as extraordinary are two more new stereo has been recorded by a large chorus (the albums. Guitar virtuoso Laurindo Almeida offers a Dessoff Choirs) as well as by solo voices finely polished gem ... THE INTIMATE BACH. with little more than one person per part These small-scale masterworks are richly transcribed (Safford Cape and the Brussels Pro for guitar, viola, and French horn. A tfred Frankenstein Musica Antiqua). The even earli er works says of Vincent De Rosa's performance here, "the most PENNARIO ® of Perotin, the greatest exponent of the astonishing example of virtuosity on the horn I have organum (in whi ch one or more parts ever heard on records:' (S)P-8582 .., are embroidered over the held notes of Leonard Penna rio presents three great classical piano ·· iI" sonatas, including Beethoven's beautiful Sonata No. 13. the chant), also have been satisfactorily ~ "'· l~: =~ ··,:~·. .· committed to discs, S ederunt P1·incijJ es Penna rio plays them with wit, affection, and rare under ' . being available in versions by both DGG standing. A must for every basic 41;0 ~ Archive and Experien ces Anonymes. stereo record collection. (S)P-8584 (t-M. HEITHOVEN SONATA IN E FLAT MOZART SONATA IN C These early examples of the an nova and HAYDN SONATA IN F ars antiqua require some acclimatiza- © CAPITO L RECORDS, INC. C IRCLE NO. 9 ON READER SERVICE CARD 65 JUNE 1962 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~®ID~~~~~~~~§~I i ~ 11 MORE ENTERTAINMENT REVIEWS III ~ ~ I D ATA IN BRIEF COMMENTARY I ~ ~ ~ ~ ~ For all their charm and quality these works t end to remain Il!I i ® BARTOK: Mikrokosmos. Gyiirgy Sandor (piano). Vox student pieces. It is to Sandor's credit that his readings are Ii II VBX 425 three 12-inch discs $8.95. lucid and tha t he never condescends or tries to embellish Ii Il!I the materi al. The sound is good. W . F. Il!I Il!I Il!I ~ In this recording Jimmy Giuffre's most fanciful ideas have Il!I:l!l II ® ® GIUFFRE: Piece for Clarinet and St"ing 01'ches' been forced into molds that contain them badly and which II ~ tra; Mobiles. Jimmy Giuffre (clarinet). SLidwes tfunk Or- the composer handles with but fitful ski ll. With rare excep- [l;j ~ Il!I ilti chestra of Baden-Baden, ''''olfram Pohrig condo VERVE V tions, crossing over from one musical camp to another pro- Il!I il 68395" $5.98, V 8395 $4.98. duces a hybrid ra ther than an integrated work. Passabl e II ~ sound. W. F. Il!I ~ Il!I ~ Il!I ~ ® GRAINGER: iV/oily on the ShOt'e; l1'ish Tune from Eugene List plays these works to a turn, bringing such re- Il!I II County Den'y; Country Gm'dens; Spoon River; Justish markable clarity· to the inner part writing of which Grainger III il!l Medley; jlilock i\lIOtTis; The Sussex Nlummer's Christmas was so fond tha t the pi eces so und almost as if they arc being ~ Il!I Il!I ~ Carol; and four others. Eugene List ( pi ano). VANGUARD pl ayed on two pianos. The recording is clea r and sonorous. Il!I III VRS 1072 $4.98. W. F. III Il!I Il!I III ® HAYDN: Piano Sonatas: No. 35, in C Major; No. 43, This coll ection of four well -known Haydn so na tas is played III Il!I in A·flat Major; No. 50, in C Major; No. 52, in E·flat with great technical effici ency by Robert Ri eAin g, a Nor- Il!I Ii Major. Robert · Ri eAin g ( pi ano ) . VALOIS MB 421 $5.95. wegian p.ianist. One misses the warmth and interpretive III III (Distributed by Discophile, Inc., 26 W. 8th St., New York insight of the Landowska recording, but the quality of pi ano ill Il!I 11, N. Y. ) tone in this imported disc is superlative. I . K. Il!I Il!I Il!I Il!I Andre Navarra makes the Lalo concerto a thing of decided Il!I II ® LALO: Cello Conce1·to in D Minor. Andre Navarra strength and beauty. H e is a musician of taste and refin e- II !l;l (cello ) ; Czech Phil. arch., Constantin Silves tri condo ment, and he has an elegant tone. In contrast, the emotion- Il!I Il!I Il!I Il!I FRANCK: SY'IW/)honic Variations. Eva Bernathova (pi- ally detached Bernathova delivers a rather superfi cial inter- Il!I II ano ); Prague Symphony arch. S UPRAPHO SUA 10005 pretation of th e Franck pi ece. The recorded sound is fair. \Il Il!I $5.98. M. B. Il!I ~ [l;j ~ Il!I ~I Il!I I ® ® LISZT: Transcriptions. M endelsso hn's M idsummer Students of piano pl aying may delight in Petri 's brilliant II 11 Night's DTeam; Counod's Faust; Beethoven's Adelaide; Mo- ye t unemphatic presentation of these faded Romantic relics, Ii !l;l zaTt's Maniage of FigaTo ; Liszt's M ejJhisto Waltz. Egon but musically there is little justification for the appearance Il!I ~ Il!I Il!I Petri ( piano ) . WESTMIN STER WST 14149;' $5.98, XWN of these pi eces on records other than the 150th anniversary Il!I 11/ 18968 $4.98. of Liszt's birth. The recorded piano tone is good. R. B. Ii Il!I Il!I !l;l Here is another fine disc to add to the growing list of Lorin Il!I Il!I ~ ~ Il!I Il!I ® ® MENDELSSOHN: Symt)hony No. 4, in A ("Ital· Maazel's accomplishments. A reading of fine thrust and Il!I II ia.n" ); Symphony No.5, in D ("Reformation"). Berlin energy is given the "Italian" Symphony, and the "R eforma- I 11\ Philharmon i(, Orchestra, Lorin M aazel condo DGG SLPM tion" is treated with dignity and strong conviction. The Ii Il!I 138684 $6.98, LPM 18684 $5.98. orches tral performance is excellent, as is the recorded sound. Il!I Il!I Il!I [l;I M . B. Il!I Il!I Il!I II ® ® MOZART: Eine kleine Nachtmusik (K. 525); Di. Munchinger's new recording of these Mozart gems is notable I \I vertimento in D Majo'l' (K. 136); Musical Joke (K. 522). for ~h e clarity and spaciousness of its stereo sound. The ill Ii Stuttgart Chamber Orches tra, Karl Mi.inchinger condo LON- playll1g is genial, precise, and well -phrased throughout, and, ll!I Il!I DON CS 6207 $5.98, CM 9276'''' $4.98. although a slight top-cut is required, the recorded sound is I [g] full -bodied . I. K. Il!I Il!I Il!I Il!I Il!I [g] ® ® PRINCE: Events; N. Y. EX1)ort, 01). Jazz. Orchestra While the jazz idiom of this music is eminently suitable to Il!I II of the Ball ets U .S.A., Robert Prince condo RCA VICTOR LSP choreography, it seems of dubious musical interest sans the \I II 2435 $4.98, LPM 2435 $3 .98. staged images it was intended to accompany. The perform- III \11 ance is precise and the stereo quality good. W. F. ~ Il!I Il!I Il!I There is little Restoration stage music available in better Il!I I ® ® PURCELL: Four Suites for String Orchestra. readings than this. Fritz Mahler's string group is a good one, Ii I Chamber Orchestra of the Hartford Symphony, Fritz although the interpretation is very much in the modernized II Il!I Mahler condo BACH G UILD BGS 5032 $5 .95, BG 605 $4. 98. vejn and lacks stylistic content. The recorded sound is cl ear Il!I Il!I ~ [g] and well-balanced, especially in stereo. I. K. Il!I ~ Il!I I Each of these sonatas is a masterl y achi evement that is char- III Ii!J ® SHOSTAKOVICH: Piano Sonata No.2, in B Minor, acteri stic of its composer's most typical manner. Miss Yu- Il!I I 011• 64. HINDEMITH: Piano Sonata No.3, in B·flat dina's playing is solid, expansive, and virile, but the recorded Ii ~ Major. M aria Yudina ( pi ano ) . ARTIA MK 15 67 $4.98. sound, though clear, could be more resonant and full-bodied. Il!I [l;I WF. ~gg~~ ~~~~~ll!Ill!Ill!I~ I Il!I~ll!Ill!Ill!I~ll!Ill!Ill!Ill!Ill!Ill!Ill!Ill!Ill!I[g]Il!IIl!I~~Il!IIl!IIl!I~Il!I~Il!IIl!I~ll!Ill!Ill!I~ll!Ill!Ill!Ill!I~1l!I1l!I1l!I1l!I1l!I1l!I~ll!Ill!I~~Il!I~Il!IIl!I~Il!I~Il!I~Il!IIl!IIl!IIl!IIl!I~1l!I1l!I1l!I1l!I 66 HIFl j STEREO REVIEW LUMBlA M 2S 675 two 12-inch discs $11.96, M2L 275 $9.96. IT'S E F FOR T L ES SST ERE 0 WITH THE Interest: Mahlerian blockbuster Performance: Intense Re cording: Sumptuous dynatuner Stereo Quality: A-l There may be those who obdurately re fu se to concede that this- wildl y extrava gant score is a symphony, but no one ~. - "" 1i :-' ~ _ who has ever heard the pi ece wi ll deny th at it is an extraordinary li stening ex peri ence. M ahl er once sa id that a sym o phony must be like the world, " It must embrace everything!" and everything is wha t the composer put in to the hour and-three-quarter span of his Symphony in D l\1in or: peremptory summonings, panic-stricken outcrirs, children's tunes, mili ta ry marches (first movement); a I~,ultiplex gentle rustic minuet wi th macabre over tones (second movem rnt); a folk-like pi ece wi th nostalgic posthorn interludes (third moveml"nt ); a trance-like settin g with mezzo-soprano of the Midnight Song from Nietzch e's Thu s Spak e Zarathustra; a charming choral treatment of a folk poem about heavenl y life in the hereafter; and a sera phica ll y exa lted slow movement by way of finale. The wh ole th ing is scored with a resource and dramatic power that makes the cleverest of toda y's fi 1m com pose rs seem pueri Ir by com pari so n. From the wildes t roaring, br ll owing, shrieking climaxes of the first movr mr nt to the most gossamer solo textures in the minuet, every deta il of l\!{ahl er's orchestration comes off su perbly. Unlike some of Richa rd Strauss's orches tral scoring of the 1890's, M ahler's work of the same period still has an astonishingly modern sound. l\!{ahl erites have long been acquainted FM X·3 in tegrato r kit $29.95 FM-1 tun er kit $79 .95; Factory Wired multipl ex tuner $169.95; with a recorded performance of the both includ ing covers. Mahler Third by F. Charles Adl er on the SPA label. It was and remains a re markabl e accomplishment. H owever, the vast tonal panoramas of this music need superl ative record ed sound, and prefrr ably stereo, to make their full effect. This It takes a little longer to make a good when it's stereo because it says so). is precisely what Columbia's engin eers thing better, and the long-awaited Exact alignment, for stereo and mono, have provided for this performance un Dynatuner FMX-3 is proof that multi can be performed without need for der Leonard Bernstein's eloquent ba ton . plex stereo reception is as simple as test equipment - thus insuring min One may take issue with Mr. Bern stein's mono. Hidden within the Dynatuner imum distortion and maximum separa trea tments of the standard sy mphoni c chassis, it performs every stereo func tion. repertoi re, but he seems to have a posi tion automatically without need for And Dynakit has thought of every tive genius for putting across such great switching or adjusting. musica l "machines" as the Beethoven thing: there are no problems with Missa Solemnis (Columbia M2S 6 i9/ The integrator does not detract from tape recording off-the-air; mono broad M21 270). Indeed, we would rate this the inherently superior performance casts come through both low imped Mahl er performance next to the Missa characteristics of the Dynatuner. The ance outputs at the same level as as Bernstein's best on records to da te. effective sensitivity, noise level, and stereo; front panel volume control The New York Philharmonic plays low distortion are virtually unchanged. ac;ljusts both channels; silent, all with blazing virtuosi ty, in the first move The Dynatuner's exclusive reference electronic switching; no increase in ment es peciall y, and Bernstein himself grid tuning eye is coupled with Dyna's interstation noise; and best of all, its holds the varied episodes of the musi c unique STEREOCATOR (you know modest cost. together with admirable assurance ( the recorded performance is in fact far more Slightly higher in the West. Write for detailed information on this and other Dynakih. disciplined than the live performances we heard from Bernstein last season ) . DYNACO. INC .• 3912 Powelton Avenue. Philadelphia 4. Penna. Adl er on the SPA recording brings a bit CABLE ADDRESS : DYNACO, PHILA. CIRCLE NO. 13 ON READER SERVICE CARD JUNE 1962 67 more cohesion to his reading of the final R espigh~'s pastoral-like L aud to the slow movement, with its curious echoes Nativity, a first recording so far as I can of the Lento from Beethoven's last string trace, was written in 1930. The cantata, quartet; and his solo and choral vocalists a pleasantly evocative work that is display more warmth and precision. rather reminiscent of certain sections in Nevertheless, there is no getting away the composer's Trittico Botticelliano, is from the decisive gain afforded Bernstein not major Respighi, but it is nonetheless by Columbia's splendidly ri ch, powerful, a worthwhile addition to the catalog, and spacious stereo sound. Only in one especially wh en performed as pe r episode do things go so mewhat awry, suasively as here. and that is in the lovely choral move The Magnificat, from Monteverdi's ment. H ere the bright percussion instru 1610 V esp eTs fOT the F easts of the ments are too prominent, and the mezzo Blessed ViTgin, was, of course, originally so prano so loist regrettably stands out intended for liturgical use. In this per from th e musica l t~'(ture rather than formance, the modern instrumentation of emerging from it. Ghedini's 1943 edi tion plus a good-size Minor criticisms such as these not chorus havp brrn uspd, with this concert withstanding, this Mahler Third is a conception being primaril y a large-scale must for Mahler enthusiasts and for and intensc one. "Vallenstein's handling ' lovers of brilliant orchestral playing re of both chorus and orchestra is dynamic corded in first-rate stereo. D. H. and precise, and the recording, while a bit constricted in the louder sections ® A CONCERT AT THE WHITE (there is also some pre-echo ) of the Special Offer! HOUSE. Mendelssohn: Trio No. I in Monteverdi, is quite effective. Complete D Minor, 0/1.49. Couperin: Concert texts and translations are in cluded. I. K, Pieces fOT Cello and Piano. Schumann: ", ", ~ : f Adagio and AllegTo, in A -flat fOT C ello ® ® MOZART: Le Nozze di FigaTO. . , and Piano, Op. 70. Casals (arr.): Song D ietrich Fischer-Dieskau ( baritone) , ~;:. "",:-.. S Issues of of the Birds for Cello and Piano. Pablo Count Almaviva; Maria Stad er (so ~:~ .. , ", Casals (cello ); Alexander Schneider prano), The Countess; Irmgard Seefri ed '" ", THEATRE ARTS .;:~ ( vio lin ); Mieczyslaw Horszowski (soprano), Susanna; R enata Capecchi ", -" for only ;'"" (piano). COLUMBIA KL 5726 $5.98. ( baritone), Figaro; H erth a Topper ",'" $5 .;:;. ( mezzo-so p rano), Cherubino; Li lian ", ", ' " '" '" '" ' " '" '" '" ;,,,' " '" Interest: Great a rtistry Benningsen (mezzo-soprano ), Marcel '" ..... ", '" ""," ' .. ", '" ...... ;:~ ;.' ~:; ",: ~:~ Performance: Excellent lina; Ivan Sardi ( baritone), Bartolo; There's a delightful experience in store each Recording: Very good Rosl Schwajger (soprano), Barbarina. month for theatre lovers who take advantacre RIAS Chorus and Orch es tra, Ferenc of this i ntroductory subscription to Pablo Casals' bow arm has lost a little Fricsay condo DE UTSCHE GRAMMOPHON THEA TRE ARTS Magazine! of its sureness and strength after eighty SPLM 138697/99 three 12-inch discs. Each issue presents a complete play with fiv e years, but the old nobility of con $20.94, LPM 18697/99 $17.94. dozens of actual on-the-scene photos. The Tenth Man ... Raisin In The Sun ... 'Vest ception and the warm humanity are still Side Story . ,. are typical examples, with here. This is not cello playing of the sad I nteresl: O pera tic masterp iece many current favorites soon to come! and soulful sort but manly, intelligent Performance: Good, w ith rese rva t ions In addition, there are monthly Play Reoiews music-making, rich but not loaded with Record ing: Satisf acto ry by internationally-famous drama critics ... opulence, and always in style. The per Stereo Qual ity: Natural the Theatre Arts Gallery, which profiles formance of the Mendelssohn trio is leading theatrical personalities ... offbeat ill' the outstanding feature of the concert, It is hard to withhold praise from this ticles such "as "Why Critics Can't Win", for both string players are at their well-intentioned and lavishly produced "Coffeehouse Theatre", "Saga Of The One Man Show" ... a host of entertaining and bes t. A touch of rhythmic fl abbiness in enterprise, but three superlative recorded enlightening feature articles . . . and a star Horszowski's piano playing, a surprising versions of this opera have created such studded array of pictures, from cover to cover! thing in him, does not seriously mar a a state of affluence that another good The regular one-year subscription rate is mature conception, which is clearly pro Figaro is simply not good enough. DGG's $7 .50- 75( a copy on the newsstand. But vided by the Catalan master. Consider effort is, at bes t, only a partial success; by accepting this Special Introductory Offer, ing the conditions under which it was its strong points ca·nnot ful ly compensate you get eight big issues for only $5. Of made, the recording is very good . The for certain shortcomings. course, your satisfaction is fully guaranteed. image it presents is faithful to all three Conductor Fricsay obtains generall y Mail your order today! instruments. R . B. good ensemble work with a reading ~~ ..;~ ¥ ~:f ~:; ..;~ ~~ t; ..;:t ..;~ ~ ~~ (f ~ ~ characterized by comfortable--occasion THEATRE ARTS • Dept. 662 ® ® MONTEVERDI: Vespro della a lly languid--tempos and sensitive, 104 East 40 Street, New York 16, N. Y. Bea.ta. Ve1'gine: Ma.gnificat. RESPIGHI: caressing attention to orchestral nuances. Please enter a subscription in my name at La.ud to the Na.tivity. Anita Priest (or His control over the singers, however, is the Introductory Rat e of 8 months fo r $5. gan, in Monteverdi); Marie Gibson and not consistent. o Payment 0 Bill me later, Maril yn Horne (sopranos); Charles This is not a homogeneous cast; it re enclosed. Bress ler (tenor); Roger Wagner Chorale; veals widely contrasting approaches to Los Angeles Philharmonic Orchestra, Al Mozartian interpretation. R ecitatives are in itial here fr ed Wall enstein condo CAPITOL SP 8572 m eticulously delivered by some sin gers, $5.98, P 85n~ $4.98. slurred and rattled off by other, whil e name ______~ ~~~~------___ please print the employment of appoggiaturas ap Interesl: Resp ighi d isc p remiere pears to be left to individual di srr('tion. ad dress ______Performance: Intense and devotional The roles of Susanna and The Count Recording: Climaxes constricted ess are in the hands of faultless Mo ci ty ______zo ne ___ sta te__ _ Slereo Quality: Good spread zartians. Seefried's voice may have lost 68 H IFI / STEREO REV IEW TI-IE .STRING quartet is generally considered Warren 5 • a baSIcally abstract form of music. Titles like "The Lark" for a H aydn quartet or "The H arp" MUSI for a Beethoven quartet are simply identification tags based on fancied' resemblances. However, in his last quartet, Beethoven hinted at what the string quartet might become by writing a question and answer over the introduction to the fin a le. THE FAUST legend intrigued and inspired Smetana and Sibelius are among the composers 1 • many composers of the Romantic per-iod. who went on from there, and each wrote a highly Two important composers wrote major pi eces subjective quartet bearing a distinctly autobio based on the tale of the savant who so ld his so ul graphic title. Can you name these compositions? to the devil, and each dedicated his compositi on to the other. "Vho were the two composers, and WHAT is there in the following compositions what are the names of their Faustian works? 6 • that is intimately bound up with very solemn occasions: Handel's oratorio Saul, Beethoven 's TI-IE MARKET places of commerce and in "Eroica" Symphony, and Chopin's Piano Sonata 2 • dustry are far from being ideal spawning in B-flat Minor, Opus 35? grounds for composers of serious music. but they do not always stifle musical inspiration. I can IT IS HARD to take the sentiments of Sweet think of three modern Americans, one sti ll living, 7 • AdeLine seriously today, particularly wheri who have achieved fame as composers, yet who they are sung by a barber-shop quartet. However, never gave up their full-time business careers. All are represented on records, and one of them may reasonably be considered our most signifi cant com poser to date. Can you name them? IT WAS easier to recognize a symphon y back 3 • in the days when one consisted of three, four, or five movements, even in the rare instances where there was a vocal fin ale. Then came the one-movement symphony and, later, the com pletely chora l symphony and the multi-movement symphony. Can you name a symphony in twenty four movements, and a recent choral symphony? ,-, I AFTER writing a symphony at the age of 4 • nineteen, Richard Wagner thereafter stayed away from that form. However, the musical theo when Richard Gerard Husch and Harry Arm , I ries he evolved in orchestrating his music dramas strong titled it, back in 1903, they had a famous impelled other composers to try applying them to star- pictured above-in mind. Do you remember formal symphonic composition. The pro-Wag who she was? neri ans inspired opposition in the more classical minded anti-Wagnerians. Each si de lined up be WI-lEN H aydn was fifty-three, he composed hind its own particular symphonist. each of whom 8 • his lengthiest orchestral work, an hour-long bore his champion's shield more reluctantly than devotiona l composition comprising nine sections. his enthusiastic followers thrust it upon him. \Vho Two years later, he transcribed it for string quar was (a) the pro-Wagnerian symphonist, (b) the tet, and nine years after that made it into an anti--Wagnerian symphonist? oratorio. Can you name this protean masterpiece? ANSWERS , 1. Hecto r Berlioz: The DmnllQt;ol1 of Faust; phony (24 movements) ; Benja min Bdt 6. Each contains an impressive funeral Franz Liszt: A Fallst S.1'IIII1"OIl.lI. ten's Spring Symphony (choral). march; these are the three funeral pro~ cess ionats most f req uently Ll sed tod ay. 4. (a) Anton Bruckner; ( b) Johannes 2. Charles lves (1874-1954): John Alden Carpenter (1876-1951); Avery Claflin Brahms. 7. Adelina Patti. (1909- ). 5. Smetana's String Quartet in E Minor (From 1\1.1' Life); Sibelius' String Quartet 8. The Seven Last Words 0/ the Saviour 011 3. Alan Hovhaness' "Saint Vartan" Sym- in 0 Minor (Voces Intimae). the Cross. JUNE 1962 69 some of the freshness it possessed a mence, too much pm·lando, and not tionary paragons compared to the inter decade ago, but her Susanna is vital, en enough respect for the printed score. preter of Antonio (Georg Wieter ), whose gagingly temperamental, and, executed Fischer-Dieskau's troubl es may li e in his atrocious accents turn his bri ef appear within an impeccable stylistic frame, en unfamili arity with the I talian text; his ance into a trial for the listener. riched by deli ghtful individual touches. recitatives lack nuance and emphasis, DGG's sound is clear and well-defin ed Maria Stader is her equal in sty]jsric ac and in his aria " V edra m entr'io SOSpiTO" but with occasionally disturbing incon curacy, and, th·ough we are accustomed the vocal line is sacrificed to interpretive sistencies in microphone placement and to full er- bodied voices in this part, her exaggerations. \·o lume levels. The album packagi ng is pure and effortl ess tones are a constant Of the remaining sin gers only the Bar tasteful, generous, and luxurious. C. f. JOY· barina of Rosl Schwaiger and the Don Both ladi es leave their partners far Basilio of Paul Kuen are entirely ac RECORDING OF SPECIAL MERIT behind. While Capecchi and Fischer ceptable. Sardi, a good light baritone, is Dieskau give us intelligent and sharply completely miscast in Dr. Bartolo's pon ® ® MOZART: Requ.iem (K. 626). drawn characterizations, neither effort is derous rol e, and the rather ordinary Maria Stader (soprano ); H ertha T op good Mozart. Ca pecchi is in good voice, Cherubino and the inadequate Marce l pn (alto ); J ohn Van K esteren (tenor); but he is dedicated in this instance to li na are further handicapped by faulty Ka rl-Christian K ohn (bass); Munich overi n terpretation-too mu ch vehe- I tali an di ction. Both, however, are clocu- Bach Orches tra and Chorus, Karl Rich ler cond. T ELEFUNKEN TCS 18052 $2.98, TC 8052 $1. 98. Interest, Mozart swansang Performance, Vital Com.par Recording, Very good Ste reo Quality, Very good CAVSTROM This is beyond ques tion" one of the best STEREO/HI-FI KITS ba rgains of the month. The soloists are more than adequate; the chorus is excel lent; and K arl Richter conducts with for value depth of feeling, inward energy, and a sense of drama and exaltation. Greater Compare the featUres of this deluxe vo ices have sung the R ecm·dare, but if Da ystrom AM·FM Tuner, 12-tube }'ou need to be convinced that here is ci rcuit, FM automatic frequency control, flywheel tuning, sepa rate Kit DA·286 lVlozart, play the record through to the tuning lIeyes," FM multiplex ada pter close of that movement. One m ay note output jack. Compare this low pricer im perfections, but there is also here life, urgent and unA agging. R. B. listen to the solid power and fine fidelity of this stereo amplifier-pre MOZART: Trio in E Major (see amp . .. 36 watts (18 per channel) at IHFM standards. with four R AVEL). ste reo inputs, clutched vo lume con ~it DA·282 trols, separate ganged tone controls, ® PERLE: Quintet for Strings, Of}. styled in the spa rkling Daystrom $7995 motif of beige vinyl-c lad steel and 75. BASSETT: Trio for Clarinet, Viola, brush ed anodized aluminum. Look and Piano. Charl es Russo (clarinet), at this low price! VValtf'r Trampl er (viola), Doug la s Nordli ( piano); Beaux-Arts String Quar Enjoy FM in Stereo with this Da y Kit DA· 330 tPl. COMPOSERS RE COR DINGS CRI 148 strom Multiplex Adapter kit .. . easy $5.95. to build circuit complete wi th cabi net and cables. Check thi s low price! Interest, American chamber music Performance, Professional Bring the wonders of high-fidelity FM radio to your home easily and Recording, Good economically with this Da ys trom FM Tuner kit. Wide-band c ircuit features factory-built "front-end," multiplex Both of these chamber works, com posed adapter output, automatic frequency by relatively li ttle-known Ameri cans, are control, f lywheel tuning, and cabi hi ghly respectabl e as to craft, independ net. Extra value at this low price ! (" nt of the inAuence of voguish schools of compos iti on, and quite evidently the for easy assembly wo rk of dedicated composers. Ge·orge Perle (b. 1915 ), whose qu in Compare the ease of D aystrom kit meth. tet dates from 1958, composes in a free ods with any! Multi-color manuals t e ll chromatic style, long-breathed in its lyric what a nd how! P a rts packed in order of use; factory-installed hardw are. gesture and intense of expression. The music start-stops a bit too much for my taste, but its musical statements are for performance utterly convincing. One senses, however, the stirrings of Compare the thrilling Days t rom Stereo/ a rather more personal manner in the H i-Fi p e rformance ... clear, quiet, and at your nearest dynamic. See and h ear t h ese quality tri o by Les li e Bassett-even if this work, D.aystrom dealer components . . . which was composed in 1953 when the DAYSTROM PRODUCTS CORPORATION composer was thirty, is less totall y con BOX 167 I ST. JOSEPH, MtCHIGAN vincing than Perl e's. Much of the faster CIRCLE NO. 12 ON READER SERVICE CARD 70 HIFIj STERE O REV1EW music seems half-hearted and a little RESPIGHI: Laud to the Nativity (see Recording: Stresses clarity mechanica l-as if to meet the necessary MONTEVERDI). . Stereo Quality: Very good requirements for contrasting tempo. But the slow music, a lthough there is nothing SCHUMANN: Adagio and A llegro Although H einrich Schutz's Christmas exceptional about the basic materials of (see MENDELSSOHN). Story was not his only work in oratorio its distin ctly tonal language, hints a t the form, the composer's imagination here, sort of authentic musical personality that ® ® SCHuTZ: Histol"ia del" Gebu~· t especially in the development of the re makes one (l nticip·ate with more than .lesu Christi (The Cll1·istmas Story). citative, far transcends anything he had ordin (l ry cu ri os ity othrr (ln d futur(' wo rk s Adele Solte (soprano) , Angel; Hans Ul done previously, as, for example, in The bv th is composer. W. F. ri ch Mielsch (tenor), Evangeli st; August Messthaler (bass), J-Ierocles; Schwae R esurrection (DGG Archive 73137/ PERONIM: Viderunt omnes (see bi sc her Singkreis and Orchestra, H ans 3137). Written in 1664, eight years be MACHAUT). G ri sc hkat condo Vox STDL 500780 fore his death, this music· is a touching $4.98, DL 780·::· $4.98. account of the birth of Christ, built ® ® RA VEL: T~·io , in A Minor. MO mainly around the part of the evan gelist. ZART: Trio, in E Majo·r (IC 542). In terest: Pioneer oratorio I t is no exaggeration to say that it is a Yehudi Melluhin (violin ), Gaspar Cas Performance: Expressive work of true genius and a towerin g sado (cell o), Louis Kentner (piano) . ANGEL S 35630 $5.98, 3563 0·"· $4.98. I nterest: Virtuoso trios Performance: Problematical Recording: Lacking detail Angel's Musical Ste reo Qua lity: Just Offering for June: Whil e this record should have bee n something to cheer about, it seems to this BACH: THE MUSICAL rev iewer that th e boat has quite ck arlv OFFERING (S) 35731 been mi ssed. ' '''hi le the Ravel trio h(ls a certain sokmnity that is perha ps not ~1~~1~~:S ~~~~~I:at h Fest i~ usual with thi s composer, its mood is, in Chamber Orches tra the mai n, gravply tender; its so lemnity QUARTETTO ITALIANO is not to be confused with heavy pathos, __ (S) 35732 its reRective S(ldness is not breast-beat Ravel: Quartet in F ing. The perform ance here has (I 11('(I\·i Mozart : Quartet in G Ma jor. K. 156 ness of articul ation that produces a so rt of Slavic moroseness that seems to me QUARTETTO ITALIANO quite unsu itable to the music. (S) 35733 The Mozart, for its part, suffers so me Schumann: Quartet in A Major. OP. from being fussed over and, on occasion, ~ n~~nn'" 41 No.3 sentimenta li zed, although the over-all ~~~: Stravinsky: Three Pieces For String conception is surely more sound than ~ : (l/1V Quartet that of Ravel. ~~ . ~ -S:"-PA-N-IS-H-S-O-N-G-O-F-T-H-E-- It should be pointed out that, takf'n ~a.!;;r RENAISSANCE (S) 35888 FSl simply as poli shed execution, the play VICTORIA DE lOS ANGELES ing is altogether bea utiful in both works. The Ars Musicae Ensemble (MUSical But the recorded so und, in emphasizin g instruments of Renaissance Spai n) ri ch sonority rather than brightn('ss and KARAJAN CON DUCTS clarity, fall s prey to the same error as OVERTURES (S) 35950 the interpretation. HI. F. Berlin Philharmonic Orchestra Herbert von Karajan. Conductor ® ® SCHUBERT: Quintet, in C Weber: Der Freischutz Major, Of). 163. N('w York String Sex Mendelssohn: The Hebrides tet. 20TH Fox S 4010·"· $5.98, M 40 10 \Vagner: Lohengrin $'1.98. Wagner: The Flying Dutchman Nicolai: The Merry Wives of Windsor Interest: Schubert masterwork Performance: Inadequate HOFFNUNG ASTRONAUTICAL Recording: Passable MUSIC FESTIVAL (S) 35828 The Hoffnung Symphony Orchestra T he somber hues of this music are prop The Hoffnung Choral SOciety The Trumpets & Drums of the Royal erl y displayed, but the over-a ll aural ef Mili tary School of Music. fect is ti ght, dry, rather harsh, and The Happy Wanderers altogether too far forward. The playing would suit Beethoven better than Schu JOHANN STRAUSS: THE GYPSY BARON (S) 3612 B/l bert. In the first movement a rough mus cul arity often replaces energy, whi le the Featuring: Hilde Gueden. Erich Kunz. Anneliese Rothenberger and great hovering arch of tonalities in the Ka rl Terkal adagio is but dimly perceived. The cav Vienna Philharmonic Orchestra ernous tri o of the scherzo is fai rly well Singverein Der Gesellschaft explored, though by candleli ght. T he 11- Dcr Musikfreundc Heinrich HoJlreiscr. Conductor nale lacks conversational case. R. B. CIRCL5: NO. 3 ON READER SERVICE CARD 71 JUNE 1962 is an acceptabl e but not impo in g enough achievement. After a slightly staid be Extreme tempos are the order of the ginning, tl1(' present performance warms day: andantes that often drag at a limp R amfis. In totality, the ine\'itable compari son lip beautifully, attaining an admirabl e pace, prestos that are nearl y always between the t\\'o stereo Aldas works out dramatic pulse and spiritual conviction breathless. Like a four-minute miler in in favor of London OSA 13 13. It is hard with a range of expression that makes the last lap, Solti invariabl y wraps up Ihis disc a fair competi tor to the ve rsion finales and scene endings with a dash to express preference between RCA by th(' excell ent vVestHili sche Kantorei down to the wire. The understandable Victor's outstandin g Alda-Amneri s-Amo on Cantate T72095. In addition to the reluctance of orches tra and singers to nasro trio and its equall y brilliant Lon fine so loists and clear diction of th e cho follow th e co nductor's lead blindly ex don counterpart (Teba ldi, Simionato, ru s, mention must be made of the C'xce l plains the recurrent instances of rh yth and M acN eil ), bu t Bergonzi is a more lent instrumentalists (particularly gam mic unsteadiness, ragged attacks, and satisfying Radames and London's sup bas, recorders, and trum pet ) who are so me coarse-textured orchestral playing. porting cast and chorus are also superior. spotli ghted in the recording in a man There arc also in tonation Aaws, no more As for musical direction, there is no con ner almost imposs ibl e to ba lance in a than one wou ld find in an average stage test. Karajan's pacing is often deliber li ve performance. Notes are in cluded, performance, but enough to become an ate, but it is part of a logica ll y built con bu t the text can be obtained on ly by noying on repeated listening. ception along spacious linC's, and it is writing directly to Vox. I. K. The performance is redeemed by the always superbly controlled, balanced, exceptional contribution of the singers. and, thanks to a superior orchestra, Aaw STRA USS: Salome (see p. 56). The intense, elemental A'ida of Leon less ly executed. While both stereo ver tyne Price embodies so me of the quali sions offer sumptuous sound, RCA Vic STRA VINSKY: Monumentum pro Ge ties that have made the Callas, Mi lanov, tor creates a rea onable balance between l'I£aldo (see GESUALDO). and T ebaldi portraya ls indi vidually m em sin gers and orchestra-an plement too OI·able. In sheer techni cal command of often missing in the London se t. C. J. RECORDI NG OF SPECIAL MERIT ® ® VERDI: Aida. Leo ntyne Price (so prano ), Aida; Rita Gorr (mezzo-so prano), Amneris; Jon Vickers (tenor), R adames; R obert M errill (baritone), Amonasro; Giorgio Tozzi (bass), R am fi s; Plinio Clabassi (bass), The King. Rome Opera House Orchestra and Cho rus, Georg Solti condo RCA VICTOR LSC 6158 three 12-inch discs $17.94, LM 6154 $14.94. Interest: A ida No_ 2 in stereo Performance: Some great singing Recording: Excellent Stereo Quality: Restra ined b ut g ood The cast of this A'ida is an impresari o's dream. The sound represents the last word in tonal splendor. So painstaking was the musical preparation that, as we learn from the album essays, Egy pti an trumpets (whatever they are) were im ported to lend an extra touch of authen ti city to the Triumphal Scene. What more can one ask? W ell , one could ask LEONTYNE PRICE for a conductor who is moved and in For sheer technical command, the greatest of today's Aidas spired by this opera and who can com municate its poetry, pomp, and passion the role Price surpasses them all. Rita ® VERDI: Falstaff: L'ol/ ol'e! ladTi!; through the superlative means of expres Gorr is less \'ital in her character de- R eveTenza . .. . Signor! V'assista il ciel!; sion placed at his disposal. In this in lineation, but her sin ging is admirabl e Ehi! T avemieTe. Mari ano Stabile (bari- stance, however, one must regretfull y in its tonal richness and perfection of tone), Afro Poli (baritone), Vittoria settle for the emphatically individual line. True to his established form, Rob- Palombini (mezzo-soprano ). Otello: Una and unpredictabl e Georg Solti. ert M erri ll is a monum ent of tonal vela! (Opening Chorus) ; Fuoco eli giaia; Virgil Thomson once observed that strength and expressive power. H e should, D io ti giacondi; Dia! mi potevi scagliaI'; Bruno Walter's Magic Flute was so su however, chec k a growin g tendency to Niun 'mi tema. Aurcli ano Penile (tenor ), premely satisfyi ng "one was unaware break the line of hi s cantilena by melo- Gina Cigna (soprano ); Chorus and Or- there was any conductor at all." Georg dramati c accents-thi s is a device to be chcstra of La Scala, Milan, Alberto Solti, on the other hand, is right there, left to si ngers who la ck his vocal re- Erede condo TELEF UN KEN TH 97011 between you and Giuseppe Verdi, and sources. $ 1.98. not for a moment does he let you forget There is much to admire in Vickers' it. There are, to be sure, moments of strongly conceived and artisticall y I nterest: Historical high excitement in his reading, and there phrased Radames, but his singing can Performance: A uthorita tive are others of sustained, gripping lyri not match Bjoerlin 72 HIFI ,' STEREO REVIEW 1l!I~~~~Il!IIl!IIl!I~Il!IIl!IIl!IIl!IIl!I~~Il!IIl!IIl!I@Il!IIl!I~Il!IIl!I~~Il!IIl!IIl!I~Il!I~~Il!IIl!I~~~~~~~~~~~~~~~~Il!I~1l!I~1l!I1l!I1l!I1l!I1l!I1l!I~1l!I1l!I1l!I~@~~~~~~~~~~~~~~~1l!I1l!I ~ ~ ~ ~ ~ MORE CLASSICAL REVIEWS I /llI Il!I I DATA COMMENTA RY I /llI IN BRIEF Il!I ~ Il!I ~ Il!I ~ Il!I ~ ® ® DITTERSDORF: Hart} Concerto, m A WlafoL T lw namC's of Karl Di tters von Dittersd orf a nd J ohann III ~ G. HOFFMANN: iUandolin Concerto, in D lItIajor. Irm- Tron'ma nn a rc se ldom resurrected today from hi story books. ; /llI gard Helmis (ha rp ); Radio Berlin Chamber Orchestra, n ):h of their lI'orks h ere, com petently p erform C' d : a re of Il!I ~ H erbert Haarth cond.; Gerd Lindner-Bonelli (mandolin ) ; ilHerest prima ril y as novelties. SteH'o qllalil'y is primiri\'C' III ~ R adio L eipzig Symphony Orc l1<'5t ra, G erha rd PALiger ('o nd. at bC'st, with little discernible localization of instruments III /llI URANIA US 57 110 $5.98, 7110'" $4.98. ot l1<'r I han th C' o\'C' rly loud soloists. ! . K . ~ /llI Il!I /llI Il!I /llI OffC' r C' d h C' re arc' excerpts from Dyorak's g reat o pC' ra tic sur- [l!J ~ ® DVO[tAK: R'Usalka (excerl}ls). Ludmila Cervinkova (,C'S5 of 190 I. T he musIC IS lyri cal a nd orchestratC'd lI'ith ; IllI (so prano), Beno Blachut ( tenor ), Edua rd H a k C' n (bass ) . skill and d elicacy, but it lacks individua li ty a nd a cC' rtai n Il!I /llI Il!I /llI Chorus and Orchestra of the Prag ue N a tiona l TheatTC', dra matic urg-e ncy. This per fo nnance IS more id iomatic Il!I ~ J aroslav Krombholc condo SUPRAPHON SUA 101Ol $5.98. than til(' formC'r Urania version, but the strainC'd sin gin g i /llI o ff C' rs on lv mociC'rate enjoyment. C . J. Il!I /llI ~ /llI Il!I Il!l ® DVORAK: jllass, in D Major, 0t). 86. Prague Sym- "Vith til(' prc'sC'nration of both of thC'sC' lI'or ks da ting from Il!J Il!l phony Orchestra a nd Czech Philharmonic C ho ir, Vac1av the composC' r's peak peri od , th C' record C' d r C' IJI"C'sC'ntation of ; /llI Smetacek condo 11uSICA SACRA AMS 29 $5.98. Dvora k's lirurg ical music for chorus and o rchestra i nearl y Il!I /llI Il!J [ill ® DVO[tAK: Te Deum, OJ}. 103. Prague Symphony Or- compiPte. The performances arc first-ratC', a nd th C' sound, Il!I \ii\ chestra, Czech Philharmonic C hoir, V aclav N euma nn cond . though a bit distant and res tricted In dynamic ra ng-C', JS III Ilil M usICA SACRA AMS 5007 $4-.98. stil l enjoyable. C. J. i /llI Il!I /llI ® ® M . HAYDN: Conce,-to, in D iV/ajor, fm' Flute and As far a. T ha\'e b C'C' n a bl e to discowr, rhC'5C' works, rang- Il!I ~ Strings. K. ST AMITZ: Conce1·to, in G lItIajor, for FI-u.te II1 g from TC'iPmann through M ichaC'1 H aydn, a rC' n C' w to ill Ilil and Strings. TELEMANN: Concerto, in D Major, J01' rC'co rds. A llhough Cami ll o ''''anausC'k's C'kgant tonC' a nd ; /llI Flute and Strings. Camill o Wanausek ( Aute); OrciH'stra livC' ly rhythmic sC' nsC' ar C' well supportC'd by a styl ish or- Il!I Ilil of the W iener Musikgesellschaft, Anton H eill er condo Vox chC'st ral accompanimC'nt, the recording is overl y reverbera nt II ~ STDL 500.810 $4· .98, 81 O+:· $4.98. and the stereo eff ects obtrusive. T. K . ;: M ~ /F.I ® ® MOZART: Eine kleine N achtmusih (K. 525); Ge1" Il!J /llI With th C' C'xception of th C' dC' lightful and C'ncha ntingly per- liiJ Ij(' man Da.nces: K. 600, No. 5; K. 602, N o.3; K. 605, No. 3 f d N,r d I ' . t1. . Il!I ''o'' nne 10za rt ances, t l e II1terpretatlons 111 liS cunous ,<>1 [1;i ("Sleighride"); Ave, verttm C01·tntS (K. 618). HANDEL: ~ '''' hodg-e-podge coll ection arc overl y sentimenta l. One ca n "" /llI Water Music SU'ite (Arr. Ha.rty). Chorus of G esellsc ha ft Il!I /llI onl" rC'g rC'l thC' evid r nt wastC' of such fin e orchestral qual- Il!J /llI d er Musikfreunde, V ienna, Phi lha rmonia Orchestra; Brrlin Il!J IW1 ity, for the playing of the Berlin Philharmonic is no less Il!I :;;: Philharmonic, H erbert von Karaja n condo ANCEL S 35948 ,; '''' than magnificent. I . K.. "" /llI $5.98, 3594 · 8~' $4-.98. Il"!J /llI Il"!J [1;i'''' TIII'S \\" o rk' , un d en'l a bl y we II -('ra f te d (I nc I IaV I. SII 1 y score,d JS' ""~ Jill ® ® PEPPING: Tecleum. Agnes Giebel (soprano ), Horst a bllsilv contrapuntal and, fo r all its wand ering chro- !II fi.lI Gunter (baritone) ; C hoir of Dresden School of C hurch ma ti cism , distinctly nonrevolutionary pi rcC' of music. It Il!I ~ Il!J fi.lI Music, Dresden Philharmoni c Orches tra , 11artin Fl a mig rC'ce l\'C's a symp(ltheti c performance from th e o rchestra Il!J I condo D EUTSCHE GRi\~IMOPHON 138409 $6.98, 18409":' and its two excell ent soloists. Howevrr, the recording is !II ~ $5.98. disa ppointing 111 its lack of resol)ance and in consistent Il!J fi.lI Il"!J ~ bala n cC'. C. f. Il!I fi.lI Il!I ~ This recording was m ade during Miss Fliss lC'r's 1960 tour !II !lli of the USSR. One might wish for a bC'tter recording, for Il!I /llI ® PROKOFIEV: Violin Sonata No. 1, in F Mino,-, 0t). Il!I ~ the sound is a little watery, a nd the violin-piano balance Il!I /llI 80. PORTER: Violin Sona.ta N o. 2. J oyce F liss ler (vio- Il!I ,; IS oddly on-again-off-again. The works are extrem ely at- Il!I '''' lin), Harriet Wingreen (piano ) . ARTlA MK 157 1 $4.98. "" il!i tractive a nd listenable, however, a nd the perfo rmances ,!!, ~ Il!I /ll1 have SWC'C' p a nd conviction. HI. F. i!!l /llI Il!I itlI ® ERNA SACK: The Voice of Erna Sack. Johann In the days o f the Third R eich they call ed Erna Sack the !II I Strauss: Voices at SjJring; Blue Danube; R oses tTom the "German N ightingale," and her phenomena l vocal range !II ~ South. Arditi: Pari a Waltz. Silcher: Jubilate. Josef Strauss: a nd unusua ll y facile staccato technique m a naged to cam- Il!I iii Village Swallows; and ten oth ers. Erna Sack (soprano); ouAag-e som e considerabl e a rtistic limitations. Contrary to III I Berlin State Opera chorus and orchestra, vanous condo the long-wind ed ecstasy of the jacket liner, this recording \1\ ~ T ELEFUNKEN TH 97004 $1.98. is nothing mo re than a tryi ng display of sad Sack. C.1- Il!I ~ ~ I If it is true that the vogue for Shostakovich's music is on I ~ ® ® SHOSTAKOVICH: Conce1·tos for Piano: N o.1, 0t}. the \\"ane, som e reasons for this state of affairs a re evident !II III 35; No.2, Op. 101. Eugene List (piano); Berlin Opera 111 these " 'ork , for the music simply does not wcar well. Ii II Orchestra, George Ludwig J ochum condo W'ESTMI 'STER E ugene List's performances arc polished and sophisticated, III fi.lI XWN 18960 $4.98, 1414F' $4.98. but the recorded sound gives too much prominence to the Il!I ; pi ano. W. F. ~ Ili\ "" ~~~~~Il!I~~~~~Il!IIl!I~~~~Il!I~~~~Il!I~Il!I~Il!I~~~~Il!I~~Il!I~~~~~~~~~~~~~~~~~~~~~~~~~@~~~~~~~~~~~~~~~~~~~~~~; JUNE 1962 73 Twenties-were ever noted for unusual Interest: Vivaldi bouquet Interest: Vivaldi vocal firsts vocal endowments. They were superbly Performance: Full-bodied virtuosity Performance: Good gifted dramatic interpreters with a fl air Recording: O verly brilliant Recording : Atmospheric for making some of the most demanding Stereo Quality: Very fine Stereo Quality: Fine roles of the repertoire strikingly their own. Pertile's Otello and Stabile's Fal Of this vari ed and well -planned two-disc Psalm 126, a lengthy and often imagi staff were such widely celebra ted char set, only the Flute Concerto in D (P. native work for solo contralto, orches tra, acterizations that there is every reason 203 ) seems to be completely new to and organ continuo, is unmistakably Vi to welcome this generous documentation. records. The performances are typical of valdian in its melodic and rhythmic de Unfortunately, by 1942, when these ex the effortl ess virtuosity and full-bodied vices, with a particul arly striking and cerpts were recorded, Pertile was fifty pl aying of this fine ensemble, although lovely sici liano, Cum ded eTit. The Mag seven and Stabile fifty-four, both con in the lack of many stylistic practices, nificat, which is performed here in the siderably past their peak. The magnetism such as the addition of omamentation composer's second setting, seems to have of their portrayals and the complete and embellishments, and even in such fired Vivaldi's inspiration mainly in the identification with their roles is evident, necessary details as the correct execution choral sections, which are grand in scope. but there is little aural pl easure to be of trills, I Musici are far from faultless. The so lo arias, though never mediocre, gained here. Stabile is assisted by a top There is, however, an emotional involve fall back on th e sa me sequential pat notch supporting ensemble in the roles ment in their renditions, an I tali an senti terns found in so many of hi s instru of Ford, Bardolph, Pistol, and Dame ment and a lovely singing quality that mental works. Annamaria Rota, who Quickl y; but on the Otello side the pres are most appealing. Furthermore, in such possesses an agreeable if not outstanding ence of the celebrated Gina Cigna as a work as the Concerto for Two Mando voice, handles her florid passages with Desdemona adds far less than one would lins there is an infectious vivacity that is great agi lity, while th e other soloists, the hope. Though a fair value, the disc is not equaled in the two other versions chorus, and the orche tra are a ll highly recommended only to historicall y minded available (Max Goberman and L eonard competent. Stylistica lly, more mi ght have li steners. G. f. Bernstein ). The widely separated stereo been done with vocal ornamentation, is very eff ective, particularly in the dou es peciall y in the cad ences, but one should ® ® VIVALDI: Concertos: in A M inoT ble concertos, and the imaginatively be grateful to have these first recordings for Oboe, Strings, and Continuo ( P. 42); played harpsichord continuo is com that represent an a pect of Vivaldi that in E Minor for Bassoon, Strings, and Con pletely audible. The over-all sound strives is too often neglected. The sound, aside tinuo ( P. 137); in C MinoT fo r Flute, for more brilliance than some hi-fi own for so me unpleasant choral climaxes on Strings, and Continuo (P. 440); in D ers may desire, and for me, at least, some the second side, is ,·ery good. T exts and Major for Flute, Strings, and Continuo treble cut is necessary. I. K . translations are in cluded. I . I<. . ( P. 203); in A Minor for Two Violins, Strings, and Continuo ( P. 28); in C Ma ® ® VIVALDI: Psalm 126, "Nisi Do· COLLECTIONS jor for T wo Flutes, Strings, and Continuo minus"; Magnificat in G M ·inor. Emilia ( P. 76); in G Major for T wo Mandolins, Cundari and Angela Vercelli (sopranos, ® ® ANTHEIL: Ballet !l!Jecanifj'l/.e. Strings, and Continuo (P. /33); in D in Magnificat ); Annamaria Rota (con CHAVEZ: Toccata fo/· Percussion. Minor for Two Oboes, Strings, and Con tralto ); Bruno De Poli (viola d'amore, HOVHANESS: October Mountain. Lo tinuo ( P. 302). Leo Driehuys and Ad in Psalm ); Polyphonic Choir of T urin PRESTI: Sketch for Pacu,ssion. Los Mater (oboes); Marco Costantini (bas (in Magnifi cat); Angelicum Orchestra Angeles Chamber Ensembl e, Robert Craft soon ); Severino Gasselloni and Giovanni of Milan, Carlo Felice Cilia rio condo condo :Manhattan Percussion Ensemble, Gatti (flutes) ; Felix Ayo and Roberto M US IC GUILD S 11 (Available from Mu Paul Price condo UR_~"[A US 5134 $5 .98, Michelucci (violins ) ; Gino del Vescovo sic Guild, 111 W. 57th Street, New York l\tf 134·:" $4.98. and Tommaso Ruta (mandolins ) ; I 19, New York ) $4.87 to subscribers, Musici. EPIC BSC III $11.96 two 12- $6.50 to nonsubsc ribers; M 11·:· $4.12 to Interest: Percu ss ion va riety inch discs SC 6040* $9.96. subscribers, $5.50 to nonsubscribers. Performonce: Ded icated I MUSIC! Infectious vivacity and a singing quality for the music of Viva ldi 74 H IF1 / STEREO REVIEW WHAT Recording : Good CARTRIDGE Stereo Quolity: Sensible SHOULD YOU This neat package tells an interesting story about the various ways in which USE IN different composers approach the prob lem for composing music for percussion YOUR RECORD instruments. The most celebrated work involved CHANGER? here is, of course, Antheil's Ballet M tJ canique, which scandalized both Paris THE selection of a cartridge for use with a record changer-mono and New York during the Twenties. Wild or stereo-would appear to pose no special problem. Yet, there are and wooly as it may have seemed then, certain things to be considered. its logic is crystal-clear now, its bark A cartridge that tracks at some featherweight fraction of a gram may worse than its bite. The wo rk's continuity introduce problems if the record changer arm is not capable of track depends largely on the piano functioning ing at that force. To adjust it, and attempt to use it at such a low force as both a melodi c and harmonic core; may introduce complications. Joe Marshal, noted audio authority, dis the percussion effects-the fJUr e ones cussed this in his article INSIDE THE CARTRIDGE (High Fidelity Maga are in the last analysis more external zine, Jan. 1962)-HAn attempt to ?'educe needle pressure with an arm decoration than part of the essential not designed for low needle p1'eSSW'e will usually result in high distor structure. tion due to loading the needle with the mass and fTiction of the arm." The Chavez piece is pure percussion throughout: intellrctual, poetic, without Induced hum is another problem to be considered and anticipated with debt to pitch-giving instruments for its a magnetic cartridge. The very nature of the magnetic cartridge logic. Both the LoPresti and Hovhaness makes it an efficient hum transducer. In the field of an unshielded AC works use the percussion concept more motor, it is prone to reproduce hum in the loudspeaker system. or less impressionisti cally. W. F. The record changer owner must make fairly certain that the tracking capabilities of the arm and motor shielding are suitable for use with ® BERGER: Serenade Concertante a magnetic cartridge. He can avoid these complications, and enjoy (1951). Brandeis Festival Orches tra, Izler superlative performance by selecting a ceramic stereo cartridge. Solomon condo FLANAGAN: A Concert Ode ( 1951 ). Imperial Philharmonic of Sonotone was the first to develop the use of ceramics in piezo-electric Tokyo, William Strickland condo HElL phono pickup applications. And today, the Velocitone cartridge stands NER: Chinese Songs (1951). Mitsuko out as one of the most notable attainments in high quality record Maki (soprano); Imperial Philharmonic reproduction. The Velocitone tracks at 2 to 4 grams - well within the of Tokyo, William Strickland condo capabilities of any record changer arm. And it will perform in the PINKHAM: Concertante No.1 (1954). magnetic field of an entirely unshielded motor without the trace of Robert Brink (violin) ; Claude J ean magnetically induced hum. Chiasson (harpsichord); Edward Low With magnetically induced hum and stylus force problems out of the (celesta) ; String Ensemble, Izler Solo way, here's the kind of performance you can expect from the Veloci mon condo COMPOSERS RE CORDINGS CRI tone; usable frequency response from 20 to 20,000 cycles (± % db 143 $5 .95 . from 20 to 6,000 cps; ± 1 db to 17,000 cps). Output is 11 mv. per channel with better than 25 db separation. Interest: Varied contemporary Americans Performance: Fine The Velocitone is provided with matched equalizers (no tools re Record ing: Satisfactory quired) so that it operates as a constant velocity dev ice, and can feed directly into the 'magnetic' phono input of any stereo preamp. What's In tIlls well-planned and varied co ll ec more, the Velocitone's performance is unaffected by extreme tempera tion, an abundance of melodic substance ture and humidity changes. is common to all four works. In other re The Velocitone, priced at $26.50 with two 0.7 mil turnover diamond spects, their styles differ widely. The four styli, gives you, in effect, two cartridges for the price of one. With Chinese Songs by Irwin H eilner, a music diamond/sapphire combination, the price is $23.50. Ask your hi-Ii librarian in Passaic, N ew J ersey, and the dealer to demonstrate the Velocitone, the cartridge that is perform least-known composer of tIle four, are ance-matched to your r ecord changer. Write for descriptive literature. extraordinarily simple, yet highly atmos pheric. The Japanese soprano Mitsuko Maki sings them in English with great sensitivity. William Flanagan's' lyric and SONOTONE®CORPORATION well-organized Concert Ode is a fine ad ElECTRONIC APPLICATIONS DIVISION • ElMSFORD, NEW YORK dition to discs, and it receives a convinc CANADA: ATLAS RADIO CORP., TORONTO ing reading from the excell ent Japanese orches tra. Both Dani el Pinkham's and CARTRIDGES • SPEAKERS • TAPE HEADS • MIKES Arthur Berger's pieces were originally ELECTRONIC TUBES • BATTERIES • HEARING AIDS issued on MGM E 3245 in 1956, and their reissue is welcome both for the music it self and for the possi bility that more per formances in this now-defunct catalog may be resurrected. The playing of these disciplined, vital compositions is very good, and the recording is quite satisfac tory, if not as smooth as that of the Flana gan and H eilner works. I . K. JUNE 1962 75 CiRCLE NO. 34 ON READER SERVICE CARD RECORDING OF SPECIAL MERIT ® ® INSTRUMENTAL MUSIC FROM THE COURTS OF QUEEN ® ® COPLAND: An Outdom' aVe!"· ELIZABETH AND KING JAMES: ture. MENOTTI: Suite from Amahl Holborne: The Honie Suckle; The Fairy and the Night Visito1"S. RIEGGER: R oun d; Sic S empn: Pavana Ploravit; Dance Rhythms. EL''''ELL: Suite from Gallia1'd; Pavan; Gallia:rd; H eigh ho H 01- The HajJPy HyjJocrite. SHEPHERD: ida)'; The Wanton; The Choise. W ard: The Old Chisholm Tmil from "H01"i· In N amine Ii 4. Byrd: L ord Willobies zons." Cleveland Pops Orchestra, Louis W elcome H ome. Morley: Il Lamento. Lane condo EpIc BC 1154, $5.98, LC Lupo: Fantasia Ii 3; Fa ntasia Ii 6. Cope 38 1 9~' $4.98. rario: Fantasia Ii 5. Gibbons: The L01'd Salisbw")' his Pavin. Anonymous: T wo Interest: Easy American moderns Masque Dances ( Williams his lo ve; The Performance: Smooth and professional Mountebanks' Dance). New York Pro Recording : Excellent Musica Instrumenta l Ensembl"e, Noah Stereo Quality: Tastefully directional Greenberg cond o D ECCA DL 794·15 $5 .98, DL 94 15 $4.98. This disc is designed as a sort of cautious introduction to contemporary Ameri can Interest: Renaissance collection music, aimed, one gathers from the sleeve Performance: Worthy annotation, at younger li steners. Thr ef Recording : Vivid fort, from any point of view, is entirely Sterea Quality: Lacks depth successful. The music is all conserva ti ve, according to present standards, but There is a truly delightful Aa\'or to the it is all soli d and good. The reading of dances in Anthonv H olborne's coll ection Copland's Outdoor O verture - a piece when one hea rs th r m pl ayed by the orig as cl ean, bright, and fresh as it must hm'e inal R r naissance instruments. Though seem ed in its fi rst performance nearly thev lack the modr rn smoothness of tim SVIATOSI.AV RI CH T ER twenty-fi ve years ago-is a special pleas bre to whi ch we have become accus A singular approach to Prokofieff ure and worth the price of the record by tomed, thNe is nothing quaint either about the sound or the performances on more I am lcd, at [rast occa ionally, to itself. W. F. question its va lidi ty even as I admirC' it. this disc. Indeed, the effect of the mixed Observr, for example, his ,,"ork with the ® ® FRENCH ORGAN MUSIC: Wi· conso rts fa ll s remarkably naturally on Prokofi rff Sonata on this program. dor: T occata, /1'0111. GTgan SymlJhony the ear, if one can envisage the costumes The ha rd dynamism that we think of N o. 5, Saint-Saens: Fantasia, in E-flat and courtirrs of a masque in the tim r of as so cha racteri stic of the composer's Major. Franck; Grande Piece H ero/que. E li zabrth or J ames. Crrtainl y, thi s well style is softened ; furthermorr, the highl y Gigout: S cheTzo, in E MajoT. Vierne: prepared coll ection helps one imagine unified, essentiall y classical form al el r Final/rom O Tgan Symphony No. I. such an atmosphere. sign that contains Prokofieff's keyboard Alain: Litanies. Dupre: VaTiations on a Thr admirably va ri r d selections, al thought is given a treatment just as ex Noel. E. Power Biggs (organ). COLU M ternating between large and small com pansivr as that of the Chopin ball a cl e on BIA MS 6307 $5.98, ML 5707'::' $4.98. p] rments of rrcordr rs, cornctts, shawms, the sa m C' recording. sackbuts, krummhoJl1, and percussion, as Ri chter' extraordina ry musicality Interest: French organ romanticism well as rrcorder solos, and harpsichord makes all of this work, and work con Performance: Just right and organ pieces, arr performed wi th vinci ngly. So convincingly, in fart. tha t Record ing : Excellent style and grrat \·rl"\"e . The so und is ni cely one must forcibly remind onesel f to ques Stereo Quality: Excellent spread in stereo but so mewh at lacking tion the relevance of what Ih e pianist in drpth, and mv copy was partiall y does to the actuality of the composer's This music, full of ''''agnerian figures in marred by so me grooye damagr at the the right hand, punctuating chords in end of the fi rst sid C'. The monophonic manner. There is some ravishing work on this the left, with weighty pedal themes be version of this enj oyable recording cap low, demands boldly colored registra tures the unusual sonorities with equal disc, of course. A wonderful Iv grave and tion and a readiness to forget what mi ght vividness. I. K . pliant reading of the H aydn ; a Chopin be call ed ecclesiastical style. Both de ball ade full of a ort of touchingly reti mands are met, and to Mr. Biggs's credit, ® ® SVIATOSLAV RICHTER. cent romanticism ; and D ebussv perform it must be said that he also resists the Haydn: Sonata .. in G A1inOT. Chopin: ances that a re ravishing as pianislll, but, temptation to play the organ rather than Ballade, in A-flat, Gp. 47. Debussy: once again, oddly persona l to Richtrr. the music. Within the idiom this is true Preludes: Voill's; La Vl'n t dans la Plaine; The recording is clrar, if subdued; the organ composition, for it is a common Les Collin es d'Anaca jJTi . Prokofieff: So disc, as a whole, is a must for Richter fans. W. F. mistake to suppose that the composers nata No.8 in B MajoT, Gp. 84. Sviatoslav of the romantic Frrnch school regarded Richtrr ( piilno ). D EUTSCHE GRAMMO ® T ALMA: Toccata. FINE: Alcestis. their instrument as a rival or substitute PHON SLPM 138766 $5.98, LPM 18766'" for the orchestra. This is not a music of $4.98. PERRY: Short Piece. HOWE: Spring Baroque texture, and so the theoretic Pastoml. DANIELS: Deet> Fm·est. Im motifs are given symphonic salience. As Interest: Richter in recital peri al Philha rmonic of T okyo, ''''illiam for the recording, it achi eves total suc Performance: Often miraculous Strickl and condo C01V[POSERS RE CORDING cess. The sound is bold and transparent, Record ing: Fin'e I NC . CRT 145 $5 .95. and the voluminous bass wi ll gratify the Stereo Q uality: Delicately apt hi-fi fan. The stereo effect is fin e, dis In terest: America's lady composers tinctly antiphonal when necessary, and The more I am exposed to Richter's Performance: So-so broadly massive when all octave cou performances of the twentieth-century Recording: Ditto plers and combinations are brought into repertoire, th e more I am struck by the play. R. B. singularity of hi s il pproach to it. And the CRI's annotator has asked us, wi th regard 76 HIFI / STEREO R EVIEW to this release, to forge t about th e woman MORE CLASSICAL REVIEWS composer as a separate phenomenon; and, whi le the point is perhaps well taken; I might suggest that we might do thi s more easily if wo rks by fin of them had not * IN BRIEF * been released on one di sc. Like anybody else's music, however, the DATA COMMENTARY pieces here are variable. Louise Talma's ® ® BOITO: Mefistofele. Giulio Neri Were this eight-year-old recording a low pi ece throws off strong echoes of the spe ( bass ) , M efistofele; G ianni P oggi price reissue, one would hail it as a bar cifi cally Stravinskian nco-classicism that (tenor) , Faust; Rosetta Noli (soprano ), ga in. It is not, however, and while th e is its styli stic sourcr; V ivian Fine's work, Margherita; Orchestra and Chorus of performance is good, London's stereo the result of a M artha Graham commis production offers superi or sound. In the sion, is both competent and appropriately Milan Opera, Franco Capuana condo murky. Both the Mary I-lowe and the URAN iA US 5230-3~' three 12-inch discs present age of recording one ' cannot ex Mabel Daniels pieces are examples of $ 17.94, UR 230 $14.94. cuse Urania's noisy surfaces. C. J. what I can only describe as feminist neo ® BRITTEN: A Ceremony of Carols. A relatively unhackneyed choi ce of rep impress ionism (early school ), whil e Julia CAROLS OF MANY NATIONS. Phi l ertoire and a rich recorded sound are Perry's Short Pi l'ce emerges as hand. adelphia Oratorio Choir; Maril yn Cos the chief attractions of this disc. Although down winne'r for its just com bina ti on of tell o (harp ); Levina Boehl (piccolo), poli shed, the performance is heavy lively invention, musical pe'rsonality, and Earl Ness cond o RITTENHOUSE RM 1001 handed; Bri tten's London recording is all -round compositiona l ex pertise. W. F. $4.98. still the standard. D. H . ® PETER ANDERS IN OPERETTA. Feli x Mottl's arrangements of these opera Lehar: Ciuditta: Fr punde, das Leben ist and ball et movements were made when ® ® GLUCK: Ballet Music. GRET· the ori gi nal music had been largely for lebenswert: Du bist m ein e Sonne; The RY: Ballet Suite. R AMEAU: Ballet M erry Widow: K 0117m in den klein en gotten. These entertaining suites are par Suite. H artford Symphony Orchestra, Pa villon; The Land of Smiles: Von ANel ticularly effective in the stereo version, Fritz M ahl er condoVANGUARD VSD 2098 bluten einen K Tanz; W er hat die Liebe. for the recorded sound is realisti c, and $5.95, VRS 1075 $4.98. Kalman: Countess A1arilza: Cruss mir the performances are lively and impres mein Wien. Millocker: The Bl'ggar Stu Sive. I. K. dent: Ich knupfte manche zarte Bande; In hearing this work almost a decade lch setz' den Fall; Nm das ein e bitt' ich ® JACOBI: QuaTtet No.3; Ballade fm' after its com position one is struck by its dich; Ich hab' kein Cdd. Johann Violin and Piano; Fantasy for Viola modes t integrity and lack of dated af Strauss: A night in V enice: Condellied; and Piano. Lyri c Art Quartet. COM fectation. The performance is fine and Treu sein, das liegt mir nicht; and four POSERS R ECORDINGS I NC. CRI 146 $5.98. the recorded sound good. W. F. others by Stolz, Raymond, and Kunnecke. Peter Anders (tenor) wi th Au li kki R au Thomson's poetically evocative folk se ® ® MUSIC FROM THE FILMS: tawaara (soprano ); Orches tra of the quence from Louisiana S tOTY and Wal L ouisiana Story, H enry V , Cigi, State German Opera House, Berl in , H ans ton's poignant pi eces from H enry V jus FaiT, Exodus, and others. Cleveland Pops Schmidt-Isserstedt, Walter Lutze, and tify this release. Both are beautifully Orch., Loui s Lane condo EpIC BC 1147 other conductors. T ELEFUN KE N TH pl ayed and elegantly recorded, as is the $5.98, LC 3809'x, $4.98. 97006 $1.98. entire disc. D. H. Interest: Operetta gems Neither this performance nor the re ® ® OFFENBACH: La Gmnde Duch· Performonce: Excellent cording is free from faults, but it cannot esse de Gerolstein. Paris Lyric Chorus Recording: Good bridle Offenbach's irresistibl e music. But and Pasdeloup Orches tra, R ene Leibo the over-all sound is harsh and the en witz condo URANIA US 5115-2 two 12-inch The vocal music of Strauss and Lehar sembles are muddy. Noisy surfaces are di scs $ 11 .96, 11 5-2 ';" $9.96. demands operatic technique, operatic apparent. C. J. volume, and range, but also a gift of per sonal communication and an extraordi A skilled academician, Leroy Robertson nary li ghtness of touch that are not within ® ® ROBERTSON: Omtorio from displays Ii ttle more than sinceli ty as a the capabilities of many opera singers. The Book of M01·mon. University of composer, and the validity of his music The late Peter Anders ( 1908-1954), an· Utah Chorus and Utah Symphony Or as contemporary artistic expression IS extremely versatile arti st, was one of op chestra, Maurice Abravancl condo VAN dubious. The recording is good, the stereo eretta's most gifted singers. H e brought GUARD VSD 2099 $5.95, VRS 1077 $4.98. quality effective, and the performance to its bubbly, insinuating music abundant hones t. W. F. vocal resources, persuasive charm, and an ® ® A SPANISH GUITAR. Ton-oba: This recital is top-drawer guitar reper unmannered style of delivery. This gen Sonatina; N octurno; Suite Castellana. toire. The extensive exploration of in erous sampling of his art, consisting of Ponce: Valse; Theme vane et final e; strumental technique by the composers old favorites and two songs by Robert T welve PTeludes. J ohn Williams (gui may cause one's attention to wander, but Stolz is a feast for the operetta fan. The tar). W ESTMINSTER WST 14138 $5.98, both editions are ri chly and realisticall y Finnish soprano Rautawaara assists XWN 18957 $4.98. reproduced. C. J. charmingly in four duets. Originally re corded in 1934·-1942, the selections are This new recording of music by T chai kovsky accomplishes its original objec captured with clarity and satisfying pres ® TCHAIKOVSKY: Between Bi1·th· tive : to delight the listener. Ogden Nash's ence. C. f. clays Suite; The Nutcmcke1': Suite No. accompanying poetry, charmingly read 1. Peter Ustinov (narrator ); orchestra, ® ® DIETRICH FISCHER-DIES· by Peter Ustinov, recall s the earlier Co Andre Kostelanetz condo COLUMBIA MS KAU: Scottish Folk Songs by Haydn, lumbia release of Saint-Saens' Carnival 6264 $5.98, ML 5664';' $4.98. Beethoven, and Weber. Haydn: Schla/st of the Animals. The recorded sound and oder wachst dul; H eimkehr; WeT ware the stereo quality are excellent. M. B. JUNE 1962 77 nieht in sie ve1"l eibt; D ort, wo durchs R ied das Baehlein zieht; Fliess leise, mein Baehlein. Beethoven: H OTeh auf, m ein Liebe/u n; Canzonella V en eziana; 0 kost liche Z eit; Trinklied; D eT tTeue J ohnie; K ommt, sehliesst mir einen fr o hen KTeis. Weber: Ein ent111utigt eT L iebendcr; B I! wundeTUl1g ; Gluhellde Li ebe; TTinklipd; Weine, weine, weine 1wr nieht. DiN ri ch Fisc h e r-D ieskau ( baritone ) with un nam ed instrum e n ta li sts. D EUT SC HE GR AMMOPHON SLPM 13 8706 $6.98, LPM ]8706 $5.98. Interest: Charming repertoire Performa nce: Pure silk Recording: Excellent Stereo Qua lity: Su itable It wou ld be difficult to imagine a bett('!" reali zation of this off-beat and cha rming recital of folk-sang setting , commiss ion(' d by the Scottish folk-song coll ector and editor, George Thomso n. The music is mos tly lightweight, but there is not a nUIll ber on th e progra m that isn't graceful per fec tion itse lf. Fisc her-Dies kau attends the light mood of the pi('ecs with just the ri ght case; th ere is not a trace of condescensi on, not a mil e of the broadening for effect th at the songs might, on occasion, t('mpt a sin ger to add. His voice, moreov(, 1" , makes lovely sounds and is perfectl y adapted to th e music. I V. F. ® ® ERICH KUNZ: Best-Loved Ger man Songs. Schuma nn: D ie beidf'll Grenadiere, Op. 49, No. 1; D er Nuss baum, Ot}. 25, No. 3. B ra hms: Sand manllchen; Stiindc/7 en, OfJ. 106. No. I. Schu bert: L aehell tmd Weinl' ll ( D. 777 ) ; An die Musik ( D. 547); An Syll'ia ( D. Precious handful of sound 89/ ) . Liszt: Liebe strawn ( 0 L ieb so lang); D ie LOTelei. R eget": MaTiii Wil' This hand cradles the finest pickup cartridge in the world. genlied, Op. 76, No. 52. Beethoven: D ie Ehre Gottes aus d eT Natur, O p. 48, N o. The ADC-l high compliance stereo cartridge is the key to pure, truthful sound 6; Jeh liebe elieh. Mozar t: Das reilchen the very heart of living sound within the microgroove. ( I<.. 476) . Silchcr: D ie L orelpi. WoH: This cartridge is years ahead of its time. It is made for people of sound judg Epiphanias ( Goethe N o. 21); S chlafen des Jesukind ( M ijrike No. 47) . Erich ment and rare appreciation of the hidden qualities, the subtleties of timbre and Kunz (baritone ) ; Vienna State Opera tone, which all too often vanish before they have uttered their message of fidelity. Orches tra, Anton Paulik condo VAN In combination with the new Pritchard tone arm, you have the most remarkable · GUARD VSD 2086'" $5 .95, VRS 1063 system available today. $4.98. For complete informa tion on the ADC-I and the new Pritchard tone arm, write today. Interest: Fa miliar lied er Performance: Effective ADC-I Specificatiol1s Recording: Quite good TYPE: Miniature moving magnet STYL US TIP MASS: .5 milligrams M ost of the materi al on this essentia ll y SENSITIVITY: 7 millivolts per channel ± 2 LATERAL AND VERTICAL COM PLIANCE: db at 1,000 cps (5 .5 em/sec recorded velocity) 25 x 10-0 ems/dyne minimum attracti ve record of lieder is more or less FREQUENCY RESPONSE: 10-20,000 cps ± 2 RECOMMENDED LO AD IMPEDANCE : famili ar to a rt-song devotees, although db 47K ohms the choices arc diversified enough to pr(' CHAN N EL SEPARATION: 30 db, 50 to 7,000 R ECOMMEND ED TRACKING FORCE: .75 vent the collecti on fr om seeming hack cycles, comparable everywhere to 2 grams in top qualit y arms neyed. Kunz sings with case, fl ex ibi lity, STYLUS TIP R ADIUS: .0006" (accurately M O UNTING CENT ERS: Standard 1 / 2" and and fin e tone, if without a g rea t dea l of maintained) 7/16" centers expres ive va ri ety. For myself, I wou ld prefer piano accompaniments to orches tral arrangements li ke those used here, (Ace ) !\UDIO DYNAMICS CORPORATION but th e release is a worthy one on its Pickett District Road • New Milford, Conn. own terms. W. F. 78 CIRCLE NO. S ON READER S E RVICE CARD H IFJ j STER EO REVI EW Reviewed by .J O E GOLDBERG • NAT HENTOFF ton T ail; Body an d Soul; and four others. dated Carter, holds hi s own impressively. Explanation 0/ symbols : I MPULSE S 12'::' $5.98, A 12 $4.98. Cha rli e R ouse, desp.ite his long tenure ® =lIIonophonic recording with T heloni ous Monk, has ye t to de ® = slereop/tonic recording Inte rest: Timeless talent ve lop a powerfully individual style. But ':' = mono or stereo version Performance: Exhilarating R ouse too is lifted to a new level of con not received for review Record ing: Sharp a nd clear sistency by the pressures of the occasion. The success of the rhythm secti on is This bridging of generati ons of jazz per as much due to the fl exibility and taste ® DOROTHY ASHBY: Dorothy sonnel has resulted in Benny Carter's of piani st Dick Katz as it is to the re Ashby. D orothy As hby (harp ), H erman most invigorating a lbum in the past ten doubtable J o J ones. And bassist Jimmy ''''right (bass), J ohn T ooley (drums) . years-a continually stimulating deter Garrison has never before recorded wi th S ecret Love; Gloomy Sunday; Satin D oll; mination by jazz elders to prove that a so robust a tone and so elastic a beat. L i'l Darlin'; and ~'ix othel:s. ARGO 690 quarter-century had not diminished their It's to be hoped that Further D efin itions $4.98. powers, while the younger musicians will encourage other A & R men to com demonstrate that they have a strong bine jazz gem'rations. Not a ll musicians I nterest: Jazz harp enough jazz foundation to avoid being from ei ther sid f' of thirty-five are capable Pe rformance: Ta ste without d epth overloaded by such seasoned battlers. musica ll y and temperamentall y of such Re cording: Good Carter, who pas long been a masterful a union, but many are, and it is surpris arranger for jazz reed sections, has scored ing how comparatively few attempts T here are few jazz harpists, and Dorothy the eight numbers with considerabl e va - have been made to break down age bar Ashby is probably the bes t of them. T he ri ers on jazz recordings. This ex periment instrument would not, it seems to me, worked out excell ently, emphasizin g the make' any contribution to th e standard continuing youthfulness of Carter, H aw trumpet-tenor-rhythm setup, and Miss kins and J ones and the confident ma Ashby apparently agrees, for she has al turity of Phil Woods and Dick K atz. ways kept herself away from such situa N. H . tions. But M iss Ashby amply proves that in the proper setting the harp can pro ® ® COZY COLE: A Cozy Conception duce jazz. of Cm·m en . Cozy Cole (drums); Bernie H ere, accompanied onl y by bass and P ri vin, George H olt ( trumprts); Al eh'ums, she gives a recital of standards, K link, J ohn H afer, J eroml" Ri r hardson superior jazz composi tions, and two orig ( reeds); Bob H ammer (piano, rr locken inals. I t is a li ght program, tasteful, but spiel ) ; M il t H inton, J ack Lesberg (bass); without much depth. Within that limita Phil Kraus, Douglas All en (percussion). tion, she has a g-ood melodi c concf'ption, C hoTUS of Street Boys; GyjJs)' Song; although it is slightly oversymmetrical, Flower Song; and seven others. CHAR LIE dependent on repeated patterns, an d re PARKER R ECORDS 403 S'* $5.98, 403 $4.98. lies too much on quotation. The best BENNY CARTER Veteran jazzman with you.th.f u. L fire track is J ohn Lewis' Django, perhaps be Interest: Not enough temperament cause that wonderfull y fl exible melody . ri ety and ingenuity. Furthermore, calling Pe rformance: Skillful lends itself so well to the instrument. The on his experience in the 1930's as the Recording : G ood accompanim ent is aptly subdued. An leader of one of New York's most ad other featured so loist would have added vanced orchestral training grounds for Cozy Cole, once featured on Broadway in needed variety, whi ch is why this se t is jazz musicians, Carter has managed to Oscar H ammerstein's Carmen .Tones, has not as satisfying as the excellent New make the section blend so vivid and co revisited Bizet. This version is for an Jazz LP Miss Ashby made a few yea rs hesive that the four reeds sound as if f' leven-piece combo, with arrangements ago with fl utist Frank Wess. .r. G. they'd been on the road together for by Dick H yman and Bob Hammer. T he months. scores are good-humored, often graceful, DON ALD BYRD: The Cat W allt (see It is a particul ar delight to hear in and em ploy inventively di ve rsi fi ed voic p. 57). so lively a context the brightly lucid ings. There is too little emphas is, how alto playing of Carter who still phrases ever, on extended, improvised arias for ® ® BENNY CARTER: Fu rther Defi with knife-like cla ri ty and swings wi th this to be a full-bodied jazz interpretati on nitions. Benny Carter, Phil W oods (alto seeming effortlessness, while also com of Carmen's odyssey. saxophones), Coleman H awkins, Charli e m unicati ng intense force. Hawkins, ob In Flower Song, the one track on whi ch Rouse (tenor saxophones), Dick Katz viously enjoying the chall enges of the a soloist is given enough room to expand (piano), Jimmy Garrison (bass), J ohn date, is at the top of his surging form. his ideas, Bernie Privin on flu gelh orn pro Collins (guitar), J o J ones (d rums) . Phil W oods, whose clear, hard soun d vides the most sensitive performance in H oneysuckle R ose; Crazy Rhythm; C ot- often resembles that of a somewhat up- the album. If he and the other soloists 79 JUNE 1962 had been simil arl y libera ted on the other face, Coltrane is taking the ri sks that go STYLUS numbers, this mi ght have been more than with crea ting a new thing. f. G. NEW! PRESSURE a (" ha rming but lightweight dive rsion. As MODEL SPG3 GAUGE $295 . it is, however, this conception of Carmen RECORDING OF SPECIAL MERIT should be credi ted at the wrY'least with avoid ance of both pretentiousness and ® ® EDDIE CONDON: Midnight in vu lgari ty. N. H . Moscow. Eddie Condon (gui ta r ), Bobby H ack e tt ( trumpe t ), P eanuts Huc ko ORNETTE COLEMAN: Ornette! (see (cl arinet ), Lou M cGa rity ( trombone ), p. 58). Dick Ca ry ( pi ano and a lto horn ), J ack Lesberg or Knobby Totah ( bass), Buzzy D rootin (drums ) . M idnight in M oscow; RECORDING OF SPECIAL MERIT Dark E ves; Hindustan ; and seven othr 1's. ® JOHN COLTRANE: Coltrane E PIC BA 17024 $4.98, LA 16024;:' $3 .98. "Live" at the Village Vanguard. J ohn Colt ra n C' (so pra no a nd teno r saxo Interest: Old pros at work phones ), Eric Dolphy (bass cl arinet ), Performance: Skillful and relaxed M cCoy T yner ( pi ano ) , Reggie Work Recording : Good man ( bass ), Elvin J ones (drums ) . S /1 i1' Stereo Quality : Good separation itual; Softly, As I II A MOTni ng Sumis e; C hasin' The T Tan e. hlP U LSE S 12'" This album was a ppa rentl y released to This sensitive $5.98, A 10 $4.98. gauge insures provide a competi tive v('J"sion of M id correct pressure night in A1oscnw, whi ch an English band of any tone·arm Interest: Coltrane in person recorded with considera bl e succC'ss. Un· on records. Performo nce: Pa ssionate fortunately, it is, la rgely due to the badl y Features large, Recording: Good for live recorded rhythm section, th e only unsuc legible scale . .. cessful track of the lot. The remainder in widely spoced, ea sy-reading cludes Russ ian songs a nd a coll ec ti on of This i. the fi rs t recording of the currently l/2-gram markings. such pl ace-na me folk and standard tunes Complete with 5 -grom most controversial sma ll group in jazz, brass weight a s from a round the world as L och Lomond "standard" to ch eck John Coltrane's quintet. TIl(' srt consists and L ondonderTY AiL and set accuracy at of three numbers rrcorded in Novemb('r, all times. Swiveling Eddie Condon, who plays only part of balance scale pan 196 1, a t New York's Vi ll agr Vangua rd for utmost sensitivity. the time, is the trader. His associa tC's in (sin cC' th at tim e Jimmy Ga rri son has re- clude Bobby H a(" kett, whosr sound on NOW AT YOUR DEALER placed bass ist Workman ). On th e first L ondondeT1"Y A iT is a thing of beauty, sid e, Coltrane pla)'s so prano saxophone. tromboni st Lou M cG arity, and otl1C'rs. I t has been said that ll(' wishC's to pl ay The rea l sta r of the procC'ed ings is P C'a with as few chord s as poss ibl e; and on nuts Hucko, whosr Goodman-styled clar S fJiri tual, whi ch hr fou nd in a songbook, inet swings li ghtly through most of the he uses the irreducibl e minimum of one. avail able solo space. TIl(' band is not It is a brooding, passi onate minor th r me, above C' mploying tri cks like kry changes which he evokes without ever openl y sta t and an introducti on to The Sheik of A1' ing in chorus after hypnoti c chorus. M ore aby that com es ri ght from T ommy Dor melod ic than usual, the so lo displays Col- sey's S ong of I ndia, but it is all done in a trane's cha racteri sti c fi erce intensity. spirit of such relaxed enj oyment that one On bass cl arin et, Eri (" Dolphy aban couldn't care less . Thc a lbum is simply dons so me person al cli ches, and is lyri cal an excuse for so me old pros to havr a ba ll. ly moving in his fi nal few ba rs, revealing They do, and th e feeling ("o m es th rough a welcome ne\v facet of his talent. The delightfully. f. G. pi ece is marred by an overl ong M cCoy T yner pi ano sol o, bu t helped immeasur ® ® TEDDY EDWARDS: Good ably by Elvin J ones, th e mos t demanding Gravy. T eddy Edwa rds ([C' nor sa xo drumm C' r now playing. Dolphy is abse nt phone ), Danny H orton or Phineas New on S oftly, As I n A M orning SUnTise, born, Jr. (pi ano ), Leroy Vil1n ega r (bass ), whi ch Coltrane tu rns in to an exercisC' in Mi lt Turner (drums ) . G ood Gmu)'; th e art of creating per. onal melody from C ould You Forget; lust FTiends; Laura; standa rds. On bo th pi ece , C oltra n e and fiv e others. CO ' T EM PORARY S 7592 proves con clusi ve ly that he is the con $5.98, M 75 92+' $4.98. tC' mporary master of his new instrument. The second side is devoted to Chasin' the Trane, a blues not quite sixteen min Interest: The new formula utes long pl ayed on tenor and accompa Pe rformance: Perfunctory ni ed only by bass and drums. A furious, Recording: Clear atonal excursion, the performance dem Stereo Qua lity: Good onstrates Coltrane's growing involvement with the music of Ornette Coleman, T eddy Edwa rds has customarily been one whose short, fi eld-holl er phrases he some of the best and most underrated musi tim es evokes here. Also evident is Col ci ans on the '''' es t Coast. But this qua rtct trane's pre-occupa ti on with th e music of reveals a new, radically changed Ed Contents : India. At first hea ring, this music may wards. The old robust vitality is O"o ne; in News [ram World . . I Remember East Side Singing. seem formless and repugnant; it demands its p lace is a curious restraint and a near Honeyca kes and Founta in Pens. much at first hea ring. But unlike musi A Small Face Growing Smaller. alto sound to replace the old full-bl own Send for Catalo/!. Van/!uard 154 W. 14 St. N . Y. cians who stay comfortably on the sur- tenor one. The music here sounds like CIRCLE NO. 37 ON READER SERVICE CARD 80 HIFI/ STER EO REVI EW that usuall y played by , rhytlun-and-blues Record ing: First-rate tras are intriguingly juxtaposed. That one bands and behind stri ppers. T here are Stereo Quality: Very good track and the following number, B D B, good sidemen, such as pianist Phineas warrant adding the album to a jazz col Newbom and bassist Leroy Vinnegar, but This first meeting of the combined Basie lection. they are given little or nothing to do. A and Ellington bands has fortunately not The other li mitation is that the soloists pianist unknown to me, Danny H orton, been conceived pugilistically. There is a are uneven, and even the better contribu plays on all bu t one number in a faceless welcome mi nimum of competitive ten tions are us ua ll y too short. Both drum style that ~s apparently derived from sion, although there are moments, as in mers, moreover, are stolid in the medium Horace Silve r, Edwards has shown us the opening and closing tracks, of gratui and up-tempo numbers . Nonetheless, that he is capa"bl e of much better work tous blasting. Most of the set, however, there are passages of sh.arply contrasting than thi s. J. C. is relaxed and absorbing within its lim expert so lo work, and the occasional dia itations. logues be-tween the two leaders are RECORDING OF SPECIAL MERIT T he main li mitation stems from the pointed and witty. Columbia's sound fact that the entire album was recorded engineers have balanced the parall el ® ® DUK E ELLINGTON AND in one session without any rehearsa l. Ac forces w'ith taste and a great deal of ac COUNT BASIE: FiTSt T ime! D uke El cordingly, there was not time for the kind curaC)'. N, H. lington, Count Basie (pianos) , and their of carefu l scoring and preparation that orches tras. Battle Royal; Take the "An could have taken full pf advantage of the ® ® GIL EVANS: Into the Hot. Cecil Train ; / llmpin' at the Woodside; and fi ve different styles and textural colorings of Taylor or Eddie Costa (piano), Jimmy others. COLUMBIA CS 85 15 $4.98, CL each band. A successful balance between Lyons or Phil Woods (alto saxophone) , Ii 15'::' $3.98, Ellington's harmonic sub tlety and Basie's Archie Shepps (tenor saxophone), Barry riff-built simpli city is achieved in places, Galbraith (guitar) . Moon Taj; Pots; Interest: Provocative mixture especia ll y the slow S egue in C, in which AngkoT Wat; Bulbs; BaTTY'S Tune; Mixed. Performance: Mutually appreciative soloists and sections from the two orches- IMPULSE S 9~' $5.98, A 9 $4.98. "Unlike many small speakers, the KLH 10 had very low harmonic distor tion at low frequencies, producing only 5 per cent distortion at 30 cps. This is quite impressive when one considers that the 10-watt test input to the speaker produced sound levels far in excess of those that are likely to be used under normal listening conditions in the home." "The transient response of the KLH 10, as revealed by tone-burst tests, was extraordinary. In our experience it has been equalled by few speakers and surpassed by none." "In general, the listening quality of The KLH Model T en speakersysteJr.l, the KLH 10 was very easy, smooth, and is sm~lle r th~n our other models balanced. Its bass was good but not a true boohshelf speaker, prominent; it had a tight sound that is Costs less than our other models - associated with freedom from hangover. under $90 , The highs were crisp, almost to the point fi)p erates with a 12. watt a"!-pli{ier of being brilliant." up to 60 watts If you wlsh , . And - has the KLH sfJund. (From an independent re'port by Hirsch Houck Laboratories in HiFi/ Stereo Review Magaz.ine. Copies availa'ble on request.) , " 1 DEVELOPMENT CORPORATION ,! 30 F. CROSS ~TRE E'i1, CAMBRIDGE 39, MASSACgUSETTS ~J ~ .. ~ . .. CIRCLE NO. 24 ON READER SERVICE CARD 81 JUNE 1962 Interest: Contra sting ja zz compose rs is with Art Blakey'S J azz M essengers , has are also disappointing. Neither Grey nor Performance: Va ria ble become one of the lllost technica ll y ac Mitchell have marked ly individual ap Record ing: Excellent complished jazz trombonists. His phras proaches, and both have been more ex ing, moreover, is exceptionally fluid, and citing on other recordings. Grey, one of It takes some espionage work to deter hi s tone is distinctive and attractive. Un the few modern trombonists with skill at mine what is happening on this album. fortunately, however, Full er seldom does the growling plunger style, misses the The cover and song title listings are no more than glide gracefully over the sur poignancy and subtlety of which that help at all, but an extremely careful read face of a tune. In this coll ec tion, he ap technique is capable. His open-horn work ing of the notes foll owed by a hearing of pears to be emotionally involved on ly in is also unimaginative. Billy IVfitchell's the record reveals that this is not Gil Willow We ep for M e. usuall y blistering sound is on ly occa ion E va ns a t all , but only " Gil E vans Pre Zoot Sims, on the other hand, greatly ally evident, and he plays most of th e sents." H e has apparently functioned enlivens the four trac ks on which he ap time with a strained, cloudy tone. The here in the capacity of artists-and-reper pea rs. Sims see ms in capable of a routine out tanding musician on the date is bass toire man, and in doing so has brought ist Art Davis. together the work of two jazz composers The sound is not as cri sp as it might whose work is in almost every way anti have be'en, and the balance is sometim es thetical. faulty. On Green D oljJhin Street, for ex John Carisi, most noted for ISTael, his ample, Gene K ee's alto horn so lo is off contribution to the Evans-Miles Davis ·mike. N. H. Nonet of 194·9, offers three pieces that are almost completely written out, solos ® ® SLIDE HAMPTON: Two Sides and all, but that are uncanny in thei r of Slide. Slid e H il mpton ( trombone', simulation of improvisation. Among the trombonium, piano), Benjamin J acobs-EI musicia ns are Phil "Voods, Eddie Costa, (trombone), GeorgC' Cokman (tenor sax and Barry Galbraith. The result is stru c ophone, cla rinet ) , J ay C ameron (bari tura ll y fascinating, but it carries little tone saxophone, ba s cl arinet ) , H obart im pact. D otson ( trumprt ), William Thomas The remaining three pieces are by ( trumpet ), Eddie Khan (bass), Lex Cecil Taylor. His work is all energy and Humphries (drums) . The Cloister; B ess ~motion, and hi s own piano playing is You Is My JlVom an; Summertim,f; and MII.'I' .1A CKSO:'l some of the most demanding and reward thrrr others. CHARLIE PARKER 8055"" Great interpreter of romalltic ballads ing we have. H e seems, however, to have $4·.98, 805 $3.98. trouble finding a suitable group. HI' is or glib performance, and although he is generous in giving solo space to Ornette just as relaxed as Fuller, hi s p layin g com Interest: Unique so und Coleman-influenced saxophonists Jimmy municates much more intensity. The Performonce: Vivid L yons and Archie Shepp, but as with rhythm section is firmly in tegrated and Re cording: G ood Thelonius Monk, T aylor's accompani benefi ts from the excell ent recording ba l ment is often more fasc in ating than the ance. The sound of M erri tt's bass, for The' rssential point of tl,.. Slide' H a mpton so los he assists. His brief solos on Pots exa mpl e, is a model of clarity and fulln.css O ctet is that it sounds much bigger than and Bulbs are gems, among the most of tone. N. H . it rc~a l1 y is. In the never-never land be powerful he has played on record. As for tween small group and bi g band, Hamp hi s compositions, Bulbs bea rs a similarity ® ® THE AL GREY·BILLY MITCH ton has opted for the latter. In person, th e to Coltrane's blues pi eces, and the ex ELL SEXTET. Al Grry (trombone and group can be almost overpowering, rely tended, programmatic M ixed , with its baritone horn) , Billy Mitchell ( tenor and ing as it does on a unique sound whose insistent repeated fi gure, contains ele alto saxophones), H enry Boozier (trum main function is to generate excitemcnt. ments of Anton ' ''' ebern in the orches tra pet), Gene Kee ( piano and alto horn ), It is not a soloist's band, although it in tion and Charlie Mingus in the execution. Art Davis (bass), Jule Curtis (drums ), cludes some good soloists. T aylor has yet to make a completely sat Ray Barreto (conga drum ). Wild D fuce; The album title refers to the fact that isfying record, but everything he does Melba's Blues; H ome Fries; and four one side of the record is gi\'C' n over to a contains moments that are among the others. ARCO S 689'" $4.98, 689 $4.98. four-part dance suite by H ampton, The most valuable in jazz. f. G. Cloister, while the other side contains Interest: M inor five songs from POT.!!.)' and B ess. Tl'lt' Clois ® ® CUR TIS FULLER: South Amel·i· Performance: Heavy-f ooted ter, lasting not quite fifteen minutes, is a can Cookin'. Curtis Full er (trombone), Recording: Fair study in mood, building tension and dif Zoot Sims (tenor saxophone), Tommy ferent rhythms all based on variations of Flanagan ( piano), Dave Bailey (drums ), AI Grey and Bill v Mirchelllcft the Count a single theme. The P orgy and B fSS num Jimmy Merritt (bass). H ello Young Basic band in ea rl y 1961 and ha\'e bcen bers bear a famil y resemblance to the Gil Lovers; On e Note Samba; Autumn co-leading a sextet for the past year. Evans arrangements for Miles Davis of Leaves; and three others. EpIC BA 17020 Their unit was still groping for an iden the same work. B ess, You Is !l1y T1 'oman $4.98, LA 16020* $3 .98 . tity when this July 6, 196 1 concert a t New is labored a nd tricky, whi lr It Ain't Nec York's Museum of Modern Art was re essaTily So becomes an exercise in Latin Interest: Informal modern jazz corded, and the two leaders would have excitement. H ampton is a good arranger Performance: Zoot show s the w ay been better advised to defer th eir combo's and performs some prodigies of shifting Recording: Clea r a nd resonant recording debut. texture with the instruments at hi s dis Stereo Qua lity: Tasteful The originals and arrangements-by posal, but this is not his best work. f. G. Thad J ones, Gene K ee, Randy W eston, The title of the album refers to a South M elba Liston, and Al Grey-are ambi ® ® MILT JACKSON: Statements. American tour last summer in which a ll tious in that they try for more body than Milt J ackson (vibraharp), H ank Jones but Jimmy Merritt participated. Except most small combos achieve. But the writ ( piano ), Paul Chambers (bass), Connie for tl'I'O numbers using Latin syncopa ing more often stodgy than stimula ting, Kay (drums) . Statement; Slowly; Paris tions, the music itself is straightforward and mo t of the ensC'mble passages have Blues; Put Off; and four others. IMPUL SE modern jazz. Fuller, whose regula r post too thick and leadr n a quality. The solos S W:' $5.98, A 14 $4.98. 82 H I FJ / STEREO REVIEW Interest: Ja ckso n's musicianship Performance: Casua l Recording: Good This is vibraharpist Milt Jackso n's latest . in an ever-increasing series of excursions away from home-home being the i\10d ern J azz Quartet. He has with him drum mer Connie Kay, bassist Paul Chambers, and a pi anist generally confined to the studios, Hank J ones. "It's good to ge t away from the more formal scene every once in a whi le," Jackson states in the notes. But this set shows how the MJQ's formalism can be an advantage. Jackson is one of the very bes t playe rs of romantic ballads and blues on any instrument, as he shows here on The Bad and the Beautifu l, his own Mo onlight Cocktail-like A Beautiful R o ?nance, and the most immediately charm ing number of th e collection, Ellington 's impress ionistic Paris Blues. However, ex cel lent though J ac k s on' ~ si dem en are, one misses, on the medium-up-tempo cookers that comprise the majority of this set, the intricate framework the M J Q uses to kee p such performances from bogging dO lV n or degenerating into strings of so los. These performances also lack the buoyant exuberance of th e album J ackso n recently made with the Oscar Peterson Trio. Bu t J ackson is always reward ing, even on a day that is not one of his best, and there is enough of his work here to make thi set worth while. J. C. ® ® QUINCY JONES: Quintessence. Orchestra, Quincy Jones condo Little Karen; StTaig ht, No Chaser; For L ena and L ennie; and fiv e others. IMP ULSE S 11'::' $5 .98, A I I $4.98. Interest: Young mainst rea mer Performance: Confident Recording: Clear and warm Although he is now on Mercury's artists and-repertoire sta ff, Quincy Jones also continues to fun ction as an arranger and occasional band leader. The nucleus of th e shi fting personnels for the three big-band sessions here consists of sidemen who work with him regularl y when he does have club and concert dates. As a result, the performances refl ect the uni ty and ease of long association. The quintessence of Mr. J ones as an arrange r and composer is simplicity. H is melodic li nes are always drawn clearly, and harmonic textures are never all owed to mask or overburden the melodic de velopment. Soloists are led in and out of the pattern with a flowing naturalness that recalls the Count Basie band of the late 1930's. J ones is indeed a modern tradi tional ist, having fused rhythmic and melodic elements of the swing era with more sophisticated contemporary har monic language. Although he is an adroi t conso lidator of jazz traditions, J ones's writing docs not have enough tension to JUNE 1962 CIRCLE NO. 19 ON READER SERVICE CARD 83 hold this listener's attention. But there styles is the permanence of the blues. stamp is still clear, there is also a searing, is no denying the warmth, orderliness, Even the most far-ranging rebels from identifiably McLean way of playing. The and wit that also characterize hi s work. Ornette Coleman to Cecil T aylor still rhythm section is vigorously functional, N .H. maintain a blues base. And the direct de and drummer Pete La Roca indicates scendants of Charlie Parker, such as the again that he deserves more recording men on this recording, are committed to opportunities than he has received so fa r. RECORDING OF SPECIAL MERIT blu es form as well as blues feeling. In N.H. ® J ACKIE McLEAN: Bluesnik. Jackie this heatedly unified album, six modern nonexperimenters have collaborated in McLean (alto saxophone), Freddie Hub RECORDING OF SPECIAL MERIT bard (trumpet), Kenny Drew (piano), a sa tisfying series of spare, stinging blues. Doug Watkins (bass), Pete La Roca This is simply basic blues playing, and ® ® GERRY WIGGINS: Relax and (drums). Drew's Blues; Cool Green; while most of the themes are common Enjoy It! Gerry Wiggins (piano ), J oe and four others. BLUE NOTE 4067 $4.98. place, the so los are consistently powerful Comfort (bass), Jackie Mills (drums) . and personal, particularly those of Fred One for M)I Baby; My H eaTt Stood Still; Interest: Carrying on the blues die Hubbard, who constantly advances in Blue Wig; and fi ve others. CO NTEMPO Perfor mance: Hot and unaffected assurance and range. RARY S 7595 $5.98, 595'" $4.98. Recording: Excellent J ackie McLean has further condensed and intensified hi s adaptation of Charlie Interest: Relaxed swing 111 Parker's sty le, and while the Parker Beneath the continual change jazz Performance: Unpretentious Recording: Ex cellent Stereo Qua lity: First-rate This album, Gerry Wiggins' best set of recorded performances so far, is most succinctly described by its title. ,,,riggins is in the tradition of those increasingly rare swing-era pianists who play with contagious, unhurried pleasure and seem to continually su rprise themselves wi th the playfu l possibilities of what mi ght be call ed party-piano jazz. A jazz veteran who has worked wi th Louis Armstrong and Benny Carter and has accompanied several major vocalists, Wi ggins is insufficiently recogni zed as a so loist, but this album may help remedy that oversight. His bea t, incidentally, ca n serve as a quick definition of the essC' nce of jazz pulsation. N . H. ® ® OSCAR PETERSON: West Side Sto·ry. Osca r P eterson ( pi a no ) , R ay Brown (bass ), Ed Thigpen (drums). Something's Coming; SomewheTe; l et Song; and four others. VERVE V 6 8454'" $5.98, V 8454 $4.98. I nterest: Peterson versus Bernstein Performance: Ray Brown is great Recording: Good MONITORING Leonard Bernstein's West S ide Story em erges from this treatm ent by the Osca r THE 510 Il\ln[Il\l~IEQG)QIFIAl~'jj"H© ~ WITH INTEGRATED STEREO SPEAKERS Peterson Trio sounding like a co ll ection I Permits instant monitoring of the signal, offers the unlimited flexibility of pleasant tunes in the current jazz style: of stereo recording and playback in one compact unit. With all these funky on the one hand, Aorid on the features: Exclusive Reverse-O-Matic, automatically plays 4 track tapes other. The score is much more than that, from end to end and back again, without interruption. Brushed stainless of course, but Peterson has made it con faceplate, simulated leather case. 3 hysteresis motors, including form to his terms rather than accepting hysteresis synchronous drive. 4 individual heads. Flutter filter, usually it on its own. One number, l et Song, is found only on $1000 recorders. Automatic tape lifters. drasticall y revised, all its compl ex ity gone, now just another riff tune. The 1 ------:----- difficul t and musica ll y interesting por AMERICAN CONCERTONE, INC. tions of the sco re America do not appear. I A Divi sion of Astro-Science Corporation I 9449 W. Jefferso n Blvd ., Culver City, Calif. As for the musicianship, drummer Ed Dept. HSR-662: Thigpen is slightly over assertive, while I Plea se se nd details on the new Co nce rton e 510: bassist Ray Brown, except for hi harshl y AMERICAN CONCERTONE. INC. A DI VIS ION OF .-\ STRQ-SCIE:-.JC E CORPOR ..HION I Name ______bowed section of S omewheTe, is superb: 944-9 WEST J EFfERSO~ BO U LEVARD I powerful, pulsating, and endlessly inven Addre ss ------CULVER C ITY, CI\LlFORNIA I tive melodicall y. Peterson fans may love I City ______Zo ne _State ____ this set; Bernstein fans wi ll not. .r. G. 84 CIRCLE NO.2 ON READER SERVICE CARD HIFI/ STEREO REVIEW • C HRI S TI E BARTER • DAVID H A LL la tter is simply an orthodox sta tement. bia's stereo engin eering th at the custom E~: fJlanllt io n of symbols : To somc tastes it may eveil smack of ary disposition of the Philadelph ia's ® = monophonic recording empty rheto ri c. Anserm ct discloses an ® = stereo ph onic recording strings (seventy in all ) is clear!'y trace invo lvcnlf'nt that at least brings the work able. T he over-all sound is robust yet into som f' kind of personal focus, un perfectly transparent. C. B. blushingly romantic as th at may be. Thc ® LEOPOLD STOKOWSKI AND 4 -TRACK CLASSI CS THE NORMAN LUBOFF CHOIR: ® FALLA: The Three Cornered Hat. InstJimtion- Great Music for Chor'us ALBENIZ: Iberia (orchest rated by and OTchestTa. Beethoven: The H eav'ns Arb6s). T e resa Bergan za ( m ezzo-so ATe T elling ( Die Eh"e Gottes, Op. 48, prano); Suisse Romande Orchestra, E rn N o. 4). Traditional: D eep River. Han es t Anse rmet condo LON DON LCJ 80079 del: X erxes: LaTgo . Humperdinck: H an $9.95 . sel and Gretel: E vening Prayer. Bach: Cantata N o. 147: / esu, Joy of Man's D e In terest: Portroits of Sp ain siTing. T raditional: PTaise God From Performance: Ra vishing Whom All Blessings Flow (Doxology) . Recording: Superb Wagner: Tannhiiuser: PilgTim's Chorus. Stereo Quality : Nea r-perfect BaclI: Cantata. N o. 208: SheejJ M a)1 Safely Graze. Tchaikovsky: Pater N oster. T wo co rn erstones of the Spanish reper G lnck: OTfeo ed Euridice : 0 Savior, toire are paired off on this reel, and dis H ear M e. Norman Luboff Choir; New Symphony of London, Leopold Stokow counting the short or less-than-significant E UGE S E ORMA:-IDY works with which they were originally R emarkable virtu.osity and tonal color ski cond. R CA VICTOR FTC 2102 $8 .95 . coupled on two separate discs, the over ra ther da ted fu stian of Franck's L e ® ROBERT SHAW: Hallelujah! and an-h o u~ tape edition ca n be considered Chasseur m audit fills out the second side, Other Grea.t Sacl'ed Choruses. Handel: a good buy. Ansermet's performances, and in Ansermet's evocati ve reading be M essiah: Hallelujah Chorus. Brahms: A avoiding the exaggerated eff ects many comes so mething of a bonus. The London GeTma.n R equiem: H ow L ovely I s Thy conductors build into these scores to tape tends to be ill-defined in the bass, D w elling Place . Moza rt: R equiem: make them sound more "Spani sh," are and its d ynamic lcvel is low. H iss is cor Lacl'imosa. Beethoven: M issa Solem nis: meti culous and delicately colored but res pondingly high . Columbia's sound is K )' rie. Haydn: T h e Creation : T he not without a warm glow. The recordings fu ll-bodi ed, reso nant, and sp lendidly bal H eavens ATe T elling. Mendelssoh n: in both instances are crystall ine. Dynamic anced . C. B. Elijah: H e Watc hing O ver I STael. level is a trifl e low, but hi ss is minimal. Schubert: M ass in G M ajoL' Credo. Stereo separation and depth are excep ® EUGEN E ORMANDY: Serenade Bach : St. M atthew Passion: R est W ell. tiona ll y good. C. B. fm' Strings. Tchaikovsky: S erenade in Sara Endich (so prano ) , Florence Kop C Major for String OrchestTa , Op. 48 . leff (contralto), J on Humphrey (tenor), ® FRANCK: SymtJhony in D ilIlinor. BOl'odin: N octume for String Orches Thomas Paul (bass ) ; M embrrs of the Philad el phia O rc h es tra, Eugen e Or tTa . Barber: A dagio fOT Strings, Op. 11 . C leveland Orchestra and Chorus, Rob mandy condo COL UMBIA MQ 430 $7.95. Vaughan Williams: Fan tasia on GTeen ~ rt Shaw cond . R CA VICTOR FTC 2103 sleeves. Strings o f the Phi la d el p hia $8.95. ® FRANCK: Symphony in D Mino1'; Orchestra, E ugene Ormandy condo Co Le Chausseur maudit. Suisse Romande, LUMBIA MQ 43 1 $7 .95 . Interest: Fa miliar choral music Orchestra, Ern es t Anse rm et concl. LON Performance: Unvamped b y Sh aw DON LCL 80082 $7. 95 . Interest: Philadelphia fi ddles Record ing : St okowsk i's is richer Performance: Impress ive Stereo Qua lity : Satisfy ing Interest: Repertoire staple Rec o rd ing , Lucid Performa nce: Ansermet mOre idio matic Stereo Q ua lity: Distinct W ith out a single duplication of reper Record ing: Ormandy's balance b etter toire, these two tapes cove r a fairl y Stereo Quality: Both O K Not the first string coll ec ti on on tape, broad range of sacred and semi-sacred but certainly the m os t winning, this one music, excluding, as they do, the pre Neithcr of these recordings chall enges introduces to the m edium Ba rber 's Bach and the contemporary. A good deal the eloquent M onteux-Chicago Sym hauntingly beautiful Adagio and the ex of "arranging" has gone into the Stokow phony performance for Victor (FTC quisite Borodin N octume in perforhl ski co ll ectio11 , either by the conductor's 2092) , but each has its good points. The ances fu ll to overfl owing with lyric in own hand or by choral d irector N orman reverential aura of Ansermet's interpreta tensity. The stunning virtuos ity of Or Luboff and o;'chestrator "Valter Stott. tion, moving with the inevitability of a mandy's men, their si lken tone, and ele The opening Beethoven chorus (an ar massive chorale from one organ-like swell gant color palette likewise il lumina te rangement of one of the Gellert lieder ) to the next, contrasts with Ormandy's the T chaikovsky S erenade occupying the is given the fu ll H oll ywood trea tm ent. clean- cut, no-nonsense approach. The first sid f' . Such is the success of Colum- A highly unorthodox setting of the JUNE 1962 85 Doxology is redeemed by the moving Hi cil k'in'; Bye Bye Blackbi1-d; All 0/ Y ou; of a rranger-conductor for this session, simplicity of the a capell a singing in the No Blues; Bye B)le; and Love, I've though, was unfortunate. Bob P rince is unfamiliar T chaikovsky Pater Noster Found You. COLmlBIA CQ 428 $6.95. a talented musician, not the least of hi s and in that most vulnerabl e of old favor accomplishments being his ball et scores ites, Dee p Rive r. The other selections are Interest: Davis's first night out for J erome R obbins' N ew York Ex fJO rt: variously, but inoffensively, transfigured . Performance: Spotty o p. I nzz and Events. But his arrangr Under Stokowski, the program never Recording: Clean m rnts here are altogether too contrived. lacks for color, and the Luboff Choir Stereo Quality: Well-defined If by in troducing My Funny Valentine sounds gl ori ous. as a kind of El izabethan masquing air he Shaw's chorus of Ckveland res id ents, One of a pair iss ued in tandem on discs, establi shes a congenial frame of refer amateurs all and two hundred voices this recording is the first the Davis en ce fo r D esmond's sax, th e h eavy strong, is a credit to the impeccable Quin tet has made on a club date for handed borrowing from Ibert later on, in musicianship of its director. For a ll its commercial release. But aside from this I Should Care, and the coy devices that size, it never sounds unwieldy or thi ck in mildly interesting fact ( the Blackh awk, pop up elsewhere only serve to d ive rt at texture. Its singing has a devotional cas !' , incid entall y, is in San Francisco) , there tention from the soloist. Jim Hall 's brief and by direct compariso n with th e is li ttle more to co mmend than a few interludes on the guitar, on the othrr Luboffs it may initially strike the li stener air-borne breaks by Davis himself, in the hand, are a ppropriately deferential. The as being fairly bloodless. That impression rather overwrought opening number and recording has a good beefy sound, and is quickl y dispelled. Both groups sin g in in the more co hesive accounts of Bye Bye the stereo distribu tion is just. C. B. English , with exemplary diction. Perh aps Blackbird and All of You. In the latter for this entirely unsa ti sfactory reason his muted trumpet gets a little too close ® FRANK DE VOL: Radio's G,'eat texts are ami tted. to the mike and tends to spit; elsewhere Old Them.es_ Frank D e Vol and the The Stokowski recording is sumptuous; balances are agreeably maintained. T he R ainbow Strings. On the Radio; S eems the Shaw is leaner in so und and so me notes provid ed with this reel are enter Like Old Times; 'When the Moon Comps what lower in level. The fair-to-midd li ng taining enough but fa il to credi t the Over the M ountain; Contented; and soloists in the latter, participating in the thirty-three others . COLUMBIA CQ 426 Beethoven Kyrie and in the excerpt from $6.95. H aydn's The Creation, are a little too distantly miked to carry much weight. Interest: Unfulfilled But a sembla nce of concert-hall balance Performonce: Routine is achieved thereby and is possibly in Record ing: Good tended . C. B. Stereo Quality: Adequate ® JOAN SUTHERLAND: OjJem .tic Anyone who fondly remem bers Our Gal Recital. Donizetti: Lucia di Lammer- Sunday, Pepper Young's Family, The 111.001': R egnava nel silenzio; lvlad Scene. First Nighter, Kay Kyser's K oll ege of L i nda di Chamounix : a luc e di l\1usical Knowledge, or any of the other !]uest'anima. Verdi: Emani: Emanil in gems of radio's fl edgling yea rs wi ll be volami. I VesjJTi Siciliani: M eTCe, diletti disappointed in this collection. Anyone, amiche. J oan Sutherl and (soprano) ; tha t is, who remembers what th e thrllle Paris Conservatory Orch es tra, Ne li a music for those shows reall y sounded like, for D e Vol has missed the boat by over Santi condo LONDON LOL 90040 $7.95. EU.A F ITZGE RA LD arranging them, or by altering their Crackerjack stylist for Irving Berlin I nterest: Prima donna assoluta in imitable origin al instrumentation. T oo Performo nee: Exemplary group's perso nnel or to comment upon bad: it could have been fun. The rr Recording: Very good any of th e music they play. No Blues, cordrd sound is entirely passa ble. C. B. Stereo Quality : Ditto which rambles on for nearl y ten minutes, slips without pause into Bye Bye, a mere ® ELLA FITZGERALD: l1-1Jing Berlin This tape makes its a pprarance so me two-and-a-half minute fragment. Only Song Book. E ll a Fitzgerald (vocals); two-and-a-half years a ft er the LP ed i the sharpest ears will detect the transi orchestra, Paul "Veston condo Let's Fac e tion, which to all intents and purposrs tion. The set end with a short, II1 con the Music and Dance; Y ou're Laughing introduced iVIiss Sutherl and to Ameri can elusive pi ano so lo by K ell y. C. B. at M e; L et Y ourself Go; Y ou Can Have a udien ces. The r ecording was m a d e H im; Russian LullabJI; and · twenty-six shortly after her Covent Garden debut ® PAUL DESMOND: Desm.ond Blue. others. V ER VE VST 4-203 $ ll .95. as Lucia, in 1959, and owners of the co m Paul D rsmond (saxophone), Jim Hall plete opera, which she taped for London (guita r ) ; orchestra, Bob Prince cond. Interest: Vintage Berlin last summer, wili notice a difference. k l y Funny Valen tine; Desmond Blue; Performance: Genial She sounds here very much the young Then I'll Be Til'ed of Y ou; and six Recording: Excellent thing fresh out of Austra li a, wh.ich of oth ers. RCA VlC'fOR FTP 111 3 $7.95. Stereo Quolity: Marked course she was not, havi ng sung in and a round london since th e earl y Fifties. Interest: Desmond's so lo debut These thirty-odd songs, contained in one But what singing! The engineering, too, Performance: lyric sa x, arty backing of E ll a Fitzgerald 's first song books, were marked by fin e stereo perspective, is a l Recording : Very good i sued nearl y four years ago on two LP together satisfying. C. B. Stereo Qua lity: Realistic discs. In this twin-pack package they oc cupy a single reel a t an equivalent price. 4-TR. ENTERTAINMENT H aving ca rved a name for himself as Setting out with three of Berlin's tunes Dave Brubeck's alto sa xophonist, Paul dating from the Thirties, E ll a procerds ® MILES DAVIS: In Person, Vol. 1 D es mond stakes his fi rst elaim to a pl ace with flawless ear, crackerjack timing, -Friday Night at the Blackhawk. Miles among the D's in the so lo jazz catalog and a matchless sense of styl e to pi ck D avis ( trumpet), H ank Mobley (tenor a ri ghtful claim at that. His style is sweet, over a forty-year reserve of pure lyri c saxophone), Wynton K ell y ( piano ), Paul un aff ected, and radi antl y lyri c, his way gold-songs by the coun try's dean of C hambers (bass), J immy Cobb (drums) . with a tun c full of su rprises. His choice song writers-ra nging from Alexander's 86 HIF I / STEREO REVIEW KODAK TAPE: THE NEW SOUND IN MUSIC! Now Kodak brings you a new and superior Sound Recording Tape! It gives fully balanced response through the entire audio range . . . and unexcelled voice reproduction. It is the sort of tape you expect only from a company long experienced in precision coating with sensitive emulsions. New KODAK Tape is unsurpassed for uniformity. The thickness of the oxide layer is held to a tolerance of 14 millionths of an inch! This means you will record and reproduce both highs and lows without distortion. For years you've saved the sights you love on Kodak film. Now you can save the sounds you love on a sound recording tape of equal excellence and dependability. New KODAK Sound Recording T ape comes on a 7-inch T hread-Easy reel with a unique built-in splicer. I t's at your Kodak dealer's right now. Try a roll soon. © 196 1 Eastman Kodak Company You can depend on the name Kodak EASTMAN KODAK COMPANY, ROCHESTER 4, N. Y. CIRCLE NO. 14 ON READER SERVICE CARD 87 JUNE 1962 R agtim f Band ( 19 11 ) to It's a L oveLy lew.; I Can't G et Slarted; and eight D ay T od a)' from Call M e .Madam others. CAPITOL Z T 1660 $6.95. ( 1950 ) . Paul \'Veston's arrangements are at a ll time'S right, and the recording has Interest: Trumpeters' tunes a gem- li ke c l a~' i ty throughout. C. B. Performa nce: Sizzling Rec ording: Bright ® AL HIRT: Hom. A·Plenty. AI I-lirt Stereo Q ua lity : Hole-in-the-middle (trumpet ) ; orchestra, Bill y May cond. H olidav [or TrumfJPI; T hat Old Feeling; Stirring memories of the swing era and Easy S irpe t; Bab)' Won't Y ou Please pitching tributes to a few of its bright Come H Ol17 f ; and r ight others. RCA li ghts, J ones leads the Casa Lomans V ICTOR FTP 1109 $7.95. through some class ic numbers identified wi th h ornm en of th e t ime--H a rry Interest, Varied fa re J a me 's T w o O'Clock Jump, Loui s Performance, Athletic Armstrong's W est E nd BLues, Bunny Recording: Full-bodied Berigan's I Can' t G et S tarted, and Cootie Stereo Quality: Big VVill iams' E choes of H arLem , a mong ONLY THE ROBERTS 1040 others. J ones's approach is respectful but 4·TRACK STEREOPHONIC TAPE RECORDER at times overbearing. His somewhat too Combines these Advanced Features: A heavyweight among horn men in stat fl ashy trumpet solos emerging from the Unique "Iisten·to·yourse lf" feature ' Records new ure, in sta mina, and in swinging power, FM MULTIPLEX STEREO CA STS • 4·track stereo AI Hirt starts off with a tongue-twisting left a rc offset by salvos of massed brass and monaural re cord/ pl ay • 2·tra ck stereo and H oLiday for T rumpet, only by way of on th e right, whi le the rest of Gray's big monaural play • Sound·with·sound , using either band take sides, leaving a soni c no-man's track as basic track · Dual , self con tai ned powe r li mbering up for That Old Feeling, which stereo ampl ifi ers ' Dual , built·in extended range is turned out with the free-form ease, if land in the middle. The sound is other stereo speakers. Automatic shut·off. $29950 not thr li quid tone, of Bunny Berigan. wise a mple, though marred by distortion The recita l rises in fever pitch from the on occasion. C. B .• relative quiet of Easy S treet to tlie mar ------ROBERT S ELE CTRO NI CS, INC. ------HFSR·6·L 5920 Bo wcro ft Ave., Los Angel es 16, Ca lif. velously sc rambled, jingle-j angle version ® ELVIS PRESLEY: Blu e Hawaii. Pl ease se nd me, of R um pus. Billy }.i[ay's arrangements are Sound-track recording. Elvis P resley o Roberts Stereo Ta pe Instruction Ma nu al co ntain· ing stereo and mona ural applica tions. I enclose 2S¢' appropriately full-yo iced and are gener (voca Is ) " the J ordanaires and orches tra. (cash , stamps) for posta ge and handl ing. o The nam e of my nearest de aler. ous in th r ir support of Hirt, onl y once Bill e H awaii; A lmost Always T rue; A loha Name ______stooping to the coyly self-conscious--in O e; N o M ore; and ten otl;ers. R CA VJC Address ______the pranki sh quotation from Strauss's TOR FTP 11 32 $7.95. City ______Zone _Sta t e ____ D on Juan slipped in to Mai·gie. The re cordrd level is high, but the once-a-min Interest: l imited CIRCLE N·O. 31 ON READER SERVICE CARD ute peaks, miraculously, are free of di s Performa nee: Characteristic tortion. T h E' sound is bright, the stereo Recording: Good evenl y spread out. C. B. Stereo Q uality: O K ® LENA HORN E : Lena on the Blue Presley, backed by swooning H awaii an Side. Lena I-Iorne ( vocals ) ; orchestra, gui ta rs and the crooning J ordanaires in M a rty Gold condo Paradise; The R ules vocals from the Paramount film , is still of tlu Gam e; D am That D ream; I P resley. Admirers will undoubtedly find Wa11.11a Be Loved; and eight others. R CA the recording has its cha rms. Technica ll y VICTO R FTP 1116 $7.95. it ca nnot be faulted . C. B. Interest: low-k ey Lena ® JOE WILLIAMS AND COUNT Performa nce: Simmering B ASIE: The Greatest! J oe Will iams Record ing: Fine (voca l. ) , Count Basie ( piano ); orchestra, Stereo Quality: Ba la nced Budd y Bregm a n cond o T hou S well; There Will N ever Be A n other Y ou; Love M iss I-lom e is far too outgo in g to . ing I s H eTe T o S ta')'; 'S WonderfuL; and the blues as they should be sung, but she eight others. VERVE VST 4-204 $7 .95. is also too shrewd a judgr of h erself as a performr r to even try. She does not Interest : Pop sta ndards here. Nor cl o the songs she sings call for Pe rformance: Straightforward any more than she gives them--a pout Record ing : Good on the lips, a gli nt in the eye. R odgers' Stereo Quality: Just right in genuous II M ight As W ell B e Spring barely sta nds up under this kind of trea t The "voice" of the Basic band is hand ment, but ball ads like Dam T hat D ream, somely showcased in this coll ection. De Fits Garrard Model # Mod els T H adn't Anyone 'T i LL You, and most of parting fr om the blues style that first DC 1 Mod el 210 the other. can and do, nicely. }.i[a rty won him recognition, Joe Will iams de (il1u s.) G old 's ac co mpa nime n ts a re tastefu l, li vers a set of fa mi liar ba ll ads in an art DC 2 easy-go in g, and genr rall y unobtrusive. Ies, forthrigh t manner reminiscent of The recordi ng is tops on a ll counts. C. B. DC 3 Sin a tra: buoyant and beguiling in a DC 4 number like Singin' in the R ain, casuall y DC 5 ® JO N A H JO N ES AN D GLEN dcbonaire in A Fine Romance, huskil y GRAY. J onah J on es ( trumpet); the mell ow in C ome R ain 01' Come S hine. J onah Jonrs Q uartet and ·the Great Casa T he Count's pi ano interpolations are dis Loma Ban d, Glen Gray condo AfteT erect, and the engineering is first-rate. Ga rrard Sal es Co rporati on, Po rt Wash ington, N. y, CIRCLE NO. 42 ON READER SERVICE CA RD Y OIl'VI' Gone; T enderly; E choes of H 0. 1'- C. B. 88 R IFI/ STE R EO R EVIEW ops~ ..LheaterFOLK Review~d by STANLEY GREEN • NAT HENTOFF • PETER.1. WELDING ® ® DORIS D AY AND ANDRE ® ® ERMA FRANKLIN : HeT Name Ex planation of symbols: PREVIN: Duet. D ori s D ay (vocals), is Enna. Erma Franklin (voca ls). I t's ® =/llollophonic recording Andre Previn ( pi ano ), R ed Mitchell O veT; The A1an 1 Love; and ten others. ® =stereo p!t onic recording (bass), Frank Capp (drums) . Close Y OUT EpIc BN 6 19 $4.98, LN 3824':· $3.98. '.' = /II ono or stereo version E yes; R emind M e; F ools R ush I n; lVait 110t received for review T ill Y ou See H im; and eight o Lh C' rs. Interest: Loud debut COL UMB IA CS 8552 $4.98, CL 1752 $3.98. Performance: Limited scope ® SHIRLEY BASSEY: The Bewitch· Record ing : Spacious ing Miss Bassey. Shirley Bassey ( vo cals); Interest: Gentle ballads gently done Stereo Quality: Good Wal ly Stott and hi s Orchestra. The Wall; Performance: Careful and professio nal The GY/Jsy 111. M y Soul; L ove for Sale; Re cording: Good presence Erma Franklin, twenty-three, is a sister and nine oth ers. EPIC L N 3834 $3.98. Stereo Quality: Wide separation of ArC't ha Franklin, who has had con sickrable succe s as a gospel-tinged pop ® ® SHIRLEY BASSEY: ShiTZey Bas· D ori s D a)' and Andre P['rvin have com sing ... 1'. L ike her sister, Ermil was a mC'm sey. Shirley Bassey (vocals); uncredited bined th C'i r ta lents to produce an album. b C' r of D etroit's N ew Bethel Baptist accompanim ent. The N earn ess of Y ou; tha t will be pra ised in so m ~ quarters and C hoir, led by th eir fi ery fathrr, R everend Fo ols Rush In; Angel Eyes; and nine summaril y dismissed in others. Some C. L. Franklin. Although h C' r gospel otl1("rs. UNITED ARTI STS UAS 6169 $4·.98, times with th e assisLance of bass and background is evident, Erma Franklin is UAL 3169';;' $3.98. drums, more oft en without it, they go essen tia ll y an unori gina l rhythm-and wi th ca rcful tenciC'rness th rough a rollrc b lues singer with pop prC'tc nsions. She Interest: More on the UA disc tion of some of the bes t, and some of the h as sma ll sC' nse of d ynam ics and tri rs to Performance: Excessively emotional overpower bel' ma teri a l with her bi g, Recording: Epic metallic; UA fine strid ent voice. Only in II's Over-a pop Stereo Qua lity: UA good enough song translated into stra ight gospel style - d oC's lV[i ss Franklin gellC' rate excitC' There is nothing wrong with Shirlry Bas m ent. The arrangC' mcnts, hC' avy \.vith sey's singing that a li ttle self-control t riplrts, a r ... thumpingl)' dull. The re would not help. She is a belter, a shouter, cording i exceptionall y live, thC' reby ac and a blaster who delights in knocking centua ting J,1iss Franklin's tendency to h erself out with a ll sorts of vocal contor ita li cize everything she sings. N. H. tions no matter what the sentim ents may be that she is all egedly presenting. This is ® J UDY GARLAND: The .T-u,d), Cr/1' rather unfortunate sin ce the singe r does land StOTy-Volum.e 2: The Hollywood have an attractive enough vocal qua lity Yea.rs. Judy Garl and (voca ls); MGM and a range that is especiall y admira bl e. Studio Orches tra. I'm Nobody's Baby; Of the two LP's currently ava il abl e, the Trolle)' Song; O veT the Rainbow. MGM United Artists coll ection is the more sat 4005 $4·.98. isfactory because of superior sound and DORTS DAY better-chosen repertoire. S. G. Interest: Throughout With Previn, (L gentle rnixture Performance: Some of Judy's best ® EDDIE CANTOR: Camegie Hall m ost seldom-done, gentle ball ads in th e Recording : Acceptable Concel·t. Eddie Cantor; pi ano. AUDIO repertoi re. There are a lso three songs by FID ELfTY AFLP 702 $4.98. Prcvin and hi s wife, one of whi ch, Con Although MGM h as fa il C'd to provide trol Y ourself, ja rs the otherwise steady the information anywhere in this double Interest: Show business memory lane pace of the set. Jvfiss Day's enuncia tion fl a p a lbum, these dozen so ngs are a ll Performa nce: Sentimental journey is mannered , and Mr. Previn is at times taken directlv from th e sound tracks of Reco rding: Excellent self-consciously funky, but oth erwise the Miss Ga rl a n~l' s fi lms. The span covered album is all of a piece. For th is li stener, is from 1938 to 1950, a time when 11<"1' Taped during an actual Carnegie H all " Duet" does not a pproach the depth voice was still brimming with youth and one-man performance, this recording is of mood of, say, Sinatra's class ic " In the a kind of controll ed intensity that made notabl e both for the· excell ence of its "Vee Small H ours," but is done with every number her very 0 \·\(11 property. sound and for the genera l dullness of great care and professionalism, and there Of specia l interest is the in clusion of Cantor's commentaries, anecdotes, and are undoubtedly a great many who wi ll YO'll Can' t Get a Man with a Gun from routines . My FaTt y Y ears 111. Show Busi find its combin ation of wistfu l roman Annie G et You?' Gun, sin ce Miss Gar land wi thdrew from the film soon after ness is the title of the monologue, whi ch ticism and autumn-evening peace to their happily mixes fact and fancy interspersed tas te. And it is hard to qua rrel wi th even recording the musica l numbers. It should be enough of an a ppetite-whetter to make with occasional songs. The audien ce ob a bland recording that conta ins superb h er fans dem and tha t MGM release the viously ate it all up, although the applause songs like Give M e Time, N obody's and laughter sound dubbed in. S . G. H eart, and Falling 111. L ove Again. J. G, en tire sound track. S. G. 89 JUNE 1962 ® ® LEN A HORNE: Lena on the The difference, however, between thi s FM Stereo Kit Triumph Blue Side. Lena Horne (vocals); orches album and their earlier collaborations is tra, Marty Gold condoD am That D ream; that Sinatra has gained so much casual Someone to Watch Over Ale; As Y ou confidence in the past d ecade. H e brings knight-kit® D esire Me; and nine others. R CA VICTO R more than enough of his own flair for LSP 2465 $4.98, LPM 2465'" $3.98. seasoned r egret to compensa te for the STEREO FM MULTIPLEX sa lt-free se ttings. There is no ma le popu- Interest: A softer Horne than usual ADAPTER KIT KS-10A Performonce : Calculated Record in g: V ery good Stereo Q uo lity: First-rate only $19 95 Lena H orn c's previous albu ms han' often SEND NO MONEY alternated between frenzy and coyness. T h('se performances are among her Ipast only $5 per month artifi cial on records, partly because of Marty Gold's understated arrangemcnts. enjoy beautiful Stereo FM reception at unbelievably low cost . • . Nonetheless her phras ing is self- con sc iously oVC' rstylized, and her beat lacks N ow you can have the pleasure of Auidi ty. Miss Horne is better scen wh il e an easy kit-building experience. Now you can add the tonal beau ty and Iward. N. H . realism of Stereo FM broadcasts to your present music syst em. The sav ® ® EDITH PIAF: PottJO'uni lJar p·illf. Edi th Pi af (vocals); Robert Chau ings simply can't be duplicated. The F RA N K SIN ATRA quality can' t be matched for any vigny and his O rches tra. M on Dieu!; La Casual confid ence is his trademark .where n ear the price. Order the KS Belle HistoiTe d'Amour; E:ro du.s; and IDA Knight-Kit Mult iplex a dapter n ine others. CAPITOL ST 10295 $4.98, lar singer in America who can equa l the today-no money down (just check T 10295 -::- $3 .98. rclaxed but sh rewdly co ntroll ed tim ing coupon ). Unbeatable value. of Sinatra's phrasing in these perform I nterest: French torch songs ances. T he quality of the sound conveys Pe rformance: The Princess of W ails immedi acy without unnecessary italics. Record in g : Slightly harsh N. H. Ste reo Quality : lacks d ept h ® ® CAL T JADER: Cal T jader Plays Of th e dozcn songs in Edith Pi af's latest Harold A ,·len. Cal T jader (vibraphonc); co ll ection, half deal with so me aspect of rhythm group and orchestra. III Wind; unrequited love, and in only three does Over the Rainbow; Out Of This W odd; thc singer appear to have ac hil'ved any and nin e others. FA NTA SY 80 72'" $4.98, 333 0 $3.98. PROOF OF SUPERIOR VALUE personal happiness at all. This is about par for the lady's course, and although • Self-powered-i nstalls out of sight. Sepa Interest: Arlen's best ration control for precise stereo adjustment [ could hardly imagine her blossoming (23 db separation) • Input sensitivity 0.2 volts out in D oris Day's repertoire, the unre Performance: Relax ed jazz • Frequency response 50-15,000 cps, ± 1 db li eved gloom does get a bit oppressive. Record ing: Occasional surface noise • Noise filter (switchable) for use in weak sig Nevertheless, Miss Piaf continues to be a nal areas. Top-performing circuit using 2 Vibraphonist Cal Tjader obviously has a dual and 1 triple-purpose tubes. Power sup brilliant performer whose skill triumphs ply is transformer-operated ; uses selenium ('ven over the heavy-handed orches tral great respect for the musi c of H arold rectifier. Pi-filter network f or ripple-free B + back ing. One ringer, Exodus, is remark Arlen. His a pproach-especiall y on the voltage-hum is practically inaudible. Pre ably a ffecting. S . C. fi rst side- is to keep the interpretations aligned coils. AC on-off switch. Three 36' close to the com poser's original concept connecting cables included . . • Simply plugs into your tuner's Multiplex output and your of each pi ece, and his variations are dis RECORDIN G OF SPECIAL MERIT amplifier' s tuner inputs. With all connecting ti nguished by delicacy, warmth, and cables, tubes, parts, and famous Kn ight-Kit ® ® FRANK SINATRA: Point of N o taste. T he first side features Mr. T jadl'r step-by-step instructions. 3Ya x BY, x 4'. For with a trio; the second, unfortunately, in 110-125 v. 60 cycle AC. 4 Ibs. Reh.t1"11. Frank Sinatra (vocals) ; orches vo lves a string-section backing that at An amazing value at only ••• tra, Axel Stordahl co nd oSep tember S ong; I'll S ee You Again ; I'll R em ember AtJTil; tim es comes close to so unding like a Satisfaction guaranteed or your money back and nine others. CAPITOL SW 1676 $5.98, M iklos Rozsa nigh tmare. S. C. W 1676'::' $4.98. ALLIED RA DIO ® ® ANDY WILLIAMS: Andy W il· KNIGHT ELECTRONICS DIVIS ION Interest: A survey of nostalg ia liams' Best. Andy Williams (vocals); or Pe rfo rma nce: The master bolladeer ches tra. The Bilbao S ong; L onely S fT ee t; SEND NO Record ing : Superb Canadian Sunset; and nine oth ers. c.", MONEY A LLI ED R ADIO Stereo Q uality: Excellent DENCE CLP 25054 $4.98, 3054-::' $3 .98. 100 N. Western A ve., order today Chicago 80, III. Interest: Williams' biggest hits : 0 Shipmethe Knight·KitMultiplex KS·10A These evocations of lost love represent • Adapter Kit 83 Y 656 AV a rcunion between Sinatra and arranger Performance: Ingratiati ng o Ship No Money Down on Allied 's conductor Alex Stordahl , who supplied Recording: Good Credit Fund Plan the backgrounds for most of Sinatra's Stereo Quolity: Adequate • Name______Columbia recordi ngs in the 1940's. As in those years, Stordahl's liabilities are his ® ® ANDY WILLIAMS: " Danny : Address' ______tendency to oversweeten the scoring and Boy" and O th er Songs I Love To Sing. his reliance on voicings that are all too Andy Willia ms (voca ls); o rch es tra. : City ______Zone __State' ____ fam ili ar. Danny Boy; Tammy; S ecret L ove; Sum- 90 HlFI/ STER EO REVIEW merti1ll c; and nine others. COLU;\[BIA CS 855 1 $LI.98, CL 175 1';:' $3 .98. Interest: Ballad collection Imlagnecord Performa nce: Assured Re cording: Good Stereo Q uality: Good ((ABOVE and Andy Williams' record for Cadence is a co llec ti on of hi s bi ggest hi ts. It provi des a capsule anthology of th e sources of BEYOND" popul ar music: included are an Ita li an IIMagnec01'd is the song, a reli gious song, a country-and p1'o!essi01zal Js choice for IVI' te rn so ng, a rhythm-and-blues song, the ultimate in and a Kurt Weill-Bertold Brecht co li abo raLion. All of the recording tri cks are 1'ecording performance." -Walter Cassel us ed- echo chambers, choruses, barking. Metropolitan Opera Baritone . tenor saxophones, and what sounds like multi taping-but, except for one attem pt Great artists like Walter at rh ythm-and-blues style, Wi lli ams Cassel are profoundly impress rschews vocal tricks and sings straight. ed by Magnecord's achievements in capturing and reproducing the H e emerges as a pl easant, musicianl y full magnificence of live performances. For years Magnecord has singer, lVith something of the sa me " ni ce been the most widely used tape recorder in the sound and broadcast guy" quality that made Pat Boone such industry. Your home d eserves the best, too! a success. One song ( In the SUm1/l, (' T For incomparable Stereo, choose the Magnecord Olympian .•• time), You D on't Want My L ove, in the it's perfect! Has every feature you've always wanted including full country style, is a hilarious semi-pattl'r fidelity 4-track play and record. song that might have been intended as a sati re. Iml ag';,;:~;;;;; ' ;"1;":;"~ '; ' ; ""'~1 ;"; :"~ ;.:,"~, ~" ; The Columbia record is another mat tl' J' entirely. It is a collection of standard ball ads ranging from Danny Boy to Misty, MIDWESTERN INSTRUMENTS, INC. and it employs no trickery at all. In manufact.urers of electronic data acquisit.ion in strumen t. s cluded are at least two great neglected P. O. BOX 7509 TULSA 35, OKLAHOMA so ngs, both by J erome K ern : I'm Old Fashioned and Can I Forget Y ou. D e CIRCLE NO. 28 ON READER SERVICE CARD spite a few unsuccessful falsetto endings, Williams sin gs with more sureness and indivi duality than on the Cadence disc. This set suggests that he is pointing to ~ =a ,1 it·] ,1 Ut;,1: (3 j' lVard the so rt of style and assurance of which Perry Como is the recogni zed ma:ter. 1- G. NEW LAFAYETTE (lriterioll''' RECORDING OF SPECIAL MERIT LT-700 FM ® RUDY VALLEE: The Young Rudy Vallee. Rudy Vallee (vocals); The Stereo Connecticut Yankees. D eep Night; The Stein Song; As T ime Goes By; and nine Multiplex others. RCA VICTOR LPM 2507 $3.98. ® ® RUDY VALLEE: Stein Songs. Tuner Rudy Vallee (vocals); orchestra and Chorus. TheTe Is a Tavern In the T own; Glorious Glorious; The Bierstube Song; 50 DOWN. and eleven others. DECCA DL 74242 lj~~M~AD~E :IN:U.~S.A~.z;:.:~ N~O:MONEY 124 $4.98, DL 4242 $3.98. Now from the Lafayette High-Fidelity research laboratories-a tuner with a level of distortionless performance and professional flexibility that sets the standard for FM multiplex reception • Stereo Separation: 35 db at 400 CPS Interest: Far more on the RCA set • 1.25/Lv Sensitivity for 20 db of Quieting. Virtually Distortionless - Less than Performance: Rudy young and old 0.15% Distortion at 100% .Modulation, Monophonically; Less than 1% Stereo Record ing : RCA reinforced; Decca OK phonically. Variable AFC Literally "Locks-In" Stations. Better than 57 db Signal to Noise Ratio. Equipped with Electronic Bar Tuning Indicator plus FM Stereo Stereo Q uality: Satisfactory on Decca Indicator Light. 124.50 NO MONEY DOWN. ~ •.•••••...... ••.••....••...... •...... ~ LAFAYETTE RADIO DEPT. HM F· 2 BOX 10 SYOSSET l. I. N. Y. 0 Send Free Summer - Rudy Vallee made the original tracks , " Catalog Supplement ~_ ; on the RCA disc between the ages of Name 0 KT·700 FM Stereo $~- Address MPX Tuner ~ ~~ twenty-eight and forty-one; his recent re $ . .. Enclosed = cording for D ecca was made when he C'1y Zone _State ------~-:- I LAFAYETTE SU~~~~ln was sixty. Since Rudy's voice was never ~ r.A..'Y'ETTE OTHER LOCATIONS JAMAICA 33, N. Y. CATALOG SUP _ particularly robust, there is probably less NEW MAIL =R NEW YORK13,N.Y. BRONX 58, N.Y. NEWARK 2, N.J. ; aging than in most singers. Yet the lis ~SA~ C~ER~ I SYOSSET, LONG ISLAND, N. Y. PLAINFIELD, N.J. PARAMUS, N.J. BOSTON 10, MASS; tener cannot help but notice how the ...... JUNE 1962 CIRCLE NO. 26 ON READER SERVICE CARD 91 male chorus on " Stein Songs" practica ll y carries him along - that is when it does n't seem to be drowning him out SAVEOVER40~ ~I~fl entirely. T he program of drinking songs, it might be noted, was selected with the USE OUR EASY -PAY-PLAN Up to 24 months to pay co-opera tion of the United States Brew 2418/ Bell 30 Watt Stereo Amp ...... $1 09 .95 ers Associa tion. RC88 / 11 Garrard 4/ Speed Stereo change r 59 .50 The R CA set covers all of th e croon 108-Audio Empire Diam _ Stereo Cart . . .. 35.00 2-Famous make 3-way spkrs_ mounted in er's best-kn own songs, and it would be walnut bo okshelf cabinets . . _ ...... 119.90 almos t impossible for anyo ne over thirty All Interconn. cab les & Inst...... 4.50 fi ve not to feel genuine nostalgia at the Buy with Confi Catalog Price . ... $328.85 so und of that thin, nasa l, but oh so warm dence. Your Money Back within 15 - YO UR COST ...... 195.00 and sincere voice bri nging back such You Save truly lovely so ngs as Deep Night, I'm days if not Com Over 40 % ...... $133.85 pletely Satisfied. • Unless you' re a mu lti-millionaire get our quote, like Just a Vagabond Lover, and As T ime these shrewd bu ye rs did! Goes By. Rudy's celebrated Drunkard BEFORE YOU BUY HI-FI write fo r no obligation • Th ese exce rp ts from letters in our f iles are proof qu otation on yo ur Hi-Fi re qu irements. We guar positive that RABSON S PRICES ARE ROCK BOTT OM ! Song, in whi ch he inex pl icably gets into antee: " We Wi ll Not Be Undersold." • Your pu rchase backe d by our re pu ta ti on for 57 a la ughing fi t, has also ha ppily been in FREE WHOLESALE CATAL OG_ yea rs of RELIABILITY! PLU S our si x (6) months • guarantee, instead of the usual 90 day s_ STANDARD cluded. And \~ h e r e else today can you NAME BRA ND LINES . hear the saga of K itty from K ansas City, ELECTRONIC WORLD HI-FI REC~RDlNG TAPE • fro m "D.G.B." lIIino is- 7" Spools Splice Free - Freq Resp. 30 15KC " Th anks f or your quotati on. It i s indee d low . So who thought that a mushroo m was a l ow I judge t here is a typog raphi ca l error." • street for making love, and that Rudy 3-11 12-23 24 -100 • from "J.L " Ohio- Vall ee was a street in Paris? G ems, all $1 .29 $1 .17 $ .99 " It has bee n a pleas ure doing busi ness with you 12A 1200' Acetate • and you ca n be sure all my friend s and associat es gems. S. G. 18A 1800' Acetate 1.79 1.59 1.45 • shall hea r of your service ." IBM 1800' Mylar 1.95 1. 89 1.85 fro m tlT.S.R." Lo uisiana- 24M 2400' Mylar 2.69 2.59 2.49 • " Pl ease give me a price on th e fol lowing sp ea ker ® ® ANDRE KOSTELAN ETZ: Star Any assortment permi tted fo r quan tity di scount. system ...... _...... I was certai nl y pl eased Spangled March es. Orchestra, Andre • with th e price you qu oted on the other com po Add 15¢ pe r spool postage. 10¢ 24 or more . nents." K os telanetz condo Colonel Bogey; 76 Since w e are franchised by all monufacture rs whose merchandise w e sell, you are a ssured of • fro m "J.V." Virginia- Trombones; Stars and S trifJes Forever; fulf warranty protection . • " I regret t o sa y I am un abl e to bea t yo ur pri ce on the ...... kit. Check enclose d." and twelve others. COLUMBIA CS 85 18 • FREE-Wit h our quote on t he equipment or sys- $4.98, CL 1718" $3.98 . t em of your ch oice we will include a $1.00 genuine Mi racle Re cord Cl eaning Clot h. Interest: Sta nd ard col lection absons -57 ST., Inc. Dept. lOA Performa nce: St ereophonic R 119 West 57 St., New York 19, N.Y. Record ing : Spectacular 220-H East 23rd St. , New Yo rk 10, N.Y. • • • • • (Diagonally opposite Carnegie Hall) Stereo Q ua lity: Engu lfing CIRC LE NO. 3 0 ON READER SERVICE CARD CIRCLE NO_ 22 ON READER SERVICE CARD ® ® PAUL T AUBMAN: Big Brass Band. Band, Paul T aubman condo Colo Send HiFi/Stereo Review YOU nel Bogey; 76 T ro mbones; Stars and Stripes Fm·ever; and nine oth ers. EPIC BN 612 $4.98, LN 38 1p· $3 .98. . Every Month SAVE Interest: Standard collection Performance: Remarkab ly spirited Reco rd ing : Splendid MONEY! Stereo Qua lity: Very good ® ® MICHIGAN UNIVERSITY RUSH US YOUR BAND: T ou.chdown, U.S.A . U niversity LIST OF HI- FI of Michi gan Band, Will iam D _ R evell i cond o Illinois L oyal ty; Hail Purdue; COMPONENT S Stars and S tripes Forever; and sixteen FOR A SPECIAL others. V ANGUARD VSD 2100 $5 .98, VRS 9095 $4-.9 8. Check one : 0 3 years for $12 QUOTATIO N o 2 years for $9 o 1 year for $S I N THE V . S . , and POSSESSI ONS Interest: For old grads o P ayment E n closed o Bill Me Performa nce: Routine WRITE FOR FREE F oreign I'ntcs: Canada and P an AmerIcan Unio n CQun· Recording : Dull t l"les. a d d $.50 PC I' y e ar; a ll o thel" f oreign countries . AUDIO DISCOUNT Stereo Quality : Acceptable a dd $ 1. 0 0 P CI' year . CATALOG A-15 n am e ______Since both Columbia and Epic are owned by the sa me company, it may seem su add ress; ______New low prices on pererogatory that they should release two city' ______zon e_ amplifie rs, t u ners, tape such noteworthy coll ecti ons of band mu re corde rs, speakers, e tc. sic in the same month . Andre Kostelanetz state'______adopts the more showy approach ; his Mail to: ElECTRONICS CO. reed and brass sections bounce the m elo HIFljSTEREO REVIEW 120 LIBERTY ST. dies back and fo rth in a generall y daz zling display of " ears left, ears right" HSR-662 NEW YORK 6, N.Y . KEY sound. Moreover, he has injected occa 434 S. Wabash Ave. Chicago 5, III. CIRCL E NO. 2 S ON READER SERVICE CARD sional to uches of syncopati on that liven 92 H IF I/ STEREO R EVIEW VOLUME2 . MORE BEST OF THE PHENOMENAL IE PATACHOU at the St. Regis Maisonette ••• Jolie Morne, JUST Que Reste-t-il, Je T'Airne Encore Plus, Ces Petites Choses, others. RELEASED AFLP 1961 • AFSD 5961 LIMBO, Calypso Party .•• Cachita, Pepe, Look For A Star, Never On Sunday, AUDIO Pachanga, others. AFLP 1967 • AFSD 5967 FOLKSONG, U.S.A., The Robb insdale Chorale •.• FIDELITY Ghost Riders In The Sky, Yellow Rose Of Texas, A 'Rovin', Shenandoah, Banua, John Henry, others. RECORDS AFLP 1965 • AFSD 5965 OSCAR BRAND WITH STEREOPHONIC CURTAIN OF ROLLICKING SEA SOUND* RECORDING TECHNIQUE! CHANTIES ..• Yankee Ship, Johnny Corne Down Recognized for years by To Hilo, discriminating listeners for true Whiskey Johnny, Paul Jones, Ballad of stereophonic reproduction and Wrn. Kidd , High the highest standard in high fidelity! Barbaree, others. AFLP 1966 • AFSD 5966 JUNE 1962 CIRCLE NO. 6 ON READER SERVICE CARD 93 up th e proceedings quite considerably. Paul T aubman, whose set duplicates four pieces heard on the Kostelanetz pa PURCHASING The Barnes rade ground, adopts a no-hoke, determi nately brisk approach throughout. The A HI-FI conductor's purpose seems to be to reCl'e Library of ate as closely as possible the atmosphere SYSTEM? of a concert in the park, and he has TIME PAYMENTS AVAILABLE achieved his aim with a larger and a far Up to 2 years to pay! Spoken Languages Jim lansing* better drilled ensemble than was ever Alte e lansing Electrovoice idiomatic conversation re assembled on anyone's vi llage green. The Send Us Je nsen program ends fittingly enough with the Hartley* corded by native instructors of Unive rsi ty the foreign languages depart playing of The Star-Spangled Banner. Your List Of Acoustic Research Janszen ments of Columbia University The Michigan University bandsmen Wharfedale are no match for Kostelanetz or T aub Components USl Citize n Sand ... 22 lessons .•• 2 different International Crystals speeds-33% rpm and 45 man crews. They run through the grid Gonset - Hallicrafte r For A Texas Crystals rpm. Each record in an attrac iron songs of the Big T en universities, Concertone • Viking plus assorted ringers from the East, in Belle G .E. tive slip case accompanied Package Weathers with a foreign language conver fai rl y routine fashion, with little snap Harmon-Korda" and dash. Moreover, Vanguard's so und, Eico. Pilot. TEe sational manual and a diction Quotation Sh erwood* both stereo and mono, is weak. S. C. ESL • Frazier ary. Supe rscope AIREX Dual Changer WON'T BE Bogen - RCA THE EASY WAY THEATER - FILMS Dynakit. Fi she r UNDERSOLD H. H. Scott TO FRENCH Thorens* ® ® BLACK TIGHTS. Sou nd-track Conrae All merchandise is OeWa:d recording. Maurice Cheval ier (narrator ); brand new. factory $3.95 Sony - Roberts orchestra. The Diamond Cruncher; The fresh & guaranreed. Challe nge, Free Hi-Fi Catalog Woll ensak - National M erry Mourning; Carmen; Cyrano de Garrard - Norelco Miracord Bergerac. RCA VICTOR FSO 3 $5.98, Glaser·Steers FOC 3'''' $4.98 . Rek-O-Kut AIREX Polytronics THE EASY WAY Tondberg* Interest: Attractive scores Fairchild TO SPANISH Pickeri ng - Sonar Performance: Well-played RADIO Audio Tape Recording: Slightly harsh Mogne cord* $3.95 CORPORATION Rockford Cabine ts Stereo Quality: Good * Fair Traded 85-MR Cortlandt St., N.Y. 7, WO 4-1820 The French film Black Tights is an all CIRCLE NO. 1 ON READER SERVICE CARD ba ll et affair featuring a program of four THE EASY WAY works. T hese four have now been shaped TO GERMAN inta an LP, and, in general, make for a delightful program of ballet music. Per $3.95 haps the most attractive new score is the one for The }vI erry Mourning, which has a charming carniva l theme, a persuasive romantic melody carried by the strings, and an intriguing variation on T ea for THE EASY WAY T wo. The Cannen musical condensation TO ITALIAN has also been skillfull y stitched together. Maurice Chevali er's narration seems to $3.95 be a bit misl eading when heard without any so rt of prin ted program guide. S. C. COMBINED PACKAGE OF 4 LANGUAGE RECORDS ® ® A F AMIL Y AFFAIR (James only $9.95 Goldman, John Kandel', William Gold· man). Original-cast recording. Shell ey ------Berman, Ei leen Heckart, Morris Carnov A. S. Barnes & Co. Inc. 2AA sky, Larry Kert, Rita Gardner, Bibi Os lSl· Sl 7th Ave. Whitestone 57. N.Y. terwald. Orchestra and chorus, Stanley Please send me: Lebowsky condo UNITED ARTISTS UAS ___ EASY WAY TO FRENCH at $3.9S 5099'" $5.98, UAL 4099 $4.98. ___ EASY WAY TO SPANISH at $3.95 Interest: Not very much ___ EASY WAY TO GERMAN at $3.9S Performance: Barely adequate ___ EASY WAY TO ITALIAN at $3.9S Record ing: Close and metallic and/ or ___ All FOUR RECORDS for only $9.9S I enclose $ 0 Send C.O .D. It wou ld require a good deal of concen tration to recall another Broadway score NAME ______s~ lacking in any distinction as that pro VId ed for A Family Affair. It's not that ADDRESS. ______.-.:... __ the songs are really bad; it's just that CITY ______ZONE_ STATE ____ there is not one that can claim to have an especia ll y appealing melody or a lyric Mono A 4360 Stereo OSA 1332 94 CIRCLE NO. 39 ON READER SERVICE CARD H IFI/ STER EO R EVIEW ~~' DOWN TO EARTH Global Tape Recording "" r ~ Everyone's going for Audion's .. ,' /" EXCHANGE HOBBY CLUB ~. . ~ "Down to Earth" Hi-Fi Values. on all your Stereo needs. We bring the U.S.A. and the world to you via Tape. This is the most reward Recorders, Tuners, Amplifiers ltuk ing hObby known for all ages. Tape Turntables, etc. ewith sponding can put you in contact with LET US PROVE that we can sup people allover the world for exchanges of ideas, music, educational knowledge, ply your requirements AUDION before buying or small talk. Free details. PROMPTLY AT LOWEST COST. HI FI components Write to Mailway Co. FREE CATALOG. Write for free catalog. 216 W. Jackson Blvd., Chicago 6, III. or 51 W. 35th St., New York 1, New York STEREO COMPONENT Supply (0., Dept. S 25 K OXFORD ROAD or 601 S. Vermont, Los Angeles 5, C'alif. 148·25 - 12th AVE., FLUSHING 51, N. Y. MASSAPEIlUA, LI., N.Y. or 2006 E. Courtland, Spokane 27, Wash . jlfNfQ~ R,EN"T ANTENNAE II Tapes, Accessories stereo ta.pes THE FINEST OF ITS KIND •• • CHECK Get more FM stations with the world's most OUR SLEEP LEARN KITS • Over 1500 different albums All Label s powerful FM Yagi Antenna systems. To be fully informed , MONTHLY Unusual Values • 2·track and 4-track SPECIALS • No deposit on tapes rented send 30¢ for book Additional "Theme And Varia savings MERITAPE • Postpaid to and from your home over our Low cost, high quality ,ecord-, tions" by L. F. B. usual ing tope in boxes or cans. FREE "o;~ereo_pa.rti tit] Carini and containing LOW QUOTES FM Station Directory. FREE 1962 Catalog 811-8 CENTINELA AV E. , INGLEWOOD 3, CALIF. 1523 HF Jericho Turnpike APPARATUS DEVELOPMENT CO. DRESSNER New Hyde Park, N. Y. Wethersfield 9, Connecticut •••••••••••••••••••• • ••• :HI-FI RECORDING TAPE: • Splice Free (except 2400') • • Freq. Resp.: 20-20,000 cps • _ 15 day n1oney-back guarantee _ ~ Headquarters • 3·11 12·23 24 + • • 1200' 7" acetate ...... ~1.29 ~1.17 99¢. .1800' 7" acetate ______1. 79 1.59 1.45. SAVING YOU MONEY Experiment in this fascinating, educational new .1800' 7" mylar ______1.99 1.95 1.85. field . Use your pho nograph, recorder or amazing new Electronic Educa tor endless t a pe recorder. We .2400' 7" mylar ...... 2.69 2.59 2.-19. .J FACTORY FRESH COMPONENTS carry a full line of endless repeating tape ca rtridges .2400' 7" tensilized mylar . 2.99 2.95 2.90 • for a ll m a kes of standard recorders plus automatic Ca n Be Assorted, Add 15¢ Postage P er .J LOWEST POSSIBLE QUOTATIONS timers, pillow spea kers and complete outfits. Also ReeL 10¢ For 24 + Lot Orders. over 200 unusua l educa HI-FI COMPONENTS TAPE RECORDERS .J FAST DELIVERY tional a nd self-help courses AT WHOLESALE PRICES on tape and reco rd for WE SHIP WITHIN 24-48 HRS. We are FRANCHISED DEALERS for most Hi·Fi sleep-learnin g and hypno- WE'LL AIR-MAIL LOW QUOTES ON lines. Most orders SHIPPED PROMPTLY from .";ja', ~ . sis experimenters. Write for stock. RECORDING TAPE at LOWEST PRICES . ;.... free 300 items catalog and YOUR PACKAGED HI-FI INQUIRIES. FREE 95 page STEREO CATALOG . full astonishing details. CAR5TDN 190-S-Lex. Ave ., Cor. 32 Sleep-Learning Research Association I 'tIll '::::::::,t-.u..d.i.M St., New York 16, N. Y. Visit Our Showroom 12S-Z East 88 St. New York' 28 , N. V. P. O. Bo x 24-Y, Olympia, Washington ••••••••••••••••••••••••• Regular High Fidelity and Stereo Clossico/-Popu/ar-Jozz-Show Hits-Folk etc. A unique kind of record club - No Hagree to purchase" obligatiom - no "selected" record list to choose from - no "list price" purchases - no "division" requirements. Simply, Citadel club me mbers can purchase Storage virtually any record or album, by any artist, Eliminates visibili ty problem of edge-stacked albums, stops jacket-bottom wear. Inst.'l. l1 s . . on any label for cost price. Write for com r::Jl! plete details . . . :lllywherc in five minutes with 4 screws. Sturdy welded steel construction, ball-bearing tr:lcks, ~~~~ntC:i~~ s~~~~o;~. ~1~~~I ~ ~S £~~s~:i~~~a~~: / CIT.... I)EL RECORI) CLUf, Wri te fo r brochure D. Deale r inquiries invited 545 Fifth Ave. Dept. S. New York 17, N. Y. KER STING MFG CO . 50 4 S. OATf . ALHAMBRA. CAlif JUNE 1962 95 HiFi/Stereo either poeti c or witty. The Messrs. Gold Like most young people from the city, man, Kandel', and Goldman have turned Odetta had to learn how to sing fo lk Market Place (Cont'd) out a series of numbers that are intended songs. Unlike most of them , she has Universal Record Clu b - to reveal the frustrations, squabbles, and wmked until it came naturally to her, occasional sweet talk that occur during and now she does it beautifull y. This The ~NE '" concert recorded at Town H all, N ew The. NLY .. . the prepara tions for a wedding. Inter York, ranges through her entire varied The RIGINAL RECORD CLUB preting these are a collection of some of the least musical voices ever heard on repertoire: children's songs, comic songs, Offering every Mono and Stereo B 2 R d the stage. Then to make matters even sea shanties, spirituals. She has a rich, record in print regardl ess of uy ecor s labe l, artist or type of mus ic. worse, the choruses are completely unin imperious voice and a wonderful, warm telligible, the orchestra so unds harsh, and personality that communicates instantly rnNi'M'li'1I')NI,t Get 1FRE E! the soloists have been miked too closely. in her spoken introductions. Highlights Wr ite for deta il s or se nd 35c Every time You Buy! What is especially regrettable is that are the stirring Santy Anno and the in coin for t he new, co mplete 250 page catalog and dedu ct with all the great Broadway scores of mournfully tender W hat Month Was t hi s amount from yo ur first All records at regu· Jesus Bam In? But, not surprisingly, the ord er. All records guara nteed lar catalog prices. the past still unrecorded, United Artists "fac tory f resh. Small handling should have chosen such an unimpressive two most startling moments occur in and mailing charge. work as A Family Affair as its first musi Negro protes t songs. One is the stark, cal-comedy album. S. G. pained Another Man D one Gone, sung ~ 1{eeo'UL C£tJr only to the accompaniment of h er own Box 1111 B, Mountainside, N. J. T HE THREEPENNY OPERA (see hand-clapping. T he other is Freedo m p. 58). T rilogy, a set of spirituals that builds as FOLK inexorably as the movement it celebrates. ~ HIFI/STEREO REVIEW The entire program, with Odetta's fin e fo lk guitar and Bill Lee's helpful bass, ~HAS A BUYER FOR RECORDING OF SPECIAL MERIT is an outstanding sample of the work of YOUR USED EQUIPMENT! ® ® MARIANO CORDOBA: Fla one of America's best and most com menco Vi,·tuoso. Mariano Cordoba mitted young fo lk singers. T here is little (guitar). S evillanas; Danza Mora; 20- difference in quality between the mono Tonga Gitana; and eight others. CAPITOL and stereo versi ons. ]. G. Look to our classified pages SP 8574 $5.98, P 8574¥.- $4.98. RECORDING OF SPECIAL MERIT In terest, Refl ective flamenco for fast results and bargains Performance, Remar kable technique ® CLARA WARD : Come in the Room. Recording, Close and vivid C lara Ward (vocals) . I f I Had My Way; Stereo Qua lity, First-rate H old On; H ow I Got O ver; and ten galore! For just 40¢ a word, others. VA NGU ARD VRS 9101 $4.98. Mariano Cordoba, originall y from Spain and for four years a member of the Interest, A joyful noise you can place your used touring Rosario and Antonio d ance Performance, Spontaneous troupe, now performs at his own Span Record ing: Excellent equipment, accessories or ish restaurant in San Francisco. His pro gram here includes not only indigenous C lara ''''ard and her singers have been flam enco material but also M exican spreading the gospel to jazz clubs in re records before 160,000 hi-fi songs and medieval Spanish Christmas cent months, but they wisely continue carols, effectively transmuted into the to return to the N egro church audiences flamenco idiom . that nurture and renew the exception enthusiasts like yourself. Let A formidable technician, Cordoba is ally lively art of gospel singing. In her a less fiery guitarist than most of his first recording for Vanguard, Miss Ward competitors. The usua l exhorta tory and her exultant coll eagues retain the im the HIFI/STEREO SHOPPING asides and the sense of a rapidly gather provisatory zeal of their previous Dot and ing emotional storm are absent from this Savoy coll ections, and their fire burns recital. Cordoba prefers to co ncentrate all the brighter because of V anguard's CENTER in HIFI/STEREO solely on the music, but while his inter superior sound. The major solo voice is pretations are thoughtful and beautifully M iss ' '''ard's, and she sings with driving shaded they are still quite intense. The conviction. H er functional, rock-steady REVIEW be your market recorded sound is brilliant, and the in piano is the group's rhythmic anchor as telligent stereo placement heightens and h er singers answer and affirm her wit place for selling, buying, or clarifies the listening experience of Cor nessing with spiraling enthusiasm. doba's complex patterns. N. H . I n h is jacket notes, Langston Hughes makes a useful point that is borne out by trading your used equip- RECORDING OF SPECIAL MERIT these performances: ". . . some gospel songs in themselves have little musical ® ® ODETTA: Odetta at Town Hall. or lyrical value. But if in a song there ment or accessories. Odetta (vocals, guitar), Bill Lee (bass). is one good line of emotional signifi cance, L et Me Ride; The Fox; SantJ/ Anno; gospel singers can take this line and Hound Dog; and eleven others. v'.. N often so fi ll it with fervor that their ex GUAR D VSD 2109 $5 .95, VRS 9103 $4.98. ci tement spreads to the entire song and For i Martin Lincoln makes of the whole a thrill ing creation." further ! HIFI/STEREO REVIEW Interes t, Powe rful presence N.H. information lOne Park Avenue Performa nce , Deeply movin g write: New York 16, N. Y. Recording, Excellent THE WEAVERS: The TtI/ ea7/en' Al· i Stereo Qua Iit y, littl e manac (see p. 59). 96 H IF I/ STEREO REVJEW r ~ . t.~ ,_'bL .~ .. RATE : 40¢ per word. Minimum 10 words. Augu st issue closes Jun e 3rd. Se nd orde r an d remittance to: Martin lincoln, HiFi/STERED REVI EW, Dn e Park Ave., N.Y.C. 16 r '~-"-EQm:PMENT ' AND~'''';''w.'' I""",...... ,...~ 1~~~~A":i:'_~--" ''':'-;-'-<;'.'~«<~~-... .,...- ACCESSORIES Ir' RECORDS L_ S: AMPS AND COINS ~~,,#, ~ <:w.,,,", ! WRITE fo~ quotation on any Hi Fi components: Sound ALL Reco rds-All la be ls . 33% Di sco unt. Free Informa GIGANTIC Collection Free! IrTcludes triangles, early ~~t;ftuctlOn Inc., 34 New St., Newark, N.J . Mitchell tion. Write-Westphal Enterprises 525 First Roches- Untted States antmals, commemoratives, British Colo ter, Michi ga n. " nies, high value pictorials, etc. Complete co llection DISGUSTED with " Hi" Hi-Fi Pri ce s? Unusual Di scounts plus big illust rated magaz in es al l free. Send 5¢ for On Your High Fidelity Requ irements. Write: Key El ec THE Reco rd Collector Journal-comprehensive, val u postage. Gray Stamp Com pany , Dept. Z2, Toronto, If-~2i8~: 120 Liberty st., New York 6, N.Y. Cloverdale able data, va n ed record mart. Introd uctory six issues Ca nada. -$1.50. Record Res ea rch , 131 Hart, Brooklyn 6. N.Y. FREE! New 1961 catalog of all photographi c books CDMPONENTS, Recorders! Free wholesale catalogue. ADULT Party Reco rd & Catal og-$1.00. Pi onee r, Box available. For your copy, send po st card with name Carston , 125-L East 88, N. Y.C. 28. #38-5 Sta tion F., Toledo 10, Ohio. and address to Catalog Popular Photog raphy Book Se rvice, One Park Ave., New York 16, N.Y. DON 'T Buy Hi -Fi Components, Kits, Tape , Tape Re cord RARE 78's. Write Record-Li sts P.O. Box 2122 River- ers un t il you get our low, low return mail quotes. "We WRITE Martin Lincoln, Hi-Fi/Stereo Rev iew, One Park side, California. I I Guarantee Not To Be Und ersold." Wholesa ie Catalog Avenue , Ne w York 16, N. Y. for information on how Free. Easy time payment plan , 10 % down-up to 24 to place a classifi ed ad in this section. mos. to pa y. Send 10¢ to: Hi -Fidelity Center, 220HC REPAIRS ,AND, t~ E. 23 St., New York 10, N.Y. , "EDUCATIONAL PRICES? Th e Best! Factory-sealed Hi-Fi Components? r;:", ' S~R~CING Yes! Send fo r free catalog. Audion, 1038R Northern ALL Makes of Hi-Fi Speakers Repai red. Amprite, 168 OPPORTUNITIES Blvd., Ro slyn, N.Y. W. 23 St. , N.Y.C. 7, CH 3-4812. BEFORE You Bu y Receiving Tubes or Hi-Fi Comp onents LEAR N While As leep, hypnotize with your recorder, se nd no w for your giant Free Zalytron current ca talog HI·FI Prob lem s solve d by " The Hi -Fi Doctor" on the phon ogra ph. Astonishing details, sensational ca talog - featuring nationally known Zalytron First Qu ality spot. Audi o, Acoustic, Radio Engineer, Pr ofessional free! . Sleep-Learning Association, Bo x 24-ZD , Olympia , TV-Radio Tub es, Hi-Fi Stereo Systems, Kits Parts, etc. ~'I~':~ ' 7_d8als9.evenlng. New York area. William Bohn , Wa shtngton. All priced to Save You Plenty-Why Pay Mo re? Zalytron TAKE Bachelor's and Master's Degree correspondence Tub e Corp., 220 W. 42nd St., N.Y.C. NEW York's finest audio se rvice department. Harmony courses from lea ding uni versities ! Directory of 6,000 SAVE dollars on radio, TV-tubes, parts at less than House , Inc., 147 E. 76th St. , N.Y.C. 21, RE 7-8766. co urses-$2.00. College Research, North Highl ands manufacturer's cos t. 100 % guaranteed! No rebrands, 17, California. pull s. Request Bargain Bulletin. United Radio, 1000-H, DIAGR AMS For Repairing Radios $1.00. Television $2. 00. OVER 160,000 bu yers and se llers wi ll read you r ad Newark, N.J . Give Make, Model. Diagram Service, Box ~72E, Hart when placed in this space. It costs only 40¢ per ford 1. Conn. SALE items-Component Quotations-Bulk Tape. Bay la , word; minimum of 10 wo rd s including yo ur name and Box 131R, Wantagh, N.Y . THE Best For Less! Hand wire d kit compone nts. ad dress . COM PO NENTS at lowest prices anywhe re. Write for Dynaco, Eico , Grommes , Harmon-Kardon, Scott, etc., cata log. Th e Maca lester Corporation 355 Maca lester etc. at substantia l sav ings. Fa ctory stan dards ex I " EMPLOYMENT Street, St. Paul 5, Minnesota. ceeded. Also Sp eake rs and turn tables. Kitcraft, 158 6th Ave., Bkl yn 17, N.Y. MA 2-6946 , FREE- R.C .A. , G.E., etc. tubes ca tal og. Di scount up to 't~FORMATION 75 % from li st. Picture tube s at 75¢ inch up. Parts, HI -FI Service at low·fi cos t. All makes meticulously HIGH Paying Jobs in Foreign Lands. Send ~ 2.00 for parts kits at 1/ 10 original cost. Needles, tube testers, serViced at moderate rates. Precision tuner alignment complete scoop ! Foreign Opportunities, Box 172, Co- silicons, se leniums, 7" TV bench t est Iube-$6.99- - $5. Kit co nstruction problems solve d I. Pol lack, lumbus 16, Ohio . . an d more . Arcturus El ectronics Corp . H.F., 502 22nd Westbury, N Y. ED4· 4490. WRITE Marlin Li nco ln, Hi·Fi/Stereo Review , One Park Street. Uni on City, New Jersey. Avenue, New York 16, N. Y. for information on how HiFi AMP LI FIE RS , t un ers, speakers, radios, te lescopes, ! to place a classified ad in this section. microscopes, cameras. Free Catalog. GM PhotoElec WANTED tronics, 623 Gay, Knoxville 2, Tenn essee. BUSINESS PROFESSIONAL Electronic Projects-Drgan s, Tim ers, QUICKSILVER, Platinum, Si lver, Gold. Ores Analyzed. Com puters, In dustrial, etc. $1 up . Catalog Free. Parks, Free Circu lar. Mercury Terminal, Norwood, Mass . OPPORTUNITIES Box 1665 Seattle 55, Washing.::to::.n::.... ---:_-:-".,--~-:-::- TRIGGER- W9 IVJ. We Buy Shortwave Equipment Fo r MAKE $2 5- $50 Week, clipping news pape r items f or THE Pri ce is Ri ght! Hi -Fi Components. J. Wright Co., Cas h. 7361 North, Riv er Forest, III. Phone PR 1-8616. publi shers. Some clippings worth $5. 00 eac h. Particu 65·B Jensen St., Ea st Brunswick, N.J . lars Free. National, 81- EG Kn ickerbocker Station, New York City. BUY British- Buy Best ! For the finest in all High Fidelity Equipment write for our qu ot ation first. MISCELLANEOUS SECOND Income From Oil Ca n End Your Toi l! Free Book The Hi-Fi Expo rt Spec ialists ! When in England ca ll and Oilfield Maps! National Petroleum, Paname rican an d see us. Telesonic Ltd., 92 Tottenh am Co urt Road , Building·HF. Miami 32. Fl orida. Lon don . W.1. Engla nd. GDVERNMENT Surplus Recei vers; Tr ansmitters, Snoop EARN Extra money se lling advertising book matches. erscopes, Paraboli c Reflectors, Picture Cata log 1O¢. Free samples fu rnished. Ma tchcorp., Dep t MD-12, Ch i WESTERN Hi Fi Fans. Are yo u interested in Price? Mesh na. Malden 48. Mass . Authorized Di stributors of major lines. Write for Quota cago 32 , Illinois. tion Hi Fi Sales Co., 735 W. Ma in St. , Mesa, Arizona. PATENT Searches, $6.00 For free In ve ntion Record I MA DE $40,000.00 Year by Mai lorder! Helped others and " Information In ve ntor's Need." Wr ite: Mi ss Hey· make money! Sta rt with $10.00-Free Proof. Torrey, AUTO. Radi os, FM / AM/SW-Bec ker, Blaupunkt, other ward. 1029 Vermont Aven ue NW , Wa sh ington 5, D.C. Bo x 3566-N , Oklahoma City 6, Okl ahoma. Imported and American sets, for al l ca rs; 20·30% discount/Square Electronics, 150-60 Northern Blvd., AUTH ORS' Learn how to have your book published, ASSEMBLE Artificial Lures at home for stores. Mate Flushing, N.Y . promoted, distributed. FREE book let "ZD," Vantage, rials supplied Free. Pr ofitable! Write : Lures, Tf. Wa lton 120 West 31 St. , New York 1. Beach 1, Florida. FREE Book "990 Successful , Li ttle-Known Bu sin esses ." TAPE AND SEXTAN TS Aircraft Fairchild Jaguar Watch Powered Work hom e! Pl ymouth 555R , Brook lyn 4, N. Y. Shoots Stars Astronauts $37.50. VHF ·FM Tr ansce iver TAPE RECORDERs.. 144-174MC including Mike, Speaker, Co ntrol , Ante nn a OVER 160,000 buyers and se llers will read yo ur ad $150. Dth er Surp lus Ai rcraft Parts App li cab le to Ma when placed in this space. It costs onl y 40¢ per TA PE recorders, Hi -Fi components, Sleep Learning rine Wr ite. O' Keefe Surplus Aircraft, Box 284, Sta n wo rd ; minimum of 10 words inclu di ng your name and Equipment, tapes. Unusual values . Free catalog. Dress hope , N.J. address. ner, 1523HF Jeri cho Turnpike, New Hyde Park . N.Y . ,, WHATEV ER your needs, Hi-Fi/St ereo Review , class ified PDPULAR Piano & Organ lesso ns on t ape $6.00 eit her ca n so lve them. Simp ly place an ad in these co lumn s tape. Wr ite f or parti culars. Bob Miller Tapes, Box and wa tch your re sults pour in . 132·H. Cra nford. N.J 'SHOPPING GUIDE SAVE 30 % Stereo mu sic on t ape. Free bargai n cata log / bl an k tape/ recorders/ norelco speakers. Sax itone, CLASSIFIED MISCELLANEOUS 1776 Columbia Roa d, Washington. D.C. RENT Stereo Tapes-over 2,500 different-all major A HAN DY GUIDE TO. PRDDUCTS AN D SERVICES , NDT " HO MEBREWING , Bee rs, Wines." instruction Man labe ls-free cata log. Stereo Parti, 811-G Centinela NECESSAR ILY IN TH E HIGH FIDELITY FIELD , BUT OF ual $1 Iguaranteed!). Crys t al 's, 28 BHF5, Mi llburn, New Ave., Ingl ewood 3, califor::.ni:=a,-:' ::-;-_---:::-_:-:-:-_,--_ WIDE GENERAL INTEREST. Jersey. r- ·OW'~·· .. ¥ tw· . ~'(':-"""""""';""i- RECDRDING Tapes. Lowest Pri ces. Free Literature. HYPNOTIZE Unnoti ce d, quickly, effortless ly or refund! Towers, Box 3095, Philadelphia 50 . PHOTOGRAPHY-FILM. Thousands sa t isfied! $2 . Timner, Box 244 , Cedarburg, Wisc. SPECIAL Dffer. All Tape recorders, $1 0.00 above cost. ~QUIPMENT ~ !:?ER~!2E~'Mj HYPNOTIZE! Practica l Instruction Course $1 (g uaran Arka y Sa les, 380-0 Hi ghland Ave ., Somerville 44, Mass. teed!) Crystal's 28PHF2 , Millburn, Ne w Jersey. 4/ TR Ste reo Tapes-bought, sold, rented, traded! SC IENCE Bargains- Request Fr ee Giant Catalog "CJ" - 144 pages-Astronomi ca l Tel escopes, Microscopes, " GIANT Arms. " Dr . Young 's, D. C. Re volutionary dis Free Catalog/ Barga in closeouts. (Columbia) 9651 Fox covery. $2. Satisfaction or refund. Gaucho , Box 9309- bury, Rivera, California. Lenses, Binoculars, Kits, Parts. War surplus bargains. Edmund Scientific Co., Ba rrington, New Jersey. E8, Chicago 90. SELF·H yp nos is. New concept teaches you quickly b~ " HYPNOTIZE- Dne word-One fingersnap," on stage . tape or LP·record. Free literature. McK inley Publi shers, FIGURE Studies, Th ree 35mm co lor slides $1.00. Ten Sati sfaction-or refund. $2. Hypnomaster, Box 9309 -E 8, Dept. T4 , Box 3038, ~an Bernardino. Calif. assort ed poses $3.00. Tan-Jo Company, Box 505, Chi cago 90. Ma rion, Indiana 7" MYLAR Tapes . 2400 '- $1.99; 1800'-$1.59. 1O¢ WRITE Martin Lin co ln , Hi-Fi/Stereo Review , One Park reel postage. Free catalogue. Towe rs, Bo x 3095, Phil MDDEL Releases 100-$1.00 " Foto-Forms, Bo x 432-B, Avenue , New York 16, N. Y. for information on how adelphia 50. Wall Street Station, N.Y. 5, I~.Y. to place a cla ssified ad in thi s sec t ion. JUNE 1962 97 CODE NO. ADVERTISER PAGE NO. HIFI/ STEREO 41 Acoustic Resea rch, In c...... •• ...... 23 Airex Radio Corp ...... •...... 94 Allied Radio Corp...... • ...... 90 2 American Concertone, Inc ...... •...... 84 REVIEW 3 Angel Records ...... • ...... 63, 71 Apparatus Develo pm ent Co...... 95 4 Audio Device s, In c...... • ... . . 4th COVER PRODUCT 5 Audio Dynamics Corp ...... •...... 78 40 Audio Empire ...... • . . .• ...... 2 6 Audio Fidelity Records, In c...... • ...... •. .. 93 Audion ...... •. . . .•.. . .. 95 INDEX Audio Unl imite d ...... 95 Barnes & Co. , Inc. , A.S ...... 94 7 Bell Sound Syste m, In c...... •....•. . .. • ...... 11 As an additional reader service we have indi 8 Benjamin Electron ic Sound Corp...... •...... 9 42 British Indust rie s (Garrard) ...... 80 , 88 cated the products advertised in this issue by Brown Sales Corp ., L. M...... •...... •...... 95 classifications. If there is a specific product 9 Capitol Records, Inc ...... • . .... 65 you are shopping for, look for its listing and Carston Studios ...... • . . . • . . . . . • ...... 95 turn to the pages indicated for the ads Citade l Record Club ...... • ...... • • .... 95 of manufacturers supplying that equipment. 10 Co lumbia LP Record Club. : . • ...... • ...... 5 11 Concord Electronics Corp ...... • ...... 16 12 Days trom Products Corp ...... • ..... • ...... 70 Dre ss ner ...... •.. . .•...... •• . ... . 95 13 Dynaco, In c...... • ...... 67 ACCESSORIES 80,83,90 14 Eastman Kodak Co...... •...... 87 15 (EICOl Electronic Instr. Co. , In c...... 28 AMPLIFICATION SYSTEMS 16 Electro Voice ...... 12 Cover 2 , ~ ~ 10, 19, 2~28, 83, 7~ 90 17 Finney Co. , The ...... 8 18 Fi she r Radi o Corp...... ••.. . .•...... 6, 7 ANTENNAS, FM 8,83,90 19 Grado Labs ...... 83 20 Harman Kardon ...... • ...... •... 27 CARTRIDGES, PHONOGRAPH 21 Heath Co ...... •...... •...... • ..... 19 83, 67, 75, 78, 90, 91 22 Hi Fidelity Center ...... •...... 92 23 Jen se n Mfg. Co...... 3rd COVER MULTIPLEX ADAPTORS 6, 7, 10, 19, 27, 28, 70, 83, 90 24 KLH Re sea rch and Development Co...... 81 Kersting Mfg. Co ...... 95 RECORDS 25 Key Electronics ...... • ....••.....•...... 92 5, 15, 63, 65, 71 , 80,93 26 Lafaye tte Radio ...• ...... •...... 91 39 London Re cords ...... 94 RADIOS, PORTABLE 27 Longine s·Wittnauer Watch ...... 13 67 28 Magneco rd ...... 91 SPEAKERS AND SPEAKER SYSTEMS Mailway Co...... •...... 95 6, 7, 10, 12, 14, 19,21,24,27,81,83,90, Cover 3 29 Mosley Electronics ...... 14 30 Rabson s- 57th Street, In c...... •. ....•• ...... 92 TAPE, RECORDING 31 Roberts Electronics, Inc ...... 88 87, Cover 4 32 Scott, Inc., H.H...... 1, 2nd COVER 33 Sherwood Electro nic Laborator ie s, Inc ...... 10 TAPE RECORDERS AND DECKS Sleep Learning Research Assoc ...... • ... 95 11, 16,19,23, 28,83,84, 88, 90 34 Sonotone Corp...... •...... •. . . 75 TONE ARMS Stereo Component Suppl y Co...... 95 83, 67, 78, 90, 91 Stereo-Parti ...... 95 35 Superscope, Inc ...... •...... •...... _. " 24 TUNERS AND TUNER AMPLIFIERS Theatre Arts ...... _...... • . . . . • • ...... 68 1, 6, ~ 1~ 19, 2~ 28, 70,81, 83, 90 Universal Record Club ...... •...... _...... 96 36 University Loudspeakers ...... " 21 TURNTABLES AND CHANGERS 37 Vanguard Records ...... •...... 80 3, 9, 19, 83, 90 38 Westminster Re co rding Co ., Inc ...... 15 PRINTED IN U . S .A . 98 HIFI / STEREO REVIEW Here is unbelievably excellent sound quality combined with the ultimate in placement flexibility. Compact size 'II slim-compact (l2Ys"H, 15%"W, 2%"D) takes little space on desk, table or shelf. The slim-compact X-20 is ideal for wall mounting with built-in brackets. Finish is oiled walnut. Convenient volume control on the side. There's a refreshing decorator touch in the two-tone harmonizing custom fabric on the ~D~® front. 3 speakers-a woofer and 2 tweeters-provide smooth wide range sound. Perfect for FM Multiplex, very low cost . stereo, other-room extensions. X·20 3·speaker 2·way sys @ tem. Impedance, 8 ohms. Power rating, 6 watts. Ad· equate room sound with 1 @ watt to speaker. Illultra-compacfl1o ~ ® In Oiled Walnut. ..• $39.95 ·Today's most popular ultra· compact hi fi speaker system. A 2-way system set in attraCtive oiled walnut measuring only 7'14" H, 13" W, 4o/a" D. 11~lnISI"~ •• MANUFACTURING COMPANY D,VISion of THE MU TER CO X-10 2-"",,, 2-w', ",t'm_ Im"d"", MlaQO . 8 ohms. Power rating, 6 watts. Adequate V room sound with 1 watt to speaker. In Oiled Walnut...... $29.75 Jensen Manufacturing Co., 6601 S. laramie Ave., Chicago 38, 111./ Canada: Radio Speakers of Cimada, ltd., Toronto / Mexico: Universal De Mexico, S.A., Mexico, D.F. CIRCLE NO. 23 ON READER SERVICE CARD . slurp Remember when the most delicious part of an ice Remember, if it's worth recording, it's worth Audio· . cream soda was that last resounding sip? The magic tape. There are eight types, one exactly suited to the years of youth are sprinkled 'with a thousand a"d one next recording you make. From Audio Devices, for 25 such noisy delights-accepted simply, appreciated years a leader in the manufacture of sound record· instinctively and forgotten quickly. ing media...-:oAudiodiscs*, Audiofilm*, and These transient pleasures and simple sounds soon give way to more enduring enthusiasms, to richer and mpre meaningful sounds. Such as recordings on Audiotape. This tape gives you superb clatity and range, ,minimum distortion and background noise. ;iicliota .e .· Becau~e ' of its remarkable quality, Audiotape has "it speaks for itse/r . P-MARK . the timeless gift of offering pleasure to everyone AUDIO DEVICES INC., 444 Madison Ave .• NewYork22, N.Y. from juvenile soda slurpers to mature twister ~ . Try it. Offices in Los Angeles _ Chicago • Washington, D. C. CIRCL~ NO.4 ' ON READER SERVICE CARD