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Music and Musicians 45 The Glories of Late Strauss: an editorial 46 An Argument for Richard Strauss Glenn Gould 50 Richard Strauss on Microgroove: a discography Herbert Glass 55 A Biedermeier Man in West : Dietrich Fischer -Dieskau Peter Heyworth 58 Watch Your Jacket: the art of record annotation Charles Cudworth 16 The Fine Arts Quartet: an interview Shirley Fleming 22 Notes from Abroad -London, , Paris 67 Music Makers Roland Gelait

Sound Reproduction 53 Testing Tubes at Home Lewis A. Harlow 61 Equipment Reports Lafayette LA -550 Stereo Power Amplifier Electro- Acoustic Model 7002 Record Changer Tannoy "Monitor" Speakers: GRF and Belvedere Enclosures Korting Model 158S Tape Recorder 107 High Fidelity Newsfronts

Reviews of Recordings 69 Feature Record Reviews Cilea: (Renata Tehaldi, Mario del Monaco, et al.) Beethoven: Variations for (Alfred Brendel) 71 Other Classical Reviews 84 The Imports Gene Bruck 91 The Lighter Side 99 Jazz 103 The Tape Deck

MARCH 1962 VOLUME 12 NUMBER 3

Pubrshed moalhly al Great Barrington, Moss. by The Billboard Publishing Co. Cop, right L 1962 by The Billboard Publishing Co. The design and contents of High Fidelity Magasine are fully protected by copyright and must not be reproduced in oey raaner. Second-clots poetoge paid at Great Barrington and at additional oll.n0 offices. One year subscription in Ll. S., Possessions, and Canada $6.00. Erseuhero $7.00. Indexed in the "Reader's Guide to Periodical Literature."' Change of Address notices and undelivered copies /Form 3579) should be addressed to High Fidelity, Subscription Dept., 2160 Patterson St., Cincinnati 14, O.

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CIRCI .F 46 O\ H): U)EH-SEKVICF C%RI) 6 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com L AUTHORitatively Speaking

HIGH FIDELITY Magazine rarely publishes 4-TRACK TOO! hive stories. This month, with great pride and pleasure, it does so-in the form of "An Argument for Richard Strauss" (p. 46). That title is the author's own. perhaps deliberately understated to avert any suspicion of sentimentality, although we doubt that such a charge could be made against a somewhat cerebral young writer. The fact is, however, that the title covers not only an objective critique of Strauss's craftsmanship as a composer but a moving and eloquent account "of a life which contains a total achievement of art." This appreciation of a cur- rently rather unfashionable musical figure. thought by many to have far outlived his time, is made none the less interesting by virtue of the fact it comes from a musician not yet thirty. Glenn Gould was barely seventeen when Richard Strauss died, an old man of eighty -six. Mr. Gould at seventeen had, of course, already embarked upon a career as a concert pianist. Graduating from the Royal Conservatory of Music in To- ronto at the age of twelve, he made his debut at fourteen as soloist with the Toronto Symphony. His first United States appearances came in 1955, and his European debut in 1957. His reputa- tion is now world -wide and requires no comment from us- except perhaps to say that while famous young men are sometimes known as iconoclasts. Mr. Gould's article here suggests that they can also have heroes.

Newly come to our goodly fellowship of audio writers this spring is Lewis A. Harlow, author of "resting Tubes at NOW THE Home" (p. 53), but there is nothing new about Mr. Harlow's addiction to high fidelity. Exactly twenty -five years MAGNECORD lympian ago. he overcame certain not -unexpected opposition and chopped a hole through the wall between his living, room and has all of those features you would expect in a kitchen; therein he mounted a splendid Ivintage 1937) speaker. Other audio- Magnecorder including 4 -track play and record! phile ventures of varying complexity followed. among the first, and simplest, being the purchase of a tube tester. The Magnecord Olympian will The Olympian is for those who There's been a tube tester in Mr. provide incomparable sound and want the best. It handles tapes Harlow's household ever since. We ex- pect a good many readers will follow performance. Buy with confidence like a dream - protects them from his advice to go and do likewise. because the Olympian's versatility accidental erasure or breakage and capability will prove your too. It has all the controls to sat- Among the many names familiar to our pages we especially note the return in wisdom and rank you with au- isfy the professional yet they are this issue of the Messrs. Glass, Cudworth. thorities in the art of tape record- simple enough for the youngsters and Heyworth. Herbert Glass's services as a discographer have been called upon ing. Friends will admire your to use. It is built with satellite again. this time for "Richard Strauss judgement when you own the precision and custom care to make on Microgroove." p. 50. Charles Cud - worth's talents as a humorist reappear Magnecord Olympian. it the champion of recorders. in "Watch Your Jacket." p. 58. (Lest some readers he misled, perhaps we Midwestern -built heads allow full frequency response of 40 to 15,000 cps ought to add that Mr. Cudworth is not -4-2db at 71/2 ips. Precision construction couples wide dynamic range to a low a humorist only; officially he's Curator signal -to-noise ratio. Flutter and wow is held below 0.15% at 71/2 ips. NAB of the Pendlebury Library of the Univer- standard VU meters are provided for each channel. Tape position is shown by sity Music School at Cambridge.) a reliable 4 -digit odometer. Record up to 11/2 hours of music (7.5 ips.- 1 mil. Peter Heyworth, of the Tim's (London). tape-101/2" reels). again displays his aptitude for the criti- cal profile, with a study of Dietrich Fischer -Dieskau (see "A Biedermeier write for additional information and name of your nearest Magnecord dealer Man in West Berlin," p. 55). t ac--record S A L E S D E P A R T M E N T MIDWESTERN INSTRUMENTS, INC. manufacturers of electronic data acquisition instrumonts P. O. BOX 7509 TULSA 35, OKLAHOMA CIRCLE 62 ON READER- SERVICE CARI) 8 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com We have nothing to hide

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There is nothing secret about Fisher components - in specifications, circuitry or construction r- details. It's easy to come out in the open when you have the best of everything. FREE! $1.00 VALUE! Write for have a Multiplex But there are quite a few FM tuner owners who don't find it easy to the 1962 Fisher Handbook, a AND! ot'I% adapter out in the open. No matter how eager they are to receive the thrilling new FM Stereo 40-page illustrated reference broadcasts with the finest possible equipment, they simply don't have room for another control guide and component catalogue panel out front. For that reason they have been unable to take advantage of the superb Fisher for custom stereo installations. MPX -100, until now the only truly universal Multiplex adapter -the only instrument capable of Fisher Radio Corporation converting any high -quality FM tuner or receiver of any make or model to FM stereo operation. 21-25 44th Drive The new Fisher MPX -200 now provides an alternative. It can be conveniently hidden any- Long Island City 1, N. Y. where, up to three feet from the FM tuner or receiver, and it completely duplicates the MPX -100 Please send free Handbook, complete with de- in electronic performance including universal compatibility, freedom from distortion, unusually - tailed specifications on Fisher MultiplexAdapters. great channel separation and a high signal -to -noise ratio. There's only one essential difference between the MPX -100 and the MPX -200: the former incorporates the exclusive Fisher Stereo Beacon. This ingenious Fisher invention automatically Name lights a signal to show whether or not an FM station is broadcasting in Multiplex and automati- cally switches the equipment to the correct mode of operation, Mono or Stereo. Stereo Beacon Address requires a front control panel. necessarily City Zone State The Fisher MPX -100 universal Multiplex adapter, less cabinet, is priced at $119.50 *; the h, xoe less cabinet, at °. *,,,C,, , Fisher MPX -200, $79.50 s ;,Y .,, IN , V1,1 L J CIRCLE 46 ON READER-SERVICE C %RD MAID II 1962 9

www.americanradiohistory.com áu9ii .. RESEARCH MAKES THE DIFFERENCE The sophisticated listener recognizes the inherent and prevent fade and drift. A mere 3 lbs., it tunes superiority of a SONY transistorized radio for both FM and AM bands, and has provision for many reasons -for its unquestioned leadership in multiplex adapter to permit reception of stereo electronics, its compact and rugged construction, broadcasts. Complete with batteries, earphone and its handsome design. But, perhaps for more than leather case. the TFM -121A lists at $99.95. Or, for any other reason, he recognizes the quality of indoors, the SONY TFM -122, a 12 transistor cord- SONY sound -clean, crisp and with a faithful less radio that matches the decor of every room. naturalness, gained through years of research and With Automatic Frequency Control, tone control, an unswerving devotion to the highest standards. input for record player and twin speakers, it also For example, for pleasure in outdoor listening, the accepts a multiplex adapter. Complete with bat- incomparable 12- transistor SONY TFM -121A, with teries, the TFM -122 lists for $129.95. Either way, Automatic Frequency Control to lock in the station you get the ultimate -SONY quality sound ! SONY CORPORATION OF AMERICA 514 Broadway, New York 12, N.Y. Civil Defense recommends a battery- operated radio in every home. Every SONY radio clearly shows the two Conelrad frequencies. CIRCLE 82 ON READER- SERVICE CARD 10 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com How to test a stereo kit for top performance:

THE 5 gr ..n

T RAMER 4f7wwswKn

saea It Srag-óy-Sroqs rooa.a,-ov

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even have open the box. If its a Fisher StrataK t, you already have better USE COUPON You don't to THIS F Iti111:1i proof of performance than if you had built any other manufacturer's kit and tested it in FOR FURTHER INFORMATION I1.\\ I)ItOt)h one of the world's most elaborately equipped audio laboratories. Fisher Radio Corporation How can Fisher make this claim? Very logically. Fisher has one of the world's most 21 -25 44th Drive elaborately equipped audio laboratories. Fisher did build and test everyone else's kits Long Island City 1, N. Y. was finalized. for Fisher before the StrataKit engineering program The task then set Please send me without charge the engineers was to outclass in every way what they had found in other designs. Which complete Fisher StrataKit catalogue. they did. They drew on all the knowledge accumulated in the course of 24 years in high fidelity and the results are in the box. StrataKits are easier to build than others, the Name StrataKit instruction manuals are clearer than others, the completed StrataKits have more And we have hear of some- advanced features and perform better than others. yet to Address one who could not complete his StrataKit successfully and with the greatest of ease.

The Fisher StrataKits now at your dealer are the KX -200 80-watt stereo control - City lone _State amplifier and the KM-60 FM Stereo Multiplex wide -band tuner. Both sell for $169.50. - Both are the world's finest in their class. The proof is simply in their name. L

CIRCLE 46 ON READER- SERVICE CARD MARCH 1962

www.americanradiohistory.com THE WORLD'S FIRST (AND STILL THE FINEST) AUTOMATIC / MANUAL TURNTABLE; TURNTABLE L1rrs 1,1cV:: 1, í !I AM \ 1960 `4,,OK si..\>'

More Pay, Less Abuse SIR: We note the recent letter of Joseph H. Chaille published under the heading "High Fidelity Non -Servicing" [HIGH FIDELITY, September 1961], concerning the problem of high -fidelity servicing in Manhattan. In common with all manufacturers and most reputable service shops, we guar- antee all our work and materials for a 90 -day period, to protect our customer against faulty material or workmanship. & RECORD CHANGER! Mr. Chaille, while complaining of the great difficulty in obtaining satisfactory service, proceeds to cut the ground from under possible bases for a service group to exist, by the following implied state- ments: a. If a repair is unsatisfactory, it fol- lows that the service agency is incompe- tent or worse. b. No credentials from manufacturers are to be given any weight because Mr. Chaille's experience "proves" that a rec- ommended agency is unable to make re- pairs. c. Service guarantees are to be ignored because "I want no more of the outfit that I tried once before." d. Manufacturers have no responsi- bility for equipment that servicemen are unable to keep repaired. Any failure must be ascribed to faulty servicing. e. High service costs are prima facie evidence of service gouging. THE DUAL-1006 CUSTOM The bias against servicemen, exempli- fied by Mr. Chaille's letter and the head- We consider the Dual -1006 CUSTOM ing supplied by your magazine, is one to compare more than favorably with of the principal reasons why it is diffi- any other record player now on the cult to attract and retain people of high market. So much so that we submitted caliber in the service industry. The same it for testing to a completely impartial skills can be used to earn higher remu- authority. A copy of this report is now nerations and much less abuse in virtu- available upon request. It contains the ally any segment of the electronics in- facts to be familiar with before con- dustry. sidering any purchase of record play- Your courtesy in publishing this "re- write: ing equipment. For your copy ply" is very much appreciated. Dept. A -3, W. Goidstick President. united udio Sigma Electric Co., Inc. WIGO PRODUCTS OF DISTINCTION DUAL New York, N. Y. 12 -14 W. 18th Street, New York 11, N. Y. Continued on page 14 CIRCLE 38 ON READER -SERVICE CARD HIGH FIDELITY MAGAZINE

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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 base energies at low AM /FM and FM Stereo (multiplex) tuner for unsur- listening 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 6BN6 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 stations; convenient front -panel stereo Festival and other fine Harman -Kardon products headphone input receptacle; illuminated push- write Dept HF -3 Harman- Kardcm, 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; harman kardon individual and treble tone controls; zero to CIRCLE 50 ON READER -SERVICE CARD www.americanradiohistory.com ELEGANCE, CONVENIENCE AND ECONOMY LETTERS Continued from page 12 IN ACOUSTICAL CABINETRY Spring in San Francisco

SIR: for Your High- Fidelity Components As a regular and enthusiastic subscriber, I looked forward to Robert C. Marsh's article on "Opera at the Golden Gate" [HIGH FIDELITY, January 1962]. It was a very interesting story, but I felt it ended too abruptly, without sufficient CABINET mention of Spring Opera (note the capi- tal letters). ENSEMBLE Spring Opera is a new concept similar Model 500 -501 to a Volksoper or Piccola Scala. We fea- ture young American professionals (George Shirley, Lee Venora, Richard Verreau, John Macurdy, etc.) under ex- perienced stage directors and conductors with a top seat price of $3.95. In 1961 we gave six operas, using the San Fran- cisco Opera sets and production staff and reviving Roméo et Juliette and Martha Easy way to enjoy an attractive music center with as well giving the familiar Bohème and your own choice of famous name high fidelity com- Traviata and Carmen. We also mounted ponents. Acoustically- engineered and furniture -crafted. a new production of The Magic May be placed together or separate -for finer mono which achieved nationwide recognition. or stereo. Easy on your budget, too. In 1962 we hope to produce Abduction from Nue Seraglio and Pearl Fishers for Center Equipment and Record Cabinet (Model 500) is designed to house am- the first time in San Francisco. plifier and preamplifier, tuner, record changer, and transcrip- /or tape recorder, Our support has been gratifying, and tion table. ( See photo at right.) Shelf is adjustable. Blank face panel available. left compartment has we are interested in helping other cities Lower space for 150 LP record albums. Sliding doors. starting this type to -Standing Twin Speaker (Model 501) permit proper stereo in of opera company Free Enclosures create a stage for our young American separation or positioning for desired listening in any room. Each houses up to artists. I would be delighted to corre- 15" loudspeaker. Also accommodates size tweeter. Cabinet Ensemble any spond with interested parties. (Model 500 -501) is available with base as shown above, or with legs, as shown William Kent 111 at right. Choice of Oil Walnut, Hand -Rubbed Mahogany, Blonde, or. Ebony Chairman, finish. (Individual cabinets also available separately.) Spring Opera of San Francisco San Francisco 2, Calif. BOOKSHELF 8 -in. SPEAKER ENCLOSURE The First- Balcony Ideal SIR: Gives you compact utility and sound The "first- balcony ideal" espoused by quality with economy. Acoustically - reader Slome [ "Letters," HIGH FIDELITY, designed with vented port to enhance January 1962] is aesthetically conserva- reproduction of any 8-in. speaker. tive. It is not the only solution. All aesthetic material is composed of Model Only 9" x 11" x 19 ". Fits on book - shelf, or may be used horizontally two elements: an aesthetic message and 128 its carrier. The elements are directly or vertically anywhere else, as ini- to audio modulation on a tial high -fidelity reproducer or auxil- analogous carrier wave. iary unit, or in pairs for stereo. Furniture- crafted and beautifully finished. When a composer writes notes on a Choice of Oil Walnut, Hand- Rubbed Mahogany, Blonde, or Ebony. staff he is not simply describing a sound; he is expressing a musical thought. The musical fidelitarian is eager to taste the CHAIRSIDE EQUIPMENT CABINET aesthetic red meat of a work, and if close miking or planned reverb -time help. fine. Provides convenient control of your stereo or At bottom, it is a matter of view. If mono music system. Smartly furniture -crafted you believe that the concert hall is the and sturdily built of selected woods to protect ultimate sonic environment, then you the stability of your components. Component favor "concert hall" sound. If you be- section has upper and lower compartments to lieve each aesthetic message demands its house amplifier and /or preamplifier or tuner. own sonic environment, and that the Lower front section, with blank mounting concert hall is a compromise that modern board, allows ample space and clearance for engineers no longer need accept, you be- all makes of record changers. Sliding cover. long to the "tasteful modification" school. Choice of Oil Walnut, Hand -Rubbed Mahog- The concert hall school accepts tech- Model 110C any, Blonde, or Ebony finish. nological advances as beneficial, but lim- its the use of technology to the (diffi- cult) task of copying an original. The See Your High -Fidelity Dealer RiFURNITURE , RAI TE E modification school goes back to the or Write Now for Bulletin R -21 -H composer's intention. tries to discover it, uses to help him express Most versatile line of high fidelity OCKFORD and technology that intention. Both are necessary -both cabinetry created by specialists SPECIAL FURNITURE CO. in acoustic design and should exist. fine furniture manufacture 2024 TWENTY THIRD AVE ROCKFORD ILL Martin K. Barrack Bronx, N. Y. CIRCLE 76 ON READER -SERVICE CARD 14 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Can You Afford 15 Hours to Build The World's Best FM/Multiplex Tuner? Fifteen hours. That's all it takes to build the world's best problem of IF alignment and oscillator adjustment are eliminated. FM /Multiplex tuner. Citation III is the only kit to employ military-type construc- Citation has the "specs" to back the claim but numbers alone tion. Rigid terminal boards are provided for mounting compo- can't tell the story. On its real measure, the way it sounds, nents. Once mounted, components are suspended tightly between Citation III is unsurpassed. And with good reason. turret lugs. Lead length is sharply defined. Overall stability of After years of intensive listening tests, Stew Hegeman, director the instrument is thus assured. Other special aids include pack- of engineering of the Citation Kit Division, discovered that the aging of small hardware in separate plastic envelopes and performance of any instrument in the audible range is strongly mounting of resistors and condensers on special component cards. influenced by its response in the non -audible range. Consistent For complete information on all Citation kits, including re- with this basic design philosophy - the Citation III has a prints of independent laboratory test reports, write Dept. HF.3A frequency response three octaves above and below the normal Citation Kit Division, Harman -Kardon, Inc., Plainview, N. Y. range of hearing. The result: unmeasurable distortion and the The Citation 111 FM tuner-kit, $149.95; wired, $229.95. The incomparable "Citation Sound." Citation I11 MA multiplex adapter- factory wired only, $79.95. The qualities that make Citation III the world's best FM tuner The Citation 111 X integrated multiplex tuner -kit, $219.95; also make it the world's best FM /Multiplex tuner. The multiplex factory wired, $299.95. All prices slightly higher in the West. section has been engineered to provide wideband response, ex- ceptional sensitivity and absolute oscillator stability. It mounts right on the chassis and the front panel accommodates the adapter controls. What makes Citation III even more remarkable is that it can be built in 15 hours without reliance upon external equipment. To meet the special requirements of Citation III, a new FM cartridge was developed which embodies every critical tuner element in one compact unit. It s completely assembled at the factory, totally shielded and perfectly aligned. With the cart- ridge as a standard and the two D'Arsonval tuning meters, the

Build the Very Best CITATION KITS by harm an kardon CIRCLE 50 ON READER -SERVICE CARI)

www.americanradiohistory.com The Fine Arts Quartet

Bartok at sunrise: an American ensemble brings an intimate art to a vast audience.

Robert Riger 4 THE MOON was still high over Rocke- American -trained string quartets (three demonstrate important thematic devel- feller Plaza and darkness was just begin- of its members are alumni of the Chi- opments and point out major turning Fine ning to fade along Fifth Avenue when I cago Symphony Orchestra), the points in the musical structure; they do arrived at NBC's Studio 8H (remembered Arts has made its point without compro- not hesitate to bring to hand anything full sched- may style still as Toscanini's old recording king- mise. The group pursues the extramusical which clarify dom) and stepped into the midst of an ule typical of a highly regarded chamber or historical significance -a painting of extraordinary pre -dawn scene. Under ensemble -undertaking a concentrated Monet, an excerpt from a book of powerful lights, amid a jungle of movable program of yearly concerts in the United Hindemith's or a letter of Haydn's, a coiled cables, aluminum States (to which three enormously suc- quick sketch with pencil and pad of a TV cameras, viewer wheels, and throngs of cessful European tours were added within Bartók theme. They bring the scaffoldings on into their midst and put him at ease. wide -awake cameramen, tech- the past five years) and recording a undeniably "We were eating breakfast on the train and Personalties, the "Today" growing catalogue of works for its own nicians, un- one morning while we were on tour not was shaping up for its regular ConcertDisc label -but perhaps their show long ago." one of the members told me, morning telecast. In one corner of the compromising attitude is reflected most I waiter kept staring fallout shelter was under- strikingly in the series of programs "and noticed the room a model Finally he over to the table of a cheerful, smooth- which, during the past three years. they at us. came going the scrutiny here and said man who seemed to be mem- have presented for the nation's TV view- and pointed at our cellist ly tailored 'You're George!' He told us that he had orizing its virtues from a script in his ers. This rather special facet of the Fine announcer, rehearsing his com- Arts' activities was the main topic of watched the program from the very hand; an beginning." mercial, stood in front of a dead camera conversation when we sat down to talk reciting the advantages of a pair of after the "Today" show. As befits musicians who have been with during trousers he was wearing; and a few feet "It was back in 1946. before the ad- closely associated recording to one side, looking decidedly misplaced, vent of television. that we began broad- the whole of their ensemble career, the four chairs and music stands bespoke the casting, with a regular Sunday morning Fine Arts men are particular in the ex- presence, somewhere, of a string quartet. series over ABC from Chicago." said treme about the sound of their telecasts. As the broadcast hour arrived, voices Leonard Sorkin who. with cellist George Although the old kinescope process has by superior video- subsided, lights focused on a newscaster Sopkin, is cofounder of the Quartet. "We been superseded the hurriedly finishing a piece of Danish ran for eight years without a sponsor. tape. the Quartet resorts to a sleight -of- to improve pastry, and the show was on the air. and then the program was discontinued hand trick on each program minutes later, off -camera, four because we couldn't find one. Business- the quality of the sound: when the mo- Some uninter- men with stringed instruments tiptoed men threw up their hands at the idea of ment arrives for the complete, movement in and sat down around the music putting money into chamber music." rupted performance of the stands; when the camera swung towards "But you would he surprised what an under discussion. the engineers play back which the players a young woman with the dazzling impression the program made," added a pre- recorded tape, to them silently coördinate their motions with and familiar smile of one of the former Abram Loft. a Ph.D. in musicology and second accuracy. Probably few, if Rheingolds announced the Fine former assistant professor at Columbia split- Miss any, viewers detect the deception. The Arts Quartet: Leonard Sorkin and Abram University. "Ever since, on concert tours, Fine Arts. in fact. has caused consider- Loft, violins; Irving Ilmer, ; George people have come backstage and men- able comment with demonstrations of Sopkin, . Without further ado, the tioned those broadcasts." shows held in four began the pizzicato movement of this kind at high- fidelity York in past years: most of the Bartók's Quartet No. 4. IN 1958. the Educational Television and New audience present in the room failed to If the situation -the hour, the place, Radio Center at Ann Arbor commis- distinguish between moments of actual the music -had an element of the dream- sioned a series of programs which onlooker, it was thoroughly would undoubtedly have sent a shudder live performance and moments of stereo like to the For record and tape familiar to the participants. This was through the stanchest of businessmen: tape playback. the not the first time that the members of twelve hour-long programs. half devoted buyer, the Quartet's televising method the taped Fine Arts Quartet had risen in the to the discussion and performance of has borne fruit; performances the for Score" are currently being middle of the night to prepare for a six of Beethoven's quartets. half to the "Four released. each work entire. on the Con - 5 a.m. rehearsal (it was. in fact, their six of Bartók. These appeared through- on the "Today" show out the country on the National Edu- certape and ConcertDisc label. ninth appearance front balcony alone); it was simply the most recent cational Television (NET) network with "We've evolved a -row sound, not too close and not too dry. engagement in a fifteen -year career de- such gratifying response that in 1961 intensively than that of any another series, entitled "Four Score," was which we think is right for our Quartet," voted -more our other similar group in the country-to produced for NET: half -hour discussion - said Sorkin. "We had to organize because we were playing chamber music for the widest performances of single movements own recording company so dissatisfied with the records we made possible audience. At a time when this chosen chronologically from Haydn spectacular of art forms is still con- through Hindemith. "Four Score" is ap- for other labels." least statement sidered a risk at the box office and a pearing this season on NET's sixty af- The directness of the four men dubious item in the record stores, the filiated stations. seemed characteristic of these in the pe- Fine Arts has demonstrated -frequently A more disarming presentation of an who, as American musicians medium of television. by way of the broadcasting studio -that allegedly difficult medium would be culiarly American chamber music can be attractive to lis- hard to imagine. The four players. in have brought an intimate art form close of a large and dis- teners who may never before have given shirtsleeves. and unaffectedly good -hu- to countless members FLEMING it a hearing. Probably the foremost of mored and communicative, not only parate audience. SHIRLEY

HIGH FIDELITY MAGAZINE 16

www.americanradiohistory.com If you are after immedia:s savings you should not buy Scott components. They cost more. If, on the other hand. you are interested in the long -term economy of superb performance over many years of cont:nuec use, Scott is your wisest in7estment. Scott components ïost more because they incorporate so many refinements and intan- gibles. Parts are carefLlly chosen. Specif.cations are always conservative. Engineering is immginative and uncompromising. Quality control is implacatle. The first Scott amplifiers were built in 1947 and mar -y are still in use., Their owners take :side -n choosing tie very finest. For hill information on new Scott amplifiers, tuners,

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www.americanradiohistory.com Professionals - Specialists- Publications -Users

PROFESSIONALS SPECIALISTS

IRVING M. FRIED RICHARD L. KAYE C. NEMIIELSOHN R. OOLl. E. SEELEY Author of Lectronics News- Station manager WCRB mul- Prasdent of Music Age, out- AJJÌ) Consulta of Harney Au: o Exper of De Mint: o letter and provocative arti- tiplex pioneer in New Eng- etnnüig i!Fi shop ir Pa- Radio, one of tt e Nation's Center in Boston, Mass. cles: land tami s N. . lead ng High File ity

"In summary, the ADC -1 "This is just a note to t isn't very oflei that W3 have Icurc tie -he best measure of represented, and rep- let you know how eve as h ;h fidel t deal - ADC -1 aid ADC 2 car - a )rodLct s perforn- resents, a new stand- pleased we are with e-s are mpressed by a tricges to b-e >'r- stard- ar :e is 3 satisfied as- ard for stereo disc the performance of the -elativEy new procuct. ingperform3s n tact, tamer. I'm happy -o re- playback; one which we ADC -2 cartridges you The ADC cartridges, it ias becose n33it pxt that our custom- are proud to associate brought us. They work tiowev =r, have n a hams at Hanel Rad c to ers are delighted w th with our reference beautifully -as a mat- short time earned a redommend these urits the ADC -1. FurthEr- standard equipment. ter of fact, the low fre- r?Futa- on that v-e like n our finest syslerns more, I have an ADC -1 Other manufacturers quency -esponse is b ass:ciate ou- own oe:ause trey repo it my own system aid are beginning to catch such an improvement ta:kgr_und with: that ice music ratxa ly I believe i-'s the -iiEst up, but the ADC is still, over what we were pre- is, the most Iegi:i hate JIE congralu at Pudic, cartridge I've euer in our opinion, the viously using that now 1.a ue'e can offer our Dynamics cr tn3 r con - L: ed." same kind of product we have to replace a customers Conse- trioutioi to the Indlus- that our amplifiers, turntable that turned gLent y, we sell and try and fine stendafd3 tone arms and speak- out to have excessive demorstrate more ADC they reoreseit.' ers are -the standard rumble!" cartridges than any by which the others Any : rand." can be judged."

High Fidelity Magazine, Novemier, 1961 "U-ited States Testing Compary, In :. ±aracterizes the ADG2 as a suet sound rig c.ar:rd e, which would comp ernent -he finest sanding high fidel t,f sys -ems. ' Hi /Fi Stereo Review, November, 1E61 (on the AJC -1) "This rtr deserves -almost requ res the f rest loud -speaker systems for its i_alit es to x fl, ly appreciated." Hi Fi Magadie, _une, 13E1 (on the ADC -1) "Lis_ering q.1314

a PUBLICATIONS proved tot superb . . a cart-idge that nErits being used

with :he 1isast rep-od.icing equ p rent." ALlio Magazine, 'lay, 1961 "It dices .. . reveal shat ngs and nuances we had not kr3wn were n the recording." American Rec3-d Gile, Larry Zide, June, :961 "Inscfar as my ear tell me what is good and had tt.3 ADC-1 cartridge is tie qre to have."

Circle 10 on Reader Service Cad

www.americanradiohistory.com Lo.r OF PEOFLE have been saying nice at this point, exceeded themselves. They had things about Audio Dynamics compo- produced a cartridge of such excellence, no nents. To find out why, we recom- tone arm could do it full justice. True, it ettd you take a few additional minutes to would play with unparalleled quality in fine ad the following paragraphs. tone arms, but its full potential could not be Quality stereo cartridges are designed to realized. ppress undesirable peaks and distortion in With this "happy" problem in mind, Peter the high frequency range. These occur when Pritchard, of Audio Dynamics, designed a the stylus mass resonates with the vinyl disc. tone arm that would enable the ADC -1 to To suppress resonance, since mass cannot track at the low forces for which it was con- be readily reduced, most cartridges are structed. etwily damped. Here are the features which, when com- But this solution creates problems of its bined with the ADC -1, make up the Pritchard own. High tracking forces are required to Pickup System prevent mistracking and breakup. The 1. A heavy adjustable counterweight Which, suspension becomes non -linear, re- unlike other systems, occupies minimal sulting in distortion. space behind the pivot. Then, in one remarkable 2: A side thrust compensator permits the stroke, Audio Dynamics stylus to maintain even pressure on the engineers broke the groove walls by stabilizing the force cre- vicious circle. They ated between the disc and ann. lowered the 3. An accurately machined and treated stylus mass wooden tone arm that suppresses extrane- to just 1 -mil- ous resonances. ligram, lowest 4. Precision ball bearings on gimbals which stylus mass avail- minimize friction. able in a cartridge today. 3. Low inertia which insures perfect track- Now the low mass made it ing. possible to have a highly com- 6. Entire unit comes completely assembled pliant stylus. In the ADC -1 car - and wired with cable ready to plug in. tridge compliance is at least 20 x 10-8 (Should you be happy with your present cartridge, suspension is restored, USER is /dyne. Linear the plug -in head in the tone arm will accommodate it.) aeking force reduced to less than 1 gram! WASHINGTON, D. C. "I could not The combination of the ADC -1 in the batever resonances remain are either too Pritchard tone arm achieves results that find a record in my collection hat coul to - igli or too low for the human ear per amazes even experts. A few minutes spent ake this distort. As hard as I listen pickup ive. at your dealers listening to this truly re- could not reco lest EVER hearing such per With tracking force lowered to less than markable system will convince you that re- problem of record wear and dis- Ct reproduction from a pressed record.." 1 gram, the wards that you never thought possible can tortion disappeared once and for all! EWPORT, R. I. hope you continue to offer be yours. Listen to them. Hear for yourself Now with resonances removed from the com- uch fine products in the futu-e" BALTI- why the response to Audio Dynamics audible range, there was nothing to prevent ponents won so much acclaim, and why it ORE, MD. "The performance of this pickup the stylus from following the groove walls was merited! as destroyed my faith in my lack of faith it direction of motion. Audio Dynamics also manufactures the vertising claims. So far the ADC -1 has pe -- Finally, the absence of resonances results ADC -2 cartridge, a cartridge with the same in greatly reduced surface noise. Absence of ormed as well as I had been lea o expect characteristics as the ADC -1, designed for surface noise is considerably implemented arms and record my experience, this is highly unusual. I use with quality tone by the use of a super polished diamond sty- changers. ongratulate you." SAN MATEO, CA.IF. "The lus with sides oriented so that only the For more information on the ADC -1 stereo artless grace of the ADC -1 is amazing. It hardest surfaces touch the grooves. cartridge for quality tone arms, the Pritchard ves me clean sound from many problem NO THE PRITCHARD TONE ARM THAT Pickup System, and the ADC -2 stereo car- essings, and has revealed groove damage TRACKS AT LESS THAN 3/4 GRAM tridge for quality tone arms and record at least one pressiig." In a sense, Audio Dynamics engineers had, changers, return the coupon today.

ADC -I cartridge for high quality tone area AUDIO DYNAMICS $49.50 AUDIO DYNAMICS CORPORATION Avenue, Ridgewood 27, N. Y. ADC -2 cartridge for high quality tone aryls 1677 Cody and record changers $37.50 Please send me descriptive literature on ADC cartridges and the Pritchard Pickup System. Pritchard Pickup System Model ADC -85 $85.00 Pritchard Tone Arm Model ADC -40 $39.50 Name Address City Name of My Dealer.

i: www.americanradiohistory.com ARCHIVE PRODUCTION HISTORY OF MUSIC DIVISION OF THE NOTES GESELLSCHAFT FROM NEW RELEASES ABROAD VI. RESEARCH PERIOD --_ German Baroque Music r.rs ( 1 7 th Century) Heinrich Schütz St. Matthew Passion with Dietrich Fischer -Dieskau On hearing of the re- lowing the accession of the Nazis, a cording sessions sched- wanderer on the face and other soloists, of the earth and LONDON uled for Otto Klemp- struck down by illness and mishap, Hugo Distler Berlin, erer for far into the Klemperer was more or less cut off Klaus Fischer -Dieskau, cond. spring, I jocosely told from the world's great choral ensembles ARC 1172 . 73 172 STEREO , who ar- for a quarter of a century. At Kingsway ranged them all for he applied himself to Bach's master- EMI -Angel, that he was overworking piece with the frowning IX. RESEARCH PERIOD. intentness of a that great, inexhaustible crag of a man. man who sees an old, despaired of The On reflection, though, I realize that it dream become reality. Works Of may be Mr. Legge and his Philharmonia After seven sessions, and with three players and singers who are in danger choruses yet to record, he broke away to of fatigue- neurosis. House to produce (as At Kingsway Hall. Klemperer con- well as conduct) a new Zauberfliite with , BWV 232 cluded a recording of the St. Matthew as Pamina. He was Maria Stader, Hertha Töpper, Passion, with Schwarzkopf, Fischer - scheduled to resume the B minor Mass Ernst Haefliger, , Dieskau, Peter Pears, , after the end of the Zauberflöte run, he sat then to Dietrich Fischer -Dieskau, and Walter Berry as soloists. Then start upon a recording of , back expansively for a moment and told another opera which he has produced Münchener Bach -Chor, here. Münchener Bach -Orchester, Among the purely orchestral record- , cond. ings by Klemperer and the Philharmonic ARC 3177/3179 73 177/73 179 STEREO that are either already taped or planned, These records are offered in a presentation box make note of: a Tchaikovsky Pathétique, with and are not available separately. which EMI people who have heard it refer to with reverent upward rollings of the eye; an Concerto for Traverse Flute, Violin, album coupling Johann Strauss waltzes with a Kurt Weill suite, Harpsichord, Strings and Continuo Eine Dreigroschenmusik, written by the in A minor, BWV 1044 composer at Klemperer's request soon Ralph Kirkpatrick, Rudolf Baumgartner, after the premiere of the Dreigrosclren- Aurèle Nicolet, oper in Berlin; a quartet of Mozart symphonies; Bruckner's Symphony Festival Strings No. 7, coupled with the Siegfried Idyll in the Leader: Rudolf Baumgartner original scoring (solo strings); Richard ARC 3176 - 73 176 STEREO Strauss's Tod and Verkliirung and ; and a further Wagner album, Overture No. 2 in B minor, BWV 1067 Klemperer: a dream becomes reality. taking in The Entry of the Gods, Siegfried's Rhine Journey, the Overture No. 3 in D major, BWV 1068 another of his Jewish stories. How Prelude, and Forest Murmurs. Aurèle Nicolet, Traverse Flute teacher asked little Moritz: "Who wrote Münchener Bach -Orchester Faust ?" How Moritz defensively replied. Callas Unconvinced. With an incipient chest cold (as she Karl Richter, cond. "I didn't." How teacher boxed Moritz's thought). ears. How next day Moritz's father pro- flew into London to begin recording a ARC 3180. 73180 STEREO tested to teacher: "My Moritz is a truth- collection of Donizetti and Rossini arias ful boy. He would never tell a lie. But with the Philharmonia Orchestra under even if he did write Faust, why blame Antonio Tonini. Throughout the sessions him? He always tries hard." she was closely tailed by a maid with a charged throat -spray in either hand. Klemperer at Kingsway. Almost before Mme. Callas did not attend the play- the shouts of laughter had died away, back of the first takes. "You need not Klemperer picked up his baton and bother checking on them," Walter Legge started on the B minor Mass (with assured her later. "They're absolutely Schwarzkopf, Ludwig. Berry. and Nicolai marvelous!" For further information Gedda). He had conducted this score "Maybe," muttered Miss Callas. "But and complete catalogue write: only once before, in Berlin in 1931, a are they any good ?" DECCA DISTRIBUTING CORPORATION couple of years after taking over the The tape was run again for her bene- 445 Park Ave., New York 22, N. Y. Philharmonische Chor as successor to its founder, the late Siegfried Ochs. Fol- Continued on page 26 CIRCLE 8 ON READER- SERVICE CARD HIGH FIDELITY MAGAZINE

www.americanradiohistory.com You've Been Listening To Turntables For Years! From "Dardanella" to "Never On Sunday," from Caruso groove wear. You want simple design -no troublesome to Como -as long as good music has been played on gadgetry, no breakdown and repairs. In other words - radio, it has been played on single -play turntables - you need a turntable. not automatics!* Rek -O -Kut is the only home component manufacturer From the earliest days, broadcasters have known there presently producing and supplying professional turn- is no substitute -no equal to the turntable. For profes- table equipment to recording studios and radio sta- sionals concerned with the quality of record reproduc- tions. In broadcasting - turn- tion and protection of valuable record libraries, there tables are the standard. In turn- can be no compromise. tables- Rek -O -Kut is the stand- The same reasoning applies to the equipment you select ard. Its quality has never been for your home. You want to enjoy all the quality modern equalled ... its reputation is un- records are capable of producing. You want unlimited rivalled. Rek -O -Kut - the first playback without the noise and distortion of excessive name in turntables.

REKoKUT 'Write for FREE BOOKLET "Single-play Turntables versus Automatic Turntables." e Rek -O -Kut Co., Inc., Dept. HF -3 38-19 108ín St., Corona 68, N.Y. Export: Morhan Exporting Corp.. 458 B way, N.Y.C. Canada: Atlas Radio. 50 Wingold Ave., Toronto 19 CIRCLE 74 ON READER-SERVICE CARD MARCH 1962 23

www.americanradiohistory.com BRING 'EM BACK ALIVE!

In all !-V compact systems

To the uninitiated buyer, all compact systems may look much alike. But inside there's a big difference - a difference that can spell either lasting satisfaction or eventual disappointment.

That's why we invite you to look closely at the inside components of any E -V compact system ... at the design and construction of every single speaker in every system. No mystery ...no mumbo jumbo. E -V compact systems feature top -quality components throughout, to guarantee the finest original sound plus years of trouble -free performance.

Check the specs ... check the features! Then choose the E -V compact system that meets your every requirement of appearance, price, quality ... the system that will bring your favorite music "back to life."

REGAL 300

USE THIS HANDY SPECIFICATION CHART TO CHOOSE YOUR E -Y COMPACT SPEAKER SYSTEM

Model Royal 400 Regal 300 Esquire 200A Leyton Princess Regal 300 Kit Esquire 200 Kit

Frequency Response 30- 19,000 cps 35- 19,000 cps 40- 19,000 cps 50- 15,000 cps 60- 15,000 cps 35- 19,000 cps 40- 19.000 cps Power Handling, Program 70 Watts 70 Watts 30 Watts 25 Watts 20 Watts 70 Watts 70 Watts Level Controls Two Two Two One None Two Two Crossover Frequencies 200, 3500 cps 200, 3500 cps 800, 3500 cps 2000 cps 2000 cps 200, 3500 cps 200, 3500 cps Speaker Types 18' foam -cone 12' foam -cone 10' woofer, 5' cone 10' woofer, 8' x 12' woofer, 12' foam -cone 12' woofer. 8' cone woofer, 8' cone woofer, 8' cone mid- range, 5' cone tweeter 5' cone tweeter woofer, 8' cone mid -range, mid- range, diffrac- mid- range, dilfrac- diffraction -horn mid- range, diffrac- diffraction -horn tion -horn tweeter Lion -horn tweeter tweeter tion -horn tweeter tweeter Impedance 8 ohms 8 ohms 8 ohms 8 ohms 8 ohms 8 ohms 8 ohms Finishes Available Walnut. Mahogany Walnut, Mahogany Walnut. Mahogany Walnut, Mahogany Walnut Unfinished Unfinished Unfinished Hardwood Unfinished Hardwood Unfinished Hardwood Hardwood Hardwood Size: (Finished Model) 231/2'H, 32'W, 143/4'D 14'H, 25'W, 131/2'D 14'H, 25'W, 133/4'D 14'H, 25'W 12'D 103/4'H, 191'W, 83/4'D (Assembled) (Assembled) (Unfinished Model) 22'H, 3l1/2'W, 113/4'D 14'H, 231/2'W, 12'D 14'H, 233/4'W. 12'D - - 14'H, 231'W, IZ'D 14'H, 23WW, lrD Shipping Weight 103 lbs. 67 lbs. 30 lbs. 29 lbs. 15 lbs. 63 lbs. 52 lbs. Price, Finished 5249.00 $179.00 5133.00 $84.50 $49.50 - Unfinished $199.00 $149.00 $107.50 - 5125.00 593.00

CIRCLE. 43 ON READER- SERVICE CARD

www.americanradiohistory.com HERE'S PROOF E -V BUILDS QUALITY CLEAR THROUGH!

All E -V bas speakers, for example. utilize a high- compliance suspension, long -throw voice coil and a high -mass moving system to extend low- frequency response with minimum efficiency loss ... minimum distortion. Mid -range and high -frequency speakers pro- vide peak -free, wide -angle response balanced to the bass speaker. Crossover points. too, are chosen metic- ulously to satisfy the strictest engineering and musical requirements. And all mid -range and high-frequency Components are isolated from other speakers to elimi- nate interaction, >rut distortion.

In E -V compact systems. too. you'll find such features as edgewise -wound voice coils for 18% more efficiency while high -efficiency magnetic circuits and viscous - damped cloth suspensions maintain this efficiency. Rigid steel or diecast speaker frames assure perfect alignment and unvarying performance. Excellent dis- persion of highs for greater freedom in stereo speaker placement results from E -V exclusive diffraction horns COMPO\E\T or new flat -cone weeters. These features are wedded by skillful E -V design and engineering know -how to bring you a sound that can best be described as "transparent " - you feel the deepest bass, enjoy the crisp clarity of the treble and literally delight in the brilliance of even the highest overtones!

ROYAL 400 Finest low- resonance system available. Uses giant 18" foam -cone woofer. yet cabinet is only 23-1/2" high, 32" wide, 14.3/4" deep. Features effortless handling of deepest bass plus balanced response throughout entire range. Superbly finished in Mahog- ' any or Walnut. Net each $249.50. Unfinished utility sriti model, net each $199.00. REGAL 300 Premium -quality bookshelf -sized three - way system. Deluxe components throughout. Two level controls. Hand -rubbed Walnut or Mahogany finish. Net each $179.00. Unfinished utility model, net each $149.00. ESQUIRE 200A Completely redesigned with speakers specially built for compact use. Three -way system in- cludes 10" woofer, 5" mid -range and diffraction -horn tweeter. Richly -grained Walnut or Mahogany finish. Net each $133.00. Unfinished utility model, $107.50.

LEYTON Value leader in the E -V compact line. New T00 FOOD two -way system uses 10" woofer, 5" wide -range tweeter. Lowest cost full -size book -shelf system in line. Walnut or Mahogany fmish. Net each $84.50. PRINCESS Newest, smallest two -way system in the E -V family of compact systems. Ideal for low-cost stereo . just $99.00 for a pair! Unusual 8" x 12" woofer pro- vides response to 60 cps. Walnut finish. Net each $49.50. MONEY- SAVING COMPACT KITS Three -way systems with 12" woofer, 8- mid -range, com- pression tweeter. Medium or high efficiency. Simply assemble cabinet, then install speakers. Saves up to

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Name_ - The textured cane grille ceh (ea-ured on all E -V Ccmpact Address _ . yste."n, bleads smai t:y wile any decor - any period. City_ - _stat And yoL car use ycur E -V sistem apright or horizontally .. . a:l four sides hive rich, hand- rubt~d finishes. L

www.americanradiohistory.com P NOTES FROM ABROAD Aded Continued from page 22

fit. She approved. Meantime the threat- ened cold drew off. With the album un- completed, she flew to for re- THORfJj5 hearsals at , promising to be back to record the rest of set NEW STEREO TURNTABLE the later. Boris on the Way. It is expected that WITH INTEGRATED ARM (Marina), (name part), and (Grig- ori) will get to work on an EMI -Angel stereo remake of Boris Godunov in Paris next September. a good twelve I _ .. . months after the recording was first ,-r- mooted. Long before Christmas, EMI's musical staff in Paris was recruiting 111r- a chorus on the spot, mainly from sec- i ond- generation Russian émigrés- singers 14111111171110 with some cradle knowledge of Russian and therefore preconditioned to the origi- -1. nal Pushkin- Mussorgsky ' Fil text. The con- . ductor will be André Cluytens; and there is some possibility, I hear, that Christoff will sing the roles of Pimen and Vaarlam, in addition to Boris. CHARLES REID

It seems that conduc- tor Wolfgang Sawal- VIENNA lisch is building up a new musical em- pire, somewhat after the Karajan model. Based on Cologne, where Sawallisch governs the Opera, it THORENS TD -135, COMPLETE WITH INTEGRATED ARM is defended at its northern and southern outposts by the valiant Thorens in the new TD -135 offers a troops of the For the first time, - - Hamburg Philharmonic and the Vienna component -quality arm and turntable mated with a precision that insures you perfect tracking, perfect sound ... always ... Symphony Orchestras, both under his with a minimum of installation effort on your part. direct command. Each summer there's also a sortie towards Bayreuth. In Au- There's no compromise whatever with quality such as you gust 1961 the latter resulted in a usually find in integrated turntable and arm units. THORENS recording of Sawallisch's and Wieland TD -135 is Swiss -precision crafted throughout ... true compo- Wagner's joint production of Der nent high fidelity all the way. You get : A precision turntable Fliegende Holländer, a live recording in featuring 4 speeds, all adjustable, with an 8 -pound non- the only true sense of the word, magnetic table ... plus a completely new, advanced tone arm Sawallisch says. "Believe it or not, I that's so good we also sell it separately (see below) for use was not even aware of the fact that with any turntable of your choice. Exceeds NAB specs for the music was being taped. After the wow, rumble and flutter. Has same belt -plus -idler drive as fourth of the eight scheduled public famous TD -124. Shuts off automatically at end of record. performances in the Festspielhaus, I Many, many more features than we can detail. $110 net began to worry because I had not yet seen any of Philips' engineers about. My fears were unfounded. True to style, the recording director, Jaap van Ginneken, and his team had entered the field unnoticed. When I finally dis- covered the skillfully hidden micro- THORENS BTD -12S, 12" PROFESSIONAL TONE ARM phones, it was all over." Identical arm included with TD -135, but sold as separate unit. The recording is said not only to re- Less than 0.5° /inch tracking error. Built -in cueing device. All store Wagner's sound ideal (Festspielhaus adjustments: vertical height; calibrated gram- force; stylus acoustics as opposed to studio acoustics) positioning slide ; balancing counter -weight. Unique vertical but also to be a resuscitation of the pivot keeps stylus vertical for any height adjustment. original score: Senta's Ballad, usually Resonance well below audible frequencies. Interchangeable sung in G minor in accordance with the 4 Mounted THORENS -pin cartridge shells. on board for printed score, is to be heard here in TD -124, TD -121 $50.00 turntables. net the key indicated in Wagner's autograph, See and hear the THORENS TD -135 and ALL the members i.e. in A minor. Sawallisch hopes to of the "TD" family of fine turntables at your franchised see another live Bayreuth recording this dealer's today; there's one for every budget! For additional summer ( " is my tentative information, write us direct. suggestion," he says). More immediate plans call for production of the com- THORENS DIVISION ELDA plete Ring to be given at the Cologne Opera House in May. with Wieland ELPA MARKETING INDUSTRIES, Inc. Wagner actively cooperating. New Hyde Park, N. Y. Continued on page 28 CIRCLE 91 ON READER -SERVICE CARD 26 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ITS SOUNDCMFT IN THE GREAT MOTION

FROM METRO GOLDWYN MATER SAMUEL NOMSTON S RODUCTiON OF PICTURES!

WON

If you believe that all recording tapes are the same ... read these facts about Soundcraft: today's great motion pictures depend on the most extensive stereophonic techniques and effects. To achieve them requires a magnetic product capab'e of satisfying the most critical demand. For years one name has consistently won virtually 100% acceptance of the uncompromising technicians of this industry. That name -Soundcraft. The fact is the development of the Soundcraft Magna- Stripe Process revolu- tionized the course of the entire industry -led to the advent of the stereo sound tracks of the great wide screen films. For this, Soundcraft was awarded the only Academy Award "Oscar" ever given to a recording tape manufacturer. Today the sound you hear

in the great MGM (Camera 65), Todd AO, Cinemascope and other wide screen productions is repro- R of dollars can't duced on Soundcraft magretic products. Motion picture producers investing millions SOUNDCRAF afford to take chances. That's why "It's Soundcraft in the great motion pictures!" You, too, can UNDCRAFT DCRAFT recordings by switching have this same measure of superior performance and reliability in your own KRAFT to Soundcraft -where professional performance is the standard and satisfaction the guarantee. DCRAFT OUNDCRAFT See your Soundcraft Deaver today and let him put you on the right "sound" track with Soundcraft. SOUNDCRAFT

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CIRCLE 73 ON READER- SERVICE CARD MARCH 1962 27

www.americanradiohistory.com NOTES FROM ABROAD

Continued from page 26

Sawallisch, Strauss, and "Stehgeiger." Future recordings of this energetic young conductor -he is thirty -eight-will in- clude Beethoven's Seventh and Tchai- kovskÿ s Fifth with the Amsterdam Concertgebouw Orchestra and Ein Deutsches with Wilma Lipp and Franz Crass (the Bayreuth Dutch- man), the Vienna Singverein, and the Orchestra. When I saw him recently, however, he had just completed the recording of a couple of waltzes by Johann Strauss and was interested in talking about the widely accepted belief that there is only one manner, the "ccht- Wien" style. in which these waltzes should be executed. "I can assure you that it is practically impossible to find two Viennese musicians who would agree on the correct tempo. the proper placing of accents, and the ade- quate handling of ritardandos and ac- celerandos in any of the waltzes Johann Strauss wrote." A few hours later I FM STEREO MULTIPLEX had the opportunity of raising this ques- tion with another musician, widely on One Chassis and in KIT FORM looked upon as an expert in rendering All the music of Johann Strauss. That's Right - No external Multiplex Every year, on January 1. millions of Adapter required... PACO introduces the by C o people all over Europe listen to what is the true Viennese interpre- new model ST -35MX FM Stereo Multiplex considered tuner, featuring the finest multiplex cir- tation of the music created by the Strauss dynasty. Almost all the TV cuitry, ALL ON ONE CHASSIS ... ALL IN in Western Europe broadcast ONE CABINET AND IN KIT FORM (with networks -traditional factory pre -aligned multiplex section). the by- now New Year's Con- cert the Vienna Philharmonic, con- The ST -35MX FM Stereo -multiplex C of a^ L' C ducted by Willy Boskovsky in the very tuner is designed for the discriminating c manner which Johann Strauss adopted Audiophile who demands the ultimate in when he played this music. Boskovsky distortion less FM Stereo reception. Its Model SA -40 appears in front of the orchestra with incomparable features include ultra high STEREO PREAMP- AMPLIFIER KIT his violin. uses the bow to indicate the rock -stable AFC, pin point sensitivity, Kit Net Price: $79.95 heat. and occasionally falls in with the with broad band Factory Wired Net Price: $129.95 selectivity combined first violins. American listeners have be- response. come familiar with this music under the The ST -35MX has been engineered to baton (or should I say. the bow ?) of standards. Highly meet the most critical Boskovsky through the series of record- and gold case styled in a handsome black ings (the latest entitled "Thousand and to Paco's ... it is the perfect companion One Nights." recorded in Vienna last or popular SA -40 Stereo preamp -amplifier summer), issued by London. any other fine quality stereo system. The New Year's Concert was created Model ST -25 MX by twenty years ago. AVAILABLE THREE WAYS IN HANDSOME FM STEREO TUNER KIT When Krauss died. in 1954. the Vienna GOLD AND BLACK ENCLOSURE Kit Net Price: $69.95 Philharmonic went in search of a con- Factory Wired Net Price: ;99.95 MODEL ST -35MX (Kit) with full pre -aligned ductor of similar stature. "While we multiplex circuitry and PACO detailed were looking around," Herr Boskovsky assembly- operating manual. said. "my colleagues thought that I NET PRICE $99.95 might as well try my luck in conducting this kind of light music. The idea of MODEL ST- 35PAMX (Semi -Kit) with both leading the orchestra in the old manner tuner and multiplex sections factory- of the 'violin -conductor' (Strauss used wired and completely prealigned for sensitivity. Complete with the German word ' Stehgeiger') came hairline quite naturally. And since this way of PACO detailed assembly operating - conducting found favor with the public manual NET PRICE $119.95 and with my colleagues, I stuck to it." MODEL ST -35WMX (ready to operate). Model MX-100 Factory -Wired, aligned, calibrated and STEREO MULTIPLEX ADAPTER 11 'illy Boskovsky. assembled complete with operating (t Net Price: 549.3` Teacher His own man- Factory Ylired Net Price: $65.35 manual NET PRICE $139.95 ner of interpretation. Boskovsky frank- ly admits. differs from that of Krauss in many details -as a comparison of Electronics Co., Inc. See the full line of PACO Boskovsky's discs with those of his UÚUU Hi -Fi Stereo components predecessor (also on the London label) CO.,Ine. on display at all leading a division of PREVISION Apparatus the will immediately reveal. In a sense this Subsidiaries of Paeotronies, Inc distributors throughout world. may be taken as confirmation of Sawal- 70 -31 84th Street, Glendale 27, Long Island, New York yea40. Jianafaciueee. o/fine eke/ionic Z.r`grahnren /At erse? 30 Continued on page 32 ('IRS I. t: 67 ON RI, .t,Ilt:R- SFRN'ICE CARD HIGH FIDELITY MAGAZINE

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Record scratch is a thing of the past with REK -O -KUT Auto-Poise--the first self - powered automatic tonearm. For the first time, the flawless performance of the single -play turntable and independent tonearm is combined with convenient push- button operation. Auto-Poise, the first automatic self- powered independent tonearm, pays for itself by protecting your record collection and high -compliance cartridge. You get unequalled record protection fully automatic operation unexcelled single -play turntable and independent tonearm performance Ask for a demonstra- tion of Auto -Poise at your high fidelity dealer. Write for free literature today.

AUTO -POISE AUTOMATIC TONEARM, Model AP -320- $74.95 net. AUTO -POISE CONVERTER, MODEL APK, converts existing Rek -O -Kut Tonearms to automatic tonearms -$49.95. REK -O -KUT STEREO TONEARM, Model S -320, with exclusive Omni -Balance and Micro - poise, for perfect balance and tracking with high -compliance cartridges-$34.50 net.

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('IR('I..: 74 ON READER -SERVICE CARD MARCH 1962 29

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Hcathkit AS-51W

Heathkit AD-I0C Heathkit AS-81U Hcathkit AA-151

You'll be amazed at the quality sound of this Heathkit Stereo System. Capable of reproducing every note of your favorite recordings, this system features the top -of- the -line Heathkit AD -60B Record Changer with the Shure M8D Stereo Cartridge equipped with a diamond stylus and the Heathkit ADA -50W Walnut record changer base. Power is supplied by the Heathkit AA -151 28 Watt Stereo The Heathkit HFS -46 is a low -cost Stereo Phono System that is Combination amplifier ... 14 hi -fi -rated watts for each stereo complete in every way to bring to your home the pleasures of channel. This tremendous preamp /amplifier value features the stereo record playing. It is perfect as a "starter" system for new- patented Heath ULTRA -LINEAR. -'" circuit for extra fidelity, comers to the world of stereo sound and it is priced well within separate bass and treble tone controls, four stereo inputs, speaker the reach of every budget for that "extra" system. phasing switch, and rich modern styling in luggage -tan and included in this economical system is the Heathkit AD -10C charcoal gray. Stereo Record Player with Sonotone 8TA4 -SD ceramic stereo Ideally matched to the amplifier are the twin speakers, the cartridge and diamond and sapphire styli; the Heathkit AA -201 Heathkit AS-51W duo. The factory assembled cabinets are hand- 6 -watt Stereo Amplifier with its exciting new styling concept of some in walnut veneer. Inside is an 8' woofer, a true compression - black and ivory; and two of the new Heathkit AS-81U Miniature type tweeter, and a high frequency level control. High Fidelity Speakers which feature a 6' woofer of special design All components are simple to assemble, designed to give your and a 3' tweeter for unusual response (cabinet is factory as- family years of stereo enjoyment, and may be expanded at any sembled, ready for finishing). time to include other program sources (examples: add the Heath- Expandable at any time, you can add the Heathkit AJ -31 FM kit AJ -I1 AM -FM tuner and AC -11B Multiplex Adaptor or the tuner and AG -11A Multiplex Adaptor for FM Stereo reception. new AJ -4I Stereo Tuner, opposite, for Stereo off the air. Wt. HFS -46...33 tbs....no money down, $10 mo.... HFS -47...90 lbs....no money down, $21 mo.... (with system discount) just $94.90 (with system discount) $211.61 CIRCLE 51 ON REA DER -SERVICE CARD 30 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ALL NEW HEATHKIT STEREO TUNER

Superior Circuitry; Beautifully Styled; AM, FM and Built-In FM Stereo Multiplex

Here's the kit tuner you've asked for ... the new Heathkit AJ -41 ... ready for you to enjoy AM, FM or FM Stereo Multiplex! It's completely self- contained ... the FM Multi- plex Adaptor is bui/r -in! It's convenient ... separate tuning meters for AM and FM! It's quiet ... new FM squelch circuit hushes between- station noise! It's automatic ... the Stereo Indicator light shows when FM station is btoadcasting stereo! It's easy to build ... preassembled tuner, prealigned coils, circuit boards. It's a great Heathkit value .. . Hcathkit AJ-41 no money down, $11 mo. only $119.95 in Kit form; $189.95 assembled.

Your "Dream Stereo Home Music Center " yours with no money down, as low as $38OO 2. AD -60B Per month 3. AE -20W Walnut Record Changer 1. AE -40W Walnut Equipment Center Speaker Cabinet Cabinet 4. AE-40WWalnut Speaker Cabinet

8. AS-40 Coaxial 5. AS-40 Coaxial 12" Speaker 12" Speaker (Jensen H223F) 7. AA -100 50 Watt (Jensen H.223F) Combination 6. AJ -41 Stereo Amplifier Stereo Tuner

HEATH COMPANY BUILD YOUR WAY Benton Harbor 8, Michigan TO MORE ENJOYMENT 0 Yes, send me my free 1962 Heathkit catalog WITH HEATHKIT NAME Free Catalog! You can build your "dream stereo home music center" and enjoy the superior quality of the ADDRESS finest in equipment with the satisfaction of having CITY ZONE STATE secured it at a savings of at least 50 %! The above Heathkit stereo system presents the ultimate in Order direct by mail or see your Heathkit dealer. performance of kit components ... a fine record Ship Parcel Post Express C.O.D. Best Way changer, the latest in stereo tuners, a powerful Ordering instructions: Fill out the order Want.. Include charges for parcel post according to weights shown. Express orders shipped delivery charges collect. All and versatile amplifier, superb coaxial speakers, prices F. O. e. Benton Harbor. Mich. A 20%, deposit is required on all C.O.D. and elegant walnut cabinetry. Check the details orders. Prices subject to change without notice. Dealer and export prices slightly higher. Send in today for your free of each component in your Heathkit catalog; 100.page catalog. Over 250 compare the system with others costing $500 to ITEM MODEL NO. PRICE kits more than 40 are new) in this most complete cata $1000 more! You'll agree there's extra value in log of kits. Every piece Is Heathkit. top quality . save up to 50 %. Get a catalog now and PIFS- 411... no money down. $38 mo. receive 1962 Heathkit sup. (with system discount) $572.14 plements.

L

CIRCLE 51 ON READER -SERVICE CARD MARCH 1962 31

www.americanradiohistory.com :1111rUrr VVV VVVVVVV rrrtlrl/L

NOTES FROM ABROAD

Continued from page 28

lisch's contention that within the frame- work of the "truly Viennese style" there is ample scope for individual variety. Yet it seems that Boskovsky's readings NEW RELEASE s s are about to acquire international sig- a nificance as a sort of model. Orchestras in Paris and London, Stockholm and Amsterdam, have invited him to come v "teach them the truc Strauss manner." Boskovsky declined to comment on his own competence in this matter, but he FifE MARRLkQE did produce a letter from a correspond- ent in Beverly Hills, California. who had been listening to some of his re- cordings. The letter was in German. the signature that of Bruno Walter. I OF FIGAIZD quote one sentence, in my own trans- lation: "I feel the inner urge to tell you what joy it gave me to listen to these complete in Italian truly musical and truly Viennese out- pourings of the hearts of inspired mu- sicians." KURT BLAUKOPF

Irmgard Seefried A graph of French Maria Stader musical news this sea- PARIS son might have the shape of an unstable Fischer - Dieskau Dietrich "U" with a bump in the bottom. Interest in Renato Capecchi relatively ancient and relatively modern composers is up, if one can judge by concert programs and re- Berlin Radio Symphony Orchestra cording projects. It has sagged into con- ventional respect so far as the great Conductor: Romantics are concerned. The hump in the down curve? That would be Berlioz. The Paris Opéra, after years of promising. has at last added Mono 18697/99 Stereo 138697/99 to the repertory. The new version is a coproduction with La Scala. De -luxe presentation -box edition with illustrated libretto and fuses the rather conventional sets and costumes already seen at Milan. But Régine Crespin was a splendid Didon on the first night: and young Guy Chauvet. who sang Enée, encouraged the growing belief that in him France has finally For the friends of operatic excerpts found a with a big voice. In short, Deutsche Grammophon Gesellschaft has released the has demonstrated once Highlights from complete recordings in original ver- again that it does not have to be as sions on 12" LP's each with such famous singers as disappointing as it often is. Maria Stader, Irmgard Seefried, Rita Streich, Astrid Hébé and the Wolf. The French are Fischer -Dieskau, Renato Varnay, Inge Borkh, Dietrich accustomed to hearing their own eight- Capecchi and others. eenth- century dance music transformed into the rich, German substance of a Bach or Handel suite. It is only since War that the general public has ac- Tristan and Isolde the quired a liking for the quite different Mono 19224 Mono 19193 - the drier and whiter -flavor these dances Stereo 136224 Stereo 136030 have when utilized by their fellow - countrymen. There are still areas of re- sistance, but now the Germans them- 18656 Mono 19234 Mono s selves are helping the native French Stereo 136234 s Stereo 138656 s cause. Deutsche Grammophon engineers s were in Paris not long ago to make a Tales A Masked Ball s The of Hoffmann a recording of Rameau's Les Fêtes d'Hébé, Mono 19271 Mono 19230 a three-act ballet -opera composed in 136271 Stereo 136230 Stereo 1739. The singers and a small orchestra drawn from the Lamoureux Association 11 Barbiere di Siviglia t will be directed by Marcel Couraud. Mono 19270 whom American record collectors may Stereo 136270 recall chiefly as a sensitive interpreter

Direct Import Factory Sealed Continued on page 38 CIRCLE 33 ON READER- SERVICE CARD

www.americanradiohistory.com I knew your mother. She was bulky and boxy... Your father was clumsy and awkward.

... a misfit, she didn't belong anywhere. Your father was an eyesore, the ladies despised him.

Yet I love you. I never saw a stereo speaker so graceful, so slim. Tell me, We can make what do you think of me? beautiful music together!

The ugly duckling has turned into a graceful swan -the SONOTEER. This is the first speaker system your wife will be proud to make a part of her home decor. The SONOTEER has five true high fidelity speakers that project a full circle of sound...both front and back. The effect is overwhelming! Hang SONOTEERS on walls, place them in room dividers... anywhere in your home. See them now at your high fidelity dealer's. Write for decorator booklet and technical specifications. Models Shown: Left: CA -70 Contemporary, genuine walnut -$79.95 (CA -70E Mandarin, same style as Contemporary, satin ebony finish -$89.95). Right: CA -70P Provincial, fruitwood finish -$89.95. SOWE ER Dept. H -S Rek -O -Kut / Audax, 38 -11 108th St., Corona 68, N.Y. Export: Morhan Exporting Corp., 458 Broadway, N.Y.C. Canada: Atlas Radio, 50 Wingold Ave., Toronto 19. CIRCLE 14 ON READER -SERVICE CARD MARCH 1962 33

www.americanradiohistory.com We told you this was dangerous loudspeaker!

In the fall of 1960 we introduced you to the EMI bookshelf speaker system and warned you about its dangers. We told you that its effortlessly smooth, sweet, free -floating sound would be fatal to some of the bulkiest and most expensive loudspeakers by comparison -let alone other bookshelf speakers. We explained the psychological hazards of listening to the EMI Model DLS 529 after having purchased a larger, costlier, but not nearly as natural- sounding speaker system. And we cautioned you against the risks of exposing mediocre amplifiers, pickups or other equipment to the transient -perfect scrutiny of the EMI bookshelf unit. Despite our warning, thousands of you went out and bought EMI bookshelf speakers anyway. The rest is high fidelity history. Our loudspeaker turned out to be even more dangerous than we had thought possible. We knew we would come out far ahead of all competing designs, but we didn't really mean to start a massacre. When people get rid of three -hundred -dollar speaker systems and switch to our $159.00* unit, even we begin to feel a bit frightened. Of course, there's nothing we can do about it at this point, except perhaps to put the blame on EMI's world- renowned Dr. G. F. Dutton. It was he who designed the fabulous drivers of the Model DLS 529. He is responsible for the exclusive, hand -made 131/2" by 8' /e" elliptical woofer with aluminum cone and special plastic suspension. Not to mention the two specially designed 31/2" tweeters, the high -precision 4,500 -cps crossover network or the heavily rein- forced and damped 24" by 13" by 121/4" enclosure. As for the magnificent walnut cabinet work, the superb finish on all sides (including the back!) and the elegant woven metal grille, certain highly skilled crafts- men must share the responsibility for that. So we have no choice but to go on living dangerously ... If you can now overcome your trepidation, we suggest that you listen to a pair of EMI's on good stereo material at your nearest dealer. Like climbing Mount Everest, it will be well worth the danger.

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. 11111111'1 Ilrlll'Illlllllfll111111111111IIII11111111111111 IIllit II 1 i 1i1111111111111illlllllllllltllllllli . . . .'.G :...... , ,...... 44t11.1 EMI (ELECTRIC AND MUSICAL INDUSTRIES LTD.) ENGLAND

Ninher in South & West. For further information, write Scope Electronics Corporation, a subsidiary of Symphonic Electronic Corporation. 10 Columbus Circle, Neu. York 19, N. Y., exclusive distributors of EMI Preamplifiers, Amplifiers, Loudspeakers, Tuners, Recorders, Integrated Tone Arma and Pickups. CIRCLE 77 ON READER -SERVICE CARD 34 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com save on everything in raw.. w1 STEREO HI -F1 ..01 see the best values in the ALLIED 1962 444-PAGE ELECTRONICS for everyone 1962 ALL'Ell CATALOG ALLI E D RADIO it's the world's biggest it's value-packed send for it featuring

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Send for this value -packed Knight Stereo catalog featuring the world's Fastest -growing value name KNIGHT Deluxe Stereo FM -AM Tuner with largest Stereo hi -fi selections. in hi -fi. KNIGHT components built -in MULTIPLEX See what's new...save on: and systems are equal to the very best in quality and per- Stereo Hi -Fi Music Systems yet they're far formance, KNIGHT 75 -Wott Stereo Amplifiers and Tuners lower in cost, give you most ALL- TRANSISTOR Hi -Fi Speaker Systems for your money. Stereo Amplifier Speaker Enclosures Changers and Turntables knight-kits' Cartridges and Pickups Build your own -build the Tape Recorders best at big savings. It's easy, ALL -TRANSISTOR Recording Tape, Accessories it's fun to assemble your own 50 -Watt KNIGHT -KIT Stereo Amplifier Kit Stereo Records and Tape KNIGHT -KIT stereo hi -fi -and Hi -Fi Cabinetry you get absolutely profes- sional performance and ap- All -In -One FM -AM pearance. Tuner -Amplifier Kit with built -in MULTIPLEX Stereo FM NO MONEY DOWN Lowest System Quotations easiest terms available Select your own system com- ponents from our catalog and get our special money -saving For everything in Hi -Fi... low price! for everything in Electronics... BIG BUYING ADVANTAGES: get the ALLIED Catalog! You get everything in hi -fi from ALLIED -at money- saving prices. world's largest You have our 15 -day home trial selection of r privilege on systems and compo- hi -fi cabinetry ALLIED RADIO, Dept. 110-02 nents. Satisfaction guaranteed or 100 N. Western Ave., Chicago 80, III. your money back. Send FREE 1962 ALLIED Catalog L LA.L.. *,- GI fl Name LEASE /11.1 ALLIED RADIO Address America's Stereo Hi -Fi Center City Zone State L J CIRCLE 3 ON READER -SERVICE CARD MARCH 1962 37

www.americanradiohistory.com NOTES FROM ABROAD

Continued front page 32

of Monteverdi for Discophiles Français. ARE YOU BEING CHEATED? Also on Deutsche Grammophon's Paris schedule is an international version of Prokofiev's Peter and the Wolf, with Lorin Maazel directing the Orchestre Na- We at GRADO are constantly asked "How does a consumer tional. Since there will be a French, know which ads are truthful ?" "How can the consumer be sure a German. and an English edition, the that what he buys is redly good ?" "What protection does the narrators are, at this writing, still a prob- consumer have after he spends his money ?" He couldn't be sure lem. Maazel wanted Ingrid Bergman, until now! but her other engagements conflicted.

100% CONSUMER PROTECTION. Proof of GRADO integrity Fresh Stock. French ballet music of and superb product quality is what we offer you with absolutely the nineteenth century, of course, cannot no risk on your part!! be said to have been neglected by the record industry. A few months ago the GRADO SENATOR CARTRIDGE Paris office of Pathé -Marconi received A Genuine Moving Coil Stereo Cartridge $24.95 from one of EMI's American outlets a desperate message which boiled down to CERTIFIED SPECIFICATIONS. After carefully controlled Labora- this: Could one have something that is not Coppélia? tory tests the New York Testing Laboratories certifies the The company has now elicited a triple following specifications to be completely accurate. (Note: These response, with the help of conductor specifications will be recertified at various intervals to assure Georges Prêtre and the Conservatoire you, the consumer, of consistent quality). Orchestra. Non- Coppélians will soon get: (1) Francis Poulenc's Les Biches, SPECIFICATIONS - FREQUENCY CHANNEL sometimes called The House Party, which CERTIFIED (New York RESPONSE: SEPARATION: was first produced at Monte Carlo in Testing Laboratories) 20CPS -IKC- Vertical -Lateral 1924; (2) Henri Dutilleux's Le Loup, ±1DB 30DB -1KC produced in Paris in 1953 and presented 1KC -10KC- 18DB -15KC in New York by the Roland Petit com- ±1.5DB pany the next year; 45 0-450 and (3) Darius Mil - 10KC -22KC- 1KC haud's ±2DB 30DB La Création du Monde, produced )} 15KC 14DB in Paris in 1923 and notable for its use of jazz idioms. APPLICATION: Output - Tone Arm or 8MV l 10CMV Record Changer Tracking Force - Royal Revival. The French national Excellent for 3 grams radio network is an active patron of Monaural Records Diamond Stylus music. commissioning important works and organizing each winter a series of un- usual public concerts for which the ad- ONE YEAR UNCONDITIONAL GUARANTEE (From date of purchase). mission price is only a dime (officially If the cartridge becomes defective for any reason (including children) the tickets are "invitations "). One eve- you will receive a brand new cartridge FREE!! ning this winter the program included 5 YEAR DIAMOND STYLUS GUARANTEE. If the diamond wears from some ballet music, scored for recorders, playing within 5 years of the purchase (even in a record changer) GRADO . and strings, directed by Sorbonne will replace it FREE!! musicologist Jacques Chailley, and com- posed by Louis XIII while Richelieu was ADDITIONAL PROTECTION. You may return the cartridge to your running the country. Beethoven's laurels dealer for a full refund if you are not completely satisfied after ten days are still intact. but the piece was not bad, of close listening in your own home. for a king anyway. Chailley also in- cluded the charming song Amaryllis, THE EXPERTS SAY: which is attributed to the same Louis. "Provided a tape like stereo effect with no instrument wander." ROY MCMULLEN Larry Zide ... American Record Guide "Superb sound at any price." Chester Santon ... Adventures in Sound, WQXR

If the cartridge becomes defective after the warrantee period for High Fidelity, March. 1962. Vol. 12. No. expires, 3. Published monthly by The Billboard a flat fee of $15.00, you will receive a brand new cartridge. Publishing Co., publishers of Billboard ONLY GRADO CAN BE PURCHASED WITH COMPLETE SECURITY!! Music Week. Vend. and Amusement Busi- ness. Telephone: Great Barrington 1300. The above guarantee also cover: Member Audit Bureau of Circulations. Editorial Correspondence should be ad- Laboratory Stereo Cartridge $49.50 Classic Stereo Cartridge $37.50 dressed to The Editor. High Fidelity. Great TOP RATED Barrington, Mass. Editorial contributions For Ultimate Results Use The Laboratory Series Tone Arm $39.50 will be welcomed. Payment for articles accepted will be arranged prior to publica- tion. Unsolicited manuscripts should be accompanied by return postage. ASK YOUR DEALER ABOUT THE GRADO DUSTAT $6.95 Subscriptions: Subscriptions should he ad- VELVET TOUCH RECORD CLEANER NO MESSY FLUIDS dressed to High Fidelity, Great Barrington. Mass. Subscription rates: United States, Pos- sessions, and Canada, 1 year. $6; 2 years. $11; 3 years, $15; 5 years, $20. Elsewhere FOR FURTHER $1 per year extra. Single copies 60 cents. INFORMATION WRITE GRADO LABORATORIES, INC. Change of Address notices and undelivered copies (Form 3579) should be addressed to 4614 Seventh Ave., Broollyn 20, N. Y. Export-Simontrice, 25 Warren St., N.Y.C. High Fidelity. Subscription Fulfillment De- partment, 2160 Patterson Street. Cincinnati 14, Ohio.

CIRCLE 48 ON READER-SF:RVICE CARD 38 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com DORIS DAY, COLUMBIA RECORDING ARTIST,

SAYS: "Now, I Spell Perfect on- Roberts!"

PERCY FAITH, famed composer, conductor says: "My Roberts 990 is an invaluable aid in composing and arranging. 'Automatic' is almost the word for its simplicity of operation."

ONIYTHE ROBERTS '9909S1EREO TAPE RECORDER combines these advanced features: 4 -Track Stereo Record /Play * 2 -Track Stereo Playback * 4 -Track Monaural Record /Play * Cual Head Outputs -R- Dual Pre -Amp Outputs * Dual Power Ampli- fier Outputs *Dual Monitor Speakers 9E Professional Lever -Type Automatic Shut -off (releasing pinch wheel) * Double -Fast Rewind * 33/4.71/2 -15 ips Tape Speed* Portable * Recessed handle and vertical operation ideal for custom installation. 39950 101/2" Reel Adaptor Now Available -$49.50

ROBERTS ELECTRONICS, INC., DEPT. HF-3-A 5920 Bowcroft Ave., Los Angeles 16, Calif. Please send me: Roberts Stereo Tepe Instruction Manual containing stereo and monaural applications.

I enclose 25c (cash, stamps) for postage and handling. ROBERTS ELECTROI`JICS, INC. The name of my nearest dealer. 5920 BOWCROFT AVENUE, LOS ANGELES 16, CALIFORNIA Name Address MFRS. OF ROBERTS SONIC -THESIA, MEDICAL EQUIPMENT, STEREO HEAD PHONES, City NEGATIVE ION GENERATORS, AUDIO EQUIPMENT AND MAGNETIC RECORDING TAPE State

CIRCLE: 75 ON RE 4DF k -SERA ICE: C RD MARCH 1962 39

www.americanradiohistory.com WIN EMPIRE'S 1 -

THIS IS THE new empire troubador ...world's most perfect record playback system Have you ever dreamt of attending an international programme tour through such cultural centers as Paris, Rome, Edinburgh, OUTSTANDING FEATURES Dubrovnik, Bregenz, Bayreuth, Salzburg, and Athens - witness- OF THE EMPIRE TROUBADOR ing in person their presentations of opera, ballet, drama, sym- (world's most perfect record playback system) phony concerts, chamber music, recitals, and even art exhibi- A. All 3 Speeds - 331/2, 45, 78 RPM, with fine speed adjustment. tions? Each year thousands of people from all parts of the world B. Dynamically Balanced Playback Arm -with built in calibrated gram scale ac- attend one or perhaps two of the great music Now curate to 0.1 grams. Dial exact stylus festivals ... force required. two people will have the opportunity to attend most of the leading C. Lowest Rumble - No Wow and Flutter - Rumble better than -64 DB; Wow and festivals - the winners of the Empire 'Round-the -World Music flutter less than .05 %. D. Maximum Compliance - Playback arm Festival. pivots use vertical and lateral ball -bear- ing suspensions. E. No Acoustic Feedback - Rigidized arm It's easy here's all you do: Listed in alphabetical order are ten structure eliminates resonance - no turn- - table isolation required. outstanding features of the new Empire Troubador, world's most F. Rugged - virtually impossible to dam- age the retractable stylus mechanism or perfect record playback system. The collective thinking of the turntable system. G. Sensational Dyna -Lift - Automatically leading high fidelity music editors and critics listed these features lifts the arm from the record at the end of the music. in what they felt is the respective order of importance. Your task H. Simplicity - only 2 moving parts; flex- ible belt couples turntable directly to - MATCH THEIR LIST. heavy -duty, constant speed hysteresis motor -no intermediate idlers. L Tracks at Less than 1 Gram - with no That's it! ... no long, drawn -out essays ... no jingles ... no box - measurable distortion. J. Truly Compatible Mono -Stereo Cart- tops. Just rearrange the outstanding Empire features in the order ridge - frequency response 15- 30,000 cycles per second; channel separation of importance that you feel will match the master list. You may better than 25 DB. Win Empire's Round- the -World Music Festival. CIRCLE 44 ON READER -SERVICE CARD

www.americanradiohistory.com THE -WORLD MUC FETVAL(Z')

THE GREATEST MUSIC TOUR EVER PLANNED!

A'Round- the - World musical trip, lasting 21 days, awaits the lucky winner (and his guest) of Empire's 1st Annual Music Contest. Imagine ... you'll be attending such greats as the Athens, Dubrovnik, Bregenz, Salz- burg, Bayreuth, and Edinburgh Festivals. You'll be taken on personalized tours through many world- famous cultural centers, like Rome, Paris, and Munich; plus special field trips, such as a tour of the MGM factory in Hamburg, etc. And best of all, this is at no cost to you! Transportation, rooms, meals, tickets and tours are pre -paid by Empire ...your host on this incomparable trip. Your Hi -Fi dealer has complete itinerary.

OFFICIAL RULES 1. On an official entry form, or plain stationery, list all the outstanding features (code letters) of the New Empire Trou- bador in their order of importance. Only at the one entry per person. Be sure to include en air o era Y ROMthe op P your address. of Caracalla, 2. Judges will be determined by Empire Baths Pucctnt Scientific Corp. The entry form listing the outstanding features in their order of im- portance exactly as on the judges' list will be the winner. In the event of a tie, an opinion question on "record playback sys- DU ROVNIK tems" will be sent to all contestants in- of the Adriatic" volved in the tie. The judges, as deter- -the "Pearl mined by Empire Scientific Corp., will to judge the answers the opinion question Dan on the basis of originality and aptness of Festival of Music thought. The participant submitting the best answer in the opinion of the judges will be the winner. The decision of the judges will be final. The Greek 3. The prize must be accepted as sched- aí1/6 National troupe Theatre uled in advertisements. Any tax or liabil- ql.I Motet's -Herod Atticus ity pertaining to the award will be the Festspeilhaus, sole responsibility of the winner. No sub- Old IOC e on the Acropolis stitution of the prize will be allowed. "Cosi tan Empire Scientific Corp. reserves the right at all times to change the festivals and cities named without notice. 4. Entry envelopes must be postmarked no later than midnight June 15, 1962. All entries become the property of Empire Scientific Corp., and none will be returned. Mail entries to Empire Scientific Corp., at t. castle Box 615, Garden City, Long Island, NY carts, 5. The contest is open to all residents of the United States and Canada. The con- con. test is prohibited to employees of the muScrand l'a.Ve ,d Empire Scientific Corp., its selling agents, hake. affiliated companies, its advertising agen- )311 /Pe cy, and their families. This contest is subject to Federal, State, and local regu- lations. operetta theatre stance, at 'Isle Lake ConCon- 6. Winner will be notified by mail not later Away Dreams - than 15 days after final drawing. From Yucatan)" (Far 7. Winner and guest of his choice will be flown by jet plane across the Atlantic. All connecting intercity transportation will VISIT YOUR DEALER -ASK FOR A COPY OF THE COMPLETE EMPIRE FESTIVAL ITINERARY be arranged by Empire Scientific Corp. All -HEAR THE INCOMPARABLE EMPIRE TROUBADOR -YOU'RE ONLY ALLOWED ONE ENTRY. hotel accommodations, meals (2 per day), fares, sightseeing, admissions to festivals, and transportation from terminals to air- Music Entry Blank. ports will be paid for by Empire. The Official Empire 'Round- the -World Festival above is only valid if prize is accepted as scheduled. mail to: empire SCIENTIFIC CORP. MATCH THE P.O. BOX 615 DEPT. #HM JUDGES' LIST GARDEN CITY, L. I., N. Y.

1 HINT: Your local dealer has entry 1. Fill in name and address blanks...and Empire Troubadors... 2 2. List the features (by code letter only) in ask him for a live demonstration - 3 their correct respective order. he'll be happy to oblige. Pay close 4 attention to the "silent" Empire 208 NAME 3 -speed turntable; Empire 980 dy- 5 (please print) namically balanced playback arm, 6 ADDRESS featuring the sensational Dyna -Lift- 7 Empire 108 first truly compatible CITY ZONE STATE mono -stereo cartridge; and hand- 8 DEALER'S NAME__ some walnut base. Complete: $200. 9 to Note: All contest entries subject to Official Rules CIRCLE 44 ON READER -SERVICE CARD

www.americanradiohistory.com loudspeakers

USED PROFESSIONALLY as mot ing sessions, in broadcast stations and laboratories, with medical test equipment for precise reproduction of heartbeats- applications where only an accurate facsimile of the original sound, without pseudo -hi -fi exaggeration, will serve.

New Orleans recording session with Jim Robinson, Ernie Cognolotti, and Louis Cottrell. Note the AR -3 (one of a stereo pair) being used to monitor playback. Courtesy Riverside Records and HIF1 /STEREO REVIEW

RATED #1 FOR HOME USE by half a dozen equipment reviewers. Three consumer magazines have reported on AR loudspeakers; two of them adopted AR speakers as reference standards, and the third gave AR its rarely used top rating.

Priced from S89 ( for an unfinished AR -2) to S225 ( for an AR -3 in oiled walnut, cherry, or teak). A 5 -year guarantee on all models covers materials, labor, and reimbursement of any freight to and from the factory. Catalog is available on request.

AR speakers are on permanent demonstration at AR Music Rooms -on the west balcony of Grand Central Terminal in and at 52 Brattle Street in Cambridge, Massachusetts. No sales are made or initiated at these showrooms.

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

CIRCLE I ON READER -SERVICE CARD HIGH 42 FIDELITY MAGAZINE

www.americanradiohistory.com COMPARE STEREO MULTIPLEX SYSTEMS FEATURE -FOR- FEATURE * DOLLAR -FOR- DOLLAR NEW ALTEC STEREO DUET IS YOUR BEST BUY!

1Y 55 1p 10 80 11130 W Nt i0 ü 'Y 1111.7091399i4- ISNIO6YB NG tik

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CIRCLE 22 ON READER- SERVICE CARD www.americanradiohistory.com The Glories of Late Strauss

THIS issue, with its focus on the music of Richard hard to promote at a time, like the present, of spiral- Strauss, can rightfully be called a labor of love ing costs and squeezed profits. Even though a -on the part of Glenn Gould, who took time out recording director might be utterly convinced that from a busy round of concert appearances to write belongs among Strauss's mas- the brilliant and penetrating essay that begins on terworks (and we would be the first to go along the next page; of Herbert Glass, who spent hundreds with this view), he would nevertheless be hard put of hours listening afresh to the entire Strauss litera- to justify its inclusion in a recording program today. ture currently available on LP (his discography can It is difficult enough even to make La Bohème show be found on page 50); and of the editor, who has a profit these days. been an ardent Straussian ever since he acquired But somehow or other Die schweigsame Frau the classic Lehmann- Schumann -Mayr album of must be put on records -and , Die Liebe der Der Rosenkavalier back in the dark ages before Danae, /ntermezzo, and all the others. We have World War II. a suggestion for accomplishing this seemingly im- Strauss seems to inspire love -or at least his practical desideratum. These works are performed music does (the man himself, one gathers, was not regularly every summer, and with very superior overwhelmingly lovable). Certainly there has been casts, at the Munich Festival. Surely, an enter- a clear history of Strauss infatuation in the record prising record company could set up microphones industry. How else explain the fact that we have in the opera house, tape all the rehearsals and per- such visionary efforts in the LP catalogue as com- formances of a given opera, and from this material plete recordings of and Die put together a composite recording that would do Frau ohne Schatten, of and Capriccio? splendid justice to the music. London Records was This is not to imply that these were ventures wholly extremely successful with its actual -performance romantic in conception and impractical in their tapings at Bayreuth a few years ago. Now we learn economics. Perhaps they can all be expected to that Philips has also gone to Bayreuth for the same show a profit, or at least to break even, when the sort of undertaking (see Kurt Blaukopf's "Notes final accounts are totted up. But a hardheaded from Abroad" on page 26). If it works for Wag- executive could not reasonably be expected to choose ner at Bayreuth, why not for Strauss at Munich? this type of repertoire for a quick and safe return It is quite true, of course, that an actual -per- of monies invested. Love obviously entered into the formance taping will not embody all the ingenious calculations -love and a messianic conviction that sonic effects of a thoroughly planned studio record- the glories of late Strauss should be showered on ing. There may be an occasional cough from the everybody everywhere and not just on the lucky audience and a scuffle of footsteps on stage. Hor- few who are in a position to attend an occasional rors, there might even be an occasional imperfect festival performance. note from one of the singers. Speaking for our- But there comes a point when not even the most selves, we wouldn't mind in the least. To enjoy persuasive lover can hold his own against the cold Die schweigsame Frau in one's living room is worth inexorabilities of dollars and cents. Excursions into enduring a few coughs from Munich. the lesser -known operas of Strauss's old age are ROLAND GELATT

. . AS high f1 e 1 SEES IT

MARCH 1962 45

www.americanradiohistory.com "I believe, quite simply, that Strauss was the greatest musical figure who has lived in this century." GLENN GOULD

AN ARGUMENT FOR ßchard Straus by Glenn Gould

AFRIEND OF MINE once remarked that there was probably a moment in every budding musician's teen -age when might suddenly appear the work most likely to incorporate all of the doubts, and stresses, and the hoped -for triumphs of youth. He was only half -serious, I suppose, but I think he was also half -right: and, although he didn't intend it disparagingly, his remark did suggest the assumption that if one could grow naturally into a sympathy with the flamboyant extroversion of the young Richard Strauss, so one could be expected. with maturity. to grow just as naturally out of it. My own Heldenleben period began, courtesy of Willem Mengelberg, when I was seventeen, but -although I have now patiently waited twelve years -I have never grown out of it. And though it may well be a damning commentary on the waywardness of my own maturing, I rather doubt now if I ever shall! So it is not easy for me to write objectively about Richard Strauss, although I intend to try to do so, however, because I write from a position of high preju- dice: I believe, quite simply, that Strauss was the greatest musical figure who has lived in this century. This is not a very welcome view today because, although Strauss does not really need anyone to extol his merits to the world, his reputation has perhaps suffered more unjustly with the passing years than that of any other musician of our time. At first glance, this may appear a rather surprising state- ment, since Strauss has never been more frequently or devotedly favored in per- formance than at present, but I am referring now not to those Teutonic lions of the podium who nightly soar from our midst to be with Zarathustra on his moun- taintop, nor do I speak of those artful tigresses of the operatic stage for whom no

www.americanradiohistory.com Notes on an enduring passion from a celebrated young pianist

greater challenge nor surer success exists than that which Chrysothemis or the Marschallin assures. I refer, rather, to those cunning currents of fancy which, as they sweep to command the tide of musical taste, make haste to consign old Strauss to the graveyard for romantics, pronouncing him a great nineteenth - century character who had the audacity to live fifty years into the twentieth. The longevity of Strauss's creative life is pretty staggering, of course -at least sixty -nine years if one reckons his adolescent works as the astonishing creations they really are, or in other words a span equal to the total lifetimes of two Mozarts (if you have a head for that sort of thing). Now, obviously, the length of Strauss's creative life is not important of itself-many composers plan to live to 106, while I myself aim to withdraw into a graceful autumnal senility at thirty -yet the longevity of a creative life is a justifiable yardstick within the extent that it measures, and can be measured by, the development of the composer as

'I human being. It is the view shaped by the taste makers of the musical profession that Strauss's evolution as a musician was not consistent with the length of his years. They seem to feel that his development was arrested somewhere within the first decade of this century. They do not always deny him the achievement of his early works: some of them can even whistle a few tunes from the , and many will admit the dramatic values of his first great operatic successes - the charm and gallantry of Rosenkavalier, the strangling impact of Elektra. But most of them seem to think that having made himself for twenty -five years or so a bulwark of the avant -garde, Strauss in his mid -forties lapsed into a drought of inspiration which was terminated only by death. Is it a curious accident, I wonder, that the point in Strauss's career at which, with the precision of hindsight, he is presumed to have gone astray is more or less concurrent with the beginning of the most significant musical revolution (or if you prefer, reformation) of modern times, the development of the musical language without tonality? Or is it just coincidence that even well -informed opinion sees Strauss as having reached the climax of his career, just prior to those years in which other composers first broke through the sonic barriers of tonal harmony and that when he appeared to reject the new aesthetic the taste makers and the pace setters would see him only as a man wistfully attempting to reca- pitulate the achievements of his youth? The generation, or rather the generations, that have grown up since the early years of this century have considered the most serious of Strauss's errors to be his failure to share actively in the technical advances of his time. They hold that, having once evolved a uniquely identifiable means of expression and having expressed himself within it at first with all the joys of high adventure, he had thereafter, from the technical point of view, appeared to remain stationary-

MARCH 1962 47

www.americanradiohistory.com at the age of eighty -one, and one will have to admit that neither contains any harmonic progression which would have been necessarily unavailable to the other. Basically, both use a harmonic language available to Brahms, or to , or, minus his sequences, to Bruckner; both use a contrapuntal style which, although more in evidence in the later work, is still primarily founded upon the belief that, however many contrarieties it may provoke, its fundamental duty is to substantiate the harmonic motion and not to contradict it. And yet for all these similarities the Metamorphosen conveys the impression of an alto- gether different harmonic and contrapuntal scope than the Symphony, and both suggest a unique iden- tity which could not possibly be confused with any earlier master. While there are pages in the teen -age works of Strauss (the first horn concerto, for in- stance) which, at a diagrammatic harmonic level, could easily have been written by Mendelssohn, or even, surprisingly, by Weber, one needs only a Bettmann Archive Composer of the tone poems. few seconds to realize that here, for all of the influence of the early romantic masters, is a wholly original technique. Although he reached adolescence at a time when RICHARD STRAUSS Wagner had anticipated the dissolution of the tonal language and had stretched the cognizance of har- monic psychology to a point that some regarded as simply saying again and again that which in the the very limit of human endurance, Strauss perhaps energetic days of his youth he had said with so much was more concerned than any other composer of his greater strength and clarity. For these critics it is generation with utilizing the fullest riches of late - inconceivable that a man of such gifts would not romantic tonality within the firmest possible formal wish to participate in the expansion of the musical disciplines. With Strauss it was not simply a question language, that a man who had the good fortune to of compensating for the overrich harmonic ambigui- be writing masterpieces in the days of Brahms and ties of his era (as was the case with the intense Bruckner and the luck to live beyond Wehern into motivic concentration of the young Arnold Schoen- the age of Boulez and Stockhausen, should not want berg); rather, his interest was primarily the preserva- to search out his own place in the great adventure tion of the total function of tonality-not simply of musical evolution. What must one do to convince in a work's fundamental outline, but even in its most such folk that art is not technology, that the differ- specific minutiae of design. Consequently, when one ence between a Richard Strauss and a Karl -Heinz compares any of Strauss's early orchestral scores Stockhausen is not comparable to the difference with, say, a tone poem by Liszt, one is immediately between a humble office adding machine and an struck with the fact that while Strauss's works are I. B. M. computer? comprised of infinitely greater daring in terms of Richard Strauss, then, seems to me to be more sheer extravagance of harmonic imagination, they than the greatest man of music of our time. He is are, nevertheless, painstakingly explicit at every in my opinion a central figure in today's most level of their architectural concept, and thus present crucial dilemma of aesthetic morality -the hopeless an impression of a harmonic language at once more confusion that arises when we attempt to contain the varied and more lucid. With this immense harmonic inscrutable pressures of self -guiding artistic destiny resource laboring within what is frequently an almost within the neat, historical summation of collective rococo sense of line and ornamentation, Strauss is chronology. He is much more than a convenient able to produce by the simplest and almost decep- rallying point for conservative opinion. In him tively familiar means an overpowering emotional we have one of those rare, intense figures in whom effect. Who else is able to make the bland orthodox- the whole process of historical evolution is defied. ies of a cadential six -four seem a wholly delectable extravagance? Rarely among the German romantics is there THROUGHOUT those seven working decades the writing that matches the glorious harmonic infalli- most striking common feature of Strauss's work is bility of the young Strauss. Among his predecessors the extraordinary consistency of his vocabulary. One only Mendelssohn and Brahms in their best pages can compare, to take virtually the extreme instance, were as conscious of the need to strengthen the his Symphony, Op. 12, written when he was eighteen, vagrant structures of romantic tonality through the and the Metamorphosen for string orchestra, written emphatic control and direction of the harmonic

48 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com bass. One would almost suspect that Strauss con- autonomous existence for each voice within the ceived of the and basses with his feet (as an symmetric structure -his whole symphonic orienta- organist might do), for at every moment -regardless tion is too thoroughly nineteenth -century to make of the breadth of the score, regardless of its metric this either possible or, to his mind, I suppose, de- complexities, regardless of the kaleidoscopic cross sirable. Rather, it lies in his ability to create a reference of chromatic tonality -the bass line re- sense of poetic relation between the soaring, dex- mains as firm, as secure a counterpoise as in the terous melodies, the firm, reflective, always works of Bach or of . cadential- minded basses and, most important of all, It must not be supposed that striving in this way the superbly filigreed texture of his inner voices. for the ultimate accentuation of linear clarity led There are many more contradictory stresses in the Strauss into the contrapuntist's concern for a linear linear designs of Strauss than in Wagner, for in- texture which accords to each voice its own inde- stance, whose accumulations of density tend to have pendent existence. Strauss was by no means a perhaps more single-mindedness, more uniformity composer who practiced counterpoint per se. In his of stress and relaxation than do those of Strauss; music the absolute contrapuntal forms-the fugue, but by the very mixture of this finely chiseled con- the canon, etc.- appear primarily in the operas (and trapuntal style and this vastly complex harmonic even there, infrequently) and are almost without language, Strauss's climaxes, his moments of tension exception the occasion for a self -conscious under- and of repose, are -if less overwhelming than those lining of the libretto. Such occasions are, from a of Wagner -infinitely more indicative of the com- purely academic point of view, quite beyond criticism, plex realities of art. but one always has the feeling that Strauss is saying When he came under Wagner's influence, Strauss "Look, see, I can do it, too!" and that he regards inherited the problem of translating the dramatic such diversions simply as a means to enliven an possibilities of the fornier's harmonic freedom into otherwise static situation on the stage; and yet al- the realm of symphonic music; for Strauss not only though in the vast body of Strauss's work there are began his career as a symphonist (indeed, at first, a few examples of the sort of contrapuntal devices symphonist of a particularly strait -laced order), but which most other twentieth- century composers, in was, with all his sovereign mastery of the stage, their search for motivic interrelation, have used con- a man who always thought primarily in symphonic stantly, it cannot be overemphasized that Strauss, terms. The problem of developing a musical archi- on his own terms, was among the most contrapuntal - tecture that would relate somehow to the extrava- minded of composers. gance of a richly chromatic tonality and would The fundamental strength of Strauss's counter- make use of all the ambiguities contained therein point does not lie in his ability to provide an was, of course, the primary problem for all the composers of Strauss's generation. It was simply unsatisfactory to shape symphonic creations within the mold of the classical sonata structures with all the implied tonal plateaus which tradition begged if one wanted to use material chosen less for its thematic profile than for its genetical probabilities. (The problem was certainly less serious for Strauss than it was for Schoenberg, who seems always to have had a more relentless determination to exhaust all motivic permutations.) The young Strauss sought a solution in the symphonic poem, in which the logic of the musical contours would stand in supposed relation to a pre- determined plot exposition that could suggest the texture, the duration, and tonal plateaus of each episode. It was at best a half -way logic, for most listeners are almost certainly little aware of the legal embarrassments of Till Eulenspiegel or the philosophic posings of Zarathustra and likely care even less. Probably they recognize, or try to, those correspondences with the purely symphonic struc- tures which Strauss sought to supplant. What is more to the point about the tone poem logic is that in Strauss's mind it provided a sense of architectural cohesion which might not need to be externally observed. Thus an entirely musical logic, which was always present, was simply reinforced at conception by a pseudodramatic one that having fulfilled its role, Continued on page 110 The hero of Ein Heldenleben suhli,,, t,d. could easily be

MARCH 1962 49

www.americanradiohistory.com HIGH FIDELITY DISCOGRAPHY No. 53

qchard Strauss ON MICROGROOVE by Herbert Glass

THE CASE for Richard Strauss is put very persuasively by Glenn Gould elsewhere in this issue, and further prefatory remarks here on Strauss's claim to immortality would be superfluous. But a few words of discographie comment are perhaps in order. Taking all things into consideration, Strauss has been treated handsomely by the record makers. Despite a few conspicuous deletions-the composer-conducted , the Sinfonia domestica (of which four LP versions were once listed in the catalogue), the Toscanini non Juan -Strauss's current representation on records is impressive. More- over, the recorded documentation has not stopped at the tried -and -true favorites of the pre -World War I epoch but has extended far into the composer's later production. Much of the music which we lump together under the rubric "late Strauss" is intimate in spirit, recondite in style, ultrarefined in musical vocabulary. These are works conceived for small performing ensembles and small halls, and as such they are ideally suited to the ambience of home listening. and Till Eulenspiegel have found their home in the concert hall, but Ariadne and Metamorphosen have found a home primarily in our living rooms -and extremely fortunate we are to have them there too. Herewith a guide to the Strauss repertory currently available on microgroove. R.G.

Early Instrumental Compositions and Brahms often lurking in the skies and eventually performing it background. with the Meiningen Orchestra, of It is convenient to place most of Hans von Bülow considered the which Strauss was later to become Strauss's works antedating 1888, Op. 3 Piano Pieces (I 881) to be second conductor. The Serenade, the year of Don Juan. under this the work "of a talent of the kind although thematically rather undis- single heading. I do not mean to that requires sixty to make a tinguished, shows the composer so suggest thereby that the music is bushel," and the Piano Sonata, firmly in command of the mate- totally devoid of interest. but it dating from the same year, is im- rials of his trade that we can must be admitted that the com- pregnated with Mendelssohn and understand Billow's enthusiasm. In poser's early education, partially Schumann. The latter work emerges, it we find some typically Schubert - gained from his horn -player father, however, as pleasant, at times even ian turns of phrase grafted onto was conservative, and the con- exciting, eclecticism. Alfred Brendel a Mozartean conception of the servatism of taste which resulted treats the Sonata with his customary wind serenade. Eric Simon leads is mirrored in the music Strauss attention to detail and strong pro- his splendid group in a lyrical and wrote during his late teens and pulsion. affectionate reading. Frederick Fen- early twenties. Mendelssohn is a With the Serenade, Op. 7, also nell and his hardly less accomplished primary influence in these exercises, 1881, Bülow did a quick about - ensemble are neither as vital nor as with Schubert, Chopin, Schumann, face, praising Strauss's work to the well recorded.

50 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com The (1883) is a and Margrit Weber. The latter ap- but never overscored, orchestra. charming old-fashioned piece which proaches the work in a light spirit, Humor abounds, as does a gentle introduces little that is not said with a crisp attack, which is sec- melancholy. more forcefully in the earlier corn - onded by conductor Ferenc Fricsay. There is not much left to say positions or in the later Violin This reading is impressive enough, about the manner in which the late Sonata. Carl Stern and Perry but it lacks the hearty ebullience Dennis Brain plays these works. O'Neill, both expert performers, provided by Serkin and Eugene Beauty of tone, complete technical make as much of the work as is Ormandy. Serkin alternately crashes facility, and humor -the common- possible. and caresses his way through the places of this artist's lexicon -are The Symphony in F minor music, making the most of its here in superabundance. Wolfgang (1884), admired by both Billow shifting moods. His interpretation Sawallisch, the Philharmonia, and and Brahms, is not likely to come is less refined, more spectacular, Angel's engineers are perfect col- . as a revelation to those in search and certainly more entertaining laboratory. of neglected masterpieces by the than the competitive version. -Brain, ; Philharmonia masters. Its thematic materials are -Serkin, piano; Philadelphia Or- Orchestra, Sawallisch, cond. Angel slender, but assembled with re- chestra, Ormandy, cond. Columbia 35496, LP. markable skill. Wagner and Liszt ML 5168, LP. begin to make their presences felt -Weber, piano; Berlin Radio Sym- Symphonic Poems in Strauss's music through this phony, Fricsay, cond. Decca DL symphony, particularly as regards 9900, LP. Don Juan, Op. 20 (1888) the cyclical form which was to I know of no other orchestral staple become such a vital ingredient of Parergon to the Sinfonia Domestica, which has received as many ef- the symphonic poems. The per- Op. 73 (1925) fective recorded interpretations as formance, by the Vienna Philhar- In response to a commission from Strauss's first orchestral master- monia under Herbert Häfner, seems Paul Wittgenstein for a concerto piece. The score is so infallibly adequate. for piano, left hand, and orchestra, designed to flatter a conductor's The Sonata for Violin and Pi- Strauss reworked themes from his abilities that a poor performance ano (1887) remains among the Sinfonia domestica ( 1903) might almost be considered a best known and most frequently -of which not a single recording out freakish occurrence. Although dif- performed of Strauss's early in- of a onetime total of four remains ferent conductors have differing strumental efforts. Written simul- in the catalogue -to form a sepa- ideas about tempos and dynamics taneously with the first draft of rate and, by and large, original in regard to Don Juan, many ver- , the Sonata is ardent and composition. The Parergon, or sions share certain obvious char- as it does of attractive, partaking "supplement," solves certain ob- acteristics; for this reason, I shall the lyricism of Chopin and Schu- vious problems of writing for left attempt to group the profusion mann in addition to featuring a hand alone with large orchestra, of recordings according to certain slow movement which could only but the work as a whole is noisy general characteristics. produced by the Strauss have been claptrap. Wittgenstein struggles First there are the Dons of speed, of the early Lieder. Leonid Kogan mightily, and with only moderate sinew, and toughness: , and Andrei Mitnik are, as is their success. Antal Dorati, , and wont, superb executants. -Wittgenstein, piano; Boston Rec- Leopold Stokowski. Szell's is the Piano Pieces, Op. 3; Sonata -Five ords Orchestra, Simon, cond. Bos- fastest, and it is exciting, albeit for Piano, in B minor. Op. 5. ton B 412, LP; BST 412, SD. insufficiently pliant. Dorati keeps Brendel, piano. SPA 48, LP. things less rambunctious, eschewing -Serenade for Winds. in E flat, Concertos for Horn and Orchestra: extremes of velocity and dynamics Simon, J Op. 7. Boston Ensemble, No. 1, in E flat. Op. 11 (1884); to produce a most satisfying in- cond. (with Sonatina and, on SD No. 2, in E flat (1942) terpretation, which would, however, only, Gavotte from Op. 4). Boston have benefited from more distant B 406, LP; EST 1016, SD. East- The two Horn Concertos, although miking. Stokowski's Don dashes man Wind Ensemble. Fennell, written nearly sixty years apart, into the pursuit of his ideal woman cond. Mercury MG 50173, LP; SR are alike in their unflagging verve with boundless energy and a good 90173, SD. and in the magical manner by which deal less constriction than Szell's. -Sonata for Cello and Piano. in Strauss has allowed the solo in- The whole is magnificently hearty F, Op. 6. Stern, cello; O'Neill, strument to shine forth in all its and convincing, while the record- piano. SPA 8, LP. splendor without slighting the or- ing, particularly in the widely -Symphony in F minor, Op. 12. chestra. It should be a matter of separated stereo edition, is big, Vienna Philharmonia Orchestra, course to prefer the later work, boomy, and distant. It is difficult Häfner, cond. SPA 17, LP. but I must confess that I con- for Reiner to be a less than ef- -Sonata for Violin and Piano, in sider the two concertos as equally ficient interpreter of Strauss, but E flat, Op. 18. Kogan, violin; Mit- interesting. No. 1 is once more in this version I feel that he is nik, piano. MK -Artia 1561, LP. reliant on Mendelssohn, but there merely putting a gloss to something are many original touches, notably in which he is no longer deeply that delicious dialogue between Storks for Solo Instrument interested. horn and flute in the final move- and Orchestra Wilhelm Furtwängler, Bruno ment. Walter, and William Steinberg rep- (1885) The Second Concerto is in the resent the old German tradition of more reserved. economical style of Don Juan. Their readings are com- The clever and diverting Burleske Strauss's last years. Horn passages paratively slow, nobly impassioned, is still a favorite piano showpiece. from Capriccio and the Four Last and Wagnerian. Reminiscent of Brahms at times. Songs are immediately brought to My personal favorites are the the piece also looks ahead to the mind. In the later work, the horn versions by Clemens Krauss. Alceo sentimental waltzery of Rosen - is somewhat less in the foreground Galliera, and Herbert von Karajan. kavulier. Its tremendous technical than it was in its predecessor, blend- Krauss's Don is unique. This great difficulties are made to seem like ing its rolling, chromatic passages Straussian views the score in terms child's play by both Rudolf Serkin to a greater extent with the rich, of grandiose chamber music. Tern-

MARCH 1962 51

www.americanradiohistory.com pos are quite fast, even in the Tod und Verklärung, Op. 24 (1889) -Vienna Philharmonic, Karajan, most honeyed sections, but the con- cond. (with Till Eulenspiegel and ductor's perfect organization pre- Strauss's third symphonic poem, Salomes Tanz). London CM 9280, cludes any sense of undue rush. Death and Transfiguration, was the LP; CS 6211, SD. This Don is of a piece; Krauss delight of late- nineteenth -century -Vienna Philharmonic, Reiner, melts -not smears -one segment in- audiences, surpassing even Don Juan cond. (with Till Eulenspiegel). RCA to another. He is at the same time in frequency of presentation. Au- Victor LM 2077, LP; LSC 2077, both the least sentimental and least diences were supplied with an ac- SD. bombastic of interpreters. The Vien- companying text (written by Alex- -Cleveland Orchestra, Szell, cond. na Philharmonic responds to his ander Ritter after Strauss had (with Don Juan and Till Eulen- direction with a sturdy delicacy, completed his score) describing the spiegel). Epic LC 3439, LP; BC producing a sound as unlike that of final agonies of an old man, lying 1011, SD. other orchestras as Krauss is unlike on a (figurative) bed of nails con- other conductors in his approach to structed by the heartless craftsmen Till Eulenspiegel, Op. 28 (1895) the music. The twelve -year -old re- of this purblind world. He relives cording is still acceptable, although his past, part of it happy; then The problems inherent in the nature

the volume level is rather low. commences his losing battle with a of program music clearly present Galliera's treatment is perhaps burly Angel of Death. Release - themselves when we attempt to the most exquisitely suave and i.e., "transfiguration " -is }his 4inal discuss Till, the only Strauss sym- sensuous the Don has ever received, reward. Tovey, in a classic Under- phonic poem to have retained a ra a quality heightened by the in- statement, tells us that the intentions popularity comparable to that of effable cushiness of tone produced of music and poem are "sublime." Don Juan. No detailed summary by the Philharmonia. Although his Strauss may well have thought of extramusical images accompanies rather fast interpretation may not that Ritter's programmatic poem the work, but the title does con- suit all tastes, I find that it wears was taking his title just a bit too jure up a familiar figure. Given the remarkably well. The recording, far; but he did concede that some- complete title, Till Eulenspiegels mono and stereo, is rich and sharply what the same ideas had inspired lustige Streiche ( "merry pranks "), defined. him to write the music. At any our imagination is given free rein Karajan gives us a more sump- rate, D & T has managed to hold to construct the precise nature of tuous Don than Krauss. In certain a place in the modern repertory these pranks. The information given respects this is an interpretation in spite of the passé literary win- to us by the composer is restricted as sophisticated as Galliera's, but dow- dressing. to identifying the two motives as- less romantic. Tempo contrasts are, Poor performances of D & T sociated with Till himself. as in the Krauss, moderate. There are hardly any more common than To choose one "best" from among isn't a trace of fuss and bother with Don lawn. The work is set so many recorded versions of a here. Karajan attacks the music with out in simpler fashion than its work which (like Don Juan and, keen forward motion, avoiding illustrious predecessor; and beside to a lesser extent, Death and Trans- neither excitement nor brilliance en its successor, Till Eulenspiegel, figuration) poses so few problems route. London's engineering is seems virtually archaic in the degree to an experienced conductor at dazzling, with the stereo version of restraint Strauss has placed on the head of a good orchestra is a being but slightly superior to the his passion for polyphony. It might virtually hopeless task. Reiner. monophonic edition. be interesting for listeners to com- Karajan, Krauss, Toscanini, and -Vienna Philharmonic. Krauss, pare this work to Liszt's Tasso, Furtwängler are the conductors who cond. (with Till Eulenspiegel). which it clearly imitates. have probably given the greatest Richmond B 19043, LP. Each of the available recordings attention to this work, and all are -Philharmonia Orchestra, Galliera, presents a straightforward exposi- able to project it with a maximum cond. Angel 35784, LP; S 35784, tion of the music. Differences in blending of discipline and humor. SD. tempo are slight, although there Each prefers sanity and charm to -Vienna Philharmonic. Karajan, is some diversity in the various the kind of frenzy and rigorous- cond. London CM 9278, LP; CS conductors' methods of contrasting ness masking as ebullience and 6209, SD. sections connotating "mood," con- clarity to be found in the Leinsdorf -Vienna Philharmonic, Furtwäng- flict. and transfiguration. I can and Dorati recordings. The conduc- ler. cond. (with Till Eulenspiegel). find no fault with versions by such tors grouped together above go Electrola E 90093, LP. experienced and perceptive Strauss - along with Strauss in his affection -, Walter, ians as Karajan, Reiner, Artur for the central character; the other cond. (with Tod and Verklärung). Rodzinski, Szell, Toscanini, and gentlemen imply, to my mind, Columbia ML 5338, LP. Walter. All are appropriately censure. -Philharmonia Orchestra, Stein- moody, dramatic, and romantic. A Krauss is as persuasive here as berg, cond. (with Rosenkavalier choice must therefore be made on in Don Juan, bringing us the ulti- Suite). Capitol P 8423, LP; SP the basis of extramusical considera- mate in clarity, warmth, and humor. 8423. SD. tions, as reproduction and coupling. His Till is a charmingly ubiquitous -Minneapolis Symphony, Dorati, I have chosen the Rodzinski for my rascal, making his effects with a cond. (with Tod and Verklärung). own collection. To my mind it hotfoot rather than a conflagration. Mercury MG 50202, LP; SP 90202, represents an ideal confluence of Krauss's companions in the afore- SD. solid performance, fine sonics, and mentioned group give us a more -Stadium Symphony of New York, offbeat coupling. succulent, dramatic portrayal; but Stokowski, cond. (with Till Eulen- -Philharmonia Orchestra, Rodzin- each manages to keep sight of the spiegel and Salomes Tanz). Everett ski, cond. (with Dance Suite After whimsical nature of the piece. I LPBR 6023, LP; SDBR 3023, SD. Couperin and Salomes Tanz). Cap- have disclosed a prejudice for the Cleveland Orchestra, Szell, cond. itol G 7147, LP; SG 7147, SD. Krauss here, although I would not (with Tod and Verklärung and Till -NBC Symphony, Toscanini, cond. dissuade the prospective purchaser Eulenspiegel). Epic LC 3439, LP; (with Till Eulenspiegel). RCA Vic- from considering the several other BC 1011, SD. tor LM 1891, LP. excellent choices. A two -Till col- -Chicago Symphony, Reiner, cond. -New York Philharmonic, Walter, lection- Krauss or another of the RCA Victor LM 2463, LP; LSC cond. (with Don Juan). Columbia fine monos, plus Reiner or Karajan 2463, SD. ML 5338, LP. in stereo Continued on page 115

52 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com AO 50 60

I I I I I I '30 II I/

..., 00

Your household may well employ fifty to one hundred vacuum tubes in various electronic installations. If so, consider the merits of owning a tube tester.

by Lewis A. Harlow

MOST OWNERS of hone music systems are quick warmed up, and this can mean waiting four or five to learn that tube failure is more common than all minutes per tube -all the time watching the meter other electronic troubles combined; and having made on the tester for evidence in the form of unpredict- this discovery, they hasten to act upon it whenever a able needle movement. This slow procedure is hardly piece of equipment seems defective. The usual pro- feasible in the supermarket or drug store, and a serv- cedure is to remove all the tubes, stuff them unpro- ice shop cannot afford to spend so much time on a tected into a paper bag, and take them to an elec- job from which the only tangible profit may be the tronics service shop to be tested. Some people take sale of a single tube. At home, too, it is possible to them along to a drug store or supermarket and do remove tubes one at a time, replacing each one be- their own testing. fore taking out the next. Furthermore, tubes can be This practice is inconvenient -and as a system removed from the chassis in the order in which they increases in elaborateness, you will find it becoming are suspect. The offender is usually found before a more so. If your household now includes the means third of the tubes have been handled, and the others for playing records, a tape recorder, an FM tuner, a need not be disturbed. Those tubes most likely to television set, and a table radio or two, you actually give trouble will be discussed below. face a maintenance problem on fifty to a hundred To test tubes at home you will need, of course, tubes. More important than the inconvenience of a tube tester. Compared with your present invest- indiscriminate removal of tubes for remote testing, ment in sound -reproducing gear, cost of such an however, is the fact that it is unscientific, inefficient instrument will be relatively little. If you're fairly -and sometimes damaging. Some years ago, no less adroit with screw driver and soldering iron, you can an authority than Bell Telephone discontinued the buy a suitable tube tester in kit form for less than practice of periodic testing of all tubes as a routine $40. If you prefer a factory -wired tester, you should step in the Bell program of preventive maintenance. be prepared to pay up to about twice this figure. It was found that the promiscuous handling of tubes As to type, what you want is the reliable old for the routine test caused nearly as much fresh dam- emission tester (the purists call it a tube checker age as may have been already present. rather than tester), and you should be sure that your The solution to the problem is to test your tubes choice has the standard row of ten toggle switches at home. In the first place, many tube problems do across the panel. Even if price is no object, avoid not become noticeable until a tube is thoroughly the temptation to buy the more elaborate transcon-

MARCH 1962 53

www.americanradiohistory.com ductance type of tester. This can carry a price tag 4. How "tired" is the tube? This is the conven- as high as $500, and while it is an extremely useful tional "good- questionable -bad" test that too fre- instrument to the professional, its answers -to the quently gives a misleading answer. A tube that tests layman -may be more confusing than enlightening. "bad" should definitely be replaced. A tube that tests Also to be avoided in a tube tester for use at home "good" can in fact be completely inoperative, due to is the automated type, in which a great multiplicity faults 2 or 3. A tube that tests "questionable" might of tube sockets and other timesaving devices take be inoperative as an oscillator, though as a cathode the place of the trusty toggle switches. In your own follower it might give additional months of excellent listening room you can afford to be leisurely, and service. Again, it becomes very important to know the automatic answers from automatic testers are what function the tube is expected to perform. Un- often so arbitrary and concise that valuable infor- less identifiable symptoms point to other tubes, test mation from the test may be overlooked. Again, this tubes in the following order: is an instrument for the professional. POWER SUPPLY RECTIFIER: this will be the largest In addition to the tube tester, you may want a or next to largest tube on the chassis. It is the hard- couple of extremely convenient (and happily inex- est working and should be the most suspect. It is pensive) luxuries: one is a pair of dielike pin straight- actually two tubes in one, and the two halves should eners for 7 -prong and 9 -prong miniature tubes; the perform-and test -alike. If either half approaches other a suction -type tube puller for getting tubes in "questionable," replace the tube. and out of tight places on the chassis. POWER OUTPUT TUBES: in most monophonic high - For the rest, the sine qua non is the technical lit- fidelity amplifiers, there will be a pair of them; in a erature that will provide you with the knowledge as stereo amplifier, there will be two pairs (one pair to what basic function a given tube performs. It is for each channel). Power output tubes generally are this information that enables you to judge which exceeded in size, if at all, only by the power supply tubes should be tested first and that obviates unnec- rectifier. If one of a pair is "bad" or "questionable," essary testing. (In general, the first tubes to suspect the pair should be replaced. (More later about are physically the largest: they are doing the hardest matched pairs of power output tubes.) work, and are designed to maximum size -and glass OSCILLATOR OR MIXER TUBES (in tuners): short of -for the needed heat dissipation.) The most im- actual performance in the circuit, no test of an oscil- portant source of such information is the literature lator tube is entirely satisfactory. Replace if the test supplied by the manufacturer of your equipment. shows "questionable" (or, in fact, anything short of Here you will learn, for instance, the all- important very good). A symptom of a bad oscillator is com- facts that your 5V4G is a power supply rectifier, that plete failure over even part of the tuning dial. your EL34 is an output tube, and so on. Another PREAMPLIFIER TUBE: this tube is important in the useful handbook for identifying the basic function of phonograph or tape head function of your amplifier. a tube is the RCA Receiving Tube Manual; having It should be suspect if phono or tape reproduction is located the listing of your tube by its number, you faulty at the sanie time that the signal from a tuner need only to read the first sentence of the descriptive or tape recorder with its own preamp comes through text to find the information you need. as it should. A preamp tube is not especially hard- With your equipment at hand and some knowl- working, but its location in the circuit is such that edge of the functioning of various tubes, you are its slightest fault will be greatly amplified as the sig- ready to proceed -with only one general word of nal travels through to the speaker. caution: follow exactly the instructions that come ALL OTHER TUBES: this group includes such services with your tester. Actually, you are seeking answers as RF Amp, IF Amp, AF Amp, Limiter, Discrimi- to four quite unrelated questions. nator, Cathode Follower, Tone Control, Tuning Eye, 1. Does the tube light, or doesn't it? This is the etc. The service in these catagories is not exacting. first question, and the answer is quickly arrived at. Tubes which test "questionable" may still be per- If "no," your problem is solved; all you need is to forming satisfactorily. Trouble may exist in this buy a replacement tube. group, but most cases of tube failure lie in the groups 2. Is there a sagging element in the tube which already described. is leaning against (and shorting to) another element? Swapping and Matching Often a considerable warm -up period is needed to reveal this source of difficulty. The process can be Many tuners and amplifiers include as many as expedited, however, by tapping the tube with a finger four identical tubes for use in different parts of the during the test. circuit, and it may be possible to interchange a sus- 3. Has one of the tube elements become discon- pected preamp or oscillator tube with an identical nected from its base prong? This may be an elusive counterpart, say, the IF amp or limiter stage. Often, trouble. The time to look for it is during the part of the offending tube will then continue to give excel- the test when you are measuring the fatigue of the lent service in the less exacting job. tube. Watch the meter very carefully as you release Many power amplifiers are designed to use out- the toggle switches one at a time. If the release of a put tubes in factory- matched pairs. Thus, if one of switch produces no needle change at all, the tube the tubes in such a pair becomes defective, both tubes should be considered suspect and is best replaced. should he replaced with a Continued on page I11

54 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Dit /rich Fischer-nic sk_cu

A BIEDERMEIER ff1111 III WEST NERLIII

A magnificent voice and an old -fashioned dedication to the homely virtues combine to produce today's foremost interpreter of German song.

BY PETER HEYWORTH

No ONE now believes ir, the bitch goddess of most demanding of vocal arts? The answer is that progress: her altar lies deserted and untended. Still, precious few of them do so. it is unnerving to watch some art or skill, hard - I am not old enough to remember the great won by previous generations, decline before your Lieder singers of the years between the two wars. eyes. Singers like Elena Gerhardt considered Lieder But I heard Elisabeth Schumann at the end of her singing a calling in itself. Even when they combined career communicate worlds of feeling with a mere it with work in opera they took measure of the thread of a voice. And I have been to lectures by technical accomplishment, artistic insight, and pains- Elena Gerhardt and Lotte Lehmann, in which they taking preparation it calls for. In our time most apologetically croaked a few bars of Schubert and singers appear to regard it as a means of earning a conjured up an atmosphere or mood with a sureness little pin money in their declining years. At the that lies quite beyond most present -day . height of their powers, as they rush from Where are those severe black -laced figures of the at the Scala to Elektra at the Met and back again past (how scornful they were of obtrusive dress - for Sieglinde at Bayreuth, how should they draw and rightly so-for in a Lieder recital a singer must breath for a Lieder recital? And were they to squeeze fill not one role but twenty) who strode on to the one in, how should they prepare themselves for this platform and with a brief nod at their audience

MARCH 1962 55

www.americanradiohistory.com Lieder program with him and to return for occa- sional periods of study. This says as much for Fischer -Dieskau as it does for Weissenborn: singers who at the height of their fame return to work with their old teacher are rare indeed. Fischer-Dieskau's studies at the Berlin Hoch - schule were soon interrupted by military service, and only a few months after leaving school he was drafted. By all accounts he was not a paragon of Prussian military efficiency. But he served until the end of the war and then spent two years in an American P.O.W. camp in Italy, where he had his first real experience as a concert artist. A copy of Die schöne Miillerin was somehow unearthed in Rimini, and Fischer -Dieskau learned and sang it to A solid domestic existence . . . his fellow prisoners with such success that he found himself traveling from camp to camp giving con- certs. It was also as a prisoner that he gained his FISCHER -DIESKAU first stage experience: he both directed and sang in a camp theatre production of an operetta. In 1947 he returned to Germany and resumed plunged them into the worlds of Schubert, Schu- his studies in Berlin with Weissenborn. It was not mann, Brahms, and Wolf? long before he began to attract attention. In 1948 There is today only one figure who can stand he recorded Die Winterreise for the Berlin Radio, unashamed by such great predecessors: Dietrich an astonishing achievement for a young singer of Fischer -Dieskau. With the possible exceptions of only twenty- three, and he also recorded a number of Peter Pears and Gerard Souzay, he is the only Bach . In the same year he was given an au- working singer I can think of who has the full tech- dition by Heinz Tietjen, then intendant of the West nical and artistic equipment for a great Lieder Berlin Opera and a man of legendary experience and singer. And he far outstrips the English tenor and shrewdness. Fischer -Dieskau sang for him some French in sheer splendor of voice. If the art Schubert songs. After he had finished, Tietjen re- of Lieder singing endures in the second half of the marked casually, "In four weeks you will sing Posa twentieth century, its survival will be in large part in the new production of Don Carlos." That was due to his example. the beginning of his operatic career. Albert Dietrich Fischer -Dieskau was born in Berlin on May 28, 1925. His father was a school- He was not altogether well prepared for it. master, in official parlance an Oberstudiendirektor, Fischer -Dieskau is an extremely tall man, liable who in his spare time wrote poetry and composed to tower over a small stage like a colossus. Great a little. His mother is an amateur pianist of some height can, of course, be a distinct theatrical asset, attainment. As a young woman she longed to be a and today he has learned to put it to good use. singer, but this ambition was reserved for the young- But his acting abilities are acquired rather than in- est of her three sons. Today, a vigorous and clear - stinctive, and he admits that only the private coach- minded seventy -five, she still teaches the piano to ing of Josef Greindl got him through his first per- her two grandchildren, as previously she taught her formance of Don Carlos. For some years Fischer - son. Thus from his earliest days Fischer-Dieskau Dieskau remained a rather stiff figure on the stage, liv.d in a household that was both musical and, but experience has brought him assurance. Where to use a dreadful but inescapable word, cultivated. there was once awkwardness, there is now a com- At the age of only sixteen, he began to take sing- manding presence and considerable dramatic re- ing lessons with Georg Walter, a well -known Bach source. And his intelligence sees to it that his per- tenor of his day. At eighteen he entered the Berlin formances are never marred by the crudity and con- Hochschule für Musik, where he studied with Pro- ventional hamming of so many opera singers. fessor Hermann Weissenborn. Weissenborn was For three or four years the great majority of his clearly an exceptional teacher, and his influence on appearances on the stage were confined to Berlin, Fischer -Dieskau's development was immense. It is a and it was there that I first saw him in a perform- curious fact that few singers are able to give any ance of Liszt's Die heilige Elisabeth. As word got very lucid account of why they find one teacher around of his exceptional voice, invitations arrived better than another, and Fischer -Dieskau is no ex- from Bayreuth and Salzburg, Vienna, Milan and ception. But he is outspoken in acknowledging the Munich, but he has resolutely refused to give more debt he owes to Weissenborn, and that this is much than a strictly limited number of operatic perform- more than a conventional tribute is borne out by the ances each year. Even so, his repertory of roles is fact that until Weissenborn's death in 1959 at eighty - larger and more varied than that of many singers odd, his former pupil never failed to prepare a new who devote themselves entirely to opera but who

56 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com have made their names in Mozart, Wagner, or when he refuses to unveil the Grail, takes on an al- the Italian repertoire and stick to their speciality. most unbearable poignancy. Yet again, how dif- Fischer -Dieskau is too actively interested in music ferent is the baritone's young, robust Kurwenal in to allow himself to be circumscribed in this way, Furtwiingler's wonderful recording of Tristan and and it is partly from the variety of the parts he has Isolde. Although none of these three roles is of first sung in the past decade that he has acquired a sty- importance, Fischer -Dieskau's assumption of them listic versatility which only a few years ago one shows him to be one of the greatest of living Wag- might not have supposed to be within his powers. nerians. His very achievements in this field make In Mozart he has sung the Count in Figaro, the fact that he has sung neither of the two supreme Don Giovanni, and Papageno in . Wagnerian parts for his voice -Wotan and Sachs- To my mind his Count is not altogether convincing. all the more remarkable. On the last occasion when I heard him sing this I asked him whether he felt that his voice was role (some time ago I might add), his performance too small and lyrical for those taxing roles. But seemed overpowering almost to the point of brutal- his reason is not this: he simply feels that he is not ity. If Almaviva has a hand of steel (which I doubt), yet ripe for them. Here again there is evidence of it is surely gloved in the smoothest of velvets. how Fischer -Dieskau, in his adherence to old stand- Fischer- Dieskau's Giovanni is altogether more suc- ards, stands apart from most contemporary singers; cessful. From the recent recording one can gather in the Twenties and Thirties, great Wagnerians, such an impression of the extraordinary sense of style as Max Lorenz and Kirsten Flagstad, felt competent and musical distinction characteristic of all his Mo- to tackle roles like Tristan and Isolde only as they zart performances. The champagne aria. which approached forty. Today this kind of reserve is rare: unhorses so many Dons, is thrown off with such a singer has only to be capable of singing the re- immaculate ease and precision that one is hardly quired notes in sufficient volume for him to be aware of the hurdles he is clearing and of the pace hurled into the breach like so much cannon fodder. at which he is taking them. And in the final scene Small wonder that the opera houses of the world. the power and authority of his great voice tells and most strikingly of Italy, are littered with the magnificently. melancholy debris of shattered voices, once full of Yet something seems to me lacking, and this is promise but ruined through premature exploitation. particularly evident when you see the performance When, however, Fischer -Dieskau does feel ready to on the stage. Unless Don Giovanni is an irresistible undertake Sachs or Wotan, I have little doubt that Latin charmer, the opera lacks dramatic sense. But he will prove their finest exponent for many years. this is something that lies beyond the grasp of Fisch - Although he naturally tends to sing mainly in er- Dieskau -and indeed of most Northern singers. German opera, he has Continued on page 112 A famous Italian tenor was once asked how he sang. His reply was so crudely physical as to be altogether unprintable. In contrast, Fischer -Dieskau sings with his head and his heart. "Là ci darer?' la 'nano" is meltingly beautiful as he sings it. But it is not over- whelmingly seductive, and this is reflected in acting that lacks the effortless animal grace before which feminine hearts are as rabbits caught in the head- lights of a car. Still, whoever did hear a Giovanni perfect both in voice and manner? To experience Fischer -Dieskau at his greatest, one must hear him in Wagner. I have always counted that worthy prig Wolfram von Eschenbach as one of the archbores of opera. His song in the second act of Tannhäuser is enough to drive the most saintly knight into the lascivious arms of Venus. Yet I shall never forget the extraordinary sense of purity and goodness in Fischer -Dieskau's "Blick' ich wither" and the beauty of tone and lyrical warmth with which he sang "O du mein holder Abendstern" at Bayreuth some years ago. Virtue is perhaps the hardest of all qualities to portray with the voice. On that occasion Fischer -Dieskau succeeded to a degree I have never heard equaled. This same spirit distinguishes his singing of Bach cantatas. Yet nothing could be in sharper contrast than his Amfortas in Parsi/al. Here the man's agony of body and mind, as he pauses while he is borne on his litter through the forest, and even more later, ... with his cellist wife and two lively sons.

MARCH 1962 57

www.americanradiohistory.com by Charles Cudworth

Or, alternatively, "Look at That Liner " - being

art of record annotation, as viewed

detailed on the back. Jacket RELAX, dear reader, relax! I am not about to try to rather the information nowadays, are a com- sell you the latest thing in spot, ink, stain, or grease notes, as we know them innovation. The flimsy dust covers removers. I am merely about to deliver myself of a paratively recent innocent of print, beyond few words of professional wisdom, caution, and ad- of the old 78s were mostly and an oc- vice on the subject of "liners" -not the ocean -going the maker's name, a few advertisements, casional half -tone engraving depicting an overly variety, I hasten to add, but the kind we buy with bow across a stringless our phonograph records. intense violinist drawing his -looking angel hovered just One of the troubles about writing in English is violin, while a fatuous in danger of having her that one never knows which dialect word to use. The over his shoulder, obvious low price of late G. K. Chesterton, in a poem which gently (its ?) head cut off. The comparatively not the makers quizzed his American friends, pointed out that a single 78 -rpm disc did encourage into print than this, cer- Americans, in spite of their well -known propensity to venture much further any rate. The true ancestors to hustle, as often as not use a long word where the tainly not in Britain at note, in the direct line, were Britisher makes a short one do. This may not be of the modern jacket notes, which date back to quite so true now as it was in Chesterton's day, but first of all concert program nineteenth century, and next the little leaf- in a mild way it is true of the transatlantic variants the early booklets) of analytical or de- of the words used for record -wrappers. In Britain we lets (sometimes even were usually included with the usually call them sleeves, whereas in the States you scriptive notes that -sets. Those leaflets and book- call them jackets or liners. So, while in Britain I bulky 78 -rpm album by scholars and might entitle this article "Mind Your Sleeve!," in the lets were often written experts- of Ernest Newman -and it is U.S.A. it must be "Watch Your Jacket!" (or even critics of the caliber that the modern "Look at That Liner! "). Anyway, I'll settle for in such distinguished footsteps must tread. Those old- timers had "jacket," for the rest of this article. And now, as the jacket -note writer luxury rarely permitted their present -day coun- serialists say (I mean those who write for the glossy one written by early practitioners of magazines, not those who make tone rows), Please terparts: the notes often included musical examples. Read On. the art What I'm really writing about is not so much the With the coming of microgroove, circumstances jacket itself, or even the pretty pictures often printed altered almost overnight. Customers who were used -sets on its front to catch the potential buyer's eye, but to getting a free leaflet with their old -style album

HIGH FIDELITY MAGAZINE 58

www.americanradiohistory.com rather explosive tailpiece anent this very subject, which appeared as part of that amusing jeu d' esprit. "The Claude Hummel Diary," written by Martin Mayer for the Tenth Anniversary Issue of HIGH FIDELITY last April. Now I am in accord with much of what Mr. Mayer says in his almost angry final paragraphs; perhaps I may be allowed to quote him: "The function of the notes is to supply some infor- mation-about the work. the circumstances of its composition (where significant), and its place in the composer's output, and whatever is really worth not- ing about its structure -thematic, harmonic, rhythmic, or architectural. If the information is trite, the notes cannot be original -but that is scarcely an excuse for writing notes which do not give infor- mation." I couldn't agree more. Information is what we all want. Unlike some of my loftier academic colleagues, I am far from de- spising jacket notes; indeed, I'll readily admit that I have learned a great deal from them, even about the music of what I like to think of as my own particular period. I find that the more conscientious members of the jacket -writing profession will go to a lot of trouble to get their facts right (I know. he- cause being a music librarian, I'm often roped in to assist in the research!). And many of them, like Mr. reflections on the fine Newman of old, are acknowledged specialists in their own fields. It is, of course, highly desirable that a jacket -note writer should be an expert on the music by a veteran scrivener. he is annotating, just as it is equally important for a record reviewer to be well informed about the date and style of any music he may be called upon to review. No one can fully judge a musical perform- now expected something of the same sort when they ance unless he is sensitive to musical styles and spent a similar sum for one of the new long -play periods, as well as to pitch, harmony, melody, intona- discs. The LP jackets had to be rather more sub- tion, and expressiveness. Musicology has done this stantial than the old paper ones, too. Hence the much for us, and without historical awareness any jacket note, as we know it today: briefer, generally, critic is in danger of making a fool of himself. than the old descriptive leaflet; bereft, usually, of If a composer is one of the recognized great musical examples (although some writers try to get masters, it's not usually necessary to say much about round the difficulty by using a kind of alphabetical his life, since the facts can be looked up in any shorthand notation); informative, as often as not; biographical dictionary, but it's often useful to place inaccurate, sometimes; occasionally ludicrous or even any given work within the framework of its creator's silly; but by and large an almost indispensable part career, to say when it was composed and which of our listening. Even if we guffaw over them, or well -known pieces preceded and followed it. Unlike curse them, I feel sure that we are one and all dis- Mr. Mayer, I feel that simple analyses are useful, appointed when these notes are missing on some (as especially to the beginner, and we must remember Continental issues). Many a critic, certainly, has that a great many of the people who buy phono- cheated Father Time and his own editor by sur- graph records are just that -young beginners in the reptitiously cribbing handy phrases from the jacket art of listening to music. But they must not be baf- writer contrariwise, has damned the -and record fled by abstract and overtechnical analyses; analytical companies who've sent him review copies a work of notes must help the listener towards an under- he's never heard of minus the all- important jacket standing of the music, not drive him away from it. notes which would have helped him pose as a When G. B. S. first suggested trying his hand as a Great free personal -fag. Authority, of brain music critic, his prospective editor. the famous "Tay Pay" (T. P. O'Connor) cautioned him with: "For BEING one of the older hands in this newish game God's sake don't write about Bach in B minor!" One of jacket -note writing, I am naturally concerned with knows what Tay Pay feared, but what would he its problems and techniques. (The latter, incidentally, have said if he had been confronted with the follow- are still being evolved, and the boundaries of the ing example, with which we are all too familiar? jacket -writer's task are by no means clearly defined.) "Symptomatically of S ...'s second neobaroque It was with special interest, then, that I read the period and convolute idiomatic genre, this highly

MARCH 1962 59

www.americanradiohistory.com integrated developmental subsection is terminated writer. Keys, opus numbers. tempo markings, and by a typical advancing of the C 3 version of the all similar information should be checked and set principal second motif, which is further reiterated forth, where ascertainable, if only to help the poor in remote fragmentations, the chordal harmonic mo- music librarians and catalogue compilers. We can- tion meanwhile loading a tonic pedal with IV, 6 and not all indulge in the kind of elaborate data card Vi 4 harmonizations until a fermatal point is at- which is the pride and joy of Archive releases, but tained, thus giving opportunity for the rendition by we can at least do our best to see that the jacket - the concertizing soli of cadential flourishing and note reader is given as much information as is rea- melismatory figuration, conjoined with accompani- sonably possible. in the case of vocal music, it is mental arpeggiations, eventually terminating S ...'s highly desirable that texts be included with the otherwise quasi -perpetual motion on an almost im- recording, or at least some sort of synopsis. Seventy -

perceptible pause. . . ." five per cent at least of the composer's intention is Let us pause too-if only to draw breath. S ...'s lost if the listener is unaware of the words to which quasi -perpetual motion is already giving nie a queasy the music was set. feeling. Yes, I know; the above passage is a lot of I list all these desiderata knowing that I am in nonsense. I should know, as I've just written it my- many cases probably baying for the noon; the self. Yet haven't we all encountered real nonsense jacket -note writer often works with the niinimuni of of the sanie ilk, in the more highfalutin kind of information not only about the artist and instru- analytical writing? But analytical notes can be help- ments involved, but even about the work itself. Mr. ful, if the writer does not use too much jargon and Mayer's Claude Hummel mentioned a colleague who language familiar only to the most erudite musi- was in the depths of despair because he had to cologists. If the writer muss use the trade jargon, write some notes about a concerto he had never then he ought at least to try to explain his ternis. heard, for which no score was obtainable, and which The Golden Rule is "Never use a jargon word or an was by a man famous only for composing operettas. unfamiliar loan word if there is already an estab- This character may have been imaginary, but he lished English word which means the same thing." was certainly not mythical. Every jacket writer can Why refer to a composer's "oeuvre" when you can feel for him in his predicament, because we've all speak of his "works "? Why say "clavecin" or "ceni- been in the same sort of quandary ourselves at one halo" when you can use the good old English word time or another. "harpsichord "? (Professional musicians in Britain even go to the opposite extreme and say "hand" AMONG the prime requirements of a good jacket when they mean "orchestra" and call everything a writer (and record reviewer, too, for that natter) "tune" from a sixteen -bar folk dance to Gätierdian- is an ability to write. This may seem obvious; but to merung, just as pop instrumentalists in the States call judge from many of the jackets and reviews one has every instrument a horn, from a piccolo to a double read. it's by no means as obvious as it might appear. bass; but these are professional snobbisms, of a dif- To be a good writer of any kind, it is not only ferent caliber.) necessary to put words down on paper and spell In this matter of supplying information. it's worth them more or less correctly (it's surprising how while detailing the instrumentation of a piece, or the many would -be authors cannot do even that; after voices used, if ascertainable; such information, alas, all, they seem to be saying, what are editors and is not always obtainable, odd though that may seem. printers for if not to correct an author's spelling ?); It is not always immediately obvious, even to the it is also necessary to set out one's ideas in an at- trained ear, that a harpsichord was used to fill in tractive and readable manner. We don't expect a the harmonies; if the jacket writer does know this, jacket -note writer to be a great stylist, but he can at then it's worthwhile saying so in the notes. The or- least try to avoid the nastier kinds of journalese, chestra niay include a few dozen anvils or a Javanese and perhaps even more horrid, in our line of busi- nose -flute; the players may be using special bows, or ness, the kind of incomprehensible jargon which I recorders instead of ; all such points are worth tried to satirize some paragraphs back and which a mention if they are unusual and are known to the can occur in even the best musical circles. I quote from one well -known musical textbook: "These pro- longations of the structural notion reveal not only a mastery of the technical problems, but a concep- tion of the artistic possibilities in contradiction to the theory that the early works represent a period of

experimentation. . . ." You'd hardly believe it, but this statement concerns poor, innocent old Papa Haydn! it just goes to show that a good musicologist is not always a good musicographist -to use the latest example of professional jargon. At the other extreme is the lack of precision in the use of words which Continued on page 113

60 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com The consumer's guide to new and important high- fidelity equipment

high fideli EQUIPMENT REPORTS

Lafayette LA -550 Stereo Power Amplifier

AT A GLANCE: The Lafayette LA -550 is a stereo pow- On the rear panel of the LA -550 are located its er amplifier rated conservatively at 50 watts per channel, two input jacks, the off /on switch, an AC outlet, and and featuring unusually wide frequency response. It is the audio output terminals, with taps provided for 4 -, available as a kit (Model KT -550. $134.50) as well as in 8 -, and I6 -ohm speakers. The entire amplifier is rugged- factory -wired form (Model LA -550, $184.50). We chose ly but neatly built, with much of its wiring done on to test the latter since, even at its higher price as printed circuit boards. It weighs approximately 57 compared with the kit version, it appeared to represent pounds, most of which is in its massive transformers. an unusual value in its class of high- powered, wide -band The amplifier is furnished with a metal enclosure. audio amplifiers. The results of tests conducted at In USTC's tests, the LA -550 proved to be an out- United States Testing Company. Inc., completely con- standing performer. The amplifier develops 57 watts firm this initial impression. The LA -550, regardless of rms per channel at 1 kc before clipping occurs. Its price, is a thoroughly excellent high- fidelity component power bandwidth actually extends from 13 cps to 80 kc. which merits a place among the top basic amplifiers Frequency response at the 1 -watt level is flat within presently available. +0 and -1 db from below 5 cps to approximately 125 kc, and is down 3 db at 152 kc. IN DETAIL: Each channel of the LA -550 employs five The amplifier's total harmonic distortion at 50 tubes: 1- 6BR8A, 2 -6CL6, and 2- 7027A. The cir- watts rms output with a 1 -kc signal was 0.63% with cuit contains a total of six feedback loops, with one channel operating, and was only 0.64% with both approximately 50 db of feedback. to obtain very low channels delivering 50 watts. This totally negligible distortion at high power levels. The front panel con- increase in distortion when both channels are delivering tains a balancing meter and potentiometers for ad- high power indicates a very well -designed and con- justment of the DC bias, and for AC balance of the servatively rated power supply, which, by the way, in- 7027A beam power output tubes on each channel. A corporates five silicone diodes in its rectification circuits. 60 -cps test signal is also available to facilitate correct At full power, the amplifier's harmonic distortion was AC balancing under load. less than I% from 25 cps to above 20 kc, and at half

Equipment reports are based on laboratory measurements and listening tests. Data for the reports, on equipment other than loudspeakers, is obtained by the United States Testing Company, Inc., of Hoboken, New Jersey, a completely independent organization which, since 1880, has been a POLICY leader in product evaluation. Speaker reports are based on controlled listening tests. Occasionally, REPORT a supplementary agency may be invited to contribute to the testing program. The choice of equipment to be tested rests with the editors of HIGH FIDELITY. No report, or ortion thereof, may be reproduced for any purpose or in any form without written permission of p the publisher.

MARCH 1962 61

www.americanradiohistory.com 1 5 =ó1.0 INTERMODUEATION DISTORTION >: 5 0 25 5 10 25 50 POWER OUTPUT-WATTS

Power Bandwidth Curve 2

4 a7 6 Zero DB 6.7 Watts Output e =°_ a10 1.1113 Curve 50 Watts Output - - lo 12 r. THD Curve 25 Watts Output 08 á 14 °L 16 Frequency Response at 1 Watt Ou put o 18 o 1.0 100 IR IOK I 00 Square weave response of the LA -550. FREOUEN(Y -(PS

power was less than 0.7 °S from 20 cps to above 20 The 50-cps waveform was especially good. and was kc. The IM distortion of the LA -550 was less than very hard to distinguish from the output of the square 0.55`% at full power and less than 0.35% at half power, wave .generator used for this test. The 10 -kc waveform both figures being very good. had the slightest bit of ringing at its leading edge. The amplifier's signal -to -noise ratio (at 50 watts As might be expected from these measurements. the output) was 83 db, which is excellent. The sensitivity listening quality of the LA -550 was superb. It has of the amplifier for 50 watts output was 0.98 volt. Its proven to be an amplifier capable of performing well damping factor, on the 8 -ohm tap, was 10. under the most exacting applications and suitable for As shown in the oscillogram photos of the amplifier's use in the finest of music -reproducing systems. USTC output, square wave response of the LA -550 was ex- feels the LA -550 not only is an exceptionally good value, cellent at frequencies of both 10,000 cps and 50 cps. but is one of the finest amplifiers it has seen.

Electro- Acoustic

Model 7002 Record Changer

AT A GLANCE: The new Series 7000 from Electro- changers), and the complete change cycle is accom- Acoustic Products Company features two different plished in approximately six seconds. Over -all construc- models of a 4 -speed record changer. The Model 7002, tion of the 7002 indicates good design and workmanship. tested by United States Testing Company, Inc., has In operation of the changer. records are piled onto an arm with a plug -in head, and will accommodate all the spindle and an "overarm" is brought into position standard crystal or magnetic cartridges. Price is $64.50. over the records to hold them in place. When the The other changer, Model 7001, comes complete with a changer is started, the tone arm rises and moves over crystal cartridge and 45 -rpm spindle adapter for the until the edge of the arm gently touches the bottom 7 -inch, 45 -rpm pops records. Its price is $69.50. Other- record on the pile. This operation "tells" the changer wise, both changers are the same. what size record it is going to play. The tone arm then moves back and the bottom record on the pile IN DETAIL: The Model 7002 is powered by a four -pole drops onto the turntable, after which the tone arm induction motor which has a stepped shaft for speed moves into position over the lead -in groove and gently changing. The 2- pound, 91/2-inch platter is driven on comes to rest on the record. The whole operation is its inner rim by a rubber idler wheel. A second quite smooth. rubber wheel engages the motor shaft and is used to The tone arm is constructed of plastic. and has drive the 7002's changing mechanism. The speed at provisions for height adjustment as well as for tracking which records are changed, therefore, does not depend force adjustment. This latter adjustment, made by on the turntable speed in any way (as it does on most turning a screw at the rear of the arm which adjusts

62 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com the tension on a spring, was found to be somewhat rpm, the actual turntable speed varied by slightly less tricky and delicate, but satisfactory once done. No than 1%, being 0.90% fast with one record on the provisions are made for further adjustments, such as platter. and 0.93% slow with ten records, which is fairly static or dynamic balancing of the arm, which of course good. At other speeds, the speed accuracy of the turn- is preinstalled. table was also generally satisfactory, except that with Bearing friction in the tone arm is quite low. en- a full stack of ten records at 16 rpm, the speed was abling the use of fairly low tracking force. In USTC's slow by 3.3 %. tests, a high quality magnetic cartridge designed to The wow and flutter of the changer were very low. track at 3 grams was installed in the 7002, and it USTC measured an average wow of about 0.08% rms tracked quite well. with peaks to 0.12% rms. Flutter was found. to be Rumble measurements, using this magnetic cartridge, between 0.06% and 0.07% rms. resulted in a rumble figure of 35 db referred to a While the Model 7002, in sum, does not measure up recording level of 1.4 cm /sec at 100 cps. This figure to the performance level of the better turntables, USTC indicates that if the 7002 changer is to be used in does feel that it is a representative product of fairly conjunction with a good speaker system-one with full high quality within its generic class, which is to say, it bass response-the rumble will be apparent in the stands up as a typically good record changer. Used in background. With more modest speakers, such as might conjunction with a good quality cartridge, it will play be used in a budget- priced music system, the rumble and change records with a minimum amount of wear of probably would not be noticed. Hum pick -up from the the records, and it can be depended on to provide motor was very low and completely inaudible. satisfactory performance under most conditions. When Speed accuracy, tests were performed at all speeds - used with a very wide -range speaker system, however. first with a single record on the turntable, and then it may introduce low frequency noise, some of which with a stack of ten records on the platter. At 33 can be removed by the rumble filter on an amplifier.

Tannoy "Monitor" Speakers;

GRF and Belvedere Enclosures

AT A GLANCE: Tannoy is offering a new 12 -inch, speaker, or group of speakers, is furnished pre -installed as well as a 15 -inch, version of its "Monitor" loud- in a specific enclosure designed for it and no other), speaker. Essentially, this is a coaxial type, or as Tannoy continues to offer its speakers and enclosures as separate prefers to call it, a dual concentric type. The tweeter items. Thus, one can buy either the 15 -inch or the nests in the apex of the woofer cone and both are 12 -inch model and install it in a cabinet of his own driven from a crossover network. Frequency division choosing -or, one can buy a Tannoy enclosure and fit differs for each of the speakers, the 15 -inch model being it with a particular speaker. We have heard various crossed over at 1,000 cycles; the 12 -inch version at Tannoy speakers in enough different types of enclosures 1,700 cycles. Price of the 15 -inch Monitor is $179; of and in sufficiently varying acoustic settings to acknowl- the 12 -inch Monitor, $138. edge that they do work well in enclosures other than Tannoy also offers various enclosures of which the Tannoy's own, including that simplest of all types, the "GRF" horn, shown here, and the "Belvedere Senior" large sealed box known as an "infinite baffle." For this are designed for the best performance of the 15 -inch report, we used the 15 -inch Monitor in the GRF en- and 12 -inch speakers respectively. The "GRF" is avail- closure which is a modified sort of folded horn, and the able in oiled walnut, measures 42 inches high, 17- 12 -inch Monitor in the slightly smaller Belvedere Senior, inches deep, and 231 inches wide. Price is $206. The which employs damped ports. a kind of variation of the Belvedere Senior comes in walnut or mahogany and bass -reflex principle. Additionally, we installed another measures 34 inches high, 16 inches deep, and 231/2 15 -inch Monitor in an acoustic labyrinth. The results inches wide. Price is $85. The Belvedere Senior will in all three cases were fairly similar, which is to say, accommodate either the 12 -inch or the 15 -inch Monitor; quite satisfying -with top honors going to the GRF -15- its main opening, in fact, is cut for a 15 -inch speaker. inch Monitor combination, and preference for second When supplied for use with a I2 -inch speaker, an place generally divided between the 15 -inch Monitor adapter baffle with a suitable cutout is provided. used in the labyrinth and the I2 -inch Monitor in the Belvedere. The differences, it should be pointed out, IN DETAIL: Tannoy, apparently ignoring the obvious are fairly subtle and not, in our view, of such character trend in "integrated" speaker systems (by which a or degree as to rule out using dissimilar Tannoys as a

MARCH 1962 63

www.americanradiohistory.com stereo pair: a 15 -inch model with a 12 -inch model, or of response. As might be expected, the GRF -15 -inch even an older Tannoy housed, say, in a homemade combination produced the deepest bass and the "biggest" "infinite baffle" with a new model installed in one of sound. Response, on pure test tones, held up strongly the new enclosures. The pervading acoustic impression to about 35 cycles, then seemed to roll off gently. Some from Tannoy speakers generally is one of smoothness output below 25 cycles was apparent, though diminished of response, with very little tendency toward "hard" in amplitude. Response throughout the mid- and high - sound. Some listeners have characterized this quality frequency ranges was generally smooth and well bal- as similar to what you hear from midway back in a anced. There was a tendency to a slight peak just good concert hall. (First row devotees, please note.) below 200 cycles and a minor dip observed at about It ,should be pointed out that if this characterization 12.5 kc, with response evident well beyond 15 kc. be a valid one, it actually is in keeping more or less The Belvedere, with the 12 -inch Monitor, began with the design approach behind Tannoy speakers which rolling off at about 55 cycles and remained quite smooth aims figuratively at opening a large window on the to 35 cycles at which point -with volume turned up performers rather than attempting to put you right in quite high-the frame holding the grille cloth began to their midst. To achieve this, Tannoy, in common with a vibrate. This was easily remedied by a snip of card- number of British and European speaker manufacturers, board wedged between the right -hand edge of the frame prefers the coaxial speaker wherein one general repro- and the side of the enclosure, and response then con- ducer serves as the total sound source. Such a speaker, tinued smoothly to just below 30 cycles. Response at in Tannoy's view, serves to "open that window." In the the high end was generally similar to the 15 -inch model. "dual concentric" design used by Tannoy, the tweeter except for minor peaks at about 2 kc and 9 kc, and a merges almost imperceptibly with the larger, woofer slight dip between 13 and 14 kc. In comparing the cone so that the curve of the latter serves to expand over -all sound of the Belvedere -12 -inch combination with the high- frequency sound source and spread it evenly the GRF -15 -inch system, some listeners allowed that into the listening area. Bass response of the woofer the "bigger" sound of the latter could be attributed to is aided by its plastic "surround" or outer suspension. a stronger mid -bass component in its response, a factor Another feature, or rather lack of it, which is char- which also might account for the more "close -up" acteristically "Tannoy," is the absence of a tweeter level feeling they had with the smaller system, particularly control, usually found in coaxials or two -way systems on voice. In this respect, the 15 -inch Tannoy used in employing a crossover network. Tannoy feels that its the labyrinth fell somewhere between the other two; matching of tweeter and woofer represents a smooth its bass was deeper, and with more of a "bite" than the balance as far as the speaker's own response is con- 12 -inch model, but not yet quite as rotund as with the cerned, and any desired variations -such as may be GRF. At that, the differences are subtle and must be required by room acoustics -should be compensated by classified as matters of personal preference. The general the use of amplifier, not speaker, controls. We must consensus is that Tannoy speakers are among the better admit that we did not, after considerable listening reproducers presently available, and very easy to listen periods, miss the speaker controls. to for hours on end. Efficiency is moderately high Although, as stated earlier, the general musical and either Tannoy can be driven quite satisfactorily character of different size Tannoys, or even of Tannoys by a 20 -watt amplifier. The 15 -inch Monitor has a used in different types of enclosures, remained similar, rated power capacity of 50 watts; the 12 -inch Monitor, there were some noticeable differences in specific areas 30 watts. And both make very musical sounds.

Korting Model 158S Tape Recorder

AT A GLANCE: The Korting Model 158S, manufac- as Start, Stop, Rewind, and Forward (which actually is tured in West Germany and distributed here by Korting fast forward). There is also a pause button which can Recorder Sales Corp. of New York City, is a self - be used to interrupt the tape motion when recording, contained stereo record /playback tape recorder. United but without breaking the electronic circuits, a definite States Testing Company, Inc., describes it as dis- convenience when setting level controls. tinctly European in appearance, design, and opera- Push buttons are also used to select stereo and mono tion. Price, including carrying case and two low im- recording and playback modes, as well as to select high pedance dynamic microphones, is $369.50. level or low level (microphone) Inputs. A single "magic eye" type indicator is used on the Korting to show the IN DETAIL: The Korting has two speeds (71/2 ips and recording level of either channel. USTC felt that the 31/2 ips) and is supplied with three 1/2 -track stereo lack of separate level indicators, one for each channel. heads (erase, record, and playback). Tape motion is made setting the levels when recording stereo a bit of a controlled by four piano -type push buttons, identified chore. Each channel does have its own level control,

64 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com -I- 14 t I Characteristics 7.5 IPS r s, 3.75 IPS Record /Playback 1 4 Left Channel 0 li_--_ i Right Channel - r 4 Left Channel 8 Right Channel ------4 12 Zero Reference - 10 db Down from 700 cps Full Level

20 SO 100 300 500 1K 3K 5K 10K 2 0 20 SO 100 300 500 1K 3K 5K 10K 20K 12 Left Channel + = á 10 1 7.5 IPS ó Right Channel - g Playback Characteristics zó 3.75 IPS E 4 ° r 6 § Left Channel '' 0 Test Tape J Right Channel Reference Ampex 31321.01 < 2 20 50 100 300 500 1K ° 20 50 100 300 500 1K 3K 51( 10K 20K

from I50 cps to 17 kc, and flat within plus or minus 4 Left Channel Right Channel - - -- db down to about 25 cps. Response at 100 cps was slightly peaked on both channels, and the right channel showed a slight additional peak at about 11 kc. Record /Playback Characteristics 7.5IPS At 33/4 ips, the 50 -cps response of both channels Full Level Zero Reference - 10 db Down from 700 cps , showed a rather sharp peak, below which the response Reference on Ampex 31321 -01 Test Tape fell off sharply. The high frequency response at 33/4 20K 50 100 300 S00 1K 3K SK 10K ips fell off to minus 4 db between 7 and 8 kc. Harmonic distortion measurements made at 71/2 ips speed indicated less than 4% THD on the left channel which is used for both recording and playback. however, 15 kc. The dis- features are incorporated from below 30 cps to approximately A number of very unusual was slightly higher, but the Korting, made possible by the use tortion on the right channel in the design of 5% over the same frequency range. instead of the two usually found in remained less than of three heads both channels had less than 5% THD from moderately priced machines. Echo and reverberation At 33A ips, 35 cps to above 5 kc. These measurements, as well as can be introduced when recording monophonical- effects the frequency response measurements. were made with by the use of a dubbing control, which allows the ly signals recorded at a level of minus 10 VU. recorded on the tape to be picked up by the the audio material response of the Korting at 71 ips and fed back into the recording circuit. The playback playback head from the NAB standard, with both the 50 -cps The delay of the echo thus obtained is 0.2 second at deviated and 15 -kc output levels up 7 to 8 db from the midrange 33/4 ips, and 0.1 second at 71 ips. This setup also giving the music a rather booming sound at provides for direct tape monitoring while you are response, and a brilliant sound at the high end. recording, and for multiple synchronized recordings the low end However, the tone controls of any high- fidelity pre- ( on sound "). "sound be used to compensate for this and input and output jacks on the recorder are of amplifier could The response to some degree (the Korting type, and consist of either three or five flatten out the the European incorporated in it). One adapter cable, for connecting either has no tone controls pin sockets. frequency motor noise mentioned earlier input or audio output jacks to your existing The low the audio showed up in terms of a rather poor signal -to -noise music system is provided, and additional plugs and ratio. Referred to an average recording level of minus can be obtained from your dealer. cables 10 VU, the signal-to -noise ratio of the Korting was the internal construction of the Kort- USTC judged 29 db, but did improve to approximately and its ease of serviceability high. approximately ing to be excellent, db referred to the full recording level of zero VU. section of the recorder is built on 39 The electronic The speed accuracy of the recorder was fair, being printed circuit boards, which swing out for easy access. 1.33% high at 71/2 ips and 0.83% high at 33/4 ips. very complete service manual is supplied with the A Wow and flutter were very low for a tape recorder, The 158S is powered by a single hysteresis - recorder. never exceeding 0.1% at either the slow or fast speed. working through a very well -de- synchronous motor Aside from the annoyance of the signal -to -noise system of belts, idler signed and well- constructed factor, the Korting shapes up as a very good machine in and brakes. wheels, its price class. In USTC's view, its ability to record the recorder's operating manual is rather Although is quite satisfactory, and its standards, one can and play music generally poorly written by American -after features, such as providing for echo effects, its operation. unusual using the Korting for a few hours -master are unique among moderately priced tape recorders. The main operating controls work fairly well, except that the "stop" button on USTC's sample did not always work the first time it was pressed. Too, considerable force was required to activate the push- button controls. The recorder's self- contained playback speakers were COMING REPORTS only fair in their quality, as might be expected in a self- contained tape system. This is offset to a degree by the fact that music recorded on the Korting from a Grado Lab Series cartridge high- fidelity system did sound quite good when played back through that same system, with fairly low dis- EICO ST -96 stereo tuner tortion and a smooth response. On playback, however, a distinct motor noise could be heard when the music was low in volume, which detracted somewhat from the and multiplex adapter enjoyment of the music. High frequency noise, however, was adequately low. Scott LK -72 amplifier kit The record /playback response of the recorder at 71/2 ips was measured as flat within plus or minus 3 db

MARCH 1962 65

www.americanradiohistory.com Music at the White House Share that memorable evening when celebrated cellist Pablo Casals was invited to play for President Kennedy and distinguished guests. Recorded in the East Room of the White House. THE

The Art and Glory al:Hll. .). of "Swan Lake" `IffidikorS/.1, An affectionate view of ®rte Tchaikovsky's greatest ( A)rvartlake a ballet: dazzling perform- 1ih THE 17111.AIk:IPfHA DRl]lFS7RA ance by Ormandy and B.Ikl F] GENE 11RMANDr the Philadelphians, plus the 111E ART DF lavishly illustrated history 1M A, LARE of Swan Lake's triumphs across eighty -five years COLLEOTC R'S and three continents.

Stravinsky Conducts "Le Sacre" ®,fTlIIIIIJM From the widely acclaimed llllllllTl duPb'lITI'Ill'l' three -record set - IeYeMe 1,Mr AM. . 4.-or Stravinsky's definitive recording of his own masterpiece Le Sacre du Printemps- "a great, vital, poetic performance." CHOICE (High Fidelity)

Richter -In Person VoÍMlne II ®SVIATOSLAV RICHTER Musical history -as it was AT made: five Carnegie Hall recordeD in actuai performance oaaóar concerts by titan of the es, .veo limbs imam A R... piano Sviatoslav Richter, M{is.e+: T6..e tansies., Or. " recorded live and complete. o.4rr ..r.,..,.e a6..r Images Rovi 1 Here, the second recital, u,,.,: L u)1.,... a two 1p program includ- ing aydn, Schumann S and Debussy. 0\

Prince of Madrigalists A tribute to the astonishing fsi,,IIJIEl,y

ix L (\RI ll'I1lIRl I I , but little -known 16th - ck,l U.IR) Ill III, century master, Don Carlo I'RI\(7.1)1 \Sln,llll )LV)RIG.\1.I,IS 1.11-1 ,. V I ,u Gesualdo -from such admirers as composer Igor Stravinsky, conductor Robert Craft and madrigal singers, organist E. Power

Biggs. An adventurous ereo exploration of Gesualdo's C LUM3A IM Wald o' (asido special world a 1Morl.ro Nane in word, picture and music. fj,TIRloy

®STOKOWSKI THE Stokowski's Bach BACH Rre.d.nba. Bach, Stokowski, and Concene No S The Philadelphia Orchestra - TMe o CEuW'Rduda a legendary combination - Ian &a nnia) majestic as ever in this new stereo recording. REO CHOOSE SPECTACULAR STEREO OR CMATCHLESS MONAURAL

CIRCLE 29 ON READER- SERVICE CARD 66 Hicii FIULI.ITY MAGAZINE

www.americanradiohistory.com Vt- a er Sby ROLANDGELATT .,..x. _

THE SCENE: a hotel suite on Man- has used the harpsi -piano with great hattan's upper East Side. Its windows satisfaction, both as a continuo in- are tightly shut, and a large auxiliary strument and for the solo part in electric heater on the floor fortifies Bach's D minor Concerto. In the end, the impression that its occupant must however, he decided to stick to the thrive in an atmosphere usually asso- piano (undoctored) for an undertaking ciated with the cultivation of orchids. as long -ranging as the Well- Tempered On an easy chair in the middle of the Clavier. room someone has carelessly thrown What of the harpsichord itself? Had down a heavy fleece overcoat, a wool he ever been tempted, we asked, to cardigan sweater, several mufflers, a forsake the piano for it? "I love pair of fur -lined gloves, and a cap the sound of the harpsichord and the with ear flaps. Half- consumed bottles effects that are possible with it," of Poland Water are lodged haphaz- Gould conceded, "but it upsets my ardly on various end tables, and a piano playing. It's just too disturbing leather -topped desk is littered with to make the transition from one in- books -philosophy and poetry -and strument to the other. In any event, with a clutter of penciled notes and I'm really more interested now in re- clippings. There is a pervading aura viving my organ playing. Did you of disarray which clashes rather dis- know that my debut was made as an turbingly with the suite's posh and organist at the age of twelve in To- sedate furnishings. ronto? I haven't played an organ For anyone who knows him, no recital in fifteen years, but recently further description is needed to iden- I did an organ sequence on a TV tify the occupant of these quarters. Glenn Gould show about Bach, and now I'm anx- The hallmarks point unmistakably to ious to do an organ record for Colum- Glenn Gould. A few weeks ago we putting Strauss's piano writing on bia." It's something we'd much like found ourselves in this familiar scene records. Next year the pianist hopes to hear. but on an unfamiliar mission. For to tape the Burleske for piano and we were calling on Gould not only as orchestra, and after that he will busy DEUTSCHE GRAMMOPHON rec- an old acquaintance and respected himself with the and ords have long been distributed in musician but this time also as a con- the songs. this country by Decca, but starting tributor to HIGH FIDELITY. Our mis- May would seem to be in the nature in April the label begins a new associ- sion: to go over the galley proof of of Glenn Gould Month at Columbia ation here with M -G -M Records. Bet- the article on Richard Strauss that Records. In addition to , ter packaging, wider distribution, more begins on page 46. we can expect a first installment of aggressive promotion are said to be in Strauss must be a somewhat frus- the complete Well- Tempered Clavier the offing for the German product. trating enthusiasm for a pianist to and a pairing of the Schoenberg Piano The first release under the aegis of cultivate. In Strauss's lifework the Concerto and the Mozart C minor M -G -M will include two operas (Carl piano is conspicuously slighted. It Concerto, in which the pianist col- Orff's and Puccini's La is not, however, totally ignored, and laborates with the CBC Symphony Bohème), a recital by Sviatoslav in May we shall have an opportunity - Orchestra (home base: Toronto) under Richter, and a miscellany of contem- courtesy, Columbia Records -of hear- Robert Craft and Walter Susskind porary German music. Later in the ing Gould in one of Strauss's least - respectively. year well be offered a Mozart Re- known compositions for that instru- A Gould recording of the Bach quiem under Karajan's direction (with ment: Enoch Arden, a setting of "48" has been planned for years. Be- the Berlin Philharmonic and Vienna Tennyson's poem for piano and speak- fore the first sessions took place, Singverein) and the DvoMk Cello Con- ing voice -in this case, the voice of early this year, Gould toyed with the certo played by Pierre Fournier and Claude Rains. Gould does not pre- notion of performing it on the harpsi- the Berlin Philharmonic under George tend that Enoch Arden is top- drawer piano, an instrument concocted by the Szell. All DGG records will continue Strauss, but he does consider the Steinway people to convey the timbre to be manufactured and sealed at the 1890 "recitation" well worth an at- of the harpsichord with the volume of Hanover factory. And from now on, tentive hearing. And be it ever so the piano. At the Stratford Festival, we have been assured, there'll be no humble, he intends to continue of which he is music director, Gould skimping on texts and translations.

MARCH 1962 67

www.americanradiohistory.com PING PONG STEREO IS NOT A TECHNICAL ADVANCE!

AN IMPORTANT MESSAGE TO STEREO RECORD BUYERS

We feel the time has come to clear the air with regard to the many new "gimmick terms" which some recording companies are now passing off to the consuming public as great, new, stereophonic technical advances.

It is of great concern to me personally that the consuming public is being confused and misled to believe that certain supposedly "new" recording techniques are important steps forward in stereo recording.

I maintain most of these terminologies are purely commercial sales gimmicks to capitalize on the trend of "Ping Pong" stereo records. In my opinion, it is a mistake to present "Ping Pong" stereo as an advance in stereophonic recording technique.

Obviously it is not.

Certainly it is being used as a commercial sales gimmick.

True or real stereophonic recording, as employed on Audio Fidelity Records, utilizing the "Stereophonic Curtain of Sound *" technique, does not require gimmickry such as recording in different rooms or at different times, etc., in an attempt to achieve separation, high signal - noise ratio, brilliance and clarity.

It is my assumption that the "knowing" record consumer is now ready to mature and progress beyond the "Ping Pong" gimmickry stage in stereo records and will evaluate and enjoy stereo as it should be heard. If this is so, as an outstanding example of Audio Fidelity's STEREO stereophonic recording, may I recommend that you listen to our latest "Curtain of Sound" recording -"Paris," featuring .r»niex nm."r Oar:Ay /...Tü..7 i /G.a../ Jo Basile, with accordion and Massed String Orchestra. We feel this recording, from the standpoint of musical perform- ance, selection of material and stereophonic sound reproduc- tion, is among the finest Audio Fidelity has ever produced ... and certainly one of the greatest stereophonic recordings available at this time. Y.. [..r. a ... o. A..0 s... Y no ... to, Iw Y.. uy > n,. . .. . u..., or w . m . IN Sidney Frey, PRESIDENT At. C S.u.J, xun ip a...n..... le Gu. b. b

P.S. We would be very interested in hearing your own views on this subject. Please write. Send for our NEW, FREE complete catalogue.

AFLP 1955 AFSD 5955 AUDIO Mono -$4.98 Stereo -$5.95 role FIDELITY® RECORDS DEPT. HF3, 770 ELEVENTH AVENUE, NEW YORK 19, N. Y.

CIRCLE: 17 ON READF :R -SF:RV ICE CARD 68 HIGH FIDEL ITY MAGAZINE

www.americanradiohistory.com PAUL AFFELDER NATHAN BRODER O. B. BRUMMELL R. D. DARRELL ALFRED FRANKENSTEIN reviewed by HARRIS GOLDSMITH JOHN F. INDCOX Records ROBERT C. MARSH CONRAD L. OSBORNE in JOHN S. WILSON Review

by Conrad L. Osborne

Adriana Lecouvreur- An Opera

For the Proper Prima Donna

Tehaidi takes the title role.

.EXT sEASOv, the in smaller forms until his death in 1950. admired and loved by all, but she loves will revive Cilea's Adriana Lecou- As for Adriana, it has clung tenaciously only Maurizio, the Count of Saxony and vreur as a vehicle for . to the underside of the repertory in its a noted military hero (though his rank is This season, I.ondon Records is giving us native country ever since its La unknown to her at the beginning of the a chance to preview the work via a new Scala premiere (1902, with Caruso as story). They declare their love in Act I. recording, also a vehicle for Mme. Maurizio). The Metropolitan tried it At the start of Act II, we meet the Prin- Tebaldi. (The two events would have once, in 1907, but despite the presence cess of Bouillon, who is also in love coincided, except that the Met's labor of Caruso as Maurizio and the beauteous with Maurizio, and who has, on the pre- union dolors caused postponement of its Lina Cavalieri as Adriana, it was poorly text of a political matter, lured him to presentation of Adriana, originally in- received, and chalked up only two per- the villa of one Mme. Duclos, another tended for this season.) formances before going into its fifty - actress of the Comédie. When her hus- Both the o ,era and its composer have five year hibernation. Record collectors band unexpectedly arrives (Mme. Duclos enjoyed a peculiar sort of half -life so far of a fairly adventurous spirit are familiar being his mistress), the Princess is forced as American opera lovers are concerned. with two of its soprano arias, "lo sono to hide. The Prince assumes that Mau - Cilea had a strange career. He wrote l'umile ancella" and "Poveri fiori " -ex- rizio is present for an assignation with only four operas, of which two -Adriana cellent pieces for the lush spinto tone Mme. Duclos, and the situation is further and L'Arlesic na-met with considerable of a Claudia Muzio or a Renata Tebaldi. complicated by the arrival of Adriana, success in Italy. But after the produc- The libretto, by Arturo Colautti, is who assumes the same thing. Maurizio tion of his fourth at La Scala in 1907 drawn from a play by the indefatigable swears that this is not true, and enlists (it was a flat failure), he simply with- Eugène Scribe and Ernest Legouvé. It Adriana's help in aiding the unknown drew from the operatic world, devoting concerns Adrienne Lecouvreur, a leading woman's flight. In the ensuing scene, himself to teaching and to composition light of the Comédie Française. She is Adriana assists the Princess in her escape

MARCH 1962 69

www.americanradiohistory.com through the garden, and the two women big scene at the start of Act II, for ex- match his partner, decibel for decibel, in realize that they are rivals for Maurizio's ample, is good. tense dramatic writing, terms of volume. love. In Act III, the Princess gives an en- but the aria itself ( "Acerba voluttà ") is is in good form tertainment at which she and Adriana only moderately effective. There are and most authoritative. and Giulio Fiora- trade thinly masked insults, capped by some good passages for the tenor, too vanti, the excellent Lescaut of Angel's Adriana's recitation of a pointedly appro- brief to be termed arias ("La dolcissima Manor Lescaut, sings a smooth, pleasant priate speech from Phaedra. In Act IV, effigie" "L'anima ho stanca"); strong Michonnet, though his voice is not mem- Adriana receives a bouquet of flowers- writing in the "confrontation" scene be- orably rich or colorful. There is good flowers which she had given to Maurizio, tween soprano and mezzo; and a good work from Franco Ricciardi and Silvio and which he in turn had given to the many high notes for the tenor and so- Maionica in important comprimario Princess as a gesture of loyalty. Adriana prano to hold onto. The important bari- roles. 's conducting is assumes that Maurizio has cruelly re- tone role of Michonnet, the régisseur of appropriately lively and splashy, and the turned them as a sign that their love is the Comédie, who selflessly loves Adri- sound is just fine, though the stereo set over; he arrives to pledge his love, and ana, is not terribly interesting musically, has considerably more presence than the for a few moments they are happy. But but is no doubt theatrically effective-his mono, at least on my advance copies. the Princess has poisoned the flowers, first-act scene with Adriana contains There can be small doubt that this pro- and within a brief time Adriana is dead. some touchingly restrained writing. I duction supersedes the old Cetra effort, Cilea's selection of dramatic materials suspect that anyone fond of Andrea the only Adriana previously available. and his treatment of them places him in Chénier will find Adriana quite to his In sum, we have an opera worth re- the verismo school. His work is at one liking. viving for the proper prima donna, and with the works of Leoncavallo, Gior- London has given the opera the sort we have the proper prima donna for dano, Mascagni. Catalani, Ponchielli. of performance that will make it go. whom to revive it. Adriana Lecouvreur operates on the sim- The title role is made to order for Mme. plest musico- dramatic level. The big Tebaldi. She may not sing quite as easily CILEA: Adriana Lecouvreur opening aria for Adriana, "lo sono l'umile as she once did -in fact, there are mo- ancella," is clearly devised so as to per- ments in this recording when her voice Renata Tebaldi (s), Adriana; Dora Car- suade us that because Adriana considers seems fully extended -but the vocal rai (s). Jouvenot; Giulietta Simionato herself but a humble servant of her art, plush is still very much in evidence, as (ms), Principessa di Bouillon; Fernanda she must he a Good and Great Person. is her musical sensitivity and tempera- Cadoni (ms). Dangeville; Mario del Mo- Its theme recurs throughout the opera ment. somewhat generalized, but none- naco (t), Maurizio; Franco Ricciardi (t), whenever the composer wishes to remind theless compelling. Her chesty dramatic L'Abate di Chazeuil; Angelo Mercuriali us of this, which is naturally at all mo- readings, however, are not miracles of (t), Poisson; Giulio Fioravanti (b), ments of sacrifice, devotion, or desertion. declamation. Del Monaco produces a Michonnet; Silvio Maionica (bs). Prin- Since the theme is an effective one, the generous quantity of ringing high tones, cipe di Bouillon; Giovanni Foianni (bs), device works, at least the first few times and some isolated mezza -voce phrases to Quinault. Chorus and Orchestra of Ac- around. The music is in general vigor- which he clings possessively. But there cademia di Santa Cecilia (Rome), ous, schmaltzy stuff, a bit short on in- are too many passages slurred, and too Franco Capuana. cond. spiration. though certainly not on energy. many others for which there is no ac- LONDON A 4359. Three LP. $14.94. It sometimes fails to deliver the expected curate word except "ugly." In any event, LONDON OSA 1331. Three SD. punch; the introduction to the Princess' his singing is virile, and he can at least $17.94.

by Harris Goldsmith

Variations for Piano Begin a Beethoven Project

Alfred Brendel

WITH the present album, Vox Produc- of similar magnitude have failed to Alfred Brendel would seem to be as tions launches a formidable under- materialize. But it might be well to note a & r man's dream pianist. He is young. taking: the publication on microgroove that this company is the only one to have his repertoire is vast (already he has of the complete piano music of Bee- kept its promise to issue all of the shown himself to admirable advantage in thoven. The artist assigned to this mara- Schubert piano sonatas (one of the rival Mussorgsky, Balakirev. Prokofiev, Liszt, thon project is Alfred Brendel, a young editions. that of Beveridge Webster on Schubert, Dvofák, and Mozart), and - Austrian pianist barely in his thirties M -G -M. failed to progress beyond the most importantly -his pianism conveys who is scheduled to make his United first record!). There thus seems some enormous vitality and enthusiasm. The States debut later this year. Sceptics reason to hope that the Beethoven proj- possessor of truly virtuoso technical may scoff at Vox's ambitious plans, ect may really reach its completion on equipment, Brendel is also happily for in the past many recording ventures schedule in 1965. blessed with a notably strong rhythmic

70 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com propulsiveness and an adventurous ca- shade too rigid in his approach. True, twenty -four ambitiously designed elabora- pacity for exploring unfamiliar paths. the work is actually a chaconne, and it tions antedate Beethoven's "Opus 1" Not a particularly "pretty" pianist, this should build continuously, but Brendel by four years and the Schubert creations young man has assimilated many of the carries the strictness of tempo to excess. by nearly forty! Similarly, the codas to most admirable traits of his celebrated Even when a climactic variation indi- the God Save the King and Rule Britan- teacher, -most notably a cates a quickening of pulse, the pianist nia sequences elaborate on and trans- respect for the music at hand and a dis- completely resists an acceleration. The figure the themes in a manner similar inclination to project the "originality" of music, as a result. sounds stolid. This is to, although naturally less complex than, his views on it simply for the sake of the only place where Mr. Brendel seems that used in the codas of the great Varia- being different. But Brendel has polli- overly Teutonic, and yet even here his tion movements to the Op. 127 and 131 nated his mentor's sobriety with im- playing has integrity and stature. String Quartets. petuosity and ardor. He is most defi- Perhaps to a greater extent even than Brendel's performances throughout are nitely a mid -twentieth- century pianist, Mozart. Beethoven throughout his life- extremely brilliant and discerning. When and his interpretations have the life time lavished much effort on perfecting to these virtues are added the excellent and animated tension of the contem- and expanding the Variation form. Many piano reproduction and very economical porary school. There is no prissiness of his works in this medium are frankly price, Vox is to be highly congratulated. here; rather, there is fire, brio, and un- experimental. In the F major Variations, May the whole series be as successful derstanding. Op. 34, for instance, the composer tried as this. While it is a bit premature to meas- the novel idea of using a new key for all ure Brendel's total capacity as an in- but one of the six variations. Though he BEETHOVEN: Variations for Piano terpreter of Beethoven (these early varia- reverted to the conventional approach J15 Variations on a Theme from Prome- tions, after all. are rather less demand- in subsequent works (even the Diabelli .1(teus, in E flat, Op. 35 ( "Eroica "); 132 ing than the late sonatas and Diabelli Variations, Beethoven's last major key- Variations in C minor, Grove IVI; 6 Variations), he handles the works in this board effort, is, with the exception of 1 Variations on an Original Theme, in F, album with rare ability. Beethoven's the fugue, firmly grounded on the to- Op. 34; 24 Variations on Righini's Air gruff honesty seems to fit this pianist nality of C), the fantasialike effect of "Venni Amore "; 13 Variations on Dit - like a glove. The Eroica Variations re- this bouquet of key signatures and con- tersdorf's Air "Es war einmal ein alter ceive a reading that. is equal to any that trasting tempos must certainly have in- Mann "; 9 Variations on the Air "Quant I have ever heard (yes, Schnabel's in- spired the great piano suites of Schumann è più belio' ; 6 Variations on the Duet from Paisiel- cluded). This is a performance that and the other romantics. Yet even these "Nel cor più non mi sente" Contrapuntal tex- composers left the Variation form, for lo's "La Molinaro ": 12 Variations on a builds and projects. Russian Dance from Wranitsky's "Das the most part. in one key. mat- tures are miraculously clear, there is For that Waldmädchen"; 6 Easy Variations on a plenty of rhetorical emphasis, and also ter, Beethoven too must have had mis- Swiss Air; 8 Variations on Grétry's Air that necessary touch of recklessness to givings about his innovation: while he "Une Fièvre brûlante"; 7 Variations on differentiate Beethoven's particular brand retained fondness for his Op. 34, he "Kind willst du ruhig schlafen" from of keyboard virtuosics 'from, say, Liszt's never again used its ground plan. Winter's "Das unterbrochene Opferfest"; or Weber's. Slower -paced than Schnabel's On the other hand, the Variations on 10 Variations on Sussmayr's "Tandein famous recording of the music, Bren- Righini's "Venni Amore" contain most und Scherzen"; 6 Variations on an Orig- del's account tends to be Olympian of the vital elements of Beethoven's inal Theme, in G; 7 Variations on "God Save the King "; 5 Variations on "Rule while the former's was mercurial, but later work. What is even more remark- Britannia "; 6 Variations on the Turkish both readings have the essential Prome- able about them, however, is that they March from "The Ruins of Athens," thean quality. contain certain turns of harmony and Op. 76. The other well -known set of Varia- melody which one usually credits to tions in this album, the 32 in C minor, Schubert's B flat and C minor posthu- Alfred Brendel, piano. fare less well. Here, I feel, Brendel is a mous Sonatas. Written in 1791, these Vox VBX 416. Three LP. $8.95.

range in the selections chosen; most of DEUTSCHE GRAMMOPHON 18714. LP. them call for tender, lyric treatment, $5.98. CLASSICAL which they get, but the somewhat un- DEUTSCHE GRAMMOPHON 138714. usual irregularly crawling line of "Wie SD. $6.98. jammern mich doch" in No. 170 is handled with steady confidence. The Father and son give us a Bach Double arias from the are Concerto that is much slower than the "Bereite micle Zion" from Part I and recent Heifetz- Friedman version, and "Schlafe, mein Liebster" from Part Ii; considerably warmer. This is a welcome BACH: No. 170, Vergnügte those from the cantatas are "Wohl each, change of pace, particularly in the slow Ruh'; Christmas Oratorio: Arias; ihr auserwählten Seelen" from No. 34 movement where, without resorting to Cantatas Nos. 34 and 108: Arias and "Was mein Herz von dir begehrt" sentimentality, so much can be said if from No. 108. The sound is excellent, there is only time to say it. The Vivaldi a Aafje Heynis, contralto; Vienna Sym- and German texts and English trans- work too, delicately scored and more phony Orchestra, Hans Gillesberger, lations are provided, but there are no open in texture than the Bach, prospers cond. (in No. 170), Netherlands Cham- visible bands between the movements of in this warm climate; its grave middle ber Orchestra, Szymon Goldberg, cond. No. 170. N.B. movement achieves really stately pro- EPIC LC 3805. LP. $4.98. portions. EPIC BC 1146. SD. $5.98. BACH: Concerto for Two Violins and Igor Oistrakh (who I assume plays the second to the right - Orchestra, in D minor, S. 104.3 part, relegated The voice of Aafje Heynis, the young hand stereo channel) is just a shade less tVivaldi: Concerto grosso, Op. 3, No. flexible than David and tends, in the Dutch contralto, does not seem particu- 8, in A minor larly large or rich but it has an attrac- Bach, to bite off phrases a bit more tive silvery, dusky hue. It is firm and tBeethoven: Romances for Violin and abruptly. But otherwise the family front true. She can spin a smoothly flowing Orchestra: Op. 40, No. 1, in G; is smoothly unified and the teamwork line when she wants to, but here she Op. 50, No. 2, in F of a high order. often prefers to change the color of her The Beethoven Romances are hand- tones constantly in the course of a move- David Oistrakh, violin; Igor Oistrakh, somely done, with the sole exception of ment or even a phrase -a procedure violin (in the Bach and Vivaldi); Royal one or two moments in which the that breaks up entities and introduces Philharmonic Orchestra, David Oistrakh, violin tone sounds rather thin in the high little air spaces where connection is cond. (in the Vivaldi), Sir Eugene register. Whether this is simply a record- called for. There is no great emotional Goossens, cond. ing fluke or is characteristic of the solo-

MARCH 1962 71

www.americanradiohistory.com ist is difficult to say. On the whole, the garian color at all. That second move- Russian -made recording on the perform- sound is excellent. SHIRLEY FLEMING ment is much weaker than the first, er's background, but from the evidence and is, indeed, one of the weakest pages here it is apparent that she is a musician in all of Bartók. The mystery of the well worth our acquaintance. In fact, BACH, WILHELM FRIEDEMANN: First Violin Concerto is therefore easily this is the most idiomatic Beethoven Polonaises (12); Other Piano explained: Bartók discarded its poorer playing I have heard from a Soviet Works half and saved its better one under a dif- artist (assuming, of course, that Miss ferent title. One may be grateful, how- Greenberg is that), and these renditions Heida Hermanns, piano. ever, that the publication of the entire must be counted among the best re- SOCIETY FOR FORGOTTEN MUSIC M work finally brought Stern around to corded versions we have had. Basically, 1009. LP. $4.98. recording its first movement, which is a Miss Greenberg favors the boldly ener- SOCIETY FOR FORGOTTEN MUSIC superlatively beautiful, singing, soaring, getic, amply inflected Beethoven style of S 2009. SD. $5.95. lyric masterpiece on a theme strangely Schnabel rather than the crisply sym- like the one that characterizes Don metrical Gieseking- Solomon school. This When the legends and unverified anec- Quixote in the tone poem by Richard energizing stress produces, for example, dotes are stripped away from the biogra- Strauss. The Two Portraits are said to be an exhilarating account of the Op. 31, phy of J. S. Bach's oldest son, what musical characterizations of Bartók him- No. 3 Sonata -a piece which is more remains is a shadowy and strange figure. self and Stefi Geyer, and the reference susceptible than most of Beethoven's Regarded as one of the finest organists to Strauss's knight of the rueful counte- writing to the Gieseking manner, but of his time and a highly respected nance therefore seems deliberate. which responds to the vigor and gusto teacher. Wilhelm Friedemann evidently The Viotti on the other side is a tune- of a truly Beethovenesque interpretation could not adjust himself to living in a ful. beautifully written piece in classic mightily. My only reservation in the period when the solid values and un- style. and is a most welcome addition present performance concerns the arbi- shakable religious faith that had gov- to the recorded repertoire, at least as trary sounding ritardando at meas. 63 erned his father's household were giving Stern performs it. The recorded sound in (again at meas. 238) in the last move- way to a more personal, more romantic both instances is just as fine as the ment: it disrupts the continuity of the view of life. In the last twenty years of playing. A.F. music. his life he could not put down roots Miss Greenberg's account of the C anywhere, nor was he interested in. or BASSETT: Trio for , Viola, minor Variations is equally striking. The perhaps capable of. holding a position pianist concentrates on the stormy, ex- at a court or in a church. and Piano -See Perle: Quintet for Strings, Op. 35. pressive content of this work, and His music, of which the present disc chooses to understate the rigid chaconne- supplies an interesting sampling, is as like sequence of the variations. By some erratic as the man himself. Many of the BEETHOVEN: Piano Works miracle, this artist manages to work slower Polonaises have a high degree of towards a convincing climax despite the "sensibility," a poetic quality more fre- Sonata for Piano, No. 18, in E flat, Op. greater than usual rhythmic freedom quently ascribed to his younger brother 31, No. 3; Ecossaises: Rondo, in G, Op. she utilizes. Here is a pianist who is Philipp Emanuel than to Friedemann. 51, No. 2; Landier Tänze, in D (7): Vari- clearly able to differentiate between In the fast ones there is considerable ations, in C minor (32), Grove 191 metronomic stiffness and truly vibrant originality, but the results are not always pulse. The Maria Greenberg. piano. Rondo shows that Miss convincing. Sometimes, as in the tenth Greenberg can spin out a sensitively in- Polonaise, there are curious progressions, MK -ARMA 1568. LP. $5.98. flected melodic line, while the lively but they do not all come off; some give No sort of notes are included with this Tiinze are the happy recipients of the the effect of mere wandering. The other pianist's vital sforzandi. The recorded works on this disc are a sad. expressive sound is very acceptable, although the Fugue in E minor, the most consistently surfaces are a bit coarser than we are well -written piece in this group; an in- accustomed to hearing from the best significant March in E flat; a Sonata Western discs. H.G. in A, loosely constructed, with good ideas giving way to meaningless arpeg- gios: and an early Suite. Miss Hermanns NEXT MONTH IN BEETHOVEN: Romances for Violin takes the right kind of approach to these and Orchestra: Op. 40, No. 1, in pieces, and while her playing would G; Op. 50, No. 2, in F-be Bach: benefit by greater evenness and clarity Concerto for Two Violins and Or- in rapid runs, it is in the main compe- chestra, in D minor, S. 1043. tent. Good sound in both versions. N.B. high fidelity BEETHOVEN: Sonata for Piano, No. BARTOK: Concerto for Violin and 21, in C, Op. 53 ( "Waldstein ") Orchestra, No. 1, Op. posth. tSchumann: Arabeske, in C, Op. 18; tViotti: Concerto for Violin and Or- The Triumphs and Troubles Nachtstiik, in F, Op. 23, No. 4; chestra, No. 22, in A minor Waldszenen, Op. 82: No. 7, Vogel Of the Met Isaac Stern, violin; Philadelphia Orches- als Prophet; Romances, Op. 28: No. 2, in tra. . cond. An appraisal of America's F sharp minor COLUMBIA ML 5677. LP. $4.98. 6277. Guiomar Novaes, piano. COLUMBIA MS SD. $5.98. famous opera company. Vox PL 11990. LP. $4.98. Vox Bartók composed his First Violin Con- by Martin Mayer STPL 511990. SD. $4.98. in 1907, for Stefi Geyer, a violinist certo I doubt if even Novaes' ad- with whom he is said to have been in most ardent love at the time. She retained the mirers would claim that she is a great not in interpreter of Beethoven. Although this manuscript all her life, and it did Improvements Arms pianist's intuitive warmth and spontane- come to light until after her death, in ity can make an engaging thing out of 1958; this is its first recording. taken New designs in tone arms the G major Concerto or the Les Adieux after what was, in all probability, its and what they signify. Sonata, she lacks the requisite furioso first performance in the United States. and slashing Why Bartók did not publish the Con- incisiveness called for in the by Joseph Marshall bravura, and typically Beethovenian, certo is unknown, but he did publish the Waldstein Sonata. Furthermore, to judge the first of its two movements as from is Two for violin and this disc, her digital symmetry first of the Portraits not what it once was (and ought to be orchestra; this work is quite well known, five When the Big Bands in this basically classical creation). The at least among lovers of Bartók, and pianist is it in altogether too careful in tempo, different recordings of are listed Played Swing too constrained in spirit here. The first the current Schwann. The only thing movement moves at a leaden gait, while new here. then. is the second movement by Martin Williams the final Allegretto sounds bumptious. of the Concerto; it has only two, slow Novaes uses a text that features some and fast, as if it were a gigantic Hungari- an rhapsody, although it displays no Hun- Continued on page 74

72 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com The selections in Angel's album The Young Caruso COLH 119 were recorded from 1902 to 1904.

In 1902, this was the outstanding operatic recording of the year. The artist was Enrico Caruso.

Now, 60 years later, we still adhere to that tradition. These are our new albums this month:

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jai* mirhnu nlcolam gedda eroesl blanc jacqoes mars chorus and orchestra du theatre national de l'operatomique A porre dereaus Highlights (S) 35685 Highlights (S) 35632 Complete (S) 3603 B/L / Gedda I Blanc / Complete (S) 3620 D/L Gorr / Gedda / Blanc / Micheau Theatre Nationale de Hopf / Grümmer I Fischer - Ouilico / The Paris Mars I Frick 1 Franz Orchestra, l'Opera- Comique, Pierre Dieskau / Conservatory Konwitschny, Conductor George Prêtre, Conductor Dervaux, Conductor

\1e1/..\ICr DER R()5tNR.\\".\I.EER RICHARD SrRAeOL

- II11.111auna. Fn..M.F S.L..rrL.Er O F.d.Im... '1 HIGHLIGHTS nr.. ,. h R.nd.11 q RELLIRI MARIA CALLAS FRANCO COREES CHRISTA LUDWIG) 1,

(S) 35642 Highlights (S) 35645 Highlights (S) 35666 Highlights (S) 35640 -tighlights (S) 3605 D/L Complete (S) 3563, D/L Complete (S) 3615 C/L Complete (S)3608 D/L Complete Schwarzkopf / Wächter I Schwarzkopf / Edelmann I Callas I Corelli I Ludwig Schwarzkopf I Wächter I Alva / Sciutti I Ludwig (in German) La Scala Orchestra and Taddei / Moffo I Cossotto / Sutherland I Wächter / Orchestra, The Philharmonia Orchestra, Chorus, Tullio Serafin, The Philharmonia Orchestra, The Philharmonia Maria Giulini, Conductor H. Von Karajan, Conductor Conductor Carlo Maria Giulini, Conductor Carlo CIRCLE 6 ON READER- SERVICE CARD MARCH 1962 73

www.americanradiohistory.com Continued from page 72 BERLIOZ: BYRD: Keyboard Music (highlights) questionable octave doublings in both Paul Maynard, organ and harpsichord. the first movement and the finale, but Rita Gorr (ms), Marguerite; Nicolai DECCA DL 10040. LP. $4.98. she at least avoids the notorious G in Gedda (t), Faust; Gerard Souzay (b), L- DECCA 710040. SD. $5.98. the latter (Meas. 27 et seq.) that has Méphisto. Chorus and Orchestra of the crept into so many editions instead of F. Paris Opéra, André Cluytens, cond. The meager representation of this great This artist is in more congenial en- ANGEL 35941. LP. $4.98. Tudor master in the domestic catalogues vironment in the Schumann selections, ANGEL S 35941. SD. $5.98. has been confined to his vocal music. although I must confess that I find her Now we have a cross section of his heart -on- sleeve romantic manner some- This is a recording that will appeal main- keyboard works, showing his skill and in- what excessive even for this material. ly to those who want to hear the vocal ventiveness in handling the free fantasy, I miss a certain reticence in her han- excerpts well sung. It does not offer an simple and elaborate dances, variations dling of the Prophet Bird, and the strange adequate representation of the work on plainsongs and popular tunes, and the accentuation of inner voices makes for a (only a complete, or near -complete ver- descriptive piece. These, compositions are rather stolid account of the Arabeske. sion can do that -and both the Munch commonly thought to have been written The lush, singing tone Novaes produces and Markevitch performances are of un- for the virginal, but Mr. Maynard be- is a distinct asset in the Romanze, how- usual interest), nor does it give us lieves that some of them may have been ever. especially exciting performances of the intended for the organ also. Most of The sound is good, although some of orchestral excerpts, for which one can those played on the latter instrument the climaxes in the Beethoven are blurred easily turn eisewhere. What it does pre- here seem to support his contention. In from excessive use of the sustaining sent is some excellent singing from the the Miserere, the two settings of Veni pedal. H.G. three soloists. Of special interest is the Creator Spiritus, and the variations on work of Rita Gorr, the highly regarded Ut- re- mi- fa- sol -la, the plainsong or cantos French mezzo who will sing at the firmus Is presented in long notes that BEETHOVEN: Variations for Piano Metropolitan next winter. Her previous cannot be sustained on the harpsichord. appearances on domestically available The polyphonic Voluntarie also comes Alfred Brendel, piano. records have been confined to such roles off well on the organ. The Earle of Vox VBX 416. Three LP. $8.95. as the Nurse in Pelléas and Mère Marie Salisbury pavan and galliard, however, in Les Dialogues des Carmélites, which seem better suited to the harpsichord. For a feature review of this album, see are not calculated to show a significant Mr. Maynard enlivens the pieces by add- page 70. voice at its best. Here, she sings Mar- ing embellishments, his technique is guerite's two wonderful pieces, "Le Roi more than equal to the demands made de Thulé" and "De l'amour l'ardente upon it, and he plays the dances with BERIO: Circles flamme," and makes it perfectly clear a good swing. The recorded sound of tBussotto: Frammento why she has become France's leading both organ and harpsichord is very fine. 1-Cage: Fontana Mix; Aria mezzo. The voice is Flagstadian in its N.B. columnar solidity has an Cathy Berberian, soprano; Luciano Berio, -it easy big- ness. While she brings no particular CAGE: piano; Boris de Vinogradov and Jean penetration to the Ballad (the voice is Fontana Mix; Aria -See Pierre Drouet, percussion; electronic almost too lush for the music and the Berio: Circles. tapes. sense of the text), she sings the more TIME 58003. LP. $4.98. passionate "De l'amour" with extraordi- CHERUBINI: Requiem Mass, in C TIME S 8003. SD. $5.98. nary sensitivity. I look forward to her minor creation of Fricka for the new Victor Berberian, the American wife of Cathy Walküre. Roger Wagner Chorale, Royal Philhar- the Italian composer Luciano Berio, is Gedda and Souzay are both in fine monic Orchestra; Roger what Sutherland is Wagner, cond. to modern song Joan form, and it's rather a pity that the latter t-- CAPITOL to Lucia Schwarzkopf to P 8570. LP. $4.98. or Elisabeth is not given a chance at "Voici des CAPITOL SP 8570. SD. $5.98. Rosenkavalier. Neither of these great roses," which he would surely do well. ladies, however, is faced with the fiendish The sound is broad and full. and while The intensity mixture of singing, Sprechstimme, speech, of Toscanini's leadership Cluytens is not galvanic. both orchestra lent a very special character to RCA whispering. and assorted vocal noises and chorus are admirable. C.L.O. Victor's demanded by practically everything Ber- recording of this work. That berian does, including the four works re- character is absent here, since as a con- ductor Roger Wagner brings no particu- corded here. Along with virtuosity, Ber- BINKERD: Symphony No. 1 lar insight or impulse berian has a perfect ear and a musical to the music; he ¡Wagner: Siegfried Idyll simply acts as its capable custodian. On personality of the most compelling kind, the other hand, there as the present recording makes amply ap- St. Louis Symphony Orchestra, Edouard are no doubt many parent. van listeners who do not care to have their Remoortel, cond. (in the Binkerd); Cherubini Toscanini -ized. One side of the disc is devoted to Columbia Symphony Orchestra, Max The chorus sings with rich, well -blended tone, if Berio's highly lyrical and extremely beau- Rudolf, cond. (in the Wagner). not with Shavian song COLUMBIA (Robert, that is) in- tiful cycle entitled Circles, for voice, ML 5691. LP. $4.98. cisiveness, and the orchestra, harp, and percussion. On the other side COLUMBIA MS 6291. SD. $5.98. though not inspired. is adequate. is Sylvano Bussotto's Frammento, an in- Recording is excel- lent in both versions, with the stereo edi- describable piece for voice and piano, The symphony by Gordon Binkerd. pro- tion (the and two wildly anarchical compositions fessor of music at the University of first stereo version of this Requiem, by the way) offering a nice, by John Cage for voice and tapes - Illinois, is a superb example of the genus even Fontana Mix and Aria. These works are in its modern American manifestation. spread. C.L.O. fascinating. partly because of Berberian's In general, it subscribes to a vigorous ability to fascinate the listener with any- neoclassicism both in form and instru- CHOPIN: Ballades: No. 1, in G mi- thing, and partly because of their extreme mentation, but with no academic follow- nor, Op. 23; No. 2, in F, Op. 38; character and the formidable nature of ing of formula. On the contrary, every- No. 3, in A flat, Op. 47; No. 4, in the vocal difficulties which the singer thing about this vivid, grandly shaped F minor, Op. 52 solves so easily: compared to Cage's Aria, score is personal and individual. and Donizetti's "Mad Scene" is Twinkle, what is more important, everything is Stanley Hummel, piano. Twinkle, Little Star. right: there is not a note anywhere that ERSTA 1040. LP. $4.98. The recording is out of this world; does not add to the effect. The interpre- one doesn't know how nearly perfect, tation is presumably good, and the re- Hummel's piano is reproduced with a how subtle and brilliant the sound of re- cording is excellent. vibrant clarity, and a tonal firmness so corded music can be until one has heard Max Rudolf's Siegfried Idyll on the real that one can almost touch the sounds this disc. It has been poorly annotated, other side is a gem of interpretation as they issue forth from this disc. The however. The album contains ten pic- and recording. This must surely be one performances, for that matter, are also tures of the participants, including six of of the finest disc editions of Wagner's highly tactile. This pianist puts stress Berberian. but nary a word of the Cum- concert masterpiece. A.F. on the ditfering textures of Chopin's mings texts for Circles nor even an indi- tonal fabric; and taking advantage of the cation of the source of the text for the ideal spaciousness and separation of the Bussotto and Cage pieces. This is a very BUSSOTTO: Frammento -See Berio: great mistake. A.F. Circles. Continued on page 77

74 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com The Instruments: The Composers: Tin Tray Mozart Cuckoo Bach Quail Reinecke Butter Dish Lachner plus Orchestra

The result: the most unique clas- sical album you've ever heard TOYS + ORCHESTR A = MUSICAL FUN Works W Book. L Mn.osa C N.I yes k.. I Loan. THE KAPP BINFONIETTA 4t1.0, EMANUEL VARDI "/ )0),

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KCL-9089/KCS-908 When the world's greatest musicians play the music of the masters on toy instruments, the results add up to musical fun for the participants and unique entertainment for you. Toys + Orchestra = Musi- cal Fun is just one of the many unusual records from Kapp. Be sure to look for our latest unique album: "The Wonderful World of Brother Juniper" (KL- 1273/KS- 3273). We guarantee it will split thy sides. Free: send for full color catalog and record guide. Kapp Records, 136 East 57th St., N. Y. 22. KAPP RECORDS CIRCLE: 54 ON READER- SERVICE CARL) MARCH 1962 75

www.americanradiohistory.com MR. FREDRIC MARCH AND MR. DOUGLAS CAMPBELL IN A SCENE FROM GIDEON. PHOTO BY ARTHUR CANTOR

www.americanradiohistory.com Continued from page 74 Ani in Love, My Beauty; I Am Sad; Old Corporal. studio acoustics, he exposes many inner voices and other details. Basically, these Boris Gmyrya, bass; Lev Ostrin, piano. are big expansive renditions, very rhetor- MK -ARTIA 1566. LP. $5.98. ical, and a perhaps bit dated in their This pianistic outlook. Mr. Hummel is, for disc offers as much sheer pleasure my taste, just a little too rococo in his as any I've heard for some time. The rubato and too cavalier about introduc- songs, all of them unfamiliar to me, ing "effective" dynamic changes and har- are lovely, evocative ones which pro- monic amplifications (e.g.. extra octaves ject their romantic and humorous moods in the bass, open fifths in those already even in the absence of any sort of text MOMENT OF EXALTATION! there), but there is no denying that his or paraphrase on the jacket. And as for spare, crisp pedal effects and fastidious the singer -1 cannot remember hearing a bass with a more beautiful quality of The reaction to a moment digital independence represent capable pianism. The A flat Ballade, incidentally, tone or a more impressive technical of exaltation in the theatre is a different (and slightly more exagger- command. His mastery of the music is absolute; dark is intensely personal. ated) performance than that on Hum - or bright, loud or soft, mel's "Encore" record released a year low or high, legato or staccato -it sim- Equally personal is tl-e or so ago. ply does not matter to him. Yet he reaction evoked within you Fou Ts'ong's Westminster disc of the never becomes precious or fussy in his handling of the songs. by music. Your own ear is four Ballades is, to my mind, a more limpid, artistic, and less self- conscious In short, we have here fresh captivat- the best judge of the ability presentation of these works, and his rec- ing music, stunningly sung. Lev Ostrin's of a speaker system to ord also offers some additional music. accompaniments are altogether fine, and H.G. the sound very listenable. though the re- create the emotional level suddenly drops on the last song, impact of the original Old Corporal. Despite the deplorable musical performance. CILEA: Adriana Lecouvreur omission of texts, this is a recording to cherish. C.L.O. Technical details can not Renata Tebaldi (s), Adriana; Dora be expected to answer the Carral (s), Jouvenot; Giulietta Simionato DVORAK: Symphony No. 5, hi E question, "Does it (ms), Principessa di Bouillon; Fernanda sound Cadoni (ms). Dangeville; Mario del minor, Op. 95 ( "From the New natural?" Each person must Monaco (t), Maurizio; Franco Ricciardi World ") listen and judge for himself. (t), L'Abate di Chazeuil; Angelo Mer- Vienna Philharmonic Orchestra, Istvan curiali (t), Poisson; Giulio Fioravanti The concept behind Kertesz. cond. (b), Michonnet; Silvio Maionica (bs), LONDON CM 9295. LP. $4.98. the Wharfedale Achromatic Principe di Bouillon; Giovanni Foianni LONDON CS 6228. SD. $5.98. (bs), Quinault. Chorus and Orchestra of Speaker Systems reflect Accademia di Santa Cecilia (Rome), To one perhaps overfamiliar with the extensive musical tra,ning Franco Capuana, cond. New World Symphony, there seemed LONDON A 4359. Three LP. $14.94. and great respect for musical in this recording to be new color and LONDON OSA 1331. Three SD. adventure in every phrase, yet without values. Here is the truly $17.94. ever violating the composer's intentions. natural reproduction of For a feature review of this recording, My impression is that the thirty -year -old see p. 69. Hungarian refugee conductor, Istvan sound, free of spurious Kertesz, brings to Dvofák's music a resonance and artificial genuine enthusiasm. General Music Di- tonal coloration. An COUPERIN: Selected Works rector of the Augsburg Opera, Kertesz is fulfilling guest conducting engagements exclusive sand -filled baffle, Anton Heiller. harpsichord. in Europe, and has appeared here this coupled with special VANGUARD BG 619. LP. $4.98. season with the Detroit and Minneapolis orchestras. He is definitely a young speakers built to match it, Mr. Heiller. well known as an organist man to be watched. In the present per- projects full, true bass and and composer as well as a harpsichordist, formance, he has the Vienna Philhar- has made a fine selection of a dozen monic on its toes all the time, and Lon- rich, non -strident high pieces from the great Couperin's treas- don's engineers have transmitted this notes. To appreciate this ury of little keyboard tone poems. In- playing with exceptional liveness and P.A. achievement, listen to a cluded here are not only such familiar realism. items as Les Baricades mistérieuses and recording you know Le Tic- toc -choc but the grand and GIORDANI: Concerto for Harpsi- and enjoy as it is reproduced powerful Passacaille; the suite called Les Fastes de la grande et ancienne Méne- chord and Orchestra, in C-See by a Wharfedale speaker strandises, a kind of baroque Pt trouchka; Haydn: Concerto for Violin and system. and the charming set of variations titled Orchestra, No. 1, in C. Les Folies françoises. All of these pieces are played with technical finish, and Piano and Or- some of them -particularly the long GRIEG: Concerto for ones -with variety of tempo and regis- chestra, in A minor, Op. 16 tration. But in well over half of them Artur Rubinstein. piano; RCA Victor there is a squareness in the rhythm, a Alfred Wallenstein, cond. lack Symphony. of flexibility in the phrasing, and a RCA VICTOR LM 2566. LP. $4.98. rather chilling exactness in the repeti- RCA VICTOR LSC 2566. SD. $5.98. tions of sections that drain these fanciful works of their vitality and make them On the jacket of this release appears seem longer than they are. The sound THE WHARFEDALE WED this quotation from Artur Rubinstein: of the monophonic recording is excel- "In its rare coincidence of sound, bal- achromatic speaker system lent. N.B. true wood $116.50, unfinished $101.50 ance and performance of conductor, orchestra and soloist. this is the most DARGOMIJSKY: Romances perfect recording I have made." Such a statement by an artist is unusual, to What's There in My Name: Vertrograd; say the least; in the case of Rubinstein Wharfedale A Youth and a Maiden; I Loved You; and the Grieg Concerto, it is even more The Night Zephyr; To Friends; The unusual. A reprint suitable for framing available Miller; A Tear; I Remember; The Wed- Rubinstein has had a long disc asso- on request. Address Dept. WC 22 ding; Titular Counsellor; The Sierra ciation with this concerto. It was the British Industries Corp.. Pori Washington, N. Y. Nevada Is in the Mist; Bewitch Me; I first work he ever recorded in America, CIRCLE 100 ON READER -SERVICE CARD MARCH 1962 77

www.americanradiohistory.com in 1942 with Eugene Ormandy and the HAYDN: Concerto for Violin and with more than his usual luster.... A Philadelphia Orchestra. With the advent Orchestra, No. 1, in C new Concertante ... was performed for of microgroove, the need arose for a tGiordani: Concerto for Harpsichord the first time with admirable effect. The new version, which was duly made in and Orchestra, in C solo parts were finely contrasted with 1949 with the RCA Victor Symphony iMozart: Divertimentos: in B flat, the 'full tide or harmony' of the other Orchestra under Antal Dorati. By the instruments, and they were very ably time another seven years had elapsed. K. 137; in F, K. 138 sustained by the respective performers." stereo had reared its two heads-and Felix Ayo, violin (in the Haydn); Maria So a London critic of 170 years ago back to work went Rubinstein, again Teresa Garatti, harpsichord (in the greeted this work, which Haydn had with the RCA Victor Symphony, but 1 Giordani); I Musici. composed at furioso tempo for the oc- this time conducted by Alfred Wallen- EPIC LC 3818. LP. $4.98. casion. Unfortunately, although the sym- stein. EPIC BC 1150. SD. $5.98. phony of the evening (No. 98) has re- With the Grieg Concerto already com- . mained with us, the Sinfonia Concer- mitted to stereo, why should we have The "official" attitude toward most of tante has tended to occupy that unfor- a second stereo edition from the same Haydn's concertos-including the two or tunate category of "neglected master- performers in 1961? That was the ques- three he wrote for his faithful Esterházy pieces." It really deserves better. The tion I asked before I compared the fiddler Luigi Tommasini -has always thematic material is strong and its de- 1956 and 1961 recordings. The answer been somewhat down the nose, but it velopment is marked by the imaginative becomes immediately apparent. In- would take a very long nose indeed to invention typical of Haydn's London terpretatively, there is little discernible hide from sight the attractive aspects years. This performance is a good one, difference. The statements are clear and of this work in C major. Its most win- filled with the gallant manner and gen- unhurried, yet full of immense vitality ning feature is a slow movement in erally more sympathetic to Haydn's sty- and youthful ardor from an artist over which the violin, over pizzicato accom- listic requirements than the rival Or- seventy who refuses to grow old. Wal- paniment, sings reflectively and tenderly mandy version. The coupling is attractive lenstein's accompaniments are warm and in a manner that seems made to order too. The Overture is a good example of sympathetic. Where the difference lies (as of course it was) for the fluid, its type, and the Concerto is is in the sound. What strides have been sweet- toned. naturally phrased style always welcome -although the Longi- made in the past five years! By present - characteristic of Italian string players. (- notti -Ansermet disc is superior to this. day standards, the piano tone in the Felix Ayo revels in it; and if, in the R.C.M. older recording is more than satisfactory, other movements, he lends significance to though even in stereo it is two- dimen- simple arpeggio figures by the sheer HINDEMITH: Sonata for Piano, No. sional. In the new version it takes on persuasiveness of his playing, I for one 3, in B flat -See Shostakovich: new color, roundness, vi- cannot depth. and scorn them. Sonata for Piano, No. 2, in B brancy, characteristics which are to be Giordani spent much of his life in noted even in the mono edition. Sim- Dublin, which evidently agreed with minor, Op. 64. ilarly, though the 1956 orchestra has him: this concerto is full of sunshine adequate horizontal spread, direction, and merriment. and is spun off to per- JACOBI: Quartet for Strings, No. 3; and fidelity, it is also two-dimensional fection by Miss Garatti and her col- Ballade for Violin and Piano; Fan- (as well as having a certain cramped leagues -who constitute (if any doubt tasy for Viola and Piano sound. as if the recording had been made on the subject could possibly linger) in a relatively small studio). Depth is one of the very finest string ensembles Fredell Lack, violin (in the Ballade); added to width in the 1961 sonics, in the world. Their luminous tone and Louise Rood, viola (in the Fantasy) ; thanks to more resonant acoustics. In remarkable sense of ensemble -abetted Irene Jacobi, piano (in the Ballade and other words, this new release is not a here by clear, bright, live recorded Fantasy); Lyric Art Quartet (in the superfluous remake. sound -do excellent service too for Quartet). Although it might have been more Mozart's divertimentos of 1772, which COMPOSERS RECORDINGS CRI 146. LP. advantageous to round out the second he called quartets but which Einstein $5.95. side with another modernized recording designates as "simply symphonies for of the Liszt E flat Concerto, the com- strings alone." The opening of K. 137 The late Frederick Jacobi was a devoted panion work on the 1949 and 1956 is surprisingly restrained and dark. but servant of music who nobly upheld a discs, it is nonetheless pleasant to hear the other movements either lyrical or strongly conservative position. It seems Rubinstein in five of his encore favor- energetic. This record. in short, is a inconceivable that the quartet recorded ites -the romantic Schumann Romance joyous affair. SHIRLEY FLEMING here was written in 1945. It sounds like and Liszt Valse oubliée, the brilliant Dvorák and should by rights be the prod- Villa Lobos Polichinelle and Prokofiev uct of a much earlier era in American March from The Love for Three HAYDN: Sinfonia Concertante, in B composition. It is extremely good Oranges, and that Rubinstein special flat, Op. 84; Overture No. 4, in D; Dvorák, however, and it is superlatively tour de force, Falla's Ritual Fire Dance. Concerto for Trumpet and Orches- well played, although the recording is a P.A. tra, in E flat bit tinny in sound. The Ballade and the Fantasy are Adolf Holler, trumpet; Hamburg Cham- exercises in the rhapsodic- dramatic, with HANSON: Symphony No. 1, in E ber Orchestra, Hans Jurgen Walther, impressionistic touches in the former ( cond. (in the Sinfonia); Vienna Phil - work. Both make very satisfactory lis- minor, Op. 21 "Nordic "); Fantasy harmusica Orchestra, , tening. Both are magnificently per- Variations on a Theme of Youth cond. formed and reasonably well recorded. URANIA UR 129. LP. $4.98. A.F. David Burge, piano (in the Fantasy Vari- URANIA US 5129. SD. $5.98. tions); Eastman- Rochester Orchestra, LISZT: Piano Transcriptions Howard Hanson, cond. "Mr. Salomon gave his fourth concert MERCURY MG 50165. LP. $4.98. on Friday night, in which Haydn shone Egon Petri, piano. MERCURY SR 90165. SD. $5.98. WESTMINSTER XWN 18968. LP. $4.98. WESTMINSTER WST 14149. SD. Howard Hanson has made more and $5.98. better records of modern American mu- sic than anybody else alive. His achieve- The Liszt paraphrases were frankly com- ment in this respect is of major impor- posed as keyboard stunts; they belong to tance, and it is therefore with genuine, a bygone era of pianism, when perform- heartfelt regret that I report that his ers and fellow composers considered it First Symphony, composed forty years permissible to borrow and alter each ago, is a monumental piece of Kitsch other's compositions in the interest of which might well have been left to its "free expressiveness." Today, most play- fate in the libraries. The Fantasy Varia- ers tend to sneer at these transcriptions - tions on a Theme of Youth is, presuma- and they often do tend to sound dated bly, a much later work (Arthur Loesser's and overelaborate. But put this music jacket notes do not even mention it); into the hands of a keyboard giant with I wish I could say that it is a finer one. a true love and understanding for the The recording has been given gorgeous sound. A.F. Egon Petri: octogenarian virtuoso. Continued on page 80

78 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Ulna VST 318 Beethot-en: FIDELIO KiV IPPERTSBUSCII, cond. Seda JURINAC Jan PEERCE Burin Mader Barra!! I/iel:ie Ia.(nr \eidlinqer De.zu F:rns(er Frederic Guthrie Geary Pnsl:adn 1'aul \eaner Bavarian Stale Opera Vrehesrrvi and ('haras

NOW -A DEFINITIVE FIDELIO FOR THE SELECTIVE LISTENER-ON WESTMINSTER Westminster has assembled an internationally -renowned Scherchen conducting the Orchestra cast, including Jan Peerce and Sena Jurinac, for a truly with distinguished soloists and the Vienna Academy memorable recording of Beethoven's only opera, Fidelio, Chorus. A remarkable recording of Campra's Mass for the under the inspired direction of . This Dead by a French ensemble under the direction of Louis set, which marks the first appearance together on records Frémaux rounds out the classical releases for this month. of Peerce and Jurinac, is a must for the selective listener. And -in a lighter vein -two albums of Viennese waltzes and This month's releases include 3 masterpieces of liturgical an album of Hungarian folk music played by a native en- music, Bach's St. John Passion and Haydn's Seven Last semble. This is the best in music -for the Selective Listener - Words of Christ, magnificently interpreted by Hermann on Westminster.

Beethoven: Fidelio. Sena Jurinac, Jan Peerce, Soloists, Bavarian State Folklore from Hungary: Soloists, Orchestra and Chorus, "Duna" En- Opera Orchestra and Chorus conducted by Hans Knappertsbusch. (3- semble, Budapest conducted by Béla Vavrinecz. WST- 1'7008 (Stereo); record set) WST -318 (Stereo), $17.94; XWN -3318 (Monaural ), $14.94. XWN -19008 (Monaural). Bach: St. John Passion. ?hyllis Curtin, Soloists, Vienna State Opera Waltzing in Vienna: 20 waltzes played by the Vienna State Opera Orchestra and Vienna Academy Chorus conducted by Hermann Scher - Orchestra, Josef Leo Gruber conducting. WST-17010 (Stereo) XWN - chen. (3- record set) WST -319 (Stereo), $17.94; PARAMOUNT 19010 (Monaural). XWN -3319 (Monaural), $14.94. S 0 Waltzing to the Strains of Strauss: 20 waltzes played by Haydn: Seven Last Words of Christ. Soloists, Vienna the Vienna State Opera Orchestra, Josef Leo Gruber con- State Opera Orchestra and Vienna Academy Chorus ducting. WST -1701)9 (Stereo ); XWN- I 9009 t Monaural ). conducted by Hermann Scherchen. WST-17006 (Stereo); is the Selective Listener XWN -19006 (Monaural). The Westminster Listener Free . . for the Westminster Listener -complete new Campra Requiem: (Messe des Morts), Soloists, Orches- VedLrnLnQ catalog. Write Dept. HF -5. Westminster Recording Co., tra Jean François Paillard, Chorales Philippe Caillard et Inc. A subsidiary of ABC -Paramount Records, Inc. Stephane Caillat conducted by Louis Frémaux. 1501 Broadway, New York 36, New York. WST -17007 (Stereo); XWN -19007 (Monaural). Stereo: $5.98- Monaural: $4.98. AVAILABLE AT YOUR RECORD DEALER AFTER MARCH 15TH. CIRCLE 98 ON READER -SERVICE CARD MARCH 1962 79

www.americanradiohistory.com Continued from page 78 and recordings are currently being re- leased at very much reduced prices in its so- idiom, and suddenly it becomes compel- called "demonstration" series. of lingly vital and satisfying all over again. which the present disc is representative. The is Golschmann's treatment of both the great Egon Petri just such a Italian Symphony and the Midsummer virtuoso. The piano playing on this disc Night's is, quite simply, phenomenal. one Dream music is clear, correct, When and straightforward. His statements are realizes that the veteran artist will cele- simple, brate his eighty -first birthday this month, without any interpretative frills. one's admiration for this recital becomes The only complaint I have is that. for near stupefaction. some unknown reason, he makes a four - Even if it turns out bar cut in the coda of the Wedding that these performances date back a few March. playing is pre- years (not since we are given The orchestral many, a cise, and the sonics in both mono and stereo edition), the free -wheeling ease of stereo are transparent and well defined. execution, the enormous scope, and the Perhaps these aren't the most imaginative ardent sweep of the playing is nothing readings, but their very stability gives short of amazing. them lasting power and makes this disc Petri's work is hewn rather than an buy. P.A. A PRECISION chiseled, and yet there are many mo- excellent ments of ravishing delicacy and culti- 4 SPEED vated feeling here. Enormous pulse is MOZART: Divertimentos: in B flat, present, gigantic understanding of struc- K. 137; in F, K. 138 -See Haydn: ture. and perhaps a little squareness now Concerto for Violin and Orchestra, and then; but the quality that stands No. 1, in C. out the most. in my mind, is the in- fallible integrity of his interpretations. Although Petri indulges in luxuriant MOZART: Sonata for Piano Duet, PLAYBACK UNIT, rubatos and many departures from the in F, K. 497 -See Schubert: Fan- printed text (as, indeed, Liszt himself tasia for Piano Duet, in F minor, SECOND TO NONE must have done!), his emotions have Op. 103. a solid, even devout, quality which eradi- á9950 cates from the music even the slightest for only .l complete hint of sleeziness. PERLE: Quintet for Strings, Op. 35 Petri's tonal quality is not particularly tBassett: Trio for Clarinet, Viola, colorful, but it is tremendously suggestive and Piano For the ultimate in record of orchestral sonority. One can readily hear at the beginning of the Walter Trampler. viola: Beaux Arts playing togetherness, ask Mendelssohn Wedding March, and the String Quartet (in the Perle). Charles your dealer for the ESL Con- fluid projection of the cantabile in Bee- Russo. clarinet: Walter Trampler. viola; Nordli. piano (in the Bassett). unit thoven's Adelaide clearly evokes a hu- Douglas cert Series playback - man voice. The Waltz from Gounod's COMPOSERS RECORDINGS CRI 148. the unique, high performance Faust is truly herculean in its projection LP. $5.95. Gyro/ Spension turntable, the of whirling motion. and if the rarely performed Marriage of Figaro Fantasy This is one of the finest discs so far re- famed Super Gyro/ Balance is more suggestive of a World War I leased in the Composers Recordings arm and the Triumphant new marching song than of "Non più andrai," series. Both works are very mature and impressive. the performances are mag- Redhead stereo cartridge Petri's exposition (slightly cut) makes - the most of it. Petri's own master, Bu- nificent. and the recordings are sonically all factory assembled for soni, also appears, incidentally. The first -class. your instantaneous pleasure. Mepliisto Waltz is played here in his George Perle is one of this country's foremost theorists. critics. and apologists engi- edition, which is in many respects more This harmoniously similar to Liszt's orchestral arrangement for the 1 2-tone system and all its works. neered combination assures of that piece than it is to the original It is therefore surprising, to say the least. to find no use of that system in you the finest reproduction piano score. The Busoni cadenza in the Faust waltz is also utilized by Petri. this. his first major recording. and to obtainable ... just plug it in. The recorded sound is a bit more read in the jacket notes that he very crystalline in the stereo version (al- seldom employs 12 -tone devices. Com- ESL -61 Concert Series though my review copy had some ob- posed in 1958. the Quintet is in a rich. playback unit, complete, trusive surface noise in Adelaide), but eminently tonal. highly emotional vein. the disc. mastered at a with very remarkable use of the medium $99.50 monophonic higher volume level. is also highly satis- harmonically. rhythmically. and instru- factory. In summation, Westminster has mentally. and a sense of profound musi- come up with a release of the highest cianship and high integrity behind the distinction. And now won't that com- whole performance. A big. commanding FOR LISTENING AT ITS BEST pany please give us a recording of an achievement in every respect. important Petri performance so tantaliz- Leslie Bassett's Trio for Clarinet, Electro -Sonic ingly mentioned on the jacket cover: the Viola. and Piano makers a major con- Beethoven Diuhelli Variations? H.G. tribution to a small. distinguished liter- ature. The piece has a certain neo- Laboratories, Inc. classical quality. especially because of Dept H 627 Broadway New York 12. NY MENDELSSOHN: Allegro brillant its very open texture: it is full of high for Piano Duo, in A, Op. 92 -See spirits and fine lyricism. is on the con- Schubert: Fantasia for Piano Duet, servative side without a trace of Kitsch. in F minor, Op. 103. and is herewith recommended in the highest terms. A.F. MENDELSSOHN: Symphony No. 4, RACHMANINOFF: Concerto for in A, Op. 90 ( "Italian "); A Mid- Piano and Orchestra, No. 3, in D summer Night's Dream: Overture; minor, Op. 30 Scherzo; Nocturne; Wedding March Byron Janis. piano; London Symphony, Antal Dorati, cond. Vienna State Opera Orchestra, Vladimir MERCURY MG 50283. LP. $4.98. Golschmann, cond. MERCURY SR 90283. SD. $5.98. VANGUARD SRV 122. LP. $1.98. VANGUARD SRV 122 SD. SD. $2.98. Janis here becomes the first pianist to have recorded this piece for stereo twice. Some of Vanguard's finest performances The present version is, to my mind, a CIRCLE 42 ON READER- SERVICE CARD 80 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com substantial improvement over the pianist's recently deleted 1958 RCA Victor set with Munch and the Boston Symphony: the recorded sound, made originally on Only on 35 -mm film rather than conventional tape, is much more atmospheric as well as more brilliant; Dorati's accompani- ment is more elegant and disciplined than Munch's; and Janis plays with as ffrr n,: much virtuosity as he did on the pre- 0/1'D011' vious recording but with more tonal shading and poetry. This robustly straightforward reading is essentially in the style of the cele- brated Horowitz- Reiner interpretation (Janis studied with Horowitz); and if the playing doesn't quite carry the over- SUTHERLAND.. TEBALDI. NILSSON whelming diablerie and high -strung rhythmic precision of that still unequaled disc, it is, to my mind, far and away the best stereo version. Compared with the present release, Cliburn -Kondrashin -the only possible rival- sounds stodgy, and its sound (recorded at a live concert) is cramped and dry. H.G.

SCHUBERT: Fantasia for Piano Duet, in F minor, op. 103 tMozart: Sonata for Piano Duet, in F, K. 497 1-Mendelssohn: Allegro brillant for Piano Duo, in A, Op. 92 Leonid Hambro, Jascha Zayde, piano. COMMAND CC 33/11010. LP. $4.98. COMMAND CC 11010. SD. $5.98. 1.111111100w...- NILSSON Having distinguished themselves in the SUTHERLAND TEBALDI art of orchestral recording, Command's engineering staff have now applied them- Cilea;. selves to the (in some ways) even more exacting task of faithfully reproducing Donizetti: ADRIANA Verdi: the sound of two . They have pro- duced a disc with outstanding sonic LUCIA DI UN BALLO IN realism. Even the usual artificialities of LECOUVREUR even the best recorded sound have been With Mario eliminated here. In fact, all barriers hav- LAMMERMOOR del Monaco, Giulietta MASCHERA ing disappeared, I found myself criticiz- Simionato and other with Renato Cioni, Rob- with , Cor- ing the tonal values as if this were a soloists - Chorus and live recital in Town Hall: I am disturbed ert Merrill, Cesare Siepi Orchestra of nell MacNeil, Giulietta by the dull, clattery quality of these par- l'Accademia di Santa and other soloists - Simionato, Sylvia Stahl - ticular instruments themselves. Anything Cecilia, Rome - above mezzo forte tends to lose color Chorus and Orchestra of man and other soloists. and become percussive. Franco Capuana L'Accademia di Santa Stereo: OSA 1331 3.12" Chorus and Orchestra of Both the Schubert Fantasy and the Mono: A 4359 3-12" Mozart Sonata are major works in their Cecilia, Rome - John other recordings by L'Accademia di Santa composer's respective catalogues, and to- .Niss Tebaldi Pritchard Cecilia, Rome - Georg gether they form an unusually attractive Verdi: coupling, with the Mendelssohn tidbit Stereo OSA 1327 3 -12" Solti. Mono A 4355 3 -12" providing an added touch of scintillant Stereo: OSA 1324 3 -12" Mono: A 4352 3 -12" virtuosity. Moreover, the disc is most Stereo OSA 1328 3 -12" Mono A 4356 3 -12" welcome in view of the fact that none of other recordings by Puccini: this music is exactly overrecorded. (Two Alias Sutherland LA BOHEME -Complete editions of the Schubert -Helen and Karl Handel: MESSIAH Stereo OSA 1208 2 -12" Mono A 4236 2 -12" Ulrich Schnabel for Epic. and Robert Stereo OSA 1329 3 -12" other recordings by and Gaby Casadesus for Columbia - Mono A 4357 3 -12" Puccini: -Comp. Alias Nilsson have been withdrawn.) Stereo OSA 1210 2 -12" THE ART OF THE Mono A 4235 2 -12" The present performances are highly PRIMA DONNA Wagner: competent, more high- powered and vir- Stereo OSA 1214 2 -12" Verdi: tuosic than those by Badura -Skoda and Mono A 4241 2 -12" La TRAVIATA -Comp. with Fritz Uhl, Regina Res- Demus (Westminster), but perhaps a Mono A 4314 3 -12" nik, Tom Krause, Arnold van shade slick and hard -boiled. The two OPERATIC RECITAL Mill and other soloists. The Stereo OS 25111 1 -12" Giordano: Vienna Philharmonic Orches- available renderings of these composi- Mono 5515 1 -12" ANDREA CHENIER tra - . tions are, in their different ways, just -Complete Stereo OSA 1502 5 -12" Handel: about a Stereo OSA 1303 3 -12" Mono A 4506 5 -12" on par with each other interpre- ACIS AND GALATEA tatively, Hambro -Zayde making up in Mono A 4332 3 -12" Stereo SOL 60011 2 2 -12" brilliance for whatever advantages Mono OL 50179 80 2 -12" Verdi: Wagner: Badura-Skoda-Demus have in intimacy -Comp. TRISTAN UND ISOLDE Beethoven: -Highlights and fluidity. While both can be reason- Stereo OSA 1304 3 -12" SYMPHONY NO. 9 ably strongly endorsed, neither team Mono A 4326 3 -12" Isolde's Narrative and Curse Stereo CS 6143 1 -12" (with Grace Hoffman); Pre- possesses the tensile phrase shapings Mono CM 9033 1 -12" Puccini: lude and Liebestod. The and sheer analytical understanding which LA FANCIULLA Vienna Philharmonic Orches- Knappertsbusch. 1. for one. found so attractive in the MUSIC OF HANDEL DEL WEST-Complete tra - Hans Schnabel duo's reading of the Schubert Stereo SOL 60001 1 -12" Stereo OSA 1306 3 -12" Stereo OS 25138 1 -12" Mono 5537 1 -12" work. H.G. Mono OL 50170 1 -12" Mono A 4338 3 -12"

Continued on next page C'IRCLF. CI ON READER -SERVICE CARD

MARCH 1962 81

www.americanradiohistory.com SCHUMANN: Arabeske, in C, Op. from new to American records and has difficult and challenging works of its 18; Nachtstiik, in F, Op. 23, No. 4; never sounded dull before. A.F. kind ever written, are relatively few. On records, we have had Ricci and Heifetz 82: No. 7, Vo- Waldszenen, Op. -and now, Sitkovecky. Whoever this gel als Prophet; Romances, Op. 28: SIBELIUS: Concerto for Violin and artist may be (the liner notes provide no No. 2, in F sharp minor -See Bee- Orchestra, in D minor, Op. 47; biographical clues), he comes very close thoven: Sonata for Piano, No. 21, Valse triste, Op. 44; The Swan of to the mark. Aside from a few slips in in C, op. 53 (" IValdstein "). Tuonela, Op. 22, No. 3 intonation in the first movement, he gives a bravura account of the Concerto, Julian Sitkovecky, violin; Czech Phil- especially exciting in the finale. One SHOSTAKOVICH: Sonata for Piano, harmonic Orchestra. Nikolai Anosov, might ask for greater subtlety in the No. 2, in B minor, Op. 64 cond. (in the Concerto); Prague Sym- Adagio di molt(); but otherwise, this is tHindemith: Sonata for Piano, No. 3, phony Orchestra, Vaclav Smetacek, cond. a highly commendable performance, very in B flat (in Valse Triste and The Swan of well recorded and priced at a bargain Tuonela). figure. Maria Yudina, piano. PARLIAMENT PLP 148. LP. $1.98. Smetacek's readings of the popular MK -ARTIA 1567. LP. $5.98. PARLIAMENT PLPS 148. SD. $2.98. Valse Triste and Swan of Tuonela are altogether correct, if a trifle matter -of- The Shostakovich is new to records, at Violinists who can conquer the technical fact. Here, though the reproduction is least in this country. It sounds very dull. and stylistic obstacles of the Sibelius satisfactory, there is some noticeable tape So does the Hindemith, which is far Concerto, surely one of the most hiss. P.A. 7 STRAVINSKY: Fire Bird: Suite - Preserve the Genius of the Masters See Walton: Symphony No. 2. STRAVINSKY: Symphony of Psalms; Les Noces Choeur des Jeunes de Lausanne, Choeur de Radio Lausanne, Orchestre de la Suisse Romande, Ernest Ansermet, cond. (in Symphony). Basia Retchitzia, so- prano; Lucienne Devallier, mezzo; Hugues Cuénod, tenor; Heinz Rehfuss, bass; Jacques Horneffer, Renée Peter, Doris Rossiaud, Roger Aubert, pianos; Motet Choir of , Ernest Anser- met, cond. (in Les Noces). J LoNDoN CM 9288. LP. $4.98. LONDON CS 6219. SD. $5.98. As usual, Ansermet's tempos are on the slow side, but this is incomparably the finest recording ever made of the Sym- phony of Psalms, especially in the stereo version. As I have observed in these columns before. stereo does more for the chorus than for any other musical instrumentality, and for the first time with the Stravinsky's magnificent choral sonori- ties are properly liberated from a phono- RE graph record. The choral writing is very N«ti,rtil Sovuui of an ber 9 tight and up to now has always sounded muddy on discs; here. however, it sounds 3 SPEED 4 TRACK MODEL 6 as gorgeous as it does in the concert STEREO RECORD /PLAYBACK TAPE DECK hall. The recording of Les Noces is also The remarkable features of this superb extremely fine, but the failure to provide unit speak for themselves - records 4 its text is a very serious drawback to track; plays back 2 and 4 track stereo its enjoyment. A.F. and mono; records /plays back FM Multiplex Stereocast with magnificent TCHAIKOVSKY: The Sleeping clarity, even at 33/4 ips. Permits sound - Beauty, Op. 66: Suite on- sound, track adding, direct monitor from source or tape; has push button Philadelphia Orchestra, Eugene Or- controls, three separate Tandberg en- mandy, cond. gineered precision laminated heads, COLUMBIA ML 5679. LP. $4.98. hysteresis synchronous motor; installs COLUMBIA MS 6279. SD. $5.98. into HI -FI system. Price $498. Remote control "F" model also available. The present monophonic disc of the Sleeping Beauty Suite is one of the most impressive I've ever heard, if at full MODEL 65 3 SPEED 4 TRACH volume almost painfully ultrabrilliant; STEREO PLAYBACK TAPE DECK the less sharply focused but more openly broadspread stereo edition is sheer aural Another Tandberg triumph - for pure as well as dramatic enchantment. Tchai- playback of 2 and 4 track stereo and kovskian specialists, of course, will not mono tapes with finest frequency re- be satisfied with only a third or so of sponse. Extremely versatile; facilities the full score, and some listeners will for adding erase and record heads. prefer Ansermet's now more relaxed and Price $199.50. lyrical, now more vivaciously danceable reading to Ormandy's somewhat imper- 199.50 Tandberg remains unchallenged for sonal approach. In fact it seems to me clear, crisp, natural sound! that the Ansermet version (nearly com- plete, on London) is, in its somewhat .Tandberg OF AMERICA, INC.. 8 THIRD AVENUE. PELHAM, NEW YORK more distant miking and more spa- cious reverberation, more atmospher- ically evocative than this new edition. CIRCLE 88 ON READER- SERVICE. CARD 82 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Nevertheless, for sensuously beautiful or- which. to judge by the Solti Tristan, we rection. And is Miss Stahlman's voice chestral playing and gorgeous recorded have to thank only the clarity and in- really that much smaller than Miss sonics the present release should meet genuity of Verdi's orchestral scoring); Simionato's? Could no way have been the requirements of the most demanding but it leaps ridiculously into prominence found -at least during her solos -of listeners. R.D.D. during voiceless passages. If the argu- bringing her into reasonable focus? I ment for this procedure is that it is life- wish recording engineers would adopt a VERDI: Un Ballo in maschera like. then it seems to me to be based on creed: life is life, theatre performances a misapprehension. The fact is that in an are theatre performances, and recordings (s), Amelia; Sylvia Stahl - opera house the orchestra never sounds are recordings. And if one's sense of man (s), Oscar; Giulietta Simionato this loud in relation to the other ele- integrity keeps him from balancing the (ms), Ulrica; Carlo Bergonzi (t), Ric- ments. The very ending of the first tenor against the soprano, let him find cardo; Piero di Palma (t), A Judge; scene is an example; it frankly sounds a soprano with a smaller voice or a Vittorio Pandano (t), A Servant; Cornell as if the gain on the microphones had tenor with a larger one. MacNeil (b), Renato; Tom Krause (b), suddenly been increased to make the Cornell MacNeil contributes some po- Silvano; Fernando Corena (bs), Samuel; orchestra seem louder than the entire tent. lovely singing-especially in the Libero Arbace (bs), Tom. Chorus and ensemble or principals and chorus (plus cantabile portion of "Eri to" -though he Orchestra of Accademia di Santa Ce- orchestra) at the conclusion of "A Ile tre." hovers a shade above pitch much of the cilia (Rome), Georg Solti, cond. I rather doubt that this was really done, time. Giulietta Simionato is her familiar LONDON A 4356. Three LP. $14.94. but whatever the cause, the effect is just authoritative self; about Miss Stahlman's LONDON OSA 1328. Three SD. as artificial as the old technique of close - $17.94. miking the singers -and in a worse di- Continued on page 86

The second stereo Ballo is in many ways a very impressive one, richly sung and powerfully played a good portion of the time. Yet it adds up to no more than that; it somehow fails to catch hold and draw the listener into the drama. We must grant that Ballo is one of the most difficult of Verdi's mature works in this respect: the events of the libretto are such a silly hash, and the two leading characters such stuffy dullards, that the music itself, which includes some of Verdi's most passionate, impetuous writ- ing. must be given full due if a recorded performance is to have much effect. Still. the Toscanini Victor version (by virtue of its incandescent leadership) and the Angel edition (by virtue of com- pelling characterizations by Callas and Gobbi) manage, despite some grave de- fects, to involve the listener. The choice of Birgit Nilsson for the role of Amelia is an interesting one. and she contributes some magnificent singing. pouring her voice over the music with an almost inhuman ease. She sings softly where the score is marked piano, loudly where it is marked forte; the note values are correct; the pitch is right on the button. But there is no Amelia; there is not even a generalized woman (which is about all Amelia is. anyway). There is no Amelia trembling under the gibbet in the dark of night. or pouring out her heart to Riccardo. or pleading with her raging husband for a final moment with her son, or breaking her heart as she bids her lore farewell. If a stream of beautiful, impressive tone is enough for you. then this Amelia will be more than satisfactory -but I think Verdi asks more. Her tenor, Carlo Bergonzi, also sings extremely well. and can hardly be cen- sured for not having a voice large enough FOREGROUND MUSIC or liquid enough to take the lead among such principals. Yet to have a Riccardo This is not background music. It is music to be listened to. whose voice is considerably less effulgent Listen to internationally famous bass -baritone, William Warfield, and the world's than the Amelia's. or Renato's. or leading concert organist, Virgil Fox, perform 11 inspiring songs of the Christian and Ulrica's. does make for anticlimactic mo- Jewish faiths on "God of Our Fathers" (S)P -8578. Vibrant voice in duet with the ments. Bergonzi's tasteful. well -phrased will never hear singing magnificent 10,000 -pipe organ of New York's Riverside Church. You would have been more than wel- "The Lord's "Come, Sweet Death;' come on either of the above -mentioned more moving performances of "Deep River; Prayer; LP sets; on this. it does not match the and "Kol Nidrei ',' among others. vocal caliber of the other two leads. Listen to the passionate guitar of Mariano Cordoba intertwine with the intriguing Here I should like to enter a rather rhythm of on "Flamenco Virtuoso" (S)P -8574. You will hear and feel the strong objection to the engineering pol- excitement and fire that is Spanish Flamenco, as performed by a master of the art. icy in force on this recording, which places the singers in an all too realistic Listen to the explosive vigor of two great modern ballet scores - Bartok's "The perspective. This means two things: I) Miraculous Mandarin" and "The Age Of Gold" by Shostakovich (S)P -8576. Robed Nilsson, MacNeil. and Simionato are all Irving conducts the Philharmonia Orchestra. Brilliant stereo "Firsts "! up in the foreground. since they all have These recordings speak for themselves... but by no means softly. big voices: Bergonzi is somewhere in the middle -foreground; and Sylvia Stahlman is virtually out of the picture. 2) The orchestra only occasionally actually threatens to engulf the singers (for OCAPITOL RECORDS. INC. CIRCLE 26 ON READER -SERVICE CARD MARCH 1962 83

www.americanradiohistory.com WHAT A rare opportunity it might be with the Lamoureux Orchestra at its self much prefer the lady; her playing is 1111 thought to hear Dietrich Fischer - best and Markevitch striking a buoyant in the tradition of grand ceremony. Dieskau and Rita Streich in La Bohème, pace. The recorded sound also contrib- Lively and light- textured is the collec- such singers as and Paul utes to the effectiveness of this disc, tion of baroque pieces recorded by Karl Schoeffler together with Gloria Davy in being bright and spacing voices and Haas and his London Ensemble on the , and Kim Borg as Scarpia in Tosca orchestra perfectly. What is achieved is English Pye label (CCL 30148). Despite -and the opportunity is now presented, a sense of ensemble, and a continuous their titles, the music is familiar. The in new stereo recordings issued by flow of wit and melody, conveyed with Sinfonia in F major turns out to be a Deutsche Grammophon and available for great esprit. The libretto, by the way, is later version by Bach of his Brandenburg import outside the regular DGG distri- in French only. Concerto No. 1, with the third movement bution. Intended for the European mar- Remembering what we called "real- and the orchestration simplified by the ket, these operas are sung in German, but istic" as little as five years ago, one omission of the violino- piccolo and by it could be assumed that such artists should be cautious in making any pro- greater use of the violins. The Concerto would provide us with some thrilling nouncement about the sonic fidelity of No. 6 in F major for Harpsichord is a moments in spite of occasional musically recordings. Yet it is difficult to conceive later version of the Brandenburg No. 4 misplaced consonants. Unhappily, the of anything more startlingly real than in G major, with the violin solo given three albums vie in ineptitude. Fischer - the sound of the contemporary Danish to the harpsichord and made more elab- Dieskau and Streich, as Marcel and organ played by Marie -Claire Alain orate. The Handel Harp Concerto in B Musetta in Bohème (SLPM 138720/21), in her recording of the six Bach Trio flat major is probably the original ver- sing their small parts without grace or Sonatas, issued on two discs by a small sion of his Organ Concerto, Op. 4, No. 6, verve and sound consciously German. French company named Erato (LDE with the violins muted, the rest of the Rodolfo is taken by Sandor Konya (a 3140/41). Much of the vivid, room - strings pizzicato, recorders in the tutti, major ornament of the Met this year), filling quality achieved is due to the and the continuo played by a harpsi- who sings with little sense of line, firmness of the organ and Mme. Alain's chord (providing a delicate background breathes awkwardly. gulps often, and sobs choice of contrasting stops and vigorous for the smaller solo instrument). With glottally. The fact that lyrical Italian playing. By the same token, her approach the Haas group playing so gracefully music can be sung intelligently in Ger- to this polyphonic music is abetted by the and George Malcolm such an excellent man is proved by the set's one asset, the close -up recording. Differentiation among harpsichordist, these pieces are happy Spanish soprano Pilar Lorengar as Mimi the three voices is obtained mainly by alternates rather than substitutes for the -as lovely a Mimi as can be heard on assorted colors of the stops, chosen more familiar settings. A fourth work records today. But even she cannot com- boldly yet always in good taste, and on the record, Bach's Sinfonia in D pletely overcome the dull, slow pace of by rhythmic incisiveness. This organist's major for Violin and Orchestra, has conductor Alberto Erede and the covered. playing contains little of the subtle dy- never been recorded before and is rarely distant sound of the recording. The best namic gradations to be found in Helmut performed. It is the introduction to a features of the Tosca (SLPM 138722/23) Walcha's DGG recordings of the same lost church cantata and doesn't quite are the energetic and sensitive conducting works, nor his feeling for long melodic come off here: the violinist. Eli Gorin, of young Horst Stein and the sound of lines. I feel, however, that Alain's has difficulty playing the "opened up" the recording itself, which is bright and straightforward, joyous approach to this chords with his modern bow, and the extremely well balanced. But Konya is music is more apt than Walcha's softer, ensemble horns seem to have trouble disappointing again as Cavaradossi, Kim reverential way with it. And, again, the keeping up in the fanfares of the elab- Borg is a menacing but stiff Scarpia, and sound! The Erato recording, obtainable orate orchestra. The recording in all the Polish soprano Stefania Woytowicz in either mono or stereo, is equally ef- four works is crystal -clear. cannot control her opulent voice in the fective in both versions. The initial release of "The History of title role. As for Aida (highlights, Italian Music," recorded by RCA Italiana SLPM 136402), only Paul Schoeffler Recorded by the same Danish engineer in Rome under the auspices of the as Ramfis manages to show any spirit as the above and released by another Italian State Record Library and the and devotion to pitch; Miss Davy, small French company -Valois -are International Music Council, with the Konya, and Hotter join conductor Argeo Rameau's Nouvelles Suites de Pièces de collaboration of UNESCO, is now avail- Quadri in a lackluster performance. Clavecin, fifteen pieces performed on able in the United States through limited Living up to all expectations is the a twentieth -century harpsichord by RCA distribution. Comprising ten LP French recording of Offenbach's opéra Huguette Dreyfus (MB 420). Once more records, accompanied by a 100 -page bou //e La Périchole, conducted by Igor the recorded sound of the instrument is illustrated book in English, bound to- Markevitch (monophonic only, Pathé- slightly larger than life and exceptional gether in a full- leather album, this first Columbia LX 786/87). Until now, we in its clarity, and again it is well suited volume ranges from Gregorian Chant to have had to content ourselves with the to the instrument and the player's ap- the seventeenth- century oratorio of Caris- abridged English version of Périchole proach to the music. The Danish harp- simi. The price is $85, and worth it staged by Cyril Ritchard at the Met and sichord sounds like a true plucked in- from many points of view. The music, issued by RCA Victor, with Ritchard strument, somewhat resembling a cross for the most part unpublished and pre- half talking the key part of The Viceroy between the classical guitar and the harp, viously unrecorded, is performed with and the orchestration considerably with none of the tinkle and lack of res- great authenticity and enthusiasm, and thinned out. That performance lacks el- onance much in fashion today. The the book, with color plates, engravings, egance, and this is exactly what the fuller sound is put to use emphasizing and illustrations of the finest quality, is complete French set has. The leading harmonies, arpeggios, and syncopation a pleasure to read. Used together, rec- singers -Louis Noguéra as The Viceroy, rather than close linear development, ords and text unfold the continuous de- Suzanne Lafaye as La Périchole, and much more in Handel's baroque style velopment of Italian music at a leisurely Raymonde Amade as Piquillo-have than in Couperirt s. Those who like pace and with seemingly complete in- voices of excellent timbre and seem to Fernando Valente's lighter touch in such formation. Three more volumes are relish each French turn of phrase. The pieces as La Poule and L'Egytienne may being produced, which will bring the orchestration is diverse and full- sounding, find Mme. Dreyfus' ponderous. I my- total to forty records. GENE BRUCK

84 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com Continued from page 83 VIVALDI: Concerto grosso, Op. 3, Reinmar von Zweter. Chorus and Or- No. 8, in A minor -See Bach: Con- chestra of the German State Opera (Ber- Oscar I can say little, under the circum- certo for Two Violins and Orches- lin). Franz Konwitschny, cond. stances. The orchestra (not a great one) tra, in D minor, S. 1043. ANGEL 3620D/L. Four LP. $19.92. does not sound on its best mettle. Solti's ANGEL S 3620D/L. Four SD. $23.92. conducting has considerable dramatic punch, but not enough songfulness, and WAGNER: Siegfried Idyll-See This first stereo Tannhiiuser (excepting sometimes borders on the mannered. Binkerd: Symphony No. 1. the "duophonic" edition of the Urania In sum, we have a Ballo that offers performance, which I have not heard) splendid, but not particularly dynamic, is also only the second on microgroove, singing in three of the main roles; re- WAGNER: Tannhäuser and the third in the history of the phono- cording that is technically good but graph. (The old Bayreuth albums, never aesthetically questionable; and disci- Elisabeth Grümmer (s), Elisabeth: Mari- re- released on LP, offered sterling work anne Schech (s), Venus; Lisa Otto A plined, insufficiently warm leadership. (s), from Janssen and Andresen, and some The field is still open. C.L.O. Shepherd; (t), Tannhäuser; competent singing from Maria (t). Walter von der Müller Fritz Wunderlich and Sigismund Pilinsky. They are Vogelweide; Gerhard Unger (t). Heinrich all Concerto for and but impossible to obtain.) Since the new VIOTTI: Violin der Schreiber; Dietrich Fischer - Dieskau Angel 22, A performance is a solid one, re- Orchestra, No. in minor - (b), Wolfram von Eschenbach; Gottlob corded with modern techniques, it is to See Bartók: Concerto for Violin Frick (bs), Landgrave Hermann: Rudolf be welcomed as an adequate brace for and Orchestra, No. 1, Op. posth. Gonszar (bs), Biterolf; Reiner Süss (bs), a weak spot in the recorded repertory. Where it lets us down is in the singing of the title role. This comes as no surprise, for since the disappearance of Melchior, Lorenz, and Ralf, the Heldentenor situa- tion has been desperate. Svanholm filled in adequately for a while, and then Windgassen; Vickers obviously has the makings. These operatives aside, the tenor in recent Wagnerian performances DYNAKIT has been the one sure element, bound to be poor. Hans Hopf sings with a certain sturdiness, but along with it comes vocal heaviness, ponderous musical conception, there is no finer performance and interpretative unimaginativeness. In this particular role, he made some ring- ing sounds when he was younger; some of that is now gone, and it cannot be said QUALITY that his insight has deepened by way of th, anon. perfectionist the FM-Multiplex Dyna- compensation. The practical- minded will tuner has set new standards for useable sensitivity ask who might have done it better, and I tinder the most difficult conditions, with lower distor- am afraid I can offer no confident tion at all signal strengths - faster limiting. simpler answer. and more accurate tuning, better capture ratio. su- There is some very good singing in perior interference rejection. no overloading, out- other roles, though. Elisabeth Grümmer standing AM and multipath rejection. superlative displays the kit purity of voice, an admirable selectivity. and lower hum and noise. For sensitivity builder, assembly and alignment arc completed in to the text, and a fine grasp just 6 hours. and performance specs arc net the of phrasing. Her soprano does not first tinte. FMX -3 Multiplex integrator $29.95 kit. possess quite enough body at the top for the FM-1 $79.95 kit, $119.95 assembled and tested. climax of "Dick, teure Halle," but apart from this, her work is gratifying. Fischer -Dieskau pays rather too much attention to niceties of inflection for my taste, but the sound of his voice is lovely, ECONOMY and when he shakes loose of his tendency to overrefinement, as in the Easily the finest value in the high fidelity field. this final plea to Heinrich, he "no distortion" preamp has won acclaim for im- is extremely impressive. peccable performance. at just about the lowest price Incidentally, he negotiates a turn in "O ever for a stereo preamplifier. Full control flexibility du mein holder Ahendstern" (on "ein

in a . ple, modern arrangement makes it easy to sel'ger Engel ") which I do not believe build and a pleasure for the non -technical music I have heard used before; it differs from freedom lover to use. You'll revel in its near-perfect the one normally sung, and makes a $59.95 bues the from hum, noise. and distortion. Just rather striking effect. Frick is a superb your music system. most important improvement in Landgrave, with a rich, firm voice aided P.4S.2 $59.95 kit, 599.95 assembled and I. ,ted. by dignity of utterance. There is tender- ness in his lines to Elisabeth, nobility in his address to the assemblage -and it is all good singing. Fritz Wunderlich does some very attractive lyric singing during DEPENDABILITY Walter's brief moment in the sun. Mari- It's more than two rears old. but we've never had anne Schech, the Venus of the present to retake a single change in the Stereo 70 amplifier. set, was the Elisabeth of Urania's pro- Patented Dnaco output transformers and circuitry, duction, and I can't help feeling etched circuit that and the superior reliability of the finest she was better suited to that role. Her construction assure continued superiority of perform- voice is free, but is ance. In the words of Hirsch -Houck Laboratories it not dark or sen- suous, (December 1959 issue of High Fidelity Magazine) and she does not seem to have "Thin amplifier '.t components arc operated more con - any consistent approach to the character sert atirely than Mote in arty other commercial ampli- of Venus. As usual, her top tones are /t.r tie fare tested . Its potter and distortion strong and beautiful. ratinztt are completely ctmtrreatire. Its 1i,tetting Konwitschny's conducting is sometimes quality it ansarpatted.' Could we say more? a bit lacking in dash or incisiveness, but Ste ,to,t) $99.95 kit, $129.95 assembled and tested. he is sure of his idea of the music, and follows through thoroughly; his is a dependable, well -considered reading. The QUOD ERAT DEMONSTRANDUM: which was to be proved orchestra is good, the chorus excellent. Angel's recording does not offer ideal write for 3912 Ave., Phila. clarity or spaciousness in the big ensem- detailed literature INC. Cable Address: Dco,Dynaco, Phila. bles of Act II, and the soloists -espe- DYNACO cially Hopf -are frequently uncomfort- CIRCLE 39 ON READER -SERVICE CARD 86 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ably close, but there are some beautiful thumps and crashes about EMI these and presto, we are transported to the quiet moments, such as the ringing of days, it could well be his indignant spirit. Thirties. One of the most famous Jistant bells at the beginning of the sec - Sir Thomas never thought except in terms Beecham records from the Leeds Festival ond scene, or the entrance of the off- of the whole of a work. To extract a was the tempest music of Sibelius as stage chorus on Wolfram's "nur erteilt" single movement (and invariably a fast recorded during a veritable thunderstorm. In Act III. one) from the context of a Mozart sym- "A most exceptional record . quite This release clearly supersedes the phony is bad enough. but to whack the remarkable," Sir Thomas called it a few Urania version, and is good enough to final pages off a Sibelius symphony or years ago. This would be the ideal place remind us of this opera's beauty and Strauss's Don Quixote is simply an act for its revival, but no one chose to do so. power. Tannhäuser may not be what we of artistic defilement. It honors no one. However, we do have the ballet of the would term a basic repertory work, and For any serious Beecham collector sylphs with its famous spoken addendum. like the rest of the composer's output, it most of Sides 3 and 4 are a total waste, Why not as well the famous Flight of has had to suffer through the Fifties. unsatisfictory duplication of material the Bumble Bee with its verbal intrusion But give it a respectable performance, that's already been made available. at the end? and it again becomes moving and ex- (Most of the items of Side 4 are in the Would not the complete Beecham re- citing. C.L.O. current catalogue. Side 1 opens with a cordings of the Mozart symphonies Nos. 1915 acoustical version of the Zauher- 27, 29, and 31 -all of them long out of fliite overture that provides an interesting print -be preferable to isolated move- WALTON: Symphony No. 2 look at the young Beecham's Mozart ments from familiar, late symphonies 1-Stravinsky: Fire Bird: Suite style. We then find Sir Thomas at the which he re- recorded? So it goes. You piano, accompanying a song of Delius, can cite your own criticisms. R.C.M. Cleveland Orchestra, George Sze11, cond. Epic LC 3812. LP. $4.98. EPIC BC 1149. SD. $5.98.

Sir William's new symphony is about what you would expect -a warm, tune- ful, grandly scaled, eminently persuasive example of the genteel tradition: it is Elgar brought down to date. The record- ing is very good and the performance. one must believe, is equally good, since Proudly Presents the New Sze11 is Sir William's ambassador to the United States. The interpretation of the familiar Fire Bird music on the other side is also extremely brilliant and well SERIES 90 registered. A.F. Concertone's new Series 90 represents the first breakthrough in the commer- cial/professional recording equip- ment field at a medium price. RECITALS AND Designed for rugged reliability under continuous performance conditions, MISCELLANY the Series 90 meets the most exacting broadcast requirements. Note These Outstanding Features SIR : "A EDIT -O- MATIC- provides the count- Beecham Anthology" less advantages of high speed search, cueing and editing. Delius: Evening Voices; Hassan: Inter- mezzo and Serenade. Handel: Solomon: AUTOMATIC TAPE LIFTERS - Arrival of the Queen of Sheba. Borodin: eliminate the annoyancç of "squeal" Prince Igor: Polovtsian Dances, No. 17. in fast mode. Wagner: Die Meistersinger: Church scene. Berlioz: Le Corsaire Overture; FOUR HEADS -allow reproduction La Damnation de Faust: Ballet des of monaural, 2.track or qtr. track Sylphes. Mozart: Le Nozze di Figaro: tapes with the flick of a switch. The Overture; Die Zauberflöte: Overture; fourth head position can also be used "Papagena! Papagena! Papagena!"; Sym- for special heads. phony No. 35: Finale; Symphony No. RELAYS 40: Minuet. Chabrier: Joyeuse marche. ELECTRIC - provide Sibelius: Symphony No. 2: Finale (part). instant, positive action for stop, start, R. Strauss: Don Quixote: Finale. Grieg: fast forward and rewind modes. Peer Gynt: First Arabian Dance. Grétry: REMOTE CONTROL - record, stop, Zemir et Azor: Air de ballet. Tchaikov- start, fast forward and rewind. sky: Symphony No. 4: Scherzo. Schu- bert: Symphony No. 3: Minuet. Haydn: NEW TAPE TRANSPORT - precision design and construction. 3 motor Symphony No. 100: Finale. Bizet: Car- drive system. including heavy duty capstan motor. men: Chanson bohème. These exciting features mark the Series 90 as the Beecham Symphony Orchestra; London ultimate in professional recorders. From $925. Philharmonic Orchestra; Royal Philhar- THE NEW 508 -AT A MODEST PRICE monic Orchestra and assisting artists, Sir Advanced recorder design with professional reliability, Thomas Beecham, cond. ANGEL 3621 B. Two LP. $9.96. extreme fidelity and tape- handling ease. The 508 has no equal for broadcast performance or custom instal- Sir Thomas Beecham made records for lation. Available as a precision tape player or with more than fifty years. The present col- separate electronics for mono or stereo recording. In lection spans forty -three of them, from half or full track at $520. 1915 to 1958. Considering all there was Write for name of to choose from, it turns out to be a bad See Concertone at better professional dealers everywhere. cross between the usual sort of promo- nearest dealer and complete information. Dealer inquiries invited. tional sampler and the familiar miscel- lany of purple patches from famous AMERICAN CONCERTONE, INC. pieces. "Let me hear a bit of it," was a A DIVISION OF ASTRO- SCIENCE CORPORATION standard Beecham rehearsal line, but the e 9449 WEST JEFFERSON BOULEVARD CULVER CITY. CALIFORNIA bits here add up to something less than we the remarkable man know Sir Corp., 171 Ave., New York 16, N.Y. Thomas to be. If there are mysterious EXPORT: Telesco International Madison CIRCLE 5 ON READER-SERVICE CARD MARCH 1962 87

www.americanradiohistory.com ,Vote You Can Rediscover VICTORIA DE LOS ANGELES: "KEYBOARD GIANTS OF THE VIVALDI "The Fabulous Victoria de los PAST" Angeles" Various artists. HAYDN Sacrati: Proserpina: E dove l'aggiri. RCA VICTOR LM 2585. LP. $4.98. Alessandro Scarlatti: Le Violette. Han- del: Joshua: Oh! Had I Jubal's Lyre. This disc ranges in time from the distant CORELLI Schubert: Der Tod und das Mädchen; era of De Pachmann, Rosenthal (whose Wohin; An die Musik. Brahms: Dein heyday was long before 1942 when the blaues Auge; Vergebliches Stündchen. present recording of Liszt's Chant polo- BACH Fauré: Chanson d'amour; Clair de lune. naise No. 5 was made), Paderewski, and Granados: Callejeo; E tra la la y el Gabrilowitsch, and goes on to include An Unusual Introductory Invitation punteado. Guridi: No quiero tus avel- the more recent art of Lhevinne, Rach- To Enjoy the Treasures of LRM lanas; Cono quieres que adivine. Tradi- maninoff, and Harold Bauer. It culmin- tional, arr. Nin: Granadina; El vito; El ates with a beautiful performance of the You have probably been hearing about patio murciano. Turma: Tu pupila es Eleventh Liszt Hungarian Rhapsody by the extraordinary Library of Recorded azul. Valverde: Clavelitos. Barrera & William Kapell, whose career would still Masterpieces' recordings -with authentic Calleja: Adiós Granada. be flourishing had it not been for the scores and original instrumentation -of tragic air crash that claimed his life in the complete VIVALDI ( "Sheer listening Victoria de los Angeles, soprano; Gerald 1953. joy!", Leonard Bernstein says); of 18 Moore, piano. If the present album lacks some of HAYDN symphonies (called by High ANGEL 35971. LP. $4.98. the excitement generated by earlier discs Fidelity, "The logical starting point for ANGEL S 35971. SD. $5.98. of this sort, it is chiefly because of the even a restricted Haydn collection."); of fact that most of the performances here the complete CORELLI (the only Corelli This is a fairly typical De los Angeles reissued have already been made avail- recording in High Fidelity's 100 best recital program, embracing a lengthy able on microgroove at one time or an- recordings of the year); and of the ex- group of Spanish songs in addition to the other. For example, I cannot envision citing BACH BRANDENBURG CON- more familiar Italian, French, and Ger- any lover of great keyboard artistry who CERTOS with never before recorded man selections. Her voice has never does not already own Rachmaninoff's alternate versions and original instru- sounded better. and no devotee will be complete rendition of Schumann's Carni- mentation and Bach's own 176 -page disappointed. Her first group-consist- val, either in its first reincarnation as manuscript score in facsimile. ing of the Sacrati. Scarlatti, and Handel RCA Victor LCT 12 or its second, on numbers -is nearly beyond criticism. Camden CAL 396. The Rosenthal, To enable you to make the acquaint- Lhevinne, and Bauer selections were also ance of these Her pure, rock -steady tones have a chill- treasures, the Library has ing bite in the "E available for a time on the RCA Cam- arranged a highly attractive introductory powerful dove t'aggiri," a melting warmth and charm in Le Vio- den reissue series "The Art of...." I am offer which is truly breathtaking. lette, and a diamondlike brilliance in not so sure about the Paderewski Minuet in G. This pianist made so many re- Write today for free brochure "INTRODUCTORY" the extended coloratura of "U /r! Had I lnhal's Lyre." cordings of his hackneyed little trifle that Library of Recorded Masterpieces, How well one will take to the remain- it is hard to keep track of them. If I remember correctly, Dept. IN, 150 W. 82nd St., N. Y. 24, N.Y. ing interpretations is largely dependent the performance on personal taste, since the singer's own contained on the "Art of Paderewski" CIRCLE 59 ON READER -SERVICE CARD approach is so entirely subjective. I disc was a more recent one than the would vote very much in favor of her version we are given here. which dates sensitive work in Der Tod and das from 1923. Miidchen (though the low ending is Of the newly rediscovered perform- surely more effective), and of the caress- ances, De Pachmann's 1923 Chopin F DISCOVER ing. romantic rendering of the Chanson sharp Impromptu shows the performer in d'autour. But, though there is illustrious a relatively straightforward mood. His precedent for a woman singing Wohin?, playing has considerable flow and con- I cannot quite accustom myself to the tinuity despite his rather curious phrase PARLIAMENT idea of any of the songs from such groupings and semi -staccato approach, male cycles as Die schöne Miillerin, Die and the fluid cantabile of his tonal qual- Winterreise, or Dichterliehe in even the ity is most impressive. The Arensky At $1.98` Waltz in the Bauer -Gabrilowitsch ver- *SUGGESTED LIST PRICE PER RECORD most competent female hands. And surely this An die Musik is much too sion is still the classic recording of this the greatest value distended: granted that Schubert's tempo piece. What ebb and flow, what beauti- markings are not voluminous (this entire ful give- and -take these two artists song. for instance. bears only the indica- achieve here! The Levitzki performance in recorded music tion "Miissik' at the top of the page - of his own Arabesque valsatte is of lim- nary an accelerando or ritardando. his ited interest. chiefly because of the in- phrases still are not made of rubber. herent inferiority of the music itself. The effect of all the dallying at the tops The more familiar performances do Gmçeppe of phrases is to convey the impression not really require mention here, although VERN that the singer loves music in a soupy, I would like to express my special ad- sentimental way, which may suit Schober, miration of Harold Bauer's wonderfully REQUIEM but not Schubert. But as previously wholesome interpretation of Liszt's Un noted. one's taste plays an important Sospiro. Victor's transfers have a good ICOR MARKEVICH role in such considerations. deal of vitality. The engineers have I always have a bit of trouble with mastered the disc at a rather high vol- groups of Spanish songs of the sort ume level. and have refrained from fil- offered here, because I think that by and tering out the surface noise on the really a:aLna \'nhnevla,i old items. I approve. for I much prefer N.na I,alma large they are uninteresting as music; rla,hmn I.,n.,,., and while I'm always happy to hear a scratch to leaden, soggy piano sound. Lan Pnro, well -done Clavelitos as an encore. I H.G. really can't accept half a recital program built on such items. De los Angeles' IDA PRESTI and ALEXANDRE LA- performances of them are lovely. though GOYA: "The Virtuoso Guitars" they don't have the final bit of "go" that

A Deluxe 2 Record Set Supervia or Boni brought to such songs. Bach: English Suite No. 3, S. 808: Pré- The singer announces each number in lude, Allemande, Courante. Debussy: this group -why, I can't imagine. As (Span- For Further Exploration Clair de lune. Granados: Oriental usual. Moore's accompaniments are ish Dance No. 2). Marella: Suite No. of the Parliament Catalogue pianistically irreproachable, and beauti- 1, for Two Guitars. D. Scarlatti: Sonatas: Write: fully matched to the singer's concepts. in E, L. 23; in B minor, L. 33. And Angel has again provided excellent PARLIAMENT RECORDS translations and notes, as well as good re- Ida Presti and Alexandre Lagoya. guitars. cording on both the mono and stereo ELEKTRA EKL 208. LP. $4.98. 38 W. 48 St., N.Y.C. 36, N.Y. discs. C.L.O. ELEKTRA EKS 7208. SD. $5.95. CIRCLE 12 ON READER -SERVICE CARD 88 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com THE RECORDS THAT WOULD NOT DIE well hypnotized by his Sensationally successful in concerts find yourself Starring abroad and currently (under Sol Hurok's playing. Such was the power of convic- aegis) in this country too, Presti and La- tion of one of the supreme pianistic HAYDN goya are patently virtuosos of the first giants of all time, and that power is here SOCIETY & CONCERT HALL rank. Their showmanship is dazzling; very amply conveyed. H.G. their performance style unusually inter- A MOVING SAGA OF LP esting in its apparent independence from MARTIAL SINGHER: Operatic Re- BEAUTIES DISAPPEARED FROM THE that of the omnipotent Segovia; yet for cital CATALOG BUT REINCARNATED some reason their playing, on records at Les Pêcheurs de O BY THE RECORD HUNTER least, fails to move me. Their sole origi- Bizet: perles: Nadir, tendre de nal score, by the late eighteenth-century anti mon ¡elute age. Charpen- tier: Louise: Les pauvres gens peuvent - HAYDN SOCIETY: over 40 titles already Italian composer Giovanni Batista Ma- available..new pressings..original H.S. mas- ils être heureux ?: Berceuse. Lully: rella, is no more than a lightweight, how- ters & jackets..INCLUDING: early Haydn the Schneider Quartet..entire pièce d'occasion; with the Alceste: Air de Caron. Rossini: Barbiere Quartets by ever genial, di Siviglia: Largo MASTERPIECES BEFORE 1750 series.. exception of the perky L. 23 and nos- al factotum; Dunque LILI KRAUS' MOZART..R. KILPAT- io son. Thomas: talgic L. 33 Scarlatti sonatas, Lagoya's Hamlet: Spectre infer- RICK'S "GOLDBERG" VARIATIONS.. nal; O vin dissipe la tristesse; La EARLY SYMPHONISTS & VOCAL PO- transcriptions strike me as nervously fatigue CHARPENTI ER HAYDN alourdit nies pas: LYPHONY .. .. tense (as in the Bach) or overmannered Compte une pale fleur. MASSES..ETC. ETC. ETC. Hahn: Le Marchand (as in the Debussy and Granados). Per- de Venise: Air de Bassanio. CONCERT HALL: over 30 titles already haps other listeners will find more com- Debussy: Pelléas et Mélisande: Oh! qu'est available..limited, new pressings on The here than I can; cer- -ce que c'est? Mussorgsky: Record Hunter's RARITIES COLLECTION municative feeling Boris tainly the closely miked recording of the Godunov: Monologue. Iabel..Ori}'mal C.H. masters..MANY MANY "ONLY V ERSIONS" INCLUDING: HUM - blended timbres is ex- players' perfectly Virginia MacWaters, soprano (in "Dun - MEL PIANO CONCERTO..SHOSTAKO- tremely attractive. R.D.D. VICH PLAYS SHOSTAKOVICH (preludes) que io son "); Bidú Sayiio, soprano (in ..EARLIEST MOZART SYMPHONIES (en- the Debussy); Martial Singher, baritone; tire series)..ARRIAGA QUARTETS..several Orchestra. Beethoven rarities: Christus am Oehlberg SERGEI RACHMANINOFF: "The (complete), Ruins of Athens (complete) & Great Rachmaninoff" INTERNATIONAL RECORD COLLECTORS' Creatures of (complete)..HAN- CLUB IRCC L 7019. LP. $5.50. DEL "APOLLO & DAPHNE' complete.. Mendelssohn: Midsummer Night's (Available from International Record ETC. ETC. ETC. Dream: Scherzo; Spinning Song, No. 34, Collectors' Club, 318 Reservoir Avenue, OUT OF TOWNERS in C, Op. 67, No. 4. Chopin: Waltzes: Bridgeport 6, Conn.) The Record Hunter periodically mails to in E minor, Op. posth.; in C sharp mi- Collectors a select list of LPs. Each LP is 64, No. 2; Nocturne in E flat, Most, if not all, of the recordings pre- described with inside musical, critical & nor, Op. discological information. Above labels arc Op. 9, No. 2. Bach: Partita No. 3: sented here were made in the Thirties listed complete, as are lavish selections on Prelude. Handel: Harmonious Black - and Forties, when this fine baritone's Major & minor labels at doubly-flatted dis- Preludes: in C voice was in fresher :ounts. FREE SUBSCRIPTIONS TO READ- smith. Rachmaninoff: condition-espe- ERS OF HIGH FIDELITY..for current is- sharp minor, Op. 3, No. 2: in F minor, cially in the upper regions -than it has sue send a card now to: Op. 32, No. 6; Polka de W. R.: Etude in been over the past decade or so. Singher E flat, Op. 33, No. 7; Tchaikovsky: has always been a stylish, incisive artist, Troika Sleigh Ride. Schubert: Serenade. and as the Metropolitan's sole resident THE RECORD HUNTER J. Strauss II: One Lives but Once. representative of the best French tradi- DEPT. "HIGH," 607 5th Ave., New York 17, N. Y. tion until his departure from the com- CIN('I.F. 72 ON RE ',DER-SERVICE CARD Sergei Rachmaninoff, piano. pany a couple of seasons back, he has RCA VICTOR LM 2587. LP. $4.98. made himself uniquely valuable to lovers r...-...--,. of French opera on this side of the Rach- Here is a fine cross section of Atlantic. His voice has always inclined legacy. Of the se- t.S VANGUARD maninoff's recorded to dryness, but it is of fair caliber, and RECORDS lections reissued here, the miraculous when in his prime he produced it with Mendelssohn Scherzo, the fastidiously an ease that allowed him considerable accented Harmonious controlled, bitingly latitude in shading, even in the cruelly Variations, the Blacksmith and perverse, high tessitura of the role of Pelléas. but compelling, Chopin E minor Waltz Certainly it is a pleasure to hear 78 rpm to mi- make the journey from these French operatic excerpts presented the first time. So, too, crogroove for with such authority and precision in does the pianist's shattering transcription characterization. Most welcome Just Released of the Strauss Man lebt nrtr einmal is the series of passages from Hamlet, an opera Waltz, recorded in 1927. The remaining which was revived him the have all been included in previous for by Paris items Opéra in 1933, with LP collections, but only one of them Ritter- Ciampi as Ophélie. These selections, rare enough ( of the Rachmaninoff's transcription on records TA6 Prelude the Bach E major Violin (except for the familiar from "O vin, dissipe was contained on the recently la tristesse "), are all the Partita) more treasurable deleted Camden disc (CAL 486. "The for the firm vocalism and interpretative Art of Sergei Rachmaninoff," Vol. M. insight that Singher WEAVERS' Rachmaninoff's bluntly dogmatic, brings to them; it is a pity that he was never given the opportunity to sing the square -cut rhythmic precision and non - coloristic "steel -point etching" tonal role in New York. Despite the fact that ALMANAC quality are best suited to the pieces his voice could, in those years, have been which call for transparency of texture described as a high lyric baritone, his and firmly delineated contours. Some adeptness at coloration and the im- music, the Chopin for instance, tends to mediacy of his attack enabled him to get overpowered by the performer's vi- sing convincingly even the Louise Ber- tality. The Chopin Waltzes here are ceuse and the Boris monologue, both really more strenuous than they are vi- of which usually make their best effect vacious, while the E flat Nocturne is in the hands of a bass. overdrawn and exaggerated. The Men - The selections from !l Barbiere and delssohn Spinning Song, on the other Pelléas will evoke nostalgia in long -time hand. generates dizzying momentum, Met broadcast listeners. As such record- and the Tchaikovsky Troika Sleigh Ride ings go, this offers fine sound. C.L.O. from The Seasons comes off with be- guiling (and unexpected) warmth and charm. The restored sound is very vital throughout. and some of it (the Strauss, for example) much better than one "Listening to the Weavers is a joyful, even uplifting experience... the quartet continues to communicate would have expected from such old that 'glad to be alive and singing' feeling, material. which few others who are working in the folk Even if you find yourself to be in field have been able to sustain." New York Times violent disagreement with sdme of Send for CatsIttoe to 1'a-¡eard Pecord^g Sosets, Ir :., 1st West 14 Street, New Yak Rachmaninoff's interpretations, you may ..e -- - ....a . 95 ON READER -SERVICE CARI) MARCH 1962 89

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CIRCI.E 63 ON READER -SERVICE CARD 90 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com O POPULAR THEATRE FOLK

More Than Music To March To

"Sousa on Review." Eastman Wind Ensemble, Frederick Fennell, cond. Mercury MG 50284, $4.98 (LP); SR 90284, $5.98 (SD).

I "Touchdown, U. S. A.: The `Big 10' and Other Great College Marches of the Gridiron." University of Michigan Band, William D. Revelli, cond. Vanguard VRS 9095, $4.98 (LP); VSD 2100, $5.95 (SD).

John Philip Sousa

INASMUCH AS superlatives are my weakness, I expect However large (or small) the hard core of march l'll have to concede that these two march records music aficionados may be today, sales of band re- may not be in every respect the finest ever made. cordings probably primarily depend on strictly sonic But it's certainly no exaggeration to rank them among appeals to less specialized audiophiles. And here the very best over -all, as well as exceptionally note- too, while there have been superb examples in the worthy for their special contributions: in one case, recent past, the present releases match, if not surpass, revelations of the less well -known Sousa repertory: them in technical excellence-expectedly enough in the other, startling evidence of the performance where Fennell is concerned, and not entirely surpris- skills a great conductor can instill in the changing ing in Vanguard's case, at least to anyone thrilled personnel of a college band. earlier by this company's overseas recordings of the

MARCH 1962 91

www.americanradiohistory.com Royal Artillery Band. And, as usual in this repertory, since 1935) has long been firmly established in it is only the stereo editions which fully capture the educational band circles as well as locally (and expansive authenticity of the master tapes; the Van- abroad too, thanks to a triumphal foreign tour in guard LP is satisfactory enough by mono standards, 1961), I was still unprepared for what is to be but the Mercury LP is much too high in modulation heard in this typical collection of collegiate fa- level and harder -toned than its SD counterpart. vorites. In the first place, the many special arrange- Fennell's program is his second devoted entirely ments by Jerry H. Bilik are not only more profes- to Sousa (the first was "Sound Off! ") and-with sionally expert than those of most pros but they various inclusions in other less specialized albums, demonstrate, especially in their arresting introduc- three of which are re- recorded here for the first tions, a truly creative imagination and an unfailing time in stereo -it brings him up to thirty -one in his mastery of tonal color contrasts and combinations. monumental endeavor of recording the March King's In the second place, Revelli miraculously endows complete published legacy of 131 pieces. The three his amateur players with an assured precision, yet re- recordings are Rifle Regiment (I886), Manhattan without any curbing of their youthful vigor and Beach (1893), and Black Horse Troop (1925). Most zest. If football -game memories or current TV of the other selections here are relatively unfamiliar examples have left you with a neutral or low and some of them surely must be record "firsts ": opinion of gridiron bands and music, just listen Glory of the Yankee Navy (1910), Kansas Wildcats to their apotheoses here, beginning perhaps with (early 1920s), Ancient and Honorable Artillery the exhilarating Rambling Wreck from Georgia Company (1924), National Game (1925), Pride of Tech, Minnesota Rouser, Hail Purdue, Down the the Wolverines, Gridiron Club, and Sesqui- Centen- Field, and Notre Dame Victory March. By this nial (1926), New Mexico and Golden Jubilee time the seasonal excuse for these pièces d'occasion (1928). is long past: no matter!, the present recorded per- Although the reputation of the century -old Mich- formances transcend the calendar no less than the igan Band and of William D. Revelli (its director genre itself. R.D.D.

"American Folk Songs." Jo Stafford; dance favorites). Except perhaps in an Orchestra, Paul Weston, cond. Capitol overelaborate Quizas? Quizas? beguine I ST 1653, $4.98 (SD). (which has moments of considerable in- Although Jo Stafford's reputation stems terest at that), the arrangements are primarily from her abilities as a pops imaginative without fanciness. and the balladeer, she is no stranger to the realm atmospherically evocative playing (in the of traditional airs. In the past, she has Delicado and Peanut Vendor baions, popularized many a folk melody and she Adios beguine, Tabu rumba, and Spanish has even quietly provided an endowment Harlem bolero, in particular) is stimu- for scholarly work in American folklore. lating to both ears and toes. R.D.D. In this, her first album dedicated to a genre she obviously understands and re- "Alps to the Sea." Aldo Bruschi and his spects, Miss Stafford picks up all the Ensemble. Cima 113, $3.98 (LP). marbles. Her selections run a full gamut L Aldo Bruschi, coproprietor of the New from gaiety to despair, but to my ear York supper club In Boboli-named for she is most effective in the melancholy a striking Florentine garden -has a Juil- vein. Her satiny voice explores a new liard background and shows it in this dimension of yearning in Black Is the virtuoso musical tour of Italy. Directing Color, conveys all the profound loneli- a small, intimate, and highly skilled en- ness of Johnny Has Gone for a Soldier, semble, he accentuates the instrumen- and lends a darkling sheen to the old talists' efforts with his own contributions poignance of Barbara Allen. Far from on piano, , and accordion. But it is occupying any middle ground, this re- his virile bass voice that weaves the ulti- lease will captivate those generally in- Jo Stafford: mistress of folk melody. mate spell in a splendid repertory of different to folk song as well as its most songs. Forsaking the safe and trodden - ardent and scholarly admirers. O.B.B. Equally beguiling in a less showy way to -death confines of Naples, Bruschi are his mellow -toned and warm per- sweeps the length of the boot, contrast- "Freddy Gardner with Peter Yorke's formance of I'm in the Mood for Love ing cool northern melodies with the Orchestra." Capitol T 10296, $3.98 and a gentle, caressing version of These smoldering anthems of the south. His V (LP). Foolish Things. Although the recordings excursion pays off, for the two most ap- Six of these legendary saxophone solos date from the late Forties, and show pealing items on the disc are La Mou- by the late Freddy Gardner have been in their age with sound that is cloudy and tanara and Sul Cappello -both relatively and out of the domestic catalogue since in the orchestral climaxes often muddy neglected airs from the Italian Alps. 1950, first on Columbia 78s, then on and slightly distorted, these defects should Adequate rather than spectacular engi- Columbia CL 6240, and later as part of deter nobody from acquiring this fine neering cannot deprive Bruschi s debut Columbia CL 623, a twelve -inch LP. All memento of a unique artist. J.F.I. of a well- merited bravo. O.B.B. have been unavailable for some time, however, and in reissuing them, Capitol "Tropical Nights." Werner Müller and "Classics by Chacksfield." Frank Chacks- has rendered collectors a great service. His Orchestra. Telefunken TP 2521, field and His Orchestra. Richmond B Together with two sides not previously $1.98 (LP); TPS 12521, $2.98 (SD). 20092, $1.98 (LP); S 30092, $2.98 released in this country, Stardust and In its SD edition, at least, this is a (SD). Smoke Gets in Your Eyes, they provide bargain -price "sleeper," both technically I suppose none of the orchestral cameos a stunning showcase for Gardner's un- (for its markedly channel- differentiated, in this excellent concert of light classics erring musical taste and fabulous instru- brilliantly big and open recording -the could be really called unfamiliar, al- mental technique. Spectacular and excit- higher -level LP is harder-toned, less though Elgar's Salut d'amour, Rubin - ing performances of Body and Soul, I bright and natural) and musically (for stein's Melody in F, the Humoresque Only Have Eyes for You, and Valse the verve and vibrancy of its big -or- of Dvofák, and perhaps Greig's Morning Vanité display his virtuosity at its peak. chestral performances of Latin -American Song seem to be heard less frequently

92 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com than they were twenty -five years ago. sufficient to prevent this series of ceol ing selections, Russia's superb Piatnitsky The balance of the program includes aotrom (relatively short dance pieces) Chorus and the Osipov Folk Orchestra brief orchestral excerpts of well -known from seeming interminable. Yet even so, shape a glittering tapestry of Slavic works by Bach, Beethoven, Debussy, a more extensive piobroch, the evocative melody. Balalaikas to the fore, the in- Liszt, and Tchaikovsky, all tastefully ar- _ Lament for the Children (which occupies strumentalists provide fiery readings of ranged by Eric Rogers and impeccably R a good half of the second side), not only tidbits from Glinka, Glière, and Khacha- played by Frank Chacksfield's men. Inci- moved me profoundly but held me mes- turian that would set even a gout- ridden dentally, these musicians must be some merized throughout. I can't speak au- toe to tapping. The Chorus furnishes of the most versatile performers on rec- thoritatively, but MacColl certainly seems lyric counterpoint with the songs of love ords, having to their credit a series of uncommonly gifted both for his virtuosity and growing things that have been the really splendid discs that run all the way (many of the quirky ornaments call for glory of Russian folklore for centuries. from Oriental and gypsy music to show fabulous digital dexterity) and his inter- While the Soviet stereo lacks the breadth tunes and classics, with not a single pretative artistry. In any case, I've never of today's best efforts, it will adequately inferior record to blot their escutcheon. heard solo bagpipes recorded -in appar- serve both channels of your music The mono version boasts a rich velvety ently close miking -with spicier authen- system. O.B.B. sound which is infinitely more agreeable ticity; and to crown the documentary at- to my ear than the reedy quality of the tractions of this notable release, Ed "Kean." Robert Mersey and His Or- stereo version. J.F.I. Cray's annotations provide an illuminat- chestra. Columbia CL 1732, $3.98 ing history of the "pipes" as well as de- (LP); CS 8532, $4.98 (SD). "Scottish Bagpipe Tunes." Pipe Major tailed information on the music. R.D.D. Some interesting, and occasionally in- James MacColl. Folkways FG 3550, spired, orchestrations by Robert Mersey $5.95 (LP). "Ballads and Balalaikas." Piatnitsky Cho- give the Wright- Forrest score for the Probably only Scotsmen can enjoy a long rus and The Orchestra of Folk Instru- musical Kean a piquancy and strength program of solo bagpiping: the trace of ments. Artia ALPS 192, $5.98 (SD). not found in the original cast recording. Scots in my own blood is apparently in- Spelling each other through fifteen rous- While some of Mr. Mersey's ideas would

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CIRCLE 53 ON READER -SERVICE CARD MARCH 1962 93

www.americanradiohistory.com hardly work in the theatre, they come tion that the tableau used by Columbia "The Importance of Being Oscar." off brilliantly on disc. Put down as a for the album cover is from a scene de- Michell MacLiammóir. Columbia OL major achievement the regal march set- leted from the recent production. J.F.I. L. 5690, $4.98 (LP); OS 2090, $5.98 ting he has devised for King of London, (SD). which perfectly suggests Kean's position "Sing! It's Good for You." Norman For decades after his death, the tragedy as the monarch of the London theatre. Luboff Choir and Orchestra. RCA of Oscar Wilde's last years engulfed all Equally effective in creating the blowsy Victor LPM 2475, $3.98 (LP). memory of the man and shadowed his atmosphere and high spirits of the show's There's more sing -along infectiousness works as well. But the past decade has most rousing number, The Fog and the in the Luboff group's jauntily spirited seen his plays once more upon the Grog, is his use of bleary- sounding trum- Side by Side, Happy Days Are Here boards, and time is gradually placing his pets. Strings are used inventively to Again, Whistle While You Work, Get art in true perspective. Wilde was, of heighten the romantic overtones of Sweet Out and Get Under the Moon, It's a course, a flamboyant figure -the apothe- Danger and even more successfully in Good Day, etc., than in many recorded osis of the Edwardian Age. While stroll- Civilized People, where, played with a programs calling more explicitly for au- ing, he often carried a tulip; he once certain amount of frenzy, they aptly dience participation. Text leaflets are brushed off customs inspectors with, suggest the squabbling ladies vying for lacking, to be sure, and some of the "I have nothing to declare but my Kean's affections. The arranger directs pieces are routinely sung and accom- genius." But beneath the wit and the af- a superb performance, which in stereo panied. but the closely miked recording fectation, he was also a superlative sounds positively brilliant. I might men- is attractively rich and warm. R.D.D. dramatist, a gifted poet, a critic, and an essayist of the first order. In a magnificently conceived evening of theatre, which won raves from Lon- don to New York, Micheál Mac - Liammóir has singlehandedly re- created Wilde and his world. This Columbia release covers the first half of his per- an astounding formance: a subsequent recording will present the remainder. Using Wilde's new sound .. . writings as source material, Mac Liam - móir here traces the poet's career from Dublin through his fantastic successes an incredible in London as far as the first rumble of his impending doom. With unequaled new cartridge versatility, MacLiammóir plays Wilde himself, delineates characters from Wilde books, and acts out entire episodes from M33 Wilde dramas; he plays both Herod and his daughter -in impeccable French -in a key scene from Salome; his reading of The Harlot's House is a small -scale An extraordinary achievement in supe- masterpiece. This is an extraordinary solo per- rior re- creation: formance, one that calls upon every RESPONSE: 20 to 20,000 (conservative- facet, every nuance of the actor's craft. clean and smooth. Goes On the record it provides a vivid, mov- ly). Singularly ing, unforgettable hour. Wilde's shade right through the top limits of audibil- as well as all of us are deeply in debt ity without a hint of "break -up" prev- to Mr. Mac Liammóir. In complex acted alent in most other stereo cartridges. sequences, the stereo edition channels separate characters into separate speak- COLORATION: virtually non -existent. ers, thus lending both additional breadth Imparts no false sound to the music. It and clarity to the performance. O.B.B. is transparent, clear, hum -free (special Mu -metal shielding rejects electrically "Harp Virtuoso." Verlye Mills, harp. induced L- Golden Crest CR 4037, $4.98 (LP). hum). Peak -free. None of the selections in this excep- COMPLIANCE: over 20x10_0 cm /dyne! tionally well -played recital were origi- nally written for the harp, with Tracks as low as 1 gram virtually the pos- ... sible exception of Reinhold's Impromptu eliminates record and stylus wear. Sep- ( inexplicably missing from the program aration over 22.5 db. at 1000 cps. credits). Like most modern harpists, Miss Mills has delved into literature for THE STYLUS: Choice of .0005" or the piano that might be suitably tran- .0007" diamond tips. Exceptionally scribed for her own instrument. The re- rugged. Special plastic grip makes sty- sults show that she has not been willing lus changing easy as plugging in an to settle for the easiest way out. Men - cord. delssohn's Rondo Capriccioso, for in- electric stance, a difficult work in its original PRICES: M33 -5 (with .0005" diamond) piano form, becomes doubly so when or M33 -7 (with .0007" diamond). transcribed for harp. Yet Miss Mills handles it with extraordinary ease, creat- Tracks at 1 to 3 grams ... $36.50 net. ing a delicate colorful panorama of Model M77 (for fanciful, fairylike sound. Equally en- trancing are her superb performance tracking 4 to 7 of at Rachmaninoff's Prelude No. 5 and a grams) only $27.50. passionate and fiery account of the Spanish Dance No. 3 of Moszkowski. MacDowell's To a Wild Rose does not, surprisingly, weather the instrumental change too well. and the performance of Chopin's Waltz in E minor sounds rather disjointed and lacking in charm, but when everything else is so charm- ingly set forth, it would be ungracious hi fi phono cartridge to fault the record for two disappointing ventures. The extremely wide -range recorded Shure Brothers, Inc., 222 Hartrey Avenue, Evanston, Illinois sound is brilliantly translucent, and the CIRCLE 80 ON READER -SERVICE CARD 94 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com harpist achieves so many extraordinary "all- star," band divide or share its direc- companiment for various types of clari- effects that it is difficult to believe that tion (without individual credits) in the nets only. Hodgepodge as all this may no multiple taping or overdubbing has more orthodox pieces here, ranging from be musically, it should be of special in- been resorted to. The liner notes say a somewhat overcareful Walton Crown terest to band specialists -not least for not -which merely adds to one's admira- Imperial March and Berlioz Roman the highly professional precision of the tion for Miss Mills's talent. J.F.I. Carnival Overture to the more exuberant playing throughout and for the vivid National Emblem March, Flight of the authenticity of the close miking and "In Praise of God." Frank Chacksfield Bumble-Bee, Victor Herbert Medley, strongly stereoistic recordings. R.D.D. and His Orchestra. Richmond B 20105, Bees A- Buzzin', and Blue Mist. Then, $1.98 (LP); S 30105, $2.98 (SD). under the guest baton of Cailliet, Burke "The Sound of Folk Music." Vanguard With its tastefulness of arrangements, goes back to his old role as floridly vir- Demonstration Release. Vanguard fervency rather than sentimentalization tuoso fat -toned cornet soloist (in the SRV 125, $1.98 (LP). of performances, and lucidity of sump- Hocus Polka); Phillips demonstrates that Vanguard has combined the talents of tuous recording, this program of sym- he has lost none of his suavity as a thirteen soloists and three groups from phonic hymns and devotional songs tubaist (in an Elephant and the Fly duo its stellar stable to offer an unusual reveals persuasive warmth throughout with piccolist Andrew J. Lolya); and Open Sesame to the variegated world of and genuine distinction in its best mo- Vincent J. Abato stars in a brilliant folk music. In their specialties these art- ments. Among the latter I number clarinet transcription of the Tchaikovsky ists are unsurpassed, and here they ap- Vaughan Williams' nobly sonorous set- Violin Concerto finale, oddly but fas- pear at the top of their form: counter- ting of the Old Hundredth, a dramatic cinatingly restored by Cailliet with ac- tenor Alfred Deller limning an Eliza- -and highly stereogenic -"patrol" treat- ment of Onward Christian Soldiers, and Rogers' expansive transcriptions of All Things Bright and Beautiful and O God Our Help in Ages Past. Sonically alone, the ringing brass chorals, glowing string choir, and full -blooded organ and -roll passages here would be hard to surpass as demonstrations of the power and beauty of high -fidelity mo- nophony (in the LP edition) or of grand- ly impressive stereo. At their bargain prices, both versions are outstanding best buys. R.D.D. "A Harvest of Israeli Folksongs." Theo- dore Bikel; instrumental accompani- ment. Elektra EKL 210, $4.98 (LP). Israeli folk songs are Bikel's forte, and no one else in the catalogue belts them out with quite the same combination of vocal excellence and brio. Bikel, who is actor as well as singer, also seasons his performances with a delightful dash of -pardon the expression-ham. In fact, he involves himself so profoundly and STERECORDER 464-D projects so well that he seemingly is a shepherd or a sailor or a ploughman or that most universal of men-a frustrated r. lover. Of the fifteen selections on this release, the majority are love songs and work songs. The best of the former, Tse'i Lach (Come Out) and Avigayil (Abigail), hark back to the rich and tender imagery of Old Testament poetry, while the latter are infinitely more than an appeal to exceed the norm. At their best, as in Arava Ho Arava (Wilderness Oh Wilderness) and Shir Ha'avoda (Work Song), they display a passion for the Israeli land, a stirring sense of the unity of man and his environment. In sum, here are all the ingredients of an- other Bikel best seller. Recommended most strongly. O.B.B. "Stereo 35 MM., Vol. 2." Enoch Light and His Orchestra. Command RS 831 SD, $5.98 (SD). Having exhausted my supply of superla- tives on Volume One of Command's Stereo 35MM series, I am at a complete loss for new ones to describe Volume now both stereo recording & stereo playback! Two. I can only say that everything the is that applied to first release equally An price for famed quality! The long- awaited Sony Sterecorder true of this new one. Incidentally, the unprecedented the Sony jacket notes for the present disc quote 464 -D -dual purpose, dual performance! Dual performance means both 4 track stereo almost verbatim my remarks on Volume recording and 4 track stereo playback. Dual purpose means custom component instal- One -which may, or may not, induce lation and portable use. Recording and playback pre -amps are built-in, and such features that album if you haven't you to acquire as language music button track selec- already done so. J.F.I. sound on sound, and training, two speeds, push tion and Sony precision engineering make this the most outstanding tape recorder value "All -Star Concert Band, Vol. 2." James at $199.50. All Sony Sterecorders are Multiplex -ready! F. Burke, Harvey G. Phillips, Lucien 'Carrying case optional Cailliet, conds. Golden Crest CR 4040, For literature or name of nearest dealer, $4.98 (SD). write Superscope, Inc., Dept. i The two Goldman Band veterans who Sun Valley, California formed this 38 -man, not unjustly titled CIRCLE 86 ON READER -SERVICE CARD MARCH 1962 95

www.americanradiohistory.com A great deal of nonsense has been bethan song in a style that died centuries written about amplifiers in recent years, ago; Germaine Montero hard -driving about their "sound." The truth, of course, and dazzling in Los Cuatro Mtt/eros; Paul Robeson robust of voice and spirit is that we listen to loudspeakers in our The in Get on Board; Cisco Houston in a homes -and the "best" amplifier is that magnificent reprise of Woody Guthrie's one which permits the loudspeaker to bitterly ironic Jesus Christ. Joan Baez, amplifier reproduce with the lowest overall dis- Odetta, Erich Kunz, and The Weavers tortions. also glitter in this distinguished constella- tion. All of the selections come from previous releases and represent that The amplifier, then, must be so designed an en- gaging advertisement. But at the same that it time, this sampler is perhaps the finest one -disc anthology of traditional song DOESN'T (1) Does not increase speaker distortion. available. At $1.98, I know of no greater (2) Has the proper controls to minimize bargain going. O.B.B. sound the distortions in records, tapes and radio. "Moon Rivera The Pete King Orchestra and Chorale. Kapp -Medallion ML The QUAD Mono -Stereo Amplifier has 7533, $3.98 (LP). no sound with the QUAD Electrostatic, Although there isn't much variety in this concert of songs, old and new, there are the reference standard speaker of the other virtues. The Chorale establishes an world. It is the ideal amplifier for the unbroken mood of complete relaxation new polystyrene mass loudspeakers (see from a smooth -flowing and serene per- Newsletter One) -and can clean up the formance of the currently popular Moon River to the final notes reproduction from the older, paper of The Day the cone Rains Came. The intervening numbers loudspeakers! are nearly all songs which have attained hit status at one time or another, and these are presented in beautifully re- NEWSLETTER Three, "The Truth strained and sensitive interpretations by About Amplifiers," has the latest both orchestra and chorus. Two songs lab data on all amplifiers. Want a which don't qualify as hits are real copy? It's free. charmers: Van Heusen's lovely Far Astay and an orchestral version of The Day the Snow Is Me/tin', a delicate little morsel from 's score for LECTRONICS of CITY LINE CENTER, INC. the show Donnybrook. The arrangements. 7644 CITY LINE AVENUE, PHILADELPHIA 51, PA. presumably by Pete King. are musical and imaginative, without being involved. and they add a great deal to the entire CIRCLE 58 ON READER- SERVICE CARD program. J.F.I. "The Fastest 500: A Sound Report of the 1961 Indianapolis Classic." River- side RLP 5513, $5.98 (LP). "Griff Borgenson Presents Hot Rod Heaven: Bakersfield Smokers." River- side RLP 5509. $5.98 (LP). Unlike most Riverside racing records, prepared by and for aficionados, "The Fastest 500" is a commercial broadcast production, in typical popularization style, by the Indianapolis Motor Speed- way Network. The pre -race build -up is GO WITH so interminable and the spot progress and accident reports from various key points are so breathlessly overdrama- EXCLUSIVE tized that the genuinely thrilling last - 'Sr minute triumph of A. J. Foyt's Bowes GRANCO Seal Fast Special is made to seem almost FM 4Ik anticlimactic. The sleekly professional recording is effective enough, but the CAR RADIO babble of narration almost consistently covers up the sounds of the racing cars themselves. CONVERTER! The other disc is quite a different story. Its sonically wide variety of hopped -up Chevvies, Fords. Chryslers, Pontiacs. etc. (not excluding two Tri- umph motorcycles) undoubtedly can be better differentiated aurally by hot -rod cognoscenti than by novices like myself. but the vividly realistic revving -up. roar - off. and zip -by noises. plus the occa- sional background evidences of an en- thusiastic audience, communicate much Add the beauty in sound of Granco FM to AM car radio in a marvel of minutes. Superb of the excitement as well as the atmos- quality Automatic Frequency Control compact design 11/4" and -with ... -only thick ... phere of hard- fought drag races. R.D.D. ease of installation make this Granco innovation a "must" for every car owner, especially at this low, low price. Available at radio and auto accessory shops everywhere. S 95 "Nightfall." Capitol Symphony Orches- ONLY 49 tra. Carmen Dragon. cond. Capitol P WRITE FOR FREE LITERATURE 8575, special price $1.98 (LP); SP 8575, special price $2.98 (SD). GR A N America's Leading Specialist in Stereophonic FM Most of the performances here (Brahms's Lullaby, Järnefelt's Berceuse, Division of Dnerson Radio Inc.. 680 FIFTH AVENUE, NEW YORK 19. N. Y. and Rachmaninoff's Vocalise in the con- CIRCLE 49 ON READER -SERVICE CARD 96 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ductor's own transcriptions; Ravel's Pavane, Grieg's Ase's Death, Tchaikov- YOU ALWAYS GET THE sky's Andante cantabile, etc.) are frank- ly mood -music presentations, but the lush string -playing is resplendently re- corded in both monophony and even LISTENING stereo, and there is BEST for more atmospheric effective tonal variety provided by Lou Raderman's silken violin solos, William Kosinsky's fat -toned English horn (in TONIGHT plus other Motion Picture & Broad- Grofé's Old Creole Days) and occa- way Hits -as played by Ferrante & Teicher. sional , harp, and UAL 3111 UAS 6171 (Stereo) decorations. R.D.D. STANDING ROOM ONLY - The Highwaymen "Judgment at Nuremberg." Recording present their authentic folk songs. from the sound track of the film. UAL 3168 UAS 6168 (Stereo) Artists UAL 4095, $4.98 (LP); United DORSEY, TOO -Great $5.98 (SD). WE REMEMBER TOMMY UAS 5095, the Modernaires. It is difficult to judge from the extremely Dorsey songs sung by episodic nature of Ernest Gold's music WWR 3524 WWS 8524 (Stereo) for Judgment at Nuremberg how good a score he has actually written. The vignettes which create a musical picture of the moods of German society - despair, false gaiety, hope, etc. -at the time of the Nazi War Trials seem to me to be extremely successful. But when the music tackles the politico -legal aspects of the trial and must accentuate the tremendous drama of the situation. it often sounds like conventional Holly- wood melodrama stuff. What will in- terest most people more than the music are the two spoken. narratives, extracted from the sound track and interpolated into the late sequences of the score. Burt Lancaster, as a German jurist try- ing to defend his position under the Hitler regime, harangues the court for THE PROUDEST NAME eight minutes in a not very powerful IN ENTERTAINMENT speech during which he sounds more like a West Indian before a local magis- trate than a German national. Spencer Tracy is far more convincing as the CIRCLE 93 ON READER -SERVICE: GIRD presiding judge summing up the case against Lancaster, although his perform- ance is strictly a triumph of histrionic ability over the spoken word. The stereo version (the only one to which I have listened) is, as far as its musical ex- cerpts are concerned, one of the best sound -track recordings I have heard in some time. On records, the two speeches from the film emerge less successfully. J.F.I. "Themes!" Orchestra, Alfred Newman. cond. Capitol T 1652, $3.98 (LP); ST 1652, $4.98 (SD). In case you've assumed that Hollywood alone is responsible for schmaltz from its film composers, it will be disillusion- ing to hear the lengths to which one of the most eminent among them goes- apparently of his own free will -in heaping whipped cream on the already oversaccharine hit tunes of both his own and colleagues' confection. There may be a few discernible traces of im- aginative scoring and interpretative vi- vacity in Tammy Tell Me True and Back Street, but elsewhere lushness, senti- mentality, and tastelessness prevail despotically. And of the many featured C /(iilt .)tee t able & .. . soloists, only Gordon Pope (on oboe d'amore in Catana) makes any attempt end, The new look in "bookshelf" speakers. Place a speaker on each to achieve other than strictly homoge- trans- nized tonal qualities. The smoothly spread amplifier and tuner on the adjustable shelf, and your components are every interior and stereo recording captures all this only formed into a striking stereo cabinet which will highlight too blandly; the rougher- surfaced LP Naturally, crafted from the finest of hardwoods version adds a bit of grit that for once accent your fine components. for free brochure of the complete line. is almost welcome. R.D.D. in a choice of finishes. see your dealer or write Cjudio Elriginals 25, NIYI 474 SOUTH MERIDIAN STREET INDIANAPOLIS INDIANA CIRCLE 18 ON READER- SERVICE CARD MARCH 1962 97

www.americanradiohistory.com 11,11 0,111 11,(0 OJAI 111001111

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"NEW PERSPECTIVES IN INGENUITY IN SOUND" THE FOURTH PIANO SOUNDS" A New Sound Technique DIMENSION IN SOUND" By DAVID SWIFT, for Dual Hammond Organs Produced and directed Pianist with Orchestra By BUDDY COLE by SHORTY ROGERS BIBS 1441 B /BS 1442 B /BS 1443 *Quality, from Warner Bros. -the first name in sound. WARNER BROS.

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CIRCLE 97 ON READER -SERVICE CARD 98 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com TO mate jazz with elements of the longhair invention not on a given chord progression spanning EFFORTSbranch of the family tend to become entangled in 12 or 32 bars, as is normally the case in jazz, but in- pretentiousness or to create the impression that the vention as part of a constantly developing composition, kid brother is actually being allowed into the world of and always in relation to what sixteen other musicians adults. In either event, the music rarely has any note- are playing. worthy jazz qualities, whatever else it may have. The result is some of the most brilliant saxophone That is one reason why Focus is a most unusual playing I have heard, ranging from pastel loveliness to record. Its approach to the conjunction of jazz and lusty swinging. Getz's creative virtuosity is at times longhair is refreshing in that neither side condescends incredible, for he is "on" from beginning to end of every to the other. Eddie Sauter has composed seven pieces piece, with no repeats or other safe harbors in which for a string ensemble (sixteen strings built around the he can rest momentarily and revive his invention. Need- Beaux Arts Quartet) which are played as written, with less to say, some portions of his playing are superior to no attempt to draw jazz interpretations from the string others. But the over -all level is remarkable and the men. The jazz element is tenor saxophonist Stan Getz, music is fascinating. who improvises over Sauter's compositions. Sauter's achievement, while not so dazzling, is also This is a complete departure from the customary extremely noteworthy. For in approaching in this methods of composing for a jazz soloist-writing what fashion the combination of strings and horn for jazz amounts to little more than a background, or simply purposes, he may have found a way out of the dilemma leaving holes in the music in which the jazz soloist may that has always faced strings in jazz -their inability improvise. Sauter left no holes. The string ensemble to adapt to jazz terms. What Sauter has written for pieces can stand by themselves. But he wrote them with the strings has beauty and vitality, but it is not jazz awareness that an additional element-Getz -would be and it is not intended to be jazz. It is only through present. Getz's role -when he played, what he played - Getz's alchemy that the mixture is turned to jazz. was left entirely up to him. It was, in effect, total JOHN S. WILSON improvisation designed to complete a composition. This is a challenge which, on the surface, would "STAN GETZ: "Focus." Verve 8412, $4.98 (LP); seem to be of awesome proportions, since it requires 68412, S5. 98 (SD).

Count Basie and His Orchestra: `The Hall. Between them, and with the sympa- years now. The stylistic characteristics Essential Count Basie." Verve 8407, thetic if somewhat light- fingered help of that originally gave him distinction are $4.98 (LP). pianist Gene Schroeder, they give the preserved intact, but where once they Culled from Basie recordings made be- Dukes a swinging basis missing in the presaged excitement and adventure, they tween 1952 and 1956, this collection past. In addition, the Dukes have moved are now as predictable as night and day. hits most of the high spots of the period away from their customary hackneyed Despite this, Garner still plays with en- and, in the process, paints a somewhat repertory, and although tunes from thusiasm and this is a worthy collection misty picture of the band during that Broadway shows are not always the best of his pieces. time. The mistiness results from the material for a Dixieland band, at least fuzzy, badly balanced recorded sound, they're a little different. As a matter bite Tubby Hayes: "Introducing Tubbs." Epic which draws the teeth from the of fact, by astute culling of the Broad- LA 16019, of the brass and sometimes buries every- way possibilities, some good jazz tunes $3.98 (LP); BA 17019, But, $4.98 (SD). thing under a layer of drumming. have been included: Runnin' Wild and Although seems to be to these conditions, one Old- Fashioned Love Run - England inundated once adjusted (both from with "trad" bands, it has also developed hears a virile, potent band in the full - nin' Wild), Ain't Misbehavin' (from Hot something of a Chocolates), Lady Be Good, and I several noteworthy modern jazzmen, in- blooded Basie tradition, Can't cluding Ronnie Ross, Don Bendel!, and cross between the loose- jointed band of Give You Anything But Love. Thus Victor the '30s and the current magnificently enspirited, the Dukes swing out in sur- Feldman. To this brief list must the selections fashion now be added the name of Tubby Hayes, suave machine. Three of prisingly lively on some numbers. a tenor saxophonist and vibraphonist that established singer Joe Williams are Clarinetist Jerry Fuller often sounds like whose fluency, included -Every Day, The Comeback, a young and willing Benny Goodman, particularly on saxophone, You Win. Basic's approaches virtuoso proportions. This and All Right, O.K., trombonist Freddie Assunto limits him- disc serves as a good April in Paris is also a introduction to overpopularized self to small, gutty range within which (even though he in more he is quite Hayes has been heard present, seeming retrospect even effective, and Frank Assunto in as a ever. shows strong capabilities as a lead before this country coleader of threadbare than the Jazz Couriers, on the Carlton label); trumpet although he is still an uneven soloist. But it's the rhythm section that's he is recorded here on both his instru- Dukes of Dixieland: "Breaking It Up on the and ments and in several surroundings-sup - Broadway." Columbia CL 1728, $3.98 carrying Dukes now, a rhythm ported by a rhythm section alone; with (LP); CS 8528, $4.98 (SD). section can only do so much. an eight -man brass section added; and For their bow on the Columbia label the also with five woodwinds. He has the Dukes of Dixieland have come up with Erroll Garner. "Closeup in Swing." ABC - fertility of imagination to sustain the a new rhythm section, a vast improve- Paramount ABC 395, $3.98 (LP); quartet performances and to give them a ment over the stodgy thumpers they had ABC S 395, $4.98 (SD). driving swing, and he also has the virility before. The heart of this section is Garner is hailed in these liner notes, to dominate the forceful brass group. bassist Jim Atlass (replacing a quite correctly, as one of the major in- His big moment here is a remarkably player) and -a most unexpected Duke dividualists in jazz. But his individuality exciting bit of bravado in a breakneck among the Dixielanders- guitarist Jim has been preserved in amber for several development of Cherokee, partly with

MARCH 1962 99

www.americanradiohistory.com the brass but more importantly in an pears to be inherently swinging, for Attention Patriots! unaccompanied section. Hayes is only these selections have a light. moving The Ancient Churches of Europe, Timeless a serviceable vibist, but on saxophone he propulsion frequently absent from big has a Fonts of the World's Great Music, are a Monop- combination of technical skill, fire, band performances in recent years. Per- oly no longer. A Grand & Famous American and direction that gives all his entrances formers here are topnotch, and include Church is celebrating its 275 years with a an air of expectation. Doc Severinsen, Clark Terry, Bob Brook- Festival Series of Concerts and a Commemora- meyer, Willie Dennis, Al Cohn, Phil tive Record of Music composed by its Distin- Claude Hopkins: "Let's Jam." Prestige/ Woods, Kenny Burrell, and Mel Lewis. guished Organists. j Swingville 2020, $4.98 (LP). ow- The Church: King's Chapel, Boston. Delightful dancing jazz is developed and His Men: "At the from two different bases by a quintet Manne Hole." Contemporary 3593/94, -. The Composers: , completely at home in this type of mu- $9.98 (Two LP); 7593/94, $11.98 DANIEL PINKHAM, WILLIAM SELBY. sic: Hopkins, piano; Buddy Tate, tenor (Two SD). . The Record*: CRS412. saxophone; Joe Thomas, trumpet; Wen- The quintet led by drummer Shelly dell Marshall, bass; and J. C. Heard, Manne at his club in Hollywood has a Mass for two part chorus and percussion drums. On one side, they play three strong, driving rhythm section (Manne, (Thomson). originals, swinging warmly and loosely Russ Freeman, piano, Chuck Berghofer, Partita for harpsichord (Pinkham). in a variety of tempos; on the other, bass) and two front line men-Ritchie they turn their attention to some stand- Kamuca, tenor saxophone, and Conte Two anthems (Selby). ards, including Hopkins' old theme, Candoli, trumpet -who can move along $4.98 mono only from your dealer, or shipped I Would Do Anything for You. Hopkins brightly at faster tempos. This two -disc to you postpaid on receipt of check or money has a blithe, clipped piano style over set, recorded in the club and made up of order and your dealer's name. which Tate and Thomas improvise with long selections (four of them run more ease and assurance. Tate's billowing, than ten minutes), includes two pieces. APPEARING SHORTLY: CRS506& CRS507, surging attack on tenor saxophone Lore for Sale and The Champ, played a Treasury of early French organ music played bristles with vitality, and he also shows at a tempo at which Kamuca's sinuous by Melville Smith on the Marmoutier Silber - himself to be an interesting, clean -lined drive hits an optimum level, and Candoli, mann, where his recording of The Livre clarinetist. Thomas' trumpet is crisp and usually a rather static trumpeter. builds d'Orgue de Grigny was of awarded the 1961 biting with an underlying suggestion of a connected solo with a good. full- bodied Grand Prix du Disque (Disques VALOIS, leashed power, a heartening assurance tone. On these occasions the group is Paris). that he has overcome the uncertainty excellent. But, with the exception of *Recorded in unique sound which subtly com- which has marked his return to activity Freeman, who is a consistently attractive bines all the tonal elements of music into one in the past couple of years. pianist, it shows decidedly less ability easy- for -your- stylus-to- follow groove. Plays on to cope with material at a slower pace. any clockwise 33% rpm record player without Lonnie Johnson with Victoria Spivey: Nor is the problem eased by the in- the need of bifocals. Sounds great, and up to "Idle Hours." Prestige /Bluesville 1044, ordinate length of the selections chosen twice as loud, on stereo systems. $4.98 (LP). for this program. Johnson was getting back into top form CAMBRIDGE RECORDS. INC. after a long period of semiretirement Fats Navarro: "Classics of Modern Jazz, when he recorded these selections in r Vol. I." Jazzland 50, $4.98 (LP). 473 Washington Street July 1961. The easy lilt was coming Recorded from radio broadcasts in 1948, Wellesley 81, Mass. more readily to his singing, and he fin- these performances sound a bit thin, CIRCLE 25 ON READER -SERVICE CARD gered his guitar in a lithe, wiry fashion particularly in so far as the rhythm that produced some delightful extended section is concerned. But they have a introductions. Johnson is something of and the Study for Library of Congress finds vitality spirit belying fact that an oddity among singers who are classi- bop was fading into a period of lethargy fied as bluesmen. He has a strong liking at the time. Navarro was a disciplined for ballads, and his vocal style crosses and direct trumpeter with an almost un- the suavity of the ballad man with failing command of structure and tone. the root sound of the blues singer. His brisk, biting playing glides grace- He does not strain for effects, and fully throughout this disc. But the most OSiAi in both ballads and blues he is interesting work comes from Allen Eager. a plaintive and convincing singer. On whose manner is unbelievably close to best for cleaning records three selections here he is joined by that of Lester Young. Eager's rhythmic Victoria Spivey, whose singing style is was accom- sense and phrasing are delightful, and "Routine cleaning as mannered as Johnson's is natural. even when the group around him sounds plished by using ... prior to play- Using material written by Miss Spivey tired (which occurs only once. on Good back or packaging; a sparingly and following her lead in its presenta- Bait), Eager is a paragon of swinging applied detergent solution with an tion, Johnson shows adaptability in ad- enthusiasm. Another merit of this broad- applicator of sheared acetate justing himself to her style. But his own cast recording is that it allows these men velvet fibres.* way is infinitely superior; one appreciates to develop a piece at greater length than when he is allowed "Other systems of dust control, it all the more to they could on the 78 -rpm records then play and sing by himself. being made. cleaning (such as spray on anti- static compounds, treated cloths, dampened synthetic sponges, and The Gary McFarland Orchestra: "The Hot Lips Page and Cozy Cole: "Hot and radioactive air ionization) were Jazz Version of 'How to Succeed in Cozy." Continental 16007, $4.98 (LP). Business Without Really Trying.' " Hot Lips Page should have been tried but did not prove as satis- one Verve 8443, $4.98 (LP); 68443, $5.98 L of the major figures in jazz during the factory." (SD). '30s and '40s. He had periods of bril- *Lektrostat Record Cleaning Kit, The fact that these performances are liance both as a trumpeter and as a Dexter Chemical Corp. based on Frank Loesser's score for this vocalist, but he rarely had an oppor- season's hit musical is far less impor- tunity- particularly on records -to show Only $2.00 net at your high fidel- tant than the introduction they provide off his talents in an adequate setting. ity dealer's, or write to: to McFarland, a young arranger who His six selections here show both his seems to have grasped the potentials of great merits and his problems. His sing- a big jazz band with greater understand- ing and playing is almost always superb, ing than most of those who have been but he is often saddled with the cheapest turning out big -band scores in recent kind of lyrics; and the excellent sidemen years. McFarland's orchestrations are with him (Lucky Thompson. Vic Dick- DEXTER consistently inventive as he takes ad- enson, Ben Webster, Don Byas) are Chemical Corporation vantage of the variety of textures and limited to the most routine playing. Still, Consumer Prod. colors available to him. Soloists are good Page on records is so scarce that Division -- backed by many different combinations, these performances are worth having. 845 Edgewater Rd. =_t= and their solos are integrated into the Cozy Cole's selections are basic, riff - New York 59, N. Y. --- full treatment of the piece instead of based swingers with Byas, Coleman serving as long rests for the remainder Hawkins, and Charlie Shavers. But they, CIRCLE 35 ON READER -SERVICE CARD of the band. McFarland's writing ap- too, are limited by the material.

100 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Charlie Parker: `The Essential Charlie Parker," Verve 8409, $4.98 (LP). "Bird Lives," Continental 16004, $4.98 THREE (LP). The Verve collection is a sampling of WARM Parker's performances in the early 50s with various small groups which include among their sidemen Dizzy Gillespie, ONES Thelonious Monk, Miles Davis, John Lewis, and Max Roach; there are, in ad- FROM dition, two selections with strings. All have been reissued several times as parts of various Clef and Verve sets. These pieces are not quite as essential as Park- er's earlier work on the Savoy label, when bop was young and spirited, but they are among the better performances of his later years. The Continental disc, on the other hand, is almost completely 0 dispensable except as a curiosity. Parker is scarcely in evidence at all, even though he appears on every selection with such men as Gillespie, Clyde Hart, Nat Jaffe, Flip Phillips, and Max Roach. All these R men are simply an accompanying band for dismal vocals by Trummy Young (who has never sounded worse), excep- AL GREY- tionally trashy vocals by Rubberlegs Wil- BILLY MITCHELL liams, and three tentative, early efforts AL GREY by Sarah Vaughan. BILLIE MITCHELL

LP 689 A fabulous new Oscar Peterson: "Live from Chicago." group, spearheaded by Basie I Verve 8420, $4.98 (LP); 68420, $5.98 gradates Al Grey and Billy '1 (SD). Mitchell. This first album by This is easily the finest set Oscar Peter- the sextet was recorded live at son has ever recorded. The tremendous the Museum of Modern Art, technical prowess at his command, which New York. Beyond a doubt, has always seemed more of a hindrance they know how to get the than a help to him in his jazz efforts, message across. finally becomes sublimated. in these per- jazz instincts. ,nonMl formances, to his obvious a,r Mr This is due in some measure to the close unity in his present group (Ray Brown, bass, Ed Thigpen, drums), for no pianist could ask for more perceptive, sensitive support. But primarily it is the result of wiping away the surface qualities that have masked Peterson's previous play- ing. His virtuosity no longer guides him. hut is simply part of the arsenal of an enormously talented pianist. He plays up- DOROTHY tempo swingers and lazy ballads here, ASHBY but they all are strongly jazz- rooted. LP 690 The most exciting The superficiality that once reduced him harpist to enter the jazz scene to the level of a highly adept cocktail in two decoded Sounds which pianist has been abandoned; Peterson will captivate the listener from actually plays like the ball of fire his the first track through the last. more avid supporters have claimed that Dorothy Ashby, sure to be re he is. sponsible for making the harp a recognized instrument in jazz. Martial Solal: "The Debut on Discs of Europe's Greatest Jazz Pianist." Capi- tol 10261, $3.98 (LP); S 10261, $4.98 (SD). Despite the sweeping claim of this title, not only has Solal recorded before, but a ten -inch LP of his work was released DODO'S BACK! in this country several years ago. He 11u li. nvn I,f U..Im Nnmarl...., lit itllmm 1.,, has developed considerably since that LP - appeared. He now has a glistening tech- nique. and draws on brilliantly executed DODO Tatumesque runs and churningly riding MARMAROSA passages in the Bud Powell manner with occasional phrases from Earl Hines used LP 4012 Dodo Marmarosa, as an adhesive. Yet, despite all these famed jazz pianist of the ,0's is influences, his approach is quite his own. back after a prolonged absence On one side he works out fascinating from the jazz world. A solid solo treatments of familiar material musician with impeccable toste, - he is due to be reestablished Flamingo, -Round About Midnight, as the great pianist he is. Lover Man, etc. -while the other is devoted to trio versions of his own com- positions. JOHN S. WILSON

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That first note on an honest -to- goodness instru- Remember, if it's worth recording, it's worth ALdio- ment of your very own! Can you remember that mag- tape. There are eight types, one exactly suited to the nificent moment? Surely no accomplishment since next recording you make. From Audio Devices, for has seemed quite as satisfying, no sound as sweet. 25 years a leader in the manufacture of sound re- *, and . . . We can't provide that kind of sonic bliss. But we can cording media- Audiodiscs *, Audiofilm offer the next best thing -Audiotape. Recordings on *TRADE MARK Audiotape have superb range and clarity, minimum distortion and background noise -all the qualities adult ears. Make it your silent (but TRADI MARI( to delight jaded "it speaks for itself"' partner in capturing everything from N.Y. knowledgeable) AUDIO DEVICES NC , 444 Madison Ave., New York V, small fry tooters to symphony orchestras. Offices in Los Angeles Chicago Washington, D. C. CIRCLE IS ON READER- SERVICI I. RD www.americanradiohistory.com 16 Tape Deck

Reviewed by R. D. DARRELL

The following reviews are of 4 -track CHOPIN: Ballade No. 3, in A flat, only lives up to her ecstatic publicity, 7.5 -ips stereo tapes in normal reel form. Op. 47. Etudes: in E, Op. IO, No. 3; but richly confirms her earlier promise in A minor. Op. 25, No. 11. Fan- as a reviver of the fabulous art of taisie in F minor, Op. 49. Nocturne bel canto. Donizetti's Lucia is revitalized, and heard for the first time in many BRAHMS: Symphony No. 2, in D, No. 17, in B, Op. 62. No. 1. Polo- Op. 73 years in its entirety, with all the conven- naise No. 6, in A flat, Op. 53. tional cuts restored. For good measure Pittsburgh Symphony Orchestra, William Scherzo No. 3, in C sharp minor, it is supplied with an appended aria, Steinberg. cond. Op. 39. Waltz No. 7, in C sharp "Perehè non ho del rento," which in COMMAND CC 4T 11002. 37 min. minor, Op. 64, No. 2 nineteenth- century practice often was $7.95. substituted for Lucia's Act I Fountain Van Cliburn, piano. aria, "Regnava nel silenzio." Miss Suther- RACHMANINOFF: Symphony No. RCA VICTOR FTC 2091. 53 min. land is admirably supported, too. by one 2, in E minor, Op. 27 $8.95. of the most promising of young Italian , Renato Cioni, as well as by the Pittsburgh Symphony Orchestra, Wil- "My Favorite Chopin" is the title of always reliable Merrill and Siepi; and liam Steinberg, cond. Cliburn's first recorded solo recital. but Pritchard's well -controlled. rich -toned COMMAND CC 4T 11006. 46 min. it gives a misleading notion of the pian- orchestra and chorus are captured in ex- $7.95. ist's approach to these well -known ex- tremely pure, open, and vivid recording. amples of both minor and major There is little sheerly stereoistic sensa- It's as a harbinger of the best tape news Chopiniana. Instead of lavishing soulful tionalism apart from the somewhat the- that I can affirm that Command has expression on this music or using it as atrical background crowd babble in the produced reel editions of its recent sym- a vehicle for bravura displays, Cliburn party scenes and the thunderous storm at phonic dises which faithfully mirror the "reads" it with almost didactic ac- the beginning of Act III. but the unexag- sonic honesty of the deservedly ac- curacy. deliberation, and lucidity-as if gerated stage spread is of notable dra- claimed original recordings. Happily. too. primarily to demonstrate the composer's matic effectiveness. and the lucid channel they also embody the ideal -if not al- mastery of architectural form. There differentiations provide an air spacing ways as well realized- virtues of tape have been more overtly exciting per- that wondrously enhances the clarity of processing: a minimum of surface noise. formances and others subtler in their the ensemble scenes -the famous Sextet lucidly preserved yet seamlessly blended treatment of details, but for lyrical in particular -and buoyantly "floats" the channel differentiations, big -hall dynamic fluency and boldly drawn "grand lines." dialogue arabesques of Conrad Klemm's and frequency expansiveness achieved these are models of expository eloquence. flute and Miss Sutherland's matchless without distortion. and here even the And if the pianist himself seldom seems voice in the Mad Scene. elimination of the faintest preëchoes. To deeply involved personally. he is both Happily, the vocal and technological what extent the use of 35 -mm magnetic - tenderly romantic (though not senti- attractions here are matched by those of film mastering or other strictly technical mental) in the smaller works. and the tape processing. immaculate save for ingenuities may be responsible for the broadly dramatic in the great Fantasy some very slight preëchoes. And since liveness and almost tangible substantiality and Scherzo. Best of all. he elicits from UST has now adopted the practice of of both sound and acoustic ambience is an exceptionally fine -toned instrument a supplying -in prompt response to a far less significant than the unmistakable magnificent range of colors, captured prepaid postcard request form -a full - evidence that musically expert ears and to perfection in open and natural stereo. sized libretto and illustrated annotations minds have been in authority. There is The reel is admirably processed too, with booklet. purchasers of this set need not no "spotlighting," no disequilibrium of minimal surface noise and preëcho (al- strain their eyes over miniscule texts re- natural frequency and loudness spectra. though in high level playback there may duced to fit reel box dimensions. no sensational "effects" - only the true be just a whisper of reverse channel spill- sound of a symphony orchestra repro- over in a couple of intervals between RIMSKY- KORSAKOV: Schehera- pieces). It ranks as an outstanding con- duced. along with its whole environment, zade, Op. 35 with maximum fidelity and immediacy. tribution to the still far too scanty solo We've already had a fine Brahms Sec- piano repertory on tape. Rafael Druian. violin: Minneapolis Sym- ond on tape ( Bruno Walter's relaxed phony Orchestra. Antal Dorati. cond. and glowing performance on Columbia DONIZETTI: MERCURY ST 90195. 40 min. $7.95. MQ 373 ). but Steinberg's is in a class by itself. not only for its even more Joan Sutherland (s), Lucia; Ana Raquel RIMSKY -KORSAKOV: Schehera- realistic sonic presence and solidity but Satré (ms), Alisa: Renato Cioni (t), zade, Op. 35 as a muscular. affirmative. and exultant Edgardo; Kenneth MacDonald (t), Lord tBorodin: Prince Igor: Polovtsian ? reading. The Rachmaninoff Second (the Arturo Bucklaw; Rinaldo Pelizzoni (t), Dances first on 4 -track tape) has all the sonic Normanno; Robert Merrill (b), Enrico; and most of the same interpretative and Cesare Siepi (bs), Raimondo. Chorus Lorand Fenyes, violin; Choeur des executant attractions. Here, however. and Orchestra of Accademia di Santa Jeunes and Choeur de Radio Lausanne Steinberg is not quite as boldly out- Cecilia (Rome). John Pritchard. cond. (in the Borodin); Orchestre de la Suisse spoken. and his finale in particular never LONDON LOR 90036. Two reels: Romande, Ernest Ansermet. cond. quite matches Ormandy's (stereo disc approx. 84 and 62 min. $21.95. LONDON LCL 80076. 56 min. $7.95. only) in savage propulsion. Except for this -and the regrettable labeling failure What a boon for the collector to be In wholly different ways each of these to identify the magisterial first -horn (and offered a taping of this complete opera (the sixth and seventh 4 -track Schebern- indeed whole horn -choir) playing in the while it is still red -hot news, and its star zades) is a disappointment. Dorati's Brahms -these tapes are representative the most discussed and exciting person- reading is routine. unevenly pressed for of the highest triumphs that the mar- ality in the world of music! And for the most part. although tending to go riage of musical artistry and technologi- once all the ballyhoo proves to be thor- limp in the third movement: the playing. cal skill can provide today. oughly justified. Joan Sutherland not by the instrumental soloists in particular.

MARCH 1962 103

www.americanradiohistory.com lacks both color and refinement; and "Music Made Famous by Glenn Miller." even the recording, acclaimed for its Tex Beneke, Ray Eberle, The Modern - brilliance when the stereo disc edition aires, and Members of the Glenn first appeared, seems deficient in tonal Miller Orchestra. Warner Brothers body and warmth by current standards, WSTC 1428, 33 min., $7.95. although no serious fault can be found This documentation of a concert in the in the tape processing itself. The new Santa Monica (California) Civic Audi- Ansermet reel presents a more unusual torium on May 26 (1961, presumably) problem, which may not be immediately has leading Miller associates re- creating apparent to most tape listeners, since their old successes in an atmosphere of on first encounter both reading and per- nostalgic sentiment and obviously fervent formance are infinitely superior to those audience enthusiasm. More objectively of the earlier Ansermet taping with the considered, the best moments are Eberle's Paris Conservatory Orchestra. The re- (for his disarming spoken reminiscences, recording, too, seems improved, in sonic rather than his somewhat tremulous vo- richness, dramatic impact, and stereo - cals), the orchestra's lilting In the Mood istic lucidity. What, then, can be disap- and Moonlight Cocktail, and its spirited pointing? pair of Jerry Gray transcriptions -the The answer is obvious to those who Anvil Chorus and American Patrol. The have heard the stereo disc edition prop- full -blooded recording admirably evokes erly reproduced: it has not only much the atmosphere of the live concert and of the tonal sumptuousness of the present the well -processed taping is free from taping but in addition a scintillant glitter preëchoes. and supreme concert hall authenticity which made the original recording one of the -if not the- outstanding triumphs "Sinatra Swings." Frank Sinatra with Or- of musical and audio technology. At first chestra, Billy May, cond. Reprise RSL I thought that the softening of the highs 1704, 33 min., $7.95. in the present taping (where the , Frankie's fans apparently differ widely , etc., tend to retreat back- on the merits of both his own perform- stage instead of cutting crisply through ances here and those of Billy May's the other orchestral textures, even in low orchestra. I find myself with the pros level passages) must represent a throw- on the former score: although not all the back to an earlier era of high frequency materials are really Sinatrian, he sings the losses in high speed dubbing. But the with admirable freedom from mannerism processing is excellent in most other re- and remarkably relaxed yet potent powers Concord spects (although at such a relatively low of projection -especially in Don't Cry modulation level there is considerable Joe and Love Walked /n, and -best of 880 surface noise or hiss, however smooth - all-a lilting Have You Met Miss Jones. textured it may be). and since no other I'm with the cons, however, as far as is for current UST (or other) releases reveal May's incongruously styled, blustery, and connoisseurs comparable high frequency weaknesses, hard -plugging orchestral playing is con- I can only conclude that in editing the cerned. The recording is O.K., if hardly 4 -track sub -master an engineer has had outstanding except for the skill with the effrontery to tamper with the equali- which the soloist is centered between zation characteristics. Certainly the the markedly differentiated orchestral sharp -edged highs have been smoothed channels. First -rate processing. down and the solid lows given even greater substance. But if one's ears are "Stereo Dialogue for Brass." The Stereo soothed, the electrical excitement and Brass Choir. Columbia CQ 387, 39 miraculous auditorium naturalness of the min.. $6.95. original master have been inexcusably Arranger Lew Davis (who probably lost. doubles as conductor here) has had the Thus. the golden opportunity to pro- eminently logical idea of choosing his vide the finest of all tapes has been stereo -spectacular materials from "dia- stupidly tossed away. Until UST or logue" hit -show tunes in which the boy- London provides an entirely new tape girl duos are transposed to well -sepa- edition with restored response character- rated brass- and -guitar , held to- istics. I can recommend only the disc version. For who gether by vibes, , and rhythm those must have a section in the center. This Scheherazade on tape now, the fine RCA treatment is notably effective with Love Is a Victor reel of the scarcely less dazzling Reiner -Chicago recording remains the Simple Thing and Let's Call the Whole preferred choice. Thing Off. Attractive but less striking are You're Just in Love, Thanks for the Memory, and Wunderbar. But in general the playing tends to be some- what heavy- handed and the extremely stereoistic high -level recording too sharp- Joan Baez: Folk Songs. Vanguard VTC ly focused -although less so than in the 1635. 45 min., $7.95. earlier stereo disc edition. After listening to the very young Miss Baez's first solo program, I am con- "Yellow Bird." Roger Williams, piano, vinced that her devotees have. if any- with Orchestra, Frank Hunter, Marty thing, understated their case. Hers is one Gold. and Gene von Hallberg, conds. of the loveliest voices I've heard on Kapp KTL 41037, 36 min., $7.95. records. and she possesses an utterly Apparently this is, at least in part, an captivating interpretative eloquence. Sing- anthology of the pianist's best -liked hits, ing without mannerisms yet with abun- for I remember several of the perform- dant personality (with deft guitar support ances here (the brightly bouncing title by Fred Hellerman and herself) she is a tune, the hauntingly expressive O mio consistent charmer. Highlights of the hahhino caro. and Greensleeves, in par- program are All My Trials, Fare Thee ticular) from the 1960 tape "With These Well, and Rake and Rambling Boy, to Hands." It's a delight to hear them again mention but a few. As befits one of in any case, along with the new (to me) the finest folk programs ever released, bravura Roger's Bumble Bee and others. the recording is a model of gleaming Brightly recorded, this should serve as a clarity and the present tape processing best -selling introduction to one of the 8098 N. Cahuenga Blvd., Los Angeles 38, Calif. without a flaw. most ingratiating of popular pianists. CIRCLE 32 ON READER- SERVICE CARD 104 HIGH FIDELITY MAGAZINE

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Fisher Park. Of the 300 persons who and label tabs are supplied with each Free Audio Clinic. Things are looking fidelity attended the dedication ceremonies for reel so that the buyer can "mix -and- up for the servicing of high- com- Hi the new Fisher plant in Milroy, Penn- match" to create a special program or ponents-at least in one area. -Fi sylvania, none was prouder than Avery build up his own tape library on a Systems Co., Inc., a Detroit dealer, is Fisher, who now owns what is probably fairly selective basis. The "Add -A- Tape" coöperating with Hewlett- Packard Co., the largest high- fidelity manufacturing we auditioned had clean, wide -range manufacturer of test equipment, as well plant in the industry. All of the corn - sound and excellent stereo separation. as with Viking of Minneapolis and Mc- pany's audio components will be pro- As an added bonus, two of the quarter - Intosh Laboratories, component manu- duced in a modern building reposing in tracks are left unrecorded so that the facturers, in offering-from time to time the midst of twenty acres in a pictur- owner can reverse the tape and do his -professional examinations of equip- esque valley, formerly farm land and now own recording on it. ment. Anyone can bring in any tape named Fisher Park. Local residents are recorder or amplifier and have it Same Species, New Variety. One bug checked out on the laboratory bench made welcome in our own high -fidelity by experienced technicians using the system has been the Dust Bug, a con- Hewlett- Packard instruments. At speci- venient and reliable record -cleaning fied times. announced in advance by the gadget. Two varieties have been avail- dealer, this service -which ordinarily able, one for separate arms and turn- would cost $15 -is given free. The first tables, the other for changers. such clinic was attended by 1,600 With either, a tiny brush sweeps a persons. record groove to dislodge dust which is then picked up by an impregnated plush Still Room for Improvement. FM stereo pad. The changer model now has evolved programs from WGFM, Schenectady- a new variety, in which the positions of the station which proclaims itself as the the brush and pad have been reversed. first in the U.S.A. to broadcast FM Stereo comes to the hinterlands. Oddly enough, this turnabout does not stereo -have improved noticeably since seem to bother the Dust Bug in the least. their advent half a year ago, but not to not in the least put out by the invasion According to John McConnell of Electro- a point commensurate with a concept of modern technics into the rural hinter- Sonic Laboratories, the new version of what the nation's "first" FM stereo land, since the arrival brings the prospect actually works better for the changing station should, or could, be. To be sure, of three hundred new jobs, virtually all heights of stacks of records used on an the stereo effect, and the response on of which will be filled by residents of the automatic player. both channels, are good enough to per- area. In a somewhat backhanded manner, mit perception of the same spatial and Governor David L. Lawrence of we tested the new Bug on a separate depth characteristics available on good Pennsylvania headed the roster of well - arm -and -turntable system and found that stereo recordings. In fact, it now is pos- wishers at the plant's dedication, which it does indeed clean a record beautifully, sible to discern different ambient quali- included twenty press people who were despite its reversed direction. Of course, ties in the recordings WGFM itself plays, flown in from New York for the oc- using a Dust Bug on a professional type a fact which speaks well for the station's casion. arm may unbalance the arm, and for engineering as well as for the new FM At one point during a tour of the such an installation, the original long stereo tuners we have been using. And the 62.000- square -foot plant, Fisher ex- Bug still is preferred. But coming or background noise on the right or "B" plained that the site has room for an going -which is to say, for manual turn- channel has been reduced considerably; additional 900,000 square feet of work- table or automatic player -the Bug re- often it is barely discernible. But aside ing space. We suggested that that would mains a fine scavenger of record dirt. from this (sometime) annoyance we still represent, apparently, only the first detect inconsistent channel balance, with story; what about the second and third? the left channel often lower in volume. For once, the usually verbal Fisher had This flaw is readily corrected with an no answer; he laughed along with every- amplifier balance control but, ideally, it one else. should not exist in the first place. But to our ears the worst bug in WGFM's "Add -A- Tape." Collectors of pre -recorded stereo programs is not technical but tapes who prefer the cautious, piecemeal "procedural ": this station thinks nothing approach may be interested in a new of playing three hours of music with "Add -A- Tape" line announced by Cole- nary an announcement of what is being man Electronics of 133 East 162nd St., heard or who is performing it. The only Gardena, California. The tapes come on spoken interruptions are those for sta- three -inch reels, each carrying four popu- tion breaks, ill- timed, by the way, since lar selections recorded in quarter -track you may be left dangling in the middle stereo at 3.75 -ips speed. Splicing tape Unorthodox, but effective. of someone's cadenza to be informed

MARCH 1962 107

www.americanradiohistory.com Now! The identical world -acknowledged that you are listening to wonderful groove despite bumps on the road. List stereo sound. Can it be that the station price is $69.95. first to broadcast FM stereo is also the first to do FAIRCHILD away with the rites of normal Anyone for Venice? Contests must be components are available in programming? judged before they are won, and judges EASY-TO- ASSEMBLE must meet in advance to help plot against Goad for a Code. Hammurabi had a the contestants. Having been invited to code, spies have a code, even plumbers help select the ten most important char- BITS have a code. Everyone, it seems, has a acteristics of the "Troubador" record code -except the high -fidelity industry. player, in preparation for Empire's new The same electro- mechanical know -how We are not talking now of such statutory contest, we found ourselves that for over a quarter century has estab- recently ambitions as an advertising code or a transplanted pro tent lished FAIRCHILD as a leader in quality in the Fontana di manufacturing code, but only the components is now available of Trevi. This, we hasten to add, was the to the astute humble audiophile and kit builder in quality matter of color coding the wires New York restaurant and not one of the controlled ready -to- assemble kits. that lead into, around, and out of a home famous fountains of Rome, although sound system- specifically, the wires for memories of the original namesake as FAIRCHILD 412 -1K cartridges in tone arms, the signal cables well as strains of Respighi's music came between Turntable Kit components, and the wires to to mind -the former because it is partly speaker terminals. As things stand now, involved in what the contest's lucky For the astute audiophile who dreams of win- there is a rainbow profusion of colored ner will receive; the latter because, owning only the finest the famous FAIRCHILD after leads in use, and let no man think, for all, the contest involves music at least 412 is now available in kit form. The or instance, that just because green repre- the machinery for playing it. FAIRCHILD 412-1K is sents the "hot side" of channel B in one The conclave included, in addition to identical as its pickup system it will indicate the same press people like us, such "performing" assembled coun- thing on another manufacturer's system. personalities as Dr. Sigmund Spaeth, terpart which Resistors and capacitors, whose electrical whom we had seen earlier in the week includes values involve astronomical digits, have on television in his role of tune detec- locked in been color -coded for years and everyone tive, and Skip Weshner, Jr., who has synchronous 33'3 who works with these parts knows that he been conducting a nightly session of speed, 8 lb. turntable and can tell at a glance what's what regard- music and commentary on WNCN -FM, the famous exclusive FAIRCHILD - Double less of who manufactured them. If only N.Y. Our host was busy Herbert Horo- Belt Drive. Comes complete with mounting the same feeling of confidence could be witz, president of Empire Scientific board. KIT $74.95 bestowed, say, on stereo cartridge con- Corp., who left his attaché case and Assembled $95.00 nections! Look at it this way: there are portable dictating machine in a parked a score of available tints. Agree, oh in- FAIRCHILD car long enough to spend the better part COMPANDER dustry leaders, on four of them for of an afternoon to explain, between Model 510K the critical leads in a stereo arm, another courses, that we were assembled to eat, two for left and right channels, and two drink, be Dynamic Realism in kit form! merry -and judge. Through the more for speaker polarity, and you will use the Sometime before the desserts arrived, of have taken a real step toward making FAIRCHILD sheets of printed matter were distributed. _ life easier for service technicians, instal- which listed ten outstanding features of COMPANDER !ID lation men. and testing personnel-as the Empire rr you can now "Troubador" turntable, arm, well as helping to lift -if only a little - and stereo cartridge. We were to score, add Dynamic Realism to all the veil of mystery between "electronics" your disc and tape recordings. Acclaimed by and the "public." music and audio experts the COMPANDER restores many of the dynamic values that (Fast) Changing Times. No sooner had are necessarily controlled in recording or our report on the Fisher MPX -I00 broadcast. Can also be used as a compres- multiplex FM stereo adapter gone to sor for background music. KIT $59.95 press for last month's issue, than we Assembled $75.00 learned that this unit has been super- FAIRCHILD seded by an improved version, termed 440 -2K by Fisher the Universal MPX -100. Turntable Kit Readers of the February equipment re- This Fairchild single -belt drive, two -speed ports will recall that the original turntable, 33'3 and MPX -100 was tested with five different makes 45 rpm., has per- of FM tuners and found to formance charac- work well with all of them. Presumably. the revamped work with teristics similar to MPX -I00 will a lot more tuners since it incorporates the famous FAIR- a separation control which reportedly by a point system, ° CHILD 412. This the order of im- permits exact matching to all quality these robustly designed FAIRCHILD 440 -2K kit portance of ten features. From the component sets. Thé em- with fast speed change, accurate speed FM circuitry twenty or more judges' lists, a master ploys a time division system, and the list be control through use of FAIRCHILD Speed will compiled to serve as the terms dimension control of the older adapter surrender Sentinel, unusual low low rumble and prac- of of the prize -which is a has been replaced with a three -position twenty -one day tour the tically immeasurable wow and flutter makes of music festi- noise filter. All these additions vals this a desired addition to any quality cost of Europe, for two, with all ex- more, too -the new MPX -100 is priced penses paid. The is component system. Comes complete with contest. which open at $109.95. to just about everyone, ends June 15, mounting board. KIT $58.00 1962. Assembled $69.95 Music for Motoring. A 45 -rpm record For the next few months, we are stead- All these FAIRCHILD KITS are available player. said to be an improvement over fastly refusing to tell anyone what we at your audio dealer. Write for com- Columbia's "Hi -Way Hi -Fi," which got think the most important features of plete details. detoured a few years ago because of the Empire " Troubador" are. For one technical difficulties, has been announced thing. the judges themselves disagreed - by Automotive Electronic Specialties of as was expected -on the order of im- FAIRCHILD Torrance, California. Known as "Car - portance, and no one judge (this one Fi," the units plays through the car included) really knows the final order RECORDING EQUIPMENT CORPORATION radio. Reportedly, a new kind of tone of the ten features. Besides, we could 10-40 45th Ave., Long Island City 1, N.Y. arm permits smooth tracking of the disc use a tour of Europe ourselves. CIRCLE 45 ON READER- SERVICE CARD 108 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com "ASTONISHING!" "EXCELLENT!" "TERRIFIC VALUE!"

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Name ACOUSTICAL DEV. CORP. Address CABINART GEYER STREET, HAI-EDON, N. 1. 'City State L J CIRCI.E 24 ON READER -SERVICE CARD MARCH 1962 109

www.americanradiohistory.com STEREO AN ARGUMENT FOR STRAUSS riod immediately following the First World War. Certainly, the decade fol- Continued from page 49 lowing the Great War was the least pro- ductive decade of Strauss's life, and his DEMANDED IT! abandoned at birth. The entangling of work at that time, while possessed as musical events with dramatic ones is a always of an enormous technical corn - risky business; and although Strauss took petence, cannot by any stretch of the great pride in his ability to describe extra - imagination be regarded as equaling his musical circumstances musically (a talent earlier achievements. Strauss himself, of \TANNOY, which was later to make him the greatest course (utilizing the composer's and the operatic composer of his time), the es- parents' privilege of making a special pet sence of the tone poem structure did not of the unwanted child), swore to his depend on the circumstance that a series dying day that ENGINEERED IT! of dramatic occurrences appeared in a was the greatest of his operas and recognizable paraphrase. Rather, it lay besieged major opera houses with in the fact that the harmony of dramatic requests for its production. He even THE NEW events could be used as a focus for musi- insisted that, although his health could cal form. (Fascinating that Thomas not possibly permit him to endure Mann was always talking about the re- the rigors of conducting Rosenkavalier "MONITOR" verse procedure -building the novelette (because of its length), he would none- like a sonata-allegro.) theless be most happy to conduct Frau As Strauss grew older, his desire to ohne Schatten (which is slightly longer). DUAL CONCENTRIC overwhelm us with the musical equivalent The middle operas like Frau ohne of an epic novelist's entangled plot line Schatten are certainly not without ad- abated, and as the tone -poem period mirable qualities; we no longer feel, came to an end he began to enjoy what however, quite that same wondrous was, at first, a coy flirtation with the stroke of inevitability which in the ear- "style-galant," and then to visit with in- lier works -and, indeed, the later ones - creasing ardor the spirit of tonal rebirth bound the first note with the last and and reemphasis which dominated the made all the ingenious technical diver- preclassic generations. It has always sions not the aim but simply, and rightly, seemed to me that the pivotal work in the means. Strauss's career is one of the less spec- And so we come to that incredible tacular, and certainly in North America rejuvenation of Strauss the artist -the least well known. of his works- Ariadne fluent, warm, infinitely moving works of "MONITOR" auf Naxos. Ariadne is neither the most his late years. Here, surely, is one of 10", 12" AND 15" brilliant, the most effective, nor the most the most fascinating revitalizations of the likable of Strauss's operas, and yet from creative spirit to which we could ever its conception date those qualities which be witness. One could. I suppose, at- can now be numbered as the outstanding tempt a parallel with the last works of the most advanced co -axial traits of the mature composer. (There Beethoven by pointing to the fact that to date may be some amusement in the fact that they too follow upon a dreary desert of this statement, however open to chal- inactivity, from which Beethoven emerged lenge, should be made of a work written to find not only the assured step of his * New revolutionary magnetic shunt in the same year as Stravinsky's Sacre youth but, indeed, a means to express circuit increasing useful low fre- du Printemps and Schoenberg's Pierrot the mature deliberation of his later quency flux by more than 20',:. Lunaire- 1912.) Ariadne finally con- years. It is my view that the late works firms what must surely have been sus- of Strauss afford much the same oppor- pected * Unique treatment of low frequency of Strauss long before -that at tunity to contemplate the mating of a diaphragm surround providing im- heart his instinct. if not neoclassic, is philosophic stance and a technical ac- proved response and stability. essentially that of a highly intellectual- complishment indivisible from it. I feel ized romantic. that in virtually all of his late works * New acoustic balance cavity improv- From Ariadne onward his textures Strauss's youthful tendency to celebrate ing high frequency response, reduc- will on the whole become ever more through the techniques of art the human ing distortion. transparent. and the buoyancy and sta- conquest of material order, to applaud bility of his harmonic style will be even the existential character who flings him- more magnificently served. Strauss al- self unquestioningly against the world - Tannoy engineers have produced a ways fancied himself as a kind of in other words to be the hero of Ein speaker of unsurpassed quality, already twentieth -century Mozart, and this is Heldenleben-is now sublimated, indeed, being used as a 'Monitor' by world wide not an altogether insupportable conceit: wholly vanquished, by a technical mas- recording, radio, and television compa- indeed, in many of the operas of the tery which no longer needs to prove nies. The extended range and increased middle -late years from Ariadne to itself, to flaunt its virility -but which efficiency of the low frequency unit Schweigsame Frau we find again and has become inseparable from those qual- make it ideal for use in relatively small again the delicious transparency which ities of sublime resignation that are the enclosures, whilst still maintaining the makes these works, in my view, the most ultimate achievements of great age and "presence" of unrestricted sound. This. valid outlet for the neoclassic instinct. great wisdom. Indeed, short of the last quartets combined with the fully integrated sound And so, once again. Strauss's concern of Beethoven, I can think of no music source of the 'Monitor' Dual Concentric, for the total preservation of tonality makes it especially suitable for stereo- finds not only a sanctuary but a point phonic reproduction. of departure.

WRITE FOR DETAILS IDO NOT WANT to suggest that Strauss's creative life did not at some time ac- tually undergo that terrifying evaporation TANNOY (AMERICA) LTD. of inspiration which plagues the sub - BOX 177, EAST NORWICH, L. I., N. Y. conscience of all creative people. It has always seemed to me there was some TANNOY (CANADA) LTD. justification for the concern expressed 36 WELLINGTON ST. EAST, TORONTO, ONT. about his artistic future during the pe- CIRCLE 89 ON READER- SERVICE CARD IIO HIGH FIDELITY MAGAZINE

www.americanradiohistory.com which more perfectly conveys that trans- TESTING TUBES AT HOME figuring light of ultimate philosophic re- pose than does Metamorphosen or Ca- Continued from page 54 priccio -both written when their com- poser was past seventy -five. In these late new matched pair. However, some works the vast harmonic imagination al- amplifier designers recognize the fact ways characteristic of Strauss remains; that matched -pair replacements may not portable but whereas in the earlier years it had always be readily available, and conse- the positive, convinced, untroubled as- quently they may provide an adjustment surance of metric simplicity, now it is on the amplifier which will compensate sometimes tentative, sometimes wayward, for most of the inequalities of un- sometimes deliberately asymmetric, and matched tubes. If your amplifier chassis perfection thus conveys a vivid sense of one who is not equipped with this adjustment, has experienced great doubt and still and if you are unable to find a matched finds affirmation, of one who has ques- pair of replacement power tubes, your tioned the very act of creativity and tube tester will enable you to do a very found it good, of one who has recog- fair job of matching. Even better is to for nized the many sides of truth. get the replacements tested when and And yet I wonder how vivid the corn- where you buy them. On a meter whose parison with Beethoven really is. Bee- scale runs to "100," tubes that test within thoven, after all, in the last quartets two or three points of each other can hi -fi did, virtually, bridge the entire romantic provide satisfactory (though not perfect) fans era and afford a link with the taut mo- service as a "matched pair." Of course tivic complexities of the Schoenbergian when you need new tubes you will follow generation. On the other hand, at least the advice given by almost all component from our present point of view, Strauss, manufacturers: make exact replacements in the late years, can hardly be supposed by type and brand. to have suggested any such stylistic Whatever the tube or its trouble, a o'erleaping of future generations. He has, sound system made up of separate corn - if my view of him is substantial, simply ponents is much easier to service than a brought to an inevitable and poignant package -set built as a single unit. Diffi- conclusion his own existence as a crea- culties can be localized in a specific corn - tive man; he has promised nothing what- ponent, with fair certainty, even before ever for the future. And this, I submit, is the tube tester is brought into the picture. where the estimation of my generation For instance, if records can be heard, but has gassed Strauss by. not the tuner, look for a defective tube I do not for one minute suggest that, in the tuner; if the tuner works and the with all of my admiration for Richard phono doesn't, the trouble is in the pre- Strauss, I could possibly imagine that the amplifier. If nothing works, try plugging future of music will somehow be influ- the tuner directly into the power ampli- enced in any actual, stylistic sense by his fier: if this solves the problem, the bad works. But then what is it that really tube is again in the preamplifier; if the From Denmark comes this provides the influence of one generation system remains dead. the fault is in the aristocrat of portables. Su- upon another? Is it simply the retention power amplifier. Once the offending perb AM- FM- Shortwave per- of stylistic similarities within an ever unit has been isolated in this way, fewer formance with all the fea- moving historical front? Or can it not tubes need be tested, and the success of tures you've ever wanted also be the inspiration to be drawn from the test procedure is reasonably assured. in a portable: 12 transistor a life which contains a total achieve- power with push -pull out- ment of art? Certainly Richard Strauss put and a 5" x 7" speaker, had very little to do with the twentieth flywheel tuning, full range century as we know it. No more perhaps independent tone controls, did he belong in the age of the atom pushbutton selection, loud- than Sebastian Bach in the Age of Rea- speaker - earphone output son or Gesualdo in the High Renaissance. and separate tuner output, By all the aesthetic and philosophic plus plug-in connection for yardsticks that we must apply he was an auto antenna for over - not a man of our time. Can we really the -road hi -fi. conceive of Fran ohne Schauen being -ridden ragtime - "F*4.1( oos Complete information is launched in the inflation infested roaring Twenties? Is it really available on request. Write possible that Capriccio, that autumnal for the name of your near- salute to a world of gallant poise and est dealer. quiet literacy, could really have been born while the flames of war swept our r.2i,;i world of 1941? The great thing about the music of Bó Richard Strauss is that it presents and substantiates an argument which tran- 2 scends all the dogmatisms of art -all By appointment questions of style and taste and idiom - to the Royal Danish Court all the frivolous, effete preoccupations of the chronologist. It presents to us an ex- National Association ample of the man who makes richer his -- own time by not being of it; who speaks for Mental Health for all generations by being of none. It 0 is an ultimate argument of individuality -an argument that man can create his own synthesis of time without being DYNACO, INC. bound by the conformities that time 3912 Powelton Ave., Phila. 4, Pa. imposes. 00 Ov RF.AI)ER -SERA "ICE CARD

MARCH 1962 Ill

www.americanradiohistory.com FISCHER -DIESKAU in this field are lavishly represented on records, so lavishly indeed that any ade- Continued from page 57 quate discussion of them is quite beyond the scope of this article. But there is recently had considerable success as one disc that seems to me to be worth Verdi's Falstaff. I confess that I myself f special mention: Schumann's Dichter- do not find it very easy to conceive v liebe. of him in this role, and unfortunately I I choose Dic /tierliebe partly because cannot here speak from personal expe- the recording seems to me one of Fischer - rience. But I am assured by several corn - Dieskau's most remarkable achievements petent judges that this is on; of the most qua singing, and partly because the successful things he has done-not only work itself is the essence of the Ger- immaculately sung, which I well believe, man romanticism of which he is such but also richly humorous. Be that as it a unique interpreter. The human voice may, Fischer -Dieskau excels primarily in is a fallible instrument, and the singer who serious parts, and notably in complex is without technical problems and weak- and intellectual characters. He is, for nesses does not exist. Perhaps the most example, a most distinguished Mathis in persistent failing in Fischer-Dieskau's Hindemith's impressive but somewhat earlier recordings is a tendency to lose lumbering opera, and recently he has evenness and steadiness of tone when he tackled the very different part of Woz- presses his huge voice, so that the sound ' zeck. But particularly close to his heart comes in blurts, while the line thickens new is Busoni's Dr. Faust, which he believes and grows blotchy. This tendency is far the to be a neglected masterpiece. This huge less apparent in his recent recordings, part calls for all Fischer -Dieskau's vocal and it is totally absent from his Dichter- and dramatic talents. and he rises to its liebe. ¡nl Rhein, im heiligen Strome is R Miracord demands with extraordinary authority, thundered out with vast majesty and portraying with equal success the brood- rocklike solidity of tone. If unevenness ing philosopher, the carefree hedonist is his main technical blemish, artistically and philanderer, and the last fearful hour his principal failing is an occasional sur- is both of reckoning. By any standards this is plus of interpretation. As so often hap- A one of the most remarkable perform- pens when an intelligent and sensitive ances to be seen on the European oper- Here's the best of two artist has thought long and hard about a atic stage of the present day. role, Fischer -Dieskau sometimes makes worlds in one exciting one more conscious of the interpretation But opera is not the center of Fischer - package the all -new he is giving the song than of the song ... He generally sings Dieskau's career. itself: one is more aware of countless Miracord automatic turn- a role at the Salzburg and or two Munich vocal shadings and inflections than of the and table and record changer. festivals in August occasionally at basic line. Fischer -Dieskau has devel- Bayreuth. In addition, he always de- Enjoy perfect record re- oped his voice as a uniquely subtle and votes a his certain amount of time to expressive instrument. and he can on oc- production only a profes- parish house in Berlin, where opera West casion be accused of using these accom- sional turntable and tone he can.be heard during the stimulating plishments for their own sake. But this autumn festival. But he remains first arm offers ... or the con- is diminishing with age. In. for instance, and foremost a Lieder singer. Ant Leuchtenden Sommermorgen he venience of uninterrupted his If operatic repertory is individual penetrates with utter simplicity and di- music, hours on end. and large in proportion to the limited rectness into the very heart of this typical R number of appearances he makes. his Choose either model: the and evocative song. concert repertory is immense. An aston- The spirit of German romanticism STUDIO H with hysteresis ishing amount of it is already available turns on the bitter contrast between the on discs. (It is said that at the age of synchronous motor - poignant beauty of the world around us thirty -six he has already recorded three and unhappy $99.50; or the STUDIO the tumult in our own D times as many Lieder as any other singer, hearts. This is the theme that links with heavy -duty, shaded past or present.) Fischer -Dieskau is not, Schubert, Schumann, and Mahler and I think. particularly sympathetic to the 4 -pole motor - $79.95. that makes Die schöne Miillerin, Dichter- more radical sort of contemporary music liebe, and Das Lied von der Erde all part and he stands apart the self - from rather of a single tradition. It is a Weltan- conscious progressivism of present -day schauung of which Fischer-Dieskau has German musical life. When he does profound understanding. He seems to be enter this field. he does so with under- able to strike down to the very roots of standing: his lively recording of Hans romantic anguish without any false Werner Henze's "Five Neapolitan Songs" pathos or emotional gesturing. shows an insight into the melisma of Of course he is not the only singer Neapolitan popular song unexpected in who can enter this world. Others may a sensibility so essentially German as challenge him in one song or another. Fischer -Dieskau's. But in a cycle he seems to me untouch- He has also recently recorded a certain able because he commands such a great amount of French song. I have heard range of expression. It is all too easy to only his recording of Fauré's La bonne deliver Lieder in an emotionally stereo- chanson, and here, adroitly though he typed manner -this song is jolly and avoids all the pitfalls of a foreigner ven- that one sad, and that's that. But turing into a highly idiosyncratic idiom. Fischer -Dieskau seizes the emotional am- he impresses by intelligence rather than For complete infm-rnatinn write: bivalence in Heine. The gentle lyricism by instinctive grasp. But of course the of Und wüssten's die Blumen is sung with field in which he is unchallenged is Ger- such heart -easing limpidity that the sud- BENJAMIN man romantic song from Beethoven to den bitterness of its conclusion strikes ELECTRONIC SOUND CORP Mahler. where his intellectual grasp like a lash. His voice has an astound- Dept. ' coupled with profound instinctive insight ing range of color and expression. To HF 3/62 -97-03 43d Ave., Corona 68, N.Y. makes his performances wholly authori- speak of mezza voce here is pointless, (IRCLt 2I ON Rt. l)t:R -St .RN I('t. ('SRI) tative. By good fortune his achievements for it is in itself a rainbow of finely

www.americanradiohistory.com graded timbres. In the latter part of Ich WATCH YOUR JACKET grolle nicht his slow and gradual tran- sition from a subdued opening to a Continued from page 60 great cry of pain gives some idea of the range of tone at his command. And his can lead to the following kind of unin- ability to fill his mezza voce singing with tentional doubletalk: "This band reveals content is wonderfully shown in the ten- the players as instrumental in making RT sion and subdued desperation of Ich overtures with no strings attached...." triimnt' du verliesst mich. In none of the And only yesterday I heard one of the Al N _ F' ' songs does he convey the feeling of sing- BBC's top reviewers of opera recordings ing to a formula: each is given its indi- say something like this concerning an vidual expressive quality and yet the eminent soprano: "A beat is inclined to the Viking cycle is grasped as a whole, moving to- set in and the tone isn't really solid...." wards its culmination with unfailing For one horrid moment I thought the 86 STEREO -COMPACT sense of direction. It is this that makes speaker had wandered into the wrong Fischer -Dieskau's singing of the greatest Tin Pan Alley; I nearly advised him to It's selling so fast dealers are of all song cycles, Die Winterreise, so "dig, man. dig." He obviously hadn't constantly out of stock. We're overwhelming an experience. learned always to be wary of words sorry for the delay in getting de- Where a man derives gifts such as which in addition to broad connotations livery on enough 86 Stereo -Com- these no one can say. But Fischer - have specialized meanings. pacts, but that's how good this also re- Dieskau's background and way of life Another thing that the jacket writer new all -in -one component corder is. no doubt play their part. Germany has should always remember is that his The 86 Stereo- Compact will seen galvanic changes in the past century, humblest contribution is likely to be likely continue to be in short and its old world of romanticism lies read over and over again, far more supply through the next few buried beneath the ruins of Bismarck's often, indeed, than his most learned arti- months. We hope you will be and Hitler's empires. Today that world cles. Yet sleeve notes must also be easy willing to wait the necessary two lingers on only in odd corners, far from enough to read so that they can be as- to three weeks for delivery of the busy centers of the Wirischafts- similated almost at a glance. The reason? this year's hottest stereo product. wmider, the Autohahnen, and the tourist Not only are they picked up and We promise you the ultimate circuits. In some curious way Fischer- skimmed over in the record shop, but in performance; a carefully -built, Dieskau reflects this old, forgotten Ger- they're almost sure to be read while the quality -built stereo recorder, un- many -"das land der Dichter and Denk- record itself is being played. A repre- matched in the current market. er." There is something old- fashioned hensible habit, no doubt, but there it is; about him. He lives in the city in which let us admit it-we all err in this direc- he was born. in a solid. comfortable tion. The first thing most listeners do house, surrounded by his family. He oc- when a record begins to play is to reach cupies his spare time with a mammoth for its jacket and start to read. In defense collection of records, catalogued with of this malpractice I recall what a great obsessive precision. and a whole library Dutch violinist once said to me: "One of pictures and illustrations of anything should neffer haff to listen to music to do with composers. Occasionally he for de first time!" There is, after all, likes to prepare little lectures in which something to be said for letting the the records are played and appropriate music just seep into one's subconscious. illustrations are projected. He has eve- How long should a jacket note be? I'm nings of Hausnucsik (his wife is a cellist not thinking here of the kind of elabo- and he himself a competent pianist). He rate booklet which one finds in the two - reads a good deal. or three -record set, but of the notes All this may sound a little dull, and printed on the back of an ordinary LP his lectures are much mocked in Berlin. record jacket. The permissible length for A solid. domestic existence such as this such notes seems to vary in different is rare in the busy, thrusting. and rootless countries and with different companies. Check these quality and perform- Germany of the present. Once it was In the United States it seems that longer ance features of the 86 Stereo - the traditional background of Germans notes are possible than in Britain, say, or Compact. of his class-solid, cultivated. a little France. Fifteen hundred words seems a 25- 18,000 cps t 3 db two pedantic perhaps, and unexciting- before reasonable sort of length: the thousand - track, four track and combina- Bismarck and Wagner transformed their word note is popular with some com- tion models Auto -Equalized -in country. Is it fanciful to see in this panies; and if the writer can restrain his Recording /Playback Built Re- Biedermeier atmosphere some reflection eloquence and enthusiasm to eight hun- Playback Equalization cording Interlock Multiplex - of Fischer- Dieskau's ability to reenter a dred words. he will be the Artist Man- Ability for FM Stereo Recording. romantic world of bitter joy and sweet agers' fair -haired boy. tears to which so many artists of consum- I wrote just now of "enthusiasm" and AUDIOPHILE NET $297.50 mate proficiency have lost the key? "eloquence." Mr. Mayer distrusts at least See your Viking Dealer or send today the first of these qualities. but, you for FREE detailed technical catalog. know, I don't think we shall get far without either of them. In general, jack- et writers -note are hardened professional AQ O F M INNFAO L I S, IN C. scribes, but in spite of this they are. as often as not, enthusiasts as well. If the jacket -note writer loves and under- Ht stands the music he is discussing, then Viking of Minneapolis Minneapolis 20, Minn. that truth will out; and if real enthusi- 9600 Aldrich Ave. So., asm is there, why should he not try Please send technical catalog on to convey it to his reader? The music Li 86 StereoCompact 76 StereoCompact critic without enthusiasm had much bet- NAME ter go and try to sell insurance or real estate. Above all, the notes should make ADDRESS the reader who casually picks up a disc CITY and glances at the jacket simply long to STATE hear the music; if he doesn't, then the L J jacket writer has muffed his job! CIRCLE 96 ON READER -SERVICE CARI)

MARCH 1962 113

www.americanradiohistory.com WANTED: two Wellcor S -1215 speaker enclosures SACRIFICE: Professional Ampex recorder 354, three preferably in limed oak. M. Halko, 6229 S. weeks old, guaranteed perfect, $1400. Two Marantz- Kedvale, Chicago, Ill. 9 amplifiers, a month old, impeccable condition, extra tubes, $500. H. Walker, 76 Elm St., North- TRADER'S MARKETPLACE BUY: Mint copy CL871, Pretty Wild, Wild Bill ampton, Mass. Davison; HL7080, Dixieland in Hi Fi, George Wet - tling. Premium price. Will consider near mint. State TRADE: LP's and albums -played only once -list This classified section is available without condition. Tom Cannon, Murfreesboro, Tenn. available. Charles Cain, 15 Grant, Mt. Ephraim, N. J. wish to buy, cost only to readers who BRAND NEW Stereophoner by Herman Scherchen. FOR SALE: Viking 85R deck and RP62 -C record /play- sell, or swap used equipment or records. Bought two, but only need one. Cost me $16, back amplifier, 1/2 -track monaural erase, record No dealer ads please. Messages limited yours for $10 postpaid. William I. Congdon, 307 and playback, like new $75. Paul Strisk, Rockport, to 30 words, including name and address. Barker St., Ridley Park, Pa. Mass. Copy must be received by the 1st of the FOR SALE: two brand new University C8W 8" BRUCKNER Symphony No. 5, stereo, 2 London CSA- 2nd month preceding publication and is woofers in cartons. Original price, $15 each. 2205, new, $7.50. Want book, "A Russian Tome - of publishers, who Sell both for $20. Jack Brannigan, 9222 S. Sacra- poet, Scriabine" by Eaglefield Hull, Pub. London subject to approval mento, Evergreen Park 42, Illinois. 1916. Horace Butterworth, 2708 Gaither St., S.E., cannot in anyway guarantee the accuracy Washington 21, D.C. of or condition of merchan- FOR SALE: HIGH FIDELITY 1 -109 complete. Best statements offer. J. Hartley, 37 Woodside Rd., Waldwick, N. J. SELL: Heath AM -FM tuner PT -1 and stereo preamp dise advertised. Classified advertisements SP -2A, both in excellent operating condition, $125 WANT TO BUY: Met broadcast recordings -Ernani, limited to one page and adver- plus shipping. E. L. Baker, 35 Windsor Road, will be , Macbeth, Simon Boccanegra, Traviata, first - Cranston 5, R.I. tisements printed on a first -come, Forza, Ballo, Norma (Milanov), Lucia (Callas). served basis. John Schweger, 1675 Juniper Dr., Green Bay, Wis. GRUNDIG Majestic stereo console AM -FM -SW and Telefunken changer, cabinet perfect. Needs tune - TWO Goodmans 208 Triaxial speakers, ideal for WANTED: Columbia 10" ML -2185 of Grandma Moses up. Complete with Grundig TK20 tape recorder - bookshelf enclosure. Retail each $60 as new, film music. Also all issues of Schwann LP Catalog list over $750. Act fast -$250. James Kowalski, 16 ohm impedance. Will swap for Scott 9941 before 1952. Ronald Chandler, 3540 Monterey 2626 Weisman Rd., Wheaton, Md. amplifier or J. B. Lansing 131 speaker. John Blvd., Oakland 19, Calif. Guzy, 1920 W. 55th St., Chicago 9, III. AMPEX 601.2 stereo recorder with imput trans- JIM LANSING D -131 12" speaker in Aristocrat cab- used tape recorder, dual formers. Very good condition. Best offer over WANTED: Good quality inet, $100; Rek -O -Kut N -34H stereotable, S -320 Also G. I. disc $700 takes. David Johnson, Box 517, Avoca, Iowa. track monaural. Pay $50 top. arm, base, Shure M7 /N21 D cartridge, Acousti- recorder assembly, magnetic cutter. Frank Buzzell, mounts. 5 months old, $120. John J. Kempel, SELL: Fisher 400 -C stereo preamp with all new 215 S. Buchanan, Spring Lake, Mich. 1154 Irwin, Pontiac, Mich. tubes, $65. Two track stereo tapes also wanted at Dyna Mark SELL: Scott 130 stereo preamplifier, 2 WANTED TO BUY: back issue of Opera News Maga- discount. John Whitfield, 2616 Hanover Ave., Rich- Ill power amplifiers. Best offer over $200. Guar- zines, pictures of Maria Callas and opera vocal mond 20, Va. anteed excellent condition. Dr. W. Maslowski, 1072 scores and . Advise what you have. Rich- FOR SALE: Two Dyna 60 -watt amplifiers, both $115; W. Market, Lima, Ohio. ard White, RFD =1, Lilburn, Ga. Bogen AM -FM, $75; Leak FM, $100; Grado arm with walnut cab- FOR SALE: Crosby 650 stereo receiver, WANTED the REL 646 FM tuner in good condition Master cartridge, $35. All in new condition. C. B. FM inet and Crosby MX -101 stereo multiplex or the REL "Precedent" FM tuner. Will pay good Sullivan, 84 Howard St., Cambridge, Mass. adapter. Excellent condition, $170 plus shipping price. Alex S. Labounsky, 60 Hill Drive, Oyster Ave., WANTED: Stephens 15" coaxial 206AXA speaker. charges. John G. Zeros, 1265 Morrison Bay, N. Y. Bronx, N.Y. Enclosure not important due to difficulty of match- SELL: Fairchild 412 -1A turntable, $69; Audio Em- ing present enclosure, but will consider enclosure WANTED: High quality recordings of music by early pire model 98 arm, $29; Pickering 381A cartridge, purchase if necessary. David C. Hardshaw, 903 Paine). Can re- American composers (especially $38; together, $130. Scott 320 FM -AM tuner, $80. North Mallory St., Hampton, Va. ciprocate with taped music of British composers, Robert Keathley, 246A Cochran, Memphis 5, Tenn. artists not available elsewhere. R. Williamson, SELL: Sony CS -300 stereo tape recorder, $275. 78 Helena Road, Norwich, England. SELL: Sherwood S -5000 stereo amplifier and case. Will Trade for any of the following: Two AR -1W's, Like new -used only few months, $95 plus shipping. two AR -1 W's, Ampex 934 and $25, or Ampex 934 FOR SALE: Acoustic Research AR -3, Bogen DB130A D. R. Deneen, 33 E. Cedar St., Chicago 11, III. and $75. Robert Moore, 5 B Orange, Goleta, Calif. and Rek -O -Kut N33H with Fairchild SW cartridge and walnut base. Excellent condition, $175. W. E. FOR SALE: Fisher 400 CX Master Audio Control WANTED: Tape recording preamp- Viking RP 61 -62, Thompson, 510 Columbus Drive, Savannah, Ga. stereo preamp, $140. Two Dyna Mark III 60 -watt Heath, etc., one or two. Reasonable. Rudy Pucell, amplifiers, $60 each. Entire package, $240. Ex- 9, FOR SALE: All or any part of collection of stereo, 2010 View Road, Cleveland Ohio. music, mostly unplayed, 1/3 cellent condition. FOB New Haven, Jack Fleischer, mono discs -concert USED University HF206 hypersonic tweeter, includes Treat, 725 West 24th St., 271 Cooper Place, New Haven 15, Conn. off. Free list. Richard 4 -mfd crossover. $17 postage included. Francis Billings, Montana. WANTED two JansZen 130 in mahogany finish. Gallagher, 3375 Sedgwick Ave., Bronx 63, N. Y. Kerry Hull, RR 4, Columbus, Indiana. WILL SELL: Recorded tapes and records including FOR SALE: Scott tuner type 310, excellent condi- hillbilly, popular and religious music. David Thomp- WANTED: Complete recordings of Le Coq D'Or tion, best offer over $75. D. J. McBride, Mont- son, Route 2, Box 200 -A, Mena, Arkansas. (opera) and Heart of the Opera (Camden -six gomery Woods, Hockessin, Del. records). Please state condition, price. Bruce WANTED -Weingartner's early Columbia 78 record- Brewer Jr., Rte. 10, Box 219 -H, San Antonio, Tex. RCA ing of Symphonic Fantastique and "Me and Juliet," WANTED: Victor LCT -1136 (Rachmaninoff); W. Kingsway 291 (Glazunov); Urania 7073 (Dvorak) and Victor LP, LOC 1012. E. D. De Voe, 902 WANTED: RCA LC1A or 51552 speakers, one or a Heritage 1205 (Gliere). E. C. Magnuson, 2224 Liv- Wildwood Ave., Fort Wayne, Indiana. pair, with or without baffles. Must be perfect ingston Ave., Duluth 3, Minn. WANTED: Giannini- Pertile -Sabajaino Aida. Joseph and never damaged. Captain Matthew Kabrisky, Borome, 372 Central Park West, New York 25, N.Y. Box 3494, IT, Wright -Patt AFB, Ohio. WANTED Tape recording of the sound track of film "New Orleans," primarily interested in numbers tape cartridge re- SELL: Electro -Voice SP -15 in mahogany Wellcor WANTED: Good used stereo Billie Holiday sang in film. Fred Cox, 132 East Send your list to: Steve Ridlon, 9 reflex enclosure or trade for tape deck, Citation cordings. 2d St., Oswego, N.Y. Powsland St., Portland, Maine. preamp, AM -FM tuner. Capt. Boesch, Box 3901, Laughlin AFB, Texas. FOR SALE: Citation I stereo preamp, $145; Scott SELL: JBL Metregon mahogany. Has D130A's, 275's, 121C mono preamp, $55; Pickering 380A stereo 075's, N600's and N7000's. One year old. Flaw- SELL Ferrograph 3AN recorder; Bogen DB -130 con- pickup, $15; Shure M3D stereo pickup, $15. All less condition. Cost $1300, sell $650. No offers trol amplifier; Racon CHU -5 horn tweeter; Simon perfect. R. J. Vanderbilt, 38 West River Rd., Rum - please, must sell. Charles Sweet, 1213 Crow Ave., Sound "Cadenza" ribbon mike; Connoisseur table, son, N.J. Visalia, Calif. mono arm, base. Write John Margosian, 9210 Skidmore Ave., Brooklyn 36, N.Y. TRADE $400 (fectory net) professional AM rcvr. WILL SELL or Trade Brociner model 4 corner enclos- Sondyna E306 tunes LF, BC to 60 Mc, ideal ure plus Gray 106 -SP tone arm, both in perfect FOR SALE: Concertone Mark 1D-26C professional Swiss comm., 10W Wanted: mono pre - condition, for new AR -3 enclosure. Dr. Abraham tape deck, excellent condition. 71/2 -15 IPS, music or monitor. amp, amp, FM tuner, full or half track 71/2.15 ips Tannenbaum, 352 B -12 Street, Far Rockaway, N.Y. 101/2" reel, Bodine motors. Can be converted to details. stereo, $400. Ed Pineiro, 4800 Rhodes Ave., North tape recorder. Shipping arrangea. Send Ampex 600 ($350) and 401A ($395) half-track SELL: Hollywood, Calif. Werner, Pf. 1424, Berne 2, . recorders, portable, low impedance; Telefunken U 47 condenser mike (S350). Top condition. Reason: WANTED: JBL 175 DLH and N1200 crossover. Jack SELL: Viking 85 RQ deck and RP 62C amplifier in military. $950 for all. Dr. C. F. Tuma, 13201 Miles, Chaney, Box 25, Hillsboro, Ohio. carrying case, $125. Hardly used -excellent condi- tion. Samuel Gittleman, 2340 Valentine Ave., New Cleveland 5, Ohio. WANTED: Eddie Heywood, Coral 12" LP 57095, also York 58, N.Y. WANTED: Hora Staccato RCA EP played by Al Cajola old 78 RPM of Billie Holiday, "All of Me" Okeh guitar; Dragonetti, Double -Bass Concerto, Classic 6214, Michael A. Piccinini, 6922 Chaucer St., WANTED: Bloch -Col ML 4679, Benny Goodman -Col 1035, or these on tape. Githon Reid, Naturita, Colo. Pittsburgh 8, Pa. CL 524, Thelonious Monk- French Swing, M33342, Coleman Hawkins -Joe Davis 78s 8250.8251. Law- free NYC WANTED JBL 075 tweeter and N2400 or N2600 HIGH FIDELITY 1 -108, $50. Delivered 34, N.Y. R. rence Levy, 2658 E. 64th St., Brooklyn area. R. Berthold, 186 -40 139 Ave., Jamaica 13, N.Y. crossover network. State price and condition. C. N.Y. Mechanic, 222 Norman Rd., Rochester 23, FOR SALE: Bogen Lenco turntable with Fairchild BEST OFFER Takes: new Fairchild 500 arm, Empire mono cartridge, Browning FM tuner. Both in per- cartridge, 35 -watt Knight mono amplifier. Paul FOR SALE: Electro -Voice "Leyton" speaker system, fect condition. Best offer, plus shipping. Herman Montgomery, 40 N. E. Tenth, Oklahoma City, Okla. walnut. $60 or best offer. Thomas Thompson, 314 Loewenthal, 181 Frey St., Rochester 12, N.Y. S. 50th St., Philadelphia 43, Pa. SALE: 1000 78's, 100 LP's -collector's items - arm, Grado operas, arias, overtures, symphonies, instrumentals, WANT TO BUY -Bozak 302 -A without cabinet or SELL: Rek -O -Kut B -12, Fairchild 280 d RC Elac turnover, lieder, oratorio excerpts, folk songs, Shakespeare, Bozak speaker components. Sell or swap -Sher- custom stereo, $70. G -98, sell Scott 121C preamp. W. M. etc. M. J. Weinberg, 2925 Kanawha St., N.W., wood S -3000 FM tuner, Bozak E -300 enclosure. $45. Want or will The Prado, Atlanta 9, Ga. Washington 15, D.C. Dave Mosemann, 304 Lebanon Road, Manheim, Pa. Boice, 211

HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Continued from page 52

Bchard Strauss ON MICROGROOVE

-seems the easiest way out of an- the music with vitality and obvious relish who loses sight of the central character other quandary caused by the incom- for its lushness. (He readily gives in to is himself lost. This symphonic parable poem. to clarity of Strauss's writing. the temptation of sentimentalizing the an even greater extent than Don Philharmonic, Juan -Vienna Krauss. cond. "waltz," treating it as he would any com- and Till, must be uninterrupted in (with Don its Juan). Richmond B 19043, parable section of Der Rosenkavalier.) flow from episode to episode. LP. His "sunrise" is stupendous; and from Two conductors, Reiner and Szell, -NBC Symphony. Toscanini. cond. this auspicious beginning to the final have succeeded in giving us this story in (with Tod und Verklärung). RCA Vic- and justifiably famous B major wood- all its richness, humor, pathos, and tor LM 1891, LP. wind chord over the pizzicato C of the drama. Reiner has a broader view of -Vienna Philharmonic, Reiner, cond. strings, he exhibits his mastery of the the whole and one that is essentially the (with Tod und Verklärung). RCA Vic- Straussian idiom. more romantic. His Don is flowing and tor LM 2077, LP; LSC 2077, SD. London's stereo is not nearly so ef- large- scale, without stinting -Vienna Philharmonic, on light- Karajan, cond. fective as RCA's. The English engineers ness and wit where they are required. (with Tod und Verklärung and Salomes have turned out a superlative mono disc. The voice of Don Quixote. the solo 7 atz). London CM 9280, LP; CS 6211, but its stereo counterpart is recorded at cello. is treated as part of the SD. orchestral much too low a volume level. Karajan is texture. Antonio Janigro's treatment -Vienna Philharmonic, Furtwängler, of otherwise a worthy competitor to Reiner. this part is warm and always better than cond. (with Don Juan). Electrola E The former leads what is essentially an competent. I would, however, 90093, LP. have pre- introspective performance with less em- ferred a tone with more bite. -Minneapolis Symphony, Dorati. less spread. cond. phasis on brilliance. Sentimentality is Withal. any reservations about his (with Rosenkavalier Suite). Mercury con- a quality not to be found in Karajan's tribution become minimal since Reiner MG 50099, LP; SR 90099, SD. Zarathustra, yet his reading projects as views this work as an orchestral -Philharmonia Orchestra, Leinsdorf, corn- much of the essence of the score as position with cello obbligato. Reiner's cond. (with Frau ohne Schatten Suite Reiner's. greatest moment is the third variation, and Salomes Tanz). Capitol P 8545, Karl Böhm, another highly regarded wherein the Don his LP: SP 8545. SD. paints aspirations Straussian, begins his Zarathustra with to the highest ideals of knight- errantry what is surely the most eloquent , Op. 30 (1896) "sun- to a somewhat cynical Sancho Panza. rise" since Koussevitzky. Böhm prefers Here the conductor makes his splendid slower None of Strauss's symphonic poems has tempos, greater expansiveness Chicago Symphony surpass even its been more damaged by the excessive than his rivals; and he employs this ap- many notable prior achievements. The literalization of critics than Zarathustra. proach to maxium effect. Decca's stereo orchestra. led by the cellos. bursts forth The composer was alternately chided is spacious and full, although less with arching tones of rare smoothness and cursed for his completely mad and sharply defined than London's; my copy and beauty. had a good unsuccessful translation into music of deal of surface noise. The Szell is in command of an orchestra Nietzsche's philosophical book. The sub- mono edition was not available for every bit as accomplished as Reiner's, ject matter is. of course. so immense review. and he too illumines the magnificence of and complex that any composer at- -Chicago Symphony. Reiner. cond. the music; his reading is, however. a tempting that of which Strauss has been V RCA Victor LM 1806, LP; LSC 1806, hit faster and considerably drier, with accused would indeed be a madman. SD. the emphasis on textural clarity rather Strauss was quite sane. The full title of -Vienna Philharmonic. Karajan. cond. than richness of tone. Szell's third this composition is Thus spake Zarathus- London CM 9236, LP; CS 6136. SD. variation is not quite on a level with 4 Ira. freely after Nietzsche. The word -Berlin Philharmonic. Böhm. cond. Reiner's, for here the conductor re- "freely" unequivocally informs us that Decca DL 9999, LP; DL 79999, SD. strains his orchestra and the music is Strauss is doing nothing more than pro- robbed of that final degree of luscious- jecting a series of nonliteral, subjective Don Quixote, Op. 35 (1897 ) ness which contributes to making these associations. pages so moving. This is but a slight The modern listener is. I suggest. Description of extramusical matters seems blemish on an undeniably successful best able to appreciate Zarathustra as to me a more meaningful procedure in reading. Pierre Fournier has all the absolute music. Let us simply listen to Don Quixote than in the majority of darting crispness and vitality lacking in what Strauss has written. for in spite programmatic compositions. The classi- Janigro's playing. We are always aware of certain obvious banalities this work is cal variation form is brilliantly utilized of his contribution, for Szell (and his a creation of unique majesty and color. to depict the Don's changing mental engineers) have placed greater emphasis Stereo has played a major role in states and attitudes. The story is told on the solo contributions than has the bringing about a revival of serious musi- vividly. without being overburdened by RCA team. cal interest in Zarathustra. Reiner's ver- superfluous literary allusions. via trans- My recommendation of the Reiner is sion. the first to have been released in formations of the theme representing based on my affection for that third this medium. should satisfy all hearers. the Don. Again I will leave it to the variation and on the belief that in Don Reiner's conception is easily the most reader to decide upon the degree to Quixote the orchestra should be the brilliant and immediately accessible of which his appreciation will be influ- dominant voice at nearly all times. Szell the three currently in circulation. and the enced by knowledge of Cervantes. I can- nevertheless manages to make a strong marvelous clarity and incisiveness of his not separate one from the other. case for his view. Both Reiner and direction is captured with supreme skill Don Quixote is an extraordinarily by RCA's engineers. Reiner lunges into difficult work to perform. The conductor Continued on nest page

MARCH 1962 115

www.americanradiohistory.com STRAUSS ON MICROGROOVE is big and hearty. noble and fairly noisy. Details emerge clearly, although a more ASPEN Continued from preceding page precise orchestra could have been de- sired; and we always feel in the presence Szell have received monophonic engi- of the composer's powerful ego. Ludwig neering that is beyond cavil. Stereo, on recognizes the richness and strength of MUSIC the other hand, exposes beauties in both the music, as well as its bombast. Ever- which are not completely realized in est has afforded him stunning reproduc- the single- channel versions. tion in mono and stereo, with the latter The two remaining editions are indeed downright stupendous in its ability to lay FLSTIVAI. small beer in comparison. - bare Strauss's orchestral virtuosity. Or- Paul Tortelier are lean and clear in mandy's reflective sections are not suc- exposition, but lacking in whimsey and cessful, but. the noise does come through CONCERTS romantic sweep. Gregor Piatigorsky's superbly. I will not claim that Ormandy big, bold solo work is totally negated has performed any great service for by conductor Charles Munch's fidgety, Strauss. I would, on the other hand, be LECTURE choppy, and generally colorless leader- the last to deny that he and his band have ship. provided moments of sheer aural splen- -Janigro, cello; Milton Preves, viola; dor. Anshel Brusilow's treatment of the RECITALS Chicago Symphony, Reiner, cond. RCA solo in "The Hero's Helpmate," which Victor LD 2384. LP; LDS 2384. SD. sounds for all the world like Elman play- SPECIAL EVENTS -Fournier, cello; Abraham Skernick, ing Wieniawski, may be stupefyingly viola; Cleveland Orchestra, Szell, cond. bloated in its archsentimentalism, but Epic LC 3786, LP; BC 1135, SD. stupefying it is -as is Columbia's stereo. CONFERENCE -Tortelier, cello; Berlin Philharmonic, Böhm treads a middle path in his re- Kempe. cond. Capitol G 7190, LP; SG cording. He is neither as refined as 7190, SD. Beecham. nor as vigorous as Ludwig, nor ON -Piatigorsky, cello; Joseph de Pasquale, as unabashedly showy as Ormandy. His viola; Boston Symphony, Munch, cond. version partakes of all three elements at CONTEMPORARY RCA Victor LM 1781, LP. the proper moments, and for this reason I feel him to be the Ein Heldenleben, Op. 40 (1898) music's most satis- MUSIC fying interpreter -in spite of the fact that Controversy over Heldenleben still has his work does not have the advantage of (Piston, Messiaen, Sauguet, not completely died down, sixty -odd stereo reproduction. Böhm keeps his Milhaud, C. Jones) years after it was written. We no longer head amid the battle without dulling the bother to excoriate its "obscene modern- excitement. His final sections are smooth ity," but many critics who have not and romantic in the Beecham manner, ceased to fight the wars of long ago with sentiment downgraded in favor of 1962 persist in their condemnation of the sec- a strong romantic impulse. Clarity and Summer tion entitled "The Hero's Battlefield" as balance are always maintained, and never noise for its own sake and sheer vulgar- at the expense of propulsion or grandeur. ity. Strauss was, and perhaps still is, The Dresden orchestra's unnamed con- condemned for unanimously electing certmaster is the most successful of all ASPEN himself to the composers' pantheon at in giving us the romantic sweetness and the age of thirty -four through this music. strength of Strauss's helpmate. The play- I must confess to feeling detached from ing is neither sugary nor excessively sub- this point of view. I am aware that Ein dued. In all, a beautiful Heldenleben. MUSIC Heldenleben has its moments of pure Decca's mono sound is good, although bombast, but I also find it to be a corn- ,k more spaciousness would not have been position of great power -provided that' amiss. exposure to its very full -blown sentiments -Saxon State Orchestra, Böhm, cond. SCHOOL is not too frequent. Decca DL 9927, LP. Heldenleben is a stupendous showpiece -London Symphony, Ludwig, cond. for any conductor who cares to make it Everest LPBR 6038, LP; SDBR 3038, DISTINGUISHED such. It is also a work which has, par- SD. tially as a result of the polemics attend- -Royal Philharmonic, Beecham, cond. ARTIST - FACULTY ing it for so long, brought about a wide Capitol G 7250, LP; 9G 7250, SD. variety of conductorial reaction. -Philadelphia Orchestra, Ormandy, DEPTS.: piano, voice, The most recent, and the most gener- cond. Columbia ML 5649, LP; MS 6249, ally praised, of Heldenlehens is Sir SD. opera, diction, strings, Thomas Beecham's. I am beginning to chamber music, winds, suspect that its many admirers do not Eine Alpensinfonie, Op. 64 (1915) care very much for the music. Beecham percussion, conducting, is, I will grant, an incomparable inter- The Alpine Symphony was produced preter of the deeply moving final sec- after a respite of more than a decade composition tions, "The Hero's Works of Peace" and from the composition of large -scale or- "The Hero's Release from the World." chestral music. After the Sinfonia do- PRIVATE INSTRUCTION His conception of this hero (Strauss) is, mestica (1903) Strauss had turned ir- however, too elegant. The pompous revocably, or so it seemed, towards the "hero's theme" is too tame and gentle- operatic stage. Joy was therefore ram- FESTIVAL EVENTS manly. The battle is fought with velvet pant among German audiences when in gloves. Impressive as it all may be, I 1915 Strauss announced the completion feel that Beecham's unique and intelligent of another symphonic poem, this one For Information Write: views make this work into something dealing with impressions of his beloved which it is not -an easygoing and. on Bavarian Alps. It was generally agreed Music Associates of Aspen, Inc. the whole, rather mild romantic work. that Strauss had retained his old wizard's Dept. F, 111 West 57th St. Leopold Ludwig and Eugene Ormandy touch in this grandiose tonal picture. take an opposite view, although they are There was general rejoicing by the mass New York 19, New York hardly alike in their approaches. Ludwig of listeners over Strauss's seeming dis- CIRCLE: 13 ON READER-SERVICE CARD 116 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com avowal of the "revolutionary" tendencies vided his ensemble with a spaciousness BUILD THE FINEST displayed in the likes of Salome and of sound which comes close to destroying Elektra. the innate intimacy of the music. In ad- The "Symphony" made the rounds of dition, Reiner gives us only seven of the Re02friieiMae the major musical centers. was fiercely nine numbers. omitting the celebrated applauded. and then disappeared. It has Minuet of Lully (a reorchestration by CUSTOMIZED never become a repertory piece; revivals Strauss of a section composed by Lully are rare -even among those great en- for the original production of the play sembles which can afford the enormous in 1670) and the Courante. We might as TV KIT financial outlay which is a natural con- well have all of this wondrous music, On Easy As comitant to Strauss's orchestral demands. and I do not see how in a realization as "Pay You Wire" Terms Superficially. the work would seem to exquisite as Leitner's it can fail to bring Only $15 for the Starting Package! be in the vein of what preceded in forth at least a low murmur of delight The Strauss's catalogue of symphonic poems. even from those most antipathetic to "PROFESSIONAL" Indeed. the orchestration is as superbly Strauss. Series -designed for as ever. The musical ideas, -Berlin Philharmonic, Leitner, cond. colorful the perfectionist seeking stale and insubstantial. Decca DL 9903, LP. however. are the finest in TV performance. cond. It becomes increasingly clear that by -Chicago Symphony, Reiner. Easy to assemble. No technical 1915 Strauss's interests had turned to (with excerpts from Salome and Elektra). knowledge required. An ideal other forms and a more spare. classical RCA Victor LM 6047, Two LP. "Learning" Kit with a Complete style than that in which the "Symphony" Course of Study is available. was written. This is definitely a piece , Op. 70 (1922 ) intended to make its listeners gasp with worshipful astonishment at the com- This work, Strauss's second and last poser's passion, vigor, orchestral tech- ballet score ( following the nique. etc., etc. Actually it was too late ballet of 1914), stems from that period for Strauss to attempt a return to this in the composer's life which must be stage of his past. considered his least productive in regard Böhm. who conducts an excellent or- to quality of output. Although there was chestra in the only available recording. glory in the years between Le Bourgeois affection for the Gentilhomme and Arabella ( I932) displays considerable (to Also available: work, but his scrupulous reading only wit. the second Ariadne and the songs WIRED the music's noisy Opp. 68 69), as Inter- succeeds in displaying of and such dross CHASSIS cannot be mezzo, Die Aegyptische posturing. The conductor Helena, and the for custom blamed for this; it is the composer who Parergon suggested to the composer's installations has offended. audiences that he had indeed run dry. with a choice -Saxon State Orchestra. Böhm, cond. Schlagobers ("Whipped- Cream "), like of vertical or horizontal Decca DL 9970, LP. Die Pratt ohne Schatten, represents controls and the newest neither the best nor the worst of this 19 ", 23" or 27" Later Instrumental Works curious period of groping. The long CRT. ballet score has its delightful moments. Der Biirger als Edelman'', Op. 60 ( 1918) notably in the first three of its eighteen numbers; but major rewards are scant. 16 Strauss composed his incidental music the Lündler. Strauss -obviously a little to the Bierling -Hofmannsthal version of hard up for original ideas -digs into Molière's Le Bourgeois Gentilhomme in Rosenkavalier, cleverly expanding a de- 1912. During that year the play with the licious fragment which passes virtually Strauss score. plus the original version of unnoticed by conductors and audiences Beautiful Cabinets - the Strauss- Hofmannsthal Ariadne (in- amid the melodic wealth of that opera. designed to enhance sound quality and blend with modern decor. For TV or combination TV and Hi -Fix serted as a "direrti.c.cement ") was pre- In the opera we hear it as the orchestral sented in . The Suite. Op. 60. accompaniment to Ochs's line "Nun A few of the Professional Quality Features: comprising the nine most substantial plauder' Sie" (Act II; page 197 of the Choice of push -pull 10 -watt audio or output to numbers from the incidental score. was your Hi -Fi system . D.C. restoration . Boosey & Hawkes vocal score). Ultra- linear sweep circuits ... Newest Standard fashioned by the composer six years I must confess to a certain. perhaps Coil Model PKO Automatic Fine Tuner . . later. perverse fondness for this "Very Merry Super- sensitivity for fringe areas . Complete line of Accessories for Custom Installations. In this music Strauss displays his pre- Viennese Ballet." although I would not occupation with a distant artistic past, rise up in righteous defense its slender Choice of 19 ", 23" or 27" CRT. Prices range of from $119 to $199. going even farther back in time than the values. It is. after all. as insubstantial U.S. Armed Services and over 4000 schools and age of Mozart. to the music of the court and lacking in value as the nutritive colleges have selected Transvision Receivers 4 and, in Lully. for of Louis XIV particular, to cream puffs and chocolate sausages with educational television. The music to Der Bürger als Edelmann which the scenario is peopled. It is music .9t #ed ut CrlecLionics ? (the title given it in German) is uniquely to listen to while doing the household t~, basic Strauss. but a different Strauss from the Learn the principles of elee- sN' chores. Erich Kloss makes an eloquent tronics from the Course available with the Kit. man who composed Elektra and even plea for work. is the His reading spirited ASSEMBLY MANUAL Rosenkavalier. Here Strauss is witty, -$2.00 and well played. The recorded sound is See how easy it is to assemble the Transvision elegant. and restrained. A comparatively unexceptionable. Kit. Cost of Manual refunded on purchase of Kit. small group of instrumentalists suggests -Frankenland State Symphony. Kloss, the spatially restricted subject matter of cond. Lyrichord LL 41, Two LP. the play. The seventeenth -century at- figt01.I New Rochelle, N.Y. is mosphere wonderfully captured in Dance Suite after Couperin (1923) NE 6.6000 's scintillating perform- \ ...... START NOW - MAIL THIS COUPON.m..... ance. This is conducting of supreme Strauss's attraction to the French ba- TRANSVISION Electronics, Inc., New Rochelle, N.Y. Dept. HIY lightness, warmth, and humor. The re- roque did not end with Der Burgeri als D Send FREE 8-page Catalog... I enclose $2 for Assembly Manual, refundable on purchase of Kit. cording is appropriately dry and unreso- Edelmann. The Dance Suite might be o I enclose $15 for Starting Pkg. on pay-as-you wire plan. nant, although the surfaces are far from considered as a logical continuation of (Complete Kits range from $119 to $199.1 silent. Reiner's version (with quiet sur- this interest. which in fact lasted to the faces) is worthy of our attention; but it end of the composer's life. These ar- Name is a grander and less warmhearted view rangements of pieces from the first three Address of the score. In keeping with Reiner's I City Zone State conception, RCA's engineers have pro- Continued on next page CIRCLE 92 ON READER -SERVICE CARD MARCH 1962 117

www.americanradiohistory.com STRAUSS ON MICROGROOVE Metamorphosen (1945) Continued from preceding page The published score of this work, a YOU 23 "study for solo string instruments," Livres de Clavecin of François Cou- contains the following words by the perin (Le Grand) are tastefully con- composer: "In Memoriam! Garmisch, 12 ceived and thoroughly delightful. Strauss April 1945." Strauss does not inform us SAVE has preserved something resembling a of the identity of the person or event to baroque sound in his small ensemble of which he is referring, nor is the fact very winds, strings, two horns, trumpet. trom- important. The collapse of Germany, bone, harp, celesta, glockenspiel, and visions of the end of life (his own as MONEY! harpsichord. The late Artur Rodzinski's well as that of the millions who perished performance of a slightly abridged ver- during the war then drawing to its con- RUSH US YOUR sion of the suite -he omits Nos. 2 and 7 clusion) have been suggested. That the -is so accomplished and vivacious that work is intended as a sort of Lebewohl LIST OF HI -FI other conductors might as well not bother cannot be doubted. to record this piece. This is one of those Metamorphosen and the so- called COMPONENTS rare recordings in which everything are closely related seems to be right. Orchestral execution works, both being imbued with autum- FOR A SPECIAL is faultless, as is Capitol's reproduction. nally nostalgic, passionate sentiments of with no noteworthy differences between the composer nearing the end of his life. QUOTATION mono and stereo. His longing is expressed in a chromatic Kloss gives us the complete suite, but language bearing some relationship to his disc -shortly to be deleted a dry WRITE FOR FREE -is that found in Tristan and Schoenberg's performance, indifferently recorded. Verklärte Nacht. Comparisons should, AUDIO DISCOUNT -Philharmonia Orchestra, Rodzinski, however, be kept to a minimum; this is cond. (with Tod and Verklärung and music which could only have been written CATALOG A -15 Salomes Tanz). Capitol G 7147, LP; by Strauss, and I would not hesitate to SG 7147, SD. place it among his supreme accomplish- New low prices on -Frankenland State Symphony, Kloss, ments. Words will not give the reader amplifiers, tuners, tape cond. Lyrichord LL 58, LP. any reasonable impression of my reac- recorders, speakers, etc. Divertimento after Couperin, Op. 86 tion toward this work, nor of the music (1941) itself. The descriptive function is as- ELECTRONICS CO. sumed by Jascha Horenstein and his 120 LIBERTY ST. In his second work based on Couperin heavenly band of string players. The variegated colors and haunting melodic NEW YORK 6, N.Y. harpsichord pieces, Strauss is less intent KEY on creating a baroque atmosphere than permutations to be found in this sublime was fantasia are lovingly and expertly set CIRCLE 56 ON READER-SERVICE CARD he in the Dance Suite. The arrange- ments and orchestration of the Di- forth by these artists. More complete EICO new Transistor Stereo /Mono vertimento are actually closer to the more justice to the music is inconceivable. 4 -track Tape Deck full -blown style of Respighi's Antiche -Orchestre National de la Radiodif- Model R 100W J Completely ble"1. wired Arie than to Strauss's earlier evocation fusion Française, Horenstein, cond. and tested with 3 heads. and stereo record and stcreu play- Angel 35101, LP. back preampliners. of the French court. Withal, the music Modal R 50011 Semi -Kit Includes transport sounds uncluttered and appealing in its eompletel nsmble,l and teste.l Ith hes.ls: nd con - modern dress. troi electronics, stereo e-anl. and stereo playback pre -nn,- The sole recorded edition is little bet- r.lrRere in easy-to-assemble kit form. ter than a stopgap. Arthur Rother has a rite for tun pecineation competent orchestra at his disposal, but TAPE STORAGE OR there are signs lack adequate re- CARRYING CASE of of reg. 9.95, now 5.95 hearsal. The shaky intonation of solo (Heavy wood ,rtruction, violin and solo cello passages leads me waterproof vinyl p covering. Holds up to 24 tapes.) X to believe that this may be an actual reg. 2.45, now 1.49 (Pressed rdboard, holds 10 ti.performance taping. tapes or 60 45 rpm records.) -Radio Berlin Symphony, Rother. cond. SAXITONE RECORDING TAPE (with ). Urania UR 7042, LP; . virole tRlaranteed not to r b off or , oeak -,r money hark. Comparre ure with other "Bargain" tape. You'll Songs told it's than Just "price" when you deal with US 57042. SD. un. we are original pioneers in the tape recorder busi- ness and our reputation means everything to us While Strauss was still engaged in the 0W' acetate (plastic), 5" .75 Sonatina in F (1943) äl10' MYLAR I .96 900 MYLAR (Polyester). 5" .99 struggle to evolve a personal language 1200' MYLAR. 1/a mil. 5" real 1.15 1200' Acetate Ifttoastet 7" 1.19 What lovely, gracious music this is! The in his early instrumental efforts, he had 1200' MYLAR. 1 mil. (Strong) 1.6S 1800' acetate (plastic),t 7" 1.79 Op. 7 Serenade for winds is the creation already produced several songs- Zueig- 1800 MYLAR I Mil. thick, 7" 1.99 2400' MYLAR. untenalllsetl. 7" 2.89 a nung, , and being 2400' MY1.AR. tensil Iced. 7"...... 2.99 of young man of enormous potential. Studios, large users Even Lower. PLUS . OS:IOE. This Sonatina for winds is the total the best known -which are the works of realization of that potential. Strauss's al- a composer of original genius. Strauss's Save 30% on 4-Track ternating moments of classical elegance, uncanny ability to write sensuously and voice is as much in STEREO MUSICON TAPE! romantic melancholy, and Till -like wit effortlessly for the display him as an old man who has mas- evidence in these songs of 1882 as in Empty 116. Plasts Bak 1e a. tered every facet of his craft while still the Four Last Songs of 1948. BARGAIN PRICES! SEND FOR OUR FREE It is disheartening to note that two of Tape Recorder /Blank /Prerecorded Tape Catalog being capable of summoning up musical inventions of freshness and substance. the most satisfying recitals of Strauss NORELCO SPEAKER Eric Simon lead his crack group of songs produced in the LP era suffered Famous AD3800M. twin cone 8" (75-19,000 cycles) discon- sixteen instrumentalists in a performance such neglect from the record -buying tinued model. former list public that manufacturers were forced to 16.00 usual net 9.90 going at of loving expertness and Gemiitlichkeit 4.99 plus postage (2 for 9.00). which realizes the great worth of this discontinue their production. The glori- Other Norelco speaker sizes at bargain prices SEND beautiful and neglected child of a mas- ous Hilde Gueden- Friedrich Guida disc FOR SPEAKER SPECIFICA-- TION SHEET. ter's old age. (London LL 1591), which included four- is the SAXITONE TAPE SALES -Boston Wind Ensemble, Simon, cond. teen songs, known and unknown, (DIV. OF COMMi'' l((Nt.D (with Serenade and, on SD only, Ga- most important of these casualties; and EI.ECTR((N1('S. INC.) `A_ -_k 1776 Columbia Rd., NW. Wahington, D.C. votte). Boston B 406, LP; BST 1016, that by , , and pianist Viktor Graef (Vanguard CIRCLE 31 ON READER -SERVICE CARD SD.

118 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com slow VRS 431) has also, lamentably, vanished. bland delivery and exasperatingly songs. This is not to say that we are totally tempos mar the remaining and without first -rate Strauss recitals today. The Four Last Songs for soprano as touching a finale But most of these are transfers from orchestra are about as has ever been 78s; and we are left with the impression to a composer's career of deeply felt that contemporary audiences, and per- created. These are songs pre-set, is : beauty, with the haps even many singers, have lost their nostalgia and sensuous over the interest in this music. soprano part rapturously gliding The Sensational New Both recorded The most generous sampling of the shimmering orchestra. honor the composer's final Strauss Lieder still in the catalogue is performances although 's contained on the oddly inconsistent Die- inspiration. of the text and trich Fischer -Dieskau recital with Gerald almost naïve projection MULTIPLEX her soaring vocal grace coupled with the Moore as accompanist. The singer's in- conducting of Karl terpretations vary in quality from a som- gentle, reflective is more appealing than Elisabeth ber, powerful. and surpassingly effective Böhm SYSTEM opulent, worldly interpre- O n'ürst du mein to an irritatingly man- Schwarzkopfs with Otto Ackermann simply fol- nered and uningenuous Stündchen. Many tation wth the Famous the singer's lead. of the most familiar songs are included, lowing recordings listed below among them Morgenn (which is beauti- The first four various selections of songs. DeWALD QUALITY fully sung, but stretched to interminable present Fischer - -Fischer-Dieskau; Moore, piano. Angel length), Die Nacht (in which STEREO HI- FIDELITY Dieskau gives us a ravishing display of 35600, LP. various pianists; unidentified sustained mezza voce). and Janssen; orchestra. Eterna 491, LP. DeWald Tuners and Amplifiers are (wherein the singer insists on exploding pre- -; Peschko and designed with exceptional skill, final consonants like so many angry rifle and tone quality. DeWald, a Braun, piano. In Decca DL 9621/23. cision, shots). leader in the industry for over forty Three LP. 's recording (with Michael years, produces High -Fidelity prod- Elisabeth Schumann; various pianists; at popular Raucheisen accompanying) of the six / ucts of superior quality orchestra, Lawrence Collingwood, cond. for information and songs to texts by Clemens Brentano is prices! Write Angel COLH 102, LP. catalogs today. an example of Strauss Lieder singing at J_ -Six Brentano Songs, Op. 68. Erna its most refined. The singer's technical Berger; Raucheisen, piano. Decca DL execution is astoundingly graceful. liq- 9666, LP. uidly pure in tone, and dead- center in Last Songs. Lisa Della Casa; intonation. The Lied der Frauen (No. 4 -Four Vienna Philharmonic, Böhm. cond. (with the set). a soprano- killer if ever there of Arabella). London A 4412, Four LP. was one. is projected with a tonal beauty Last Songs. Elisabeth Schwarz- and technical security that I have heard -Four kopf; Philharmonia Orchestra, Acker - matched only by Elisabeth Schumann, mann, cond. (with closing scene from "The Overture" whose recital of a group of generally Model it-1103 Angel 35084, LP. A.M. -F.M. Monaural & 9.95 more "diverting" songs is avail- Capriccio). Stereo tuner with built -in lighter. multiplex. Audiophile able in Angel's "Great Recordings" series. Net-Case Incl. easily do I will not deny that I could Choral Music without the treacly playing of the Law- in the rence Collingwood orchestra Taillefer, Op. 52 (1903 ) Schumann renditions of Morgen and Stündchen. Yet the irresistible charm Strauss's setting of Uhland's ballad about and vocal artistry brought to these songs the Battle of Hastings is as unabashedly by the singer override any negative re- a vulgar, show -off piece as anything actions. AIP mein Gedanñen is my favor- written during the past hundred years. ite in this group: but in each of the eight The composer piles sonority upon sonor- songs Schumann's interpretations deserve ity, climax upon climax, until the listen- "The Scherzo" Model P.400 to rank among the most captivating on ers' eardrums are fit to bust. It is a genu- F.U. Multiplex adaptor for ine monstrosity; and I am genuinely fond wide and medium band F.M. records. tuners equipped with multi - singer of the of it. In Taillefer, one of the most gifted plex jacks. Audiophile Net Another distinguished -Case incl. past, Herbert Janssen, is represented by musical technicians of them all exhibits a recital that includes three songs with his entire bag of technical tricks without orchestral accompaniment: Caecilie a moment's regard for "good taste" or (originally with piano). Pilgers Morgen- sublety. The effect is exhilarating, to say lied, and Hynmus. Of the three, only the least. Rother, employing forces the first is well known. The other two which must number considerably fewer arc, however, just as effective, and de- than the four hundred which took part Janssen's abil- in the premiere performance, whips up "The Concerto" serving of wider exposure. Model P -1400 ity to sustain a long. forte line in these a heady entertainment. Chorus and or- Stereophonic Pre -Amp., equal- izer and power amplifier. songs is awe -inspiring; and the richness chestra scream, scratch. blow. or bang- Performs superbly with the 99.95 con- "Scherzo" and 'Overture" of this beautiful voice, whether singing as the case may be -to their hearts' Multiplex Tuners shown envied by tent; and no more is required of them. above. Audiophile Net piano or fortissimo, could be -Case incl. - even the most gifted of present -day bari- Soloists Maria Cebotari, Walther Lud- tones. The sound is old and very wig, and Hans Hotter are thrilling in scratchy, but in the light of Janssen's their brief assignments. Urania's sound, matchless interpretations, sonic consider- although somewhat cramped, is suffi- ations become unimportant. ciently clear to enable us to hear nearly A DIVISION OF Several Strauss songs are included in all of the raucous goings -on. Volumes II, Ill, and IV of Decca's trib- -Cebotari; Ludwig; Hotter; Rudolf UNITED SCIENTIFIC LABORATORIES, Inc. L ute to the incomparable Heinrich Schlus- Lamy Choir; Radio Berlin Symphony, 35 -19 37th Ave., Long Island City 1, N. Y. nus (accompanied by Sebastian Peschko Rother, cond. (with Divertimento after EXPORT DEPT.: In Canada: 7042, LP; URS 25 Warren St. L. J. BARDWELL CO and Otto Braun). Of the seven songs, Couperin). Urania UR N. Y. New hork, Box 142 -Station D Nacht- 57042, SD. Cable Address: however, only ¡cl: liebe did: and SIMONTRICE Toronto 9, Ontario gang display him at anything near his best as singer and interpreter. A very Continued on next page CIRCLE 34 ON READER -SERVICE CARD 119 MARCH 1962

www.americanradiohistory.com STRAUSS ON MICROGROOVE portant is the fact that Reiner projects PURCHASING all the massive sonority and hair- raising Continued from preceding page intensity realized only in part by Böhm. A HI -FI It is frustrating to have less than half of Operas the opera, but I would not part with SYSTEM? LM 6047 for the world. TIME PAYMENTS AVAILABLE Salome, Op. 54 (1905) The Up to 2 years to pay! Decca disc of excerpts is distin- The new London recording guished by excellent characterizations Jim Lansing' of Salome- Altec Lansing made in Vienna under the direction of from Goltz and Hängen. These ladies Send Us E I e c t ro voice Georg Solti with Birgit Nilsson in the are. nevertheless, vocally too unsteady to J ens e n H all i c r of ter be Hartley' Gonset title role -was unfortunately not ready compared favorably to Borkh and USL Citizen Band in time to be included in this discography. Madeira. Frantz brings a good deal of Your List of Texas Crystals dramatic Internait Crystals The album will be reviewed in the next excitement to his part, while University issue of HIGH FIDELITY. Because of its producing some exceedingly harsh sounds. Acoustic Research Solti's fiery conducting Components Janszen Viking imminent release, comment here on the is counteracted Wharfedale two older versions of Salome would be by Decca's cloudy reproduction of the Concertone superfluous. orchestra. For A Bell G.E. Weathers -Inge Borkh (Elektra), Marianne Harman- Kardon Elektra, Op. 58 (1908) Schech ( Chrysothemis), lean Madeira Eico Pilot (Klytemnestra), Fritz Package Sherwood' My feelings regarding Uhl (Aegisthus), Tandberg the generally ex- Dietrich Fischer -Dieskau (Orestes); ESL Frazier cellent vocal work in DGG's virtually Dresden State Opera Chorus and Saxon Superstope complete recording of this pivotal Quotation Dual Changer corn- State Orchestra, Böhm, cond. Deutsche Bogen RCA position in Strauss's output are precisely AIREX WON'T Grammophon LPM 18690/91, Two LP; Dynakit Fisher the same as those initially expressed by BE UNDERSOLD H. H. Scott SLPM 138690/91, Two SD. Thorens' Conrad L. Osborne in the November -Anny Konetzni (Elektra), Danitz II- All merchandise TEC Roberts 1960 HIGH FIDELITY. I would, however, is brand new, De Wald National itsch (Chrysothemis), Martha Mödl Sony Challenger add certain qualifications pertaining to factory fresh & ( Klytemnestra), (Aegis- Wollensak conducting and engineering. I feel that guaranteed. Garrard thus), (Orestes); Chorus Böhm has gone somewhat and Miracord too far in Orchestra of the Maggio Musicale Fio- FREE Hi Fi Glasers- Steers subduing Catalog Avail- some of the work's searing in- rentino. Mitropoulos, cond. able on Rek -O -Kut tensity. Cetra LPC Request Polytronics The underplayed "Recognition 1209, Two LP. Norelco Conrac Scene" is a case in point. Here Böhm -Excerpts. Borkh (Elektra), Frances Fairchild rises to the fevered pitch AIREX Pickering Sonar of the music Yeend (Chrysothemis), Paul Schoeffler Audio Tape only with Elektra's outburst on "Orest!" (Orestes); Chicago Symphony, Reiner, Magnecord' -which here comes not in the form RADIO Rockford Cabinets of cond. (with Salome excerpt and Der a release CORPORATION Fair Traded from the suspense created at Bürger als Edelmann). RCA Victor her brother's LM 85 -HF Cortland St., N. Y. 7, WO 4 -1820 entrance but as an isolated 6047, Two LP. explosion. Böhm also often seems to be -Excerpts. Christel Goltz (Elektra), CIRCLE 2 ON READER -SERVICE accompanying CARD the singers, a practice Elisabeth Höngen (Klytemnestra), Fer- which is hardly well suited to this very dinand Frantz (Orestes); Bavarian "symphonic." State orchestra- dominated opera. Orchestra, Solti, cond. Decca DL 9723, flq° The orchestra is subdued by the engi- LP. VEOVERA neers as well. DGG's solution HNFI to the S A "problem" of vocal -orchestral balance Der Rosenkavalier, Op. 59 (1910) USE OUR EASY PAY PLAN Upto24monthstopay has been, I feel. handled with lopsided attention to the singers. I am not asking No opera by Strauss stands in need of 2418 /Bell 30 Watt Stereo Amp.. 5109.95 that the engineers drown out the singers, less comment by latter -day critics than RC88/11 Garrard 4 /Speed Stereo changer 59:50 but rather that they allow the orchestra Rosenkavalier. London's 1955 record- 108 -Audio Empire Diam. Stereo Cart 35.00 to assume that prominent ing (chosen by 2- Famous make 3 -way speakers mounted position in- HIGH FIDELITY a year in walnut bookshelf cabinets 119.90 tended for it. by the composer. In short- ago for inclusion among the greatest All Interconn. Cables 8 Inst 4.50 changing the orchestra. DGG has also recordings of the decade) may require Catalog Price S328.85 shortchanged the potential impact of equally little comment. I am unable Send for FREE the opera. These complaints to find fresh YOUR COST.... 195.00 do not superlatives with which to Quotations on negate the definite virtues of the set. So describe a performance displaying so Your Package or You Save much work evidently has gone into this much warmth, dedication, Single Components and faithful- Over 40 %.... 133.85 production and so magnificent are the ness to the composer's directions. contributions BEFORE YOU BUY Hl -FI write for no obligation of Borkh and Madeira that Angel's more recent version offers quotation on your Hi -Fi requirements. We guar- I may find my reservations diminishing some competition, but it is on the whole antee. "We Will Not Be Undersold." FREE in importance after a time. a display WHOLESALE CATALOG. of individual talents rather The most successful live performances than a genuine ensemble effort. The of Elektra I have ever heard were those singers under Karajan's slick, ELECTRONIC WORLD HI -FI RECORDING TAPE often given several years back by Mitropoulos, sugary, direction are at least as accom- 15KC 7 Spools Splice Free Freq. Resp 30 the New York Philharmonic. and a cast plished vocally as their London counter- 3 -11 12-23 24 -100 headed by Borkh, , and parts. They are, however, evidently a 12A 1200' Acetate 51.29 $1.17 S 99 Giorgio Tozzi. Cetra's Mitropoulos -led group which has been assembled for 18A 1800' Acetate 1 79 1 .59 1.45 recording (also a live 18M 1800' Mylar 2.09 1 99 1.85 performance) is so recording purposes rather than a stage - 24M 2400' Mylar 2.69 2.59 2.49 hopelessly botched by poor microphone experienced unit. The ability to project Any assortment permitted for quantity discount. placement and, at times, inferior singing unaffected warmth. possessed in such re- Add 15c per spool postage. 10c 24 or more. and slipshod orchestral execution, that markable degree by and ALL MDSE. SOLD ON 15-DAY future generations may well wonder at his cast, eludes Angel's high- powered MONEY -BACK GUARANTEE. our veneration of the late conductor. aggregation. Technical perfection is If RCA had given us a complete Elek- their goal; and they have achieved it. I tra with the same cast as that heard in would never suggest that a stage per- HI-FIDELITY its set of fragments, the problem of a formance of this caliber would leave us "best" version would have been resolved unimpressed. But on records this kind CENTER long ago. Borkh is just as effective here of perfection is all too common. and "Tho Hoes. Of Lew Law Prices" as in the DGG; and she is assisted by pales beside the very human, less perfect 220 -A East 23rd St., New York 10, N. Y. the dark -voiced, thrillingly dramatic realization by the London soloists. Orestes of Paul Schoeffler. Most im- A third complete version, the oldest of CIRCLE 52 ON READER- SERVICE CARD

120 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com has in Lemnitz a wonderfully has gone into both. The combination of the three, MU ALWAYS GET sexy, love- smitten Octavian and in Schwarzkopf and Rysanek and of Jur- way, Kempe a man who knows his Strauss as inac and Seefried is, each in its own ver- Rock well as any living conductor. Böhme is so effective that a choice of either -Bottom Prices on the AT in robust voice; but his constant clowning sion would be difficult to make becomes tiresome before the first act basis of these contributions. Choice can re- has ended. The remainder of the cast likewise not be predicated on either so -so of the secondary sing- RABSONS varies from execrable (Bäumer) to cording's casting is handled with consum- (Richter). An inferior Marschallin ing roles; all are Unless you're a millionaire with money to icy get our quote, like these shrewd buyers sufficient reason for eliminating any mate skill in both. I do prefer the burn Neugebauer to did! Rosenkavalier from the competition. imperiousness of Angel's These excerpts from letters in our files are Urania's sound is decidedly antiquated. the peevishness of Preger in the delight- proof positive that RABSON'S PRICES ARE ROCK role of the Majordomo, BOTTOM! Your purchase backed by our reputa- Angel's famous set of excerpts cannot ful speaking tion for 56 years of RELIABILITY! PLUS out be considered a substitute for the com- though. six (6) months guarantee, instead of the usual for on, the balance begins 90 days. STANDARD LINES. plete London, although it is a must From this point letters available for inspec- favor. The (Originals of these supplementary listening. Lehmann, Schu- to swing decidedly in Angel's tion by any prospective customer, Better Busi- Mayr, and the generally under- latter is clearly ahead in the Bacchus de- ness Bureau or Governmental Agency.) mann, vi- rated Olszewska project the brilliant partment. with Schock projecting a From "B.M." North Carolina- the on my pro- characterizations of London's cast and tality and youthfulness unmatched by "I was pleased with your quotation technical fa- precise but oldish -sounding Peerce. posed Hi -Fi set, as it was $30.00 less than the an even more astounding more next lowest bid of over ten." than the modern Angel's perform- Peters delivers Zerbinetta's excruciatingly cility facility. California- ers. Although may not be taxing music with great technical From "W.W.B." agile, "Your package quote was the best I've re- fully on Kleiber's level, his elegant, mel- Streich is even more effortlessly sly ceived." lifluous conducting merits a larger re- and her characterization reveals a " York than the title of "accompanist" humor and coquettish charm which to From "J.K.B. New State- ward "I am pleased to inform you that yours was the which he is usually given. Angel, as is some extent eludes Peters. It is Kara - which ac- lowest of six quotations." usual in its "Great Recordings" series, jan's conducting. however. of breathing for the greatest share of Angel's From "G.E.M." Ohio- has done a remarkable job counts I was in- the music to "Your quotation was prompt and new sonic life into the 78 originals. superiority. He permits fluenced by the six months warranty offer." A single disc of excerpts from Decca unfold at its leisure, thereby enabling TOO WILL SAVE PLENTY - WRITE mention only as an example each delicate orchestral strand (only YOU deserves NOW FOR OUR ROCK -BOTTOM QUOTE! of how inadequate were Lemnitz's vocal thirty -five players are called for) to for the and delecta- With our quote on the equipment or sys- powers (at the end of her career) emerge for our examination FREE - a SI singers, tem of your choice we will include role of the Marschallin. Her supporting tion. Without being a slave to his genuine Miracle Record Cleaning Cloth. colleagues are quite dreadful and Leitner Karajan does not make life more difficult 57 ST., Inc. Dept. R somnambulates. for them via fast tempos and occasionally absons- J- (Feldmarschallin), Hilde clipped phrases, two aspects of Leins- 119 West 51 St., New York 19, N. Y. Gueden (Sophie), Sena Jurinac (Octa- dorfs otherwise persuasive leadership (Diagonally opposite Carnegie Hall) Greater vian), Ludwig Weber (Ochs); Vienna which I find rather unappealing. CIRCLE 70 ON READER -SERVICE CARD State Opera Chorus; Vienna Philhar- relaxation on this conductor's part and monic, Kleiber, cond. London A 4404, more frequent evidence of consultation Four LP. with his singers in matters of tempo and TOP ALLOWANCE have contributed to the - (Feldmarschal- phrasing would FOR YOUR USED COMPONENTS lin), Teresa Stich -Randall (Sophie), opera's atmosphere of fantasy and Christa Ludwig (Octavian), Otto Edel- languid grace which is so successfully AT mann (Ochs); Philharmonia Chorus and realized by Karajan. Orchestra. Karajan. cond. Angel 3563, Stereo matters little in this dramat- It audio exchange Four LP; S 3563, Four SD. ically static opera. Angel's mono is still stereo is better -Margarete Bäumer (Feldmarschallin), effective, although RCA's WHEN YOU PURCHASE Ursula Richter (Sophie), Tiana Lemnitz able to reproduce the ethereal orchestral Kurt Böhme (Ochs); Dresden effects in the final Bacchus -Ariadne The Fisher FM -100 -B (Octavian), Tuner Chorus; Saxon State Orches- scene. Withal, it is the performance that FM- Multiplex Wide -Band State Opera Beacon tra, Kempe, cond. Urania UR 201/4, counts: and in this respect Angel is still with Exclusive Stereo 0.6 microvolt sensitivity, Micro Ray Four LP; URS 5201/4, Four SD. Number One. If you own both versions, Features between for- Tuning Indicator, Automatic switching L"Abridged Version." Lotte Lehmann consider yourself that much more mono and stereo, MPX noise filter. ,,(Feldmarschallin), Elisabeth Schumann tunate. (Sophie), Maria Olszewska (Octavian), -Elisabeth Schwarzkopf (Ariadne), Irm- Richard Mayr (Ochs); Vienna State gard Seefried (The Composer), Rita Opera Chorus; Vienna Philharmonic, Streich (Zerbinetta), Rudolf Schock (Bac- Heger, cond. Angel GRB 4001, Two LP. chus). (Arlecchino). Karl -Scenes from Acts I and III. Tiana Dönch (The Music Master), Alfred Neu - Lemnitz (Feldmarschallin), Elfride Tröt- gebauer (Majordomo); Philharmonia schel (Sophie). Georgine von Milinkovic Orchestra, Karajan, cond. Angel 3532, (Octavian); Württemberg State Orches- Three LP. TRADE 4 WAYS DL 9606, LP. Rysanek (Ariadne), Sena Juri- TRADE Hi -fi for hi -fi tra, Leitner, cond. Decca -Leonie TRADE Amateur radio* for hi -fi nac (The Composer). Roberta Peters TRADE Hi -fi for amateur radio Ariadne auf Naxos, Op. 60 (1916) (Zerbinetta), Jan Peerce (Bacchus), TRADE Amateur radio* for amateur radio' 'Includes HAM; SWL; Citizen's Band; Test Equipment of Walter Berry (The Music Master & The second (and final) version AUDIO EXCHANGE EXCLUSIVES: Arlecchino). Kurt Preger (Majordomo); HD Ariadne is for me the most inventive Trade -Back Plan New Equipment from over Vienna Philharmonic. Leinsdorf. cond. manufacturers Used Equipment sold on 10 -day un- and moving of Strauss's delicately woven guarantee RCA Victor LD 6152, Three LP; LDS Instal- "neo- classical" operas. Angel's recording, ice dwarrranity Special scred t plan Custom SD. monaural equipment. Hi Fi released some six years ago, introduced 6152, Three for stereo and lation service laboratory. most of us to this bewitching work, and Die Frau ohne Schatten, Op. 65 (1917) Get more! Pay less when you trade at it remains unsurpassed, although no longer unrivaled, as a perfect re- creation This opera was, in the words of the com- audio exchange of Strauss's score. poser, "a child of sorrow ... completed For Trading Info., write dept. HM TO JAMAICA worries dur- PLEASE MAIL ALL ORDERS AND INQUIRIES Comparison of the Angel version with in the midst of trouble and AKteI 74077 153-21 Hillside Ave., Jamaica 32, N. Y. N. Y. the more recent RCA leads to an ap- WHITE 451 Pla dome Rd. preciation of the dedicated artistry which Continued on next page 203 Mamaroneck ve. 0650FIatbusl Ave. CIRCLE 16 ON READER -SERVICE CARD MARCH 1962 121

www.americanradiohistory.com STRAUSS ON MICROGROOVE In his discussion of the complete re- in LP only, Four Last Songs). London cording, HIGH FIDELITY'S reviewer David A 4412, Four LP; OSA 1404, SD. Continued from preceding page Johnson referred to the opera's "many longueurs" between "the great moments." Capriccio, Op. 85 (1941) ing the war." Its style is closer to that I can discover no longueurs whatever; After several years of attempting to of Elektra than that of Ariadne. I am to me every moment of Arabella is to persuade myself is unable to muster much enthusiasm for that Capriccio a be relished. As for this performance, quintessential masterpiece Die Frau (among other things, the Hof- of Strauss's whatever shortcomings may be evident last years, I have decided to mannsthal libretto is among the most give up. I in George London's singing, he presents find Strauss's confused, confusing, and verbally bom- last opera a bit of a bore. a superb realization of Mandryka's The famous final scene, bastic I have ever encountered), but I particularly as pride, impetuousness, and burly forth- sung by must confess to having been impressed Schwarzkopf (in the complete rightness. An alarming wobble does in- version as well as the by its sheer physical enormity as a stage on single disc). trude several times, but one must never is certainly among the when I attended the 1955 Vienna composer's most piece lose sight of the enormous technical beautiful inspirations; performances on which the London re- and there are problems created by the role. London's minor delights strewn is based. The music has its re- about in other cording singing is unquestionably of a high corners of the wards, in several scenes de- opera. But there is too particularly order; no Mandryka could sound com- little musical voted to Barak and his wife; and the substance -and I say this pletely at ease. as an a degree, ardent Straussian. The total im- orchestration recaptures, to Della Casa and Gueden have been so pression 41 Strauss's earlier Wagner-inspired that I gain from the whole is some of widely acclaimed for their angelically one rather dreary preciousness. lusciousness. ofa sung and captivatingly acted Arabella The "profound aesthetic conversation" London has presented the opera, vir- and Zdenka that any further superlatives which is at the heart of Clemens Krauss's tually uncut, with its usual conscientious- would merely amount to tiresome repe- shabby libretto seems to me as obvious ness. Outstanding, indeed overwhelming tition. The supporting cast. led Edel- by as, say. the plot of La Bohème, although -vocally and dramatically -in the huge mann and Dermota, could not be im- Capriccio unquestionably treats a theme cast are Schoeffler and Rysanek. Goltz proved upon. which could hardly be considered stand- gives a penetrating characterization in Solti can be accused of an occasionally ard operatic fare. "Which is of greater the central role of the Dyer's Wife, rushed tempo, e.g., the sudden and ex- importance in opera, words or music ?" is although she and the equally compre- cessive speed -up in Mandryka's first mon- the central problem posed in the libretto. hending Höngen often approximate their ologue ( "Bedenken: dieser Brief kommt The question is adequately, and justly, notes. Böhm conducts his resplendent an ") the hectic and concluding measures answered in the dramatic situations of orchestra with strength and conviction. of Act I. Yet even when he is attempting Capriccio itself. Strauss and Krauss opt London's sound is good, without to break some imaginary speed record, for the music, as all of us would. It is achieving the full measure of clarity de- Solti manages to expose every lovely childishly obvious that if we were to manded by Strauss's orchestration. melodic detail, and the singers are more consider words in that of primal importance in I would like to add, conclusion. than sufficiently equipped to keep up this form, of achiev- we would have precious few Die Frau stands little chance with his pace. In the reflective portions, operas to like. ing the kind of popular success envisioned particularly that scene of "heavenly Angel's recording is a powerful induce- for it by Strauss and Hofmannsthal. Both length" between Arabella and Mandryka ment to familiarizing oneself with the men attempted here to exceed the limits in Act II ( "Ich habe eine Fran gehabt"), opera. Schwarzkopf and Hotter are out- of opera's ability to examine profound Solti's conducting is all leisure and melt- since standing in the generally excellent per- philosophical and moral truths; and ing tenderness. formance. fails to sustain a consistently the music I detected some severe tape hiss in -Elisabeth Schwarzkopf (Countess), inspired level. we remain conscious of two stereo copies sampled: the mono t_ Christa Ludwig (Clairon), Nicolai Gedda the failure on the purely verbal level. version is flawless and includes the (Flamand), Dietrich Fischer -Dieskau -Leonie Rysanek (Empress), Elisabeth estimable bonus of Della Casa's Four (Olivier). (Dyer's Eberhard Wächter (Count). Hängen (Nurse), Christel Goltz Last Songs. Hans Hotter (La Roche); Philharmonia Wife). Hans Hopf (Emperor), Paul -Lisa Della Casa (Arabella), Hilde Orchestra, Böhme (Spirit Sawallisch, cond. Angel 3580, Schoeffler (Barak), Kurt L. Gueden (Zdenka). Ira Malaniuk (Ade- Three LP. Messenger); Vienna Philharmonic, Böhm, laide), Anton Dermota (Matteo). Walde- -Final scene only. Schwarzkopf; Phil - cond. London A 4505, Five LP. mar Kmentt (Elemer), George London harmonia Orchestra, Ackermann, cond. ( Mandryka), Otto Edelmann (Waldner); Arabella, Op. 79 (1932) (with Four Last Songs). Angel 35084, Vienna Philharmonic, Solti, cond. (with, LP. Although Arabella has been given ade- quate exposure on American stages. CALIFORNIA DISTRICT OF COLUMBIA audiences have been slow to respond to QUICK -SEE Save 30%, 4-Track its charms. The critical cliché about Stereo Music on Tape Strauss always imitating his Rosenkava- ALBUM FILE Empty 3" Plastic Reels, 7c ea. lier has been applied with frequency to Eliminates bottom Bargain Prices! Send for our Recorder , blank / pre- this opera. Strauss and Hofmannsthal jacket wear. Rolls recorded tape catalog Ii -l. forward for front - NORELCO SPEAKER never denied that they were attempting view, flip- through Famous AD3800M, twin cone 8" to revive some of the atmosphere of their selection. 9 models (75. 19,000 cycles) discontinued fit any cabinet, model, former list 16.00. usual masterpiece. The similarities are, net 9.90 going at 4.99 plus post- earlier closet or shelf. age (2 for 9.00). Other Norelco however. superficial. Arabella is an orig- $7.95 up. Also speaker sizes at bargain prices available with cab- SEND FOR SPEAKER SPECI-- inal creation, and a very beautiful one; inet shown. Deal- FICATION SHEET. it may one day be fully appreciated. ers, inquire. SAXITONE TAPE SALES KERSTING MANUFACTURING COMPANY (Div. of Commissioned 504 S. Date Street, Alhambra, Electronics, Inc.) California a ' 1776 Columbia Rd., Wash., D. C. CIRCLE 55 ON READER -SERVICE CARD CIRCLE 31 ON READER -SERVICE CARD ARIZONA

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www.americanradiohistory.com ADVERTISING INDEX THE NEW Key No. Page Key No. Page 1 Acoustic Research, Inc.. 42 53 KLH Research & 2 Airex Radio Corp. 120 Development Corp. 93 LAFAYETTE 3 Allied Radio 35 -37 54 Kapp Records 75 4... Altec Lansing 43 55 Kersting Mfg. Co. 122 5... American Concertone 87 56 Key Electronics 118 7 .... Angel Record Club 5 6. Angel Records 73 57 Lafayette Radio 4, 124 8... Archive Production .. 22 58 Lectronics of City Line 9....Argo Records 101 Center, Inc. 96 11.. Arrow Electronics 123 59 Library of Recorded Masterpieces 88 13 . Aspen Music 116 60 Lion 14 .. Audax 33 ... Electronics 123 61 . London 15 .. Audio Devices 102 Records 81 10 .. Audio Dynamics ..20, 21 62 Magnecord 8 16 Audio Exchange 121 63 Marantz Co. 90 17.. LT -200 UNIVERSAL Audio Fidelity 68 64 McIntosh Laboratory, 18 .... Audio Originals 97 Inc. 85 MULTIPLEX ADAPTER 19 ... Audio Unlimited 123 65 .. Miles, Fred 123 20 .. 66 .. Myer's Emco achieves the finest stereo Audion 123 122 performance from your 21 ... Benjamin Electronic 67 PACO 28 Sound Corp. 112 12 .. Parliament Records 88 tuner. 22 . British Industries 68 .. Pickering & Co. 2 Corp. 44 69.... Pilot Radio NO MONEY DOWN 100 ... British Industries Inside Front Cover Made In U.S.A. Corp. 76, 77 Professional 23... Brown, L. M., Sales Directory 122, 123 35 db Stereo Separation (at 400 cps) Matches With Virtually All Recent Corp. 123 Model Wide -Band Tuners Equipped 70 Rabson's -57th, Inc. ... 121 With MPx Output Jacks 24.... Cabinart Acoustical 71 Recocards 123 Less Than 1°0 Harmonic Distortion From 50 to 15,000 CPS Dev. Corp. 109 72 Record Hunter 89 Hum Level Better Than 60 db At 60 25 .. Cambridge Records 100 73 Reeves Soundcraft 27 cps For 1 Volt Signal Input Self Powered 26 . Capitol Records ....83, 105 74 Rek -O -Kut 23, 29 As Easy To Connect As Were Your 27 .... Carston 123 75 Roberts Electronics 39 Original Components 28. Features Include; Notch Filter For Citadel Record Club ..123 76 Rockford Furniture Co. 14 38KC; Low Impedance Plate Follower 29 ... Columbia Records 66 Output; Matched Diodes For Optimum 30 .... Command Records 1 31... Saxitone 118, 122 Separation 77 Scope Complete With Enclosure & All Neces- 31 . Commissioned .... Electronics 34 sary Connecting Cables Electronics 118, 122 78.... Scott, H. H., Inc. ....17 -19 79 32 Concord Electronics . 104 ... Sherwood Electronics . Back Cover Keep Your 33 Deutsche Grammophon 80 .. Shure Bros. 94 Components Gesellschaft 32 81 . Sleep Learning Research Operating =.7 34.. DeWald Radio . 119 Association 123 AT Peak 35 Dexter Chemical 100 82 Sony Corporation 10 Performance 36 .. Dixie Hi -Fi 123 83 . Sound Reproduction 123 with the ,1111LIPIilir 37 .. Dressner 123 84 .. Stereo Component LAFAYETTE 38 .. Dual 12 Supply Co. 123

TE -15 TUBE TESTER 39... Dynaco, Inc. 86 85 . . Stereo -Parti 122

COMPLETELY 40 . Dynaco, Inc. 111 87 . . Superior Magnetic Tape 123 WIRED - 86. . Superscope 95 NOT A KIT 41 .. EICO 106 Accurately Checks Over 42 ... Electro -Sonic Labs., Inc 80 88 .... Tandberg 82 1000 Different Tubes Tests for Cathode Emission, Leakage 43... Electro- Voice, Inc. 24, 25 89 ... Tannoy (America) Ltd. 110 and Shorts plus Filament Continuity 44 .. EMPIRE 40, 41 90.... Terminal- Hudson 123 Completely Portable -Weighs Only 6 Thorens lbs. and Measures 93-4Wx81'eDx23u "H 91.... 26 45 . Fairchild Recording Trader's Marketplace 114 FREE Equip. 108 92 .... Transvision 117 NEW 1962 Catalog p620 46 Fisher Radio Corp. LAFAYETTE RADIO ELECTRONICS 6, 7, 9, 11 United Artists 97 Dept. WC2 -2, P.O. Box 10, 93... Syosset, L.I., N.Y. 22 ... Garrard Sales 44 38 . United Audio 12 94 University Loudspeakers, LT -200 Multiplex Adapter TE -15 Tube Tester 47 .. Goodwin, C. C. 123 .... Inc. ...Inside Back Cover $ enclosed 48 . Grado Labs., Inc. 38

49 . NAME Granco 96 95 ...Vanguard Recording 89 96 ...Viking of Minneapolis 113 ADDRESS 50 .. Harman- Kardon, Inc. 13, 15 51 .. Heath Co. 30, 31 97 .... Warner Bros. 98 CITY ZONE STATE MI M= NM =I II= 52. Hi- Fidelity Center.. 120, 123 98.... Westminster 79 CIRCLE 57 ON Itt \Utlt-tiF.RV7CE CARI) 99 .. Hi -Fi Sales 122 100.... Wharfdale 76, 77

1 24 HIGH FIDELITY MAGAZINE

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af

L J HOW TO BUY YOUR FIRST (OR YOUR LAST) SPEAKER SYSTEM fruitwood, mahogany and unfinished for If you demand magnificent sound . . un- compare distorted bass to beyond the limits of custom installations. And the Medallion audibility if you demand superb cab netry is the world's only system with "select -a- and decor flexibility (with five interchange- style "snap -on grilles. Want to change your Medallion able grille frames that snap on and off to decor at some later date? The match any decor) ... then consider the UNIVERSITY stays where it is -all you change is the unique University Medallion XII 12" grille! In Contemporary, Italian or French Three -Way Speaker system. Medallion (in every price category) Provincial, Colonial and Swedish Modern. without owners stay Medallion owners. Let's look all brands Medallion prices start at $139.95, inside the Medallion ar.d see why. against other grille. Grilles from $9.95. Base, $14.95. Write for University's "Informal Guide to Component High Fidelity," Desk P -3, -smooth and rich -from 28 to 40,000 University Loudspeakers, Inc., White cps). And at your cps (±2db at 22,000 Plains, New York. fingertips, network controls to balance the Medallion sound to match the acoustics of your room -any room. Amplifier requirements? Any amplifier capable of delivering a modest ten clean watts. Medallion dimensions? Only 24' x 17' x 11%' deep. Available with or without base -for use as highboy or low- boy. Finishes? Walnut, oiled walnut,

L' - For bookshelf speaker systems with astound ing 'big system' sound look into University's RRI, speaker systems. Integrated within its precisely- matched cabinet are three super :ative speaker com- ponents: the 12' high compliance woofer that delivers bass frequencies down to the very threshold of feeling; a newly - engineered 8' speaker to assure you of all -important mid -range impact; arid the For a solution to a really difficult space Sphericon super tweeter for highs un- problem, investigate the TMS -2 single cabinet A D on of Ling- Temco- Vought, Inc. limited. Result: virtually uniform response stereo speaker system. TIMELESS BEAUTY AND THE SOUND OF TRUTH

www.americanradiohistory.com SHERWOOD

only for those who want the Jltimate n

FM STEREO BROADCAST RECEPTION

AND STEREO RECORD REPRODUCTION

S8000 FM /MX 64 Watt Stereo Receiver $299.50 16'/ "x4'o14"deep

S -3000 W FM /MX Stereo Tuner $160.00 14" x 4' x 105" deep

S-5000 If 80 Watt Stereo Amplifier $199.50 Ravin a Model S43 3 -way Speake- System $139.50 14" x 4" x 12 1" deep 26' x 15' 13W deep

With FM Stereo broadcasting (multiplex) an establishes) reality, Sherwood proudly offers the S -8000 Receiver -a brillian: combination of Sherwood's "high- rated" FM tuner design, two 32 -watt amplifiers, two phono;-ape pre -amplifiers, and all circuitry necessary to receive he new FM st-eo- casts. The S -3000 IY FM Stereo Tuner features the ide.tical tuner dh:ign found in the S -8000 including built -in circui :ry for s ereocast recexion ...or your present FM tuner can be easily converter for stereocaq re- ception with Sherwood FM Multiplex Adapters ($49.5) and $69.50). The S -5000 II Amplifier provides the ultimate in s-ereo amplific< ton. Also available -the excellent S -5500 II Amplifier, wi :h 64 watts runic power at $164.50. Sherwood's newest contribution -the exiting Ravinia Model 3R3 3- speaker system consisting of 12" high -compliance woofer, 8" nid- range, and 21/2" ring- radiator tweeter. The Ravinia reatures extremely low intermodulation distortion and unusual y flat f-equency response (± 21 db) to 17 KC. Cabinet is hand -rubbed Walnu-. The perfect setting for hi fi components is Sherwood's Corrdaire contemporary furniture modules -in hand -rubbed Walnut and Pecan. Sherwood Electronic Laboratories, Inc., 4300 N. Califcrnia Ave., Chc3go 18, Illinois.

For complete technical details, write Dept. H -3

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