Stereo's Hole-in-the-Middle-Causes and Cures high fidell AUGUST THE MAGAZINE FOR MUSIC LISTENERS 60 CENTS ¡Mel

www.americanradiohistory.com HOW AUDIOTAPE HELPS YOU AVOID THEM TAPE RECORDING PROBLEMS -AND

the level is like seeing a more Listening to a recording w.th excessive noise level Reducing noise of the same picture is like looking at a photograph that has a flat, "contrasty" copy - gray tonal value with low contrast. all tones are clean and sharp. Improving "contrast" by reducing background noise

BACKGROUND noise is the low -level hum or hiss heard There are several reasons why Audiotape's back- during quiet portions of a recording, where no ground noise is exceptionally low. The magnetic oxides recorded signal is present. Obviously, this background that go into the coating are meticulously selected. Only noise should be kept as low as possible. Since it effec- the highest grade oxides are chosen. Then the oxide tively blankets the lower- volume recorded sounds, it and a binder are mixed in ball mills with infinite limits the dynamic range (or contrast) of your record- thoroughness. This is most important, because incom- ings. Background noise in a tape recording is usually plete dispersion means greatly increased noise level. less of a problem than with a phonograph record. But In every step of the Audiotape manufacturing pro- the true audiophile will go to great lengths to reduce cess, quality control is the byword. That's why you can it to the absolute minimum because its effect, though measure Audiotape performance by any standard you subtle, can be very irritating. choose - and this professional -quality tape will always Some background noise is introduced by the recorder, pass with flying colors. Audiotape is made by audio some by the tape. However, you can easily eliminate engineers for audio engineers. And it's available in a the latter source by using a top- quality tape, such as size and type to meet every recording tape need. See Audiotape, with negligible background noise. your Audiotape dealer right away.

Use your recorder to record records Many record collectors have found that their valuable discs have gradually lost fidelity - either through wear or accident. Some tape fans have used their tape recorders tc provide insurance P TeaDE MAIIM As as they buy a record, they tape it. So if cudiakaE against this loss. soor anythiig happens, they have a spare. For this "insurance record- AUDIO DEVICES, INC., 444 Madison Ave.. N.Y. 22, N.Y. In 5425 N. Milwaukee Ave; ing," we recommend type 1271 Audiotape, 1200 feet of extra - In Hollywood: 840 N. Fairfax Ave. Chicago: strong, long -lasting "Mylar" on a 7" reel. This tape has just been reduced one -third in price - an added inducement.

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+Q Roland Getan 'MUSIC' Editor Joan Griffiths Executive Editor The Red Priest of Venice 30 H. C. Robbins Landon Ralph Frees Concerning Antonio Vivaldi -and the baroque city he loved. Audio Editor Miriam M. Landis America Has Old Organs, Too 38 Managing Editor E. Power A. Newbury Riggs on a domestic safari. Associate Editor Shirley Fleming From Composer to Magnetron to You 40 Eric Salzman Assistant Editor At the Coltmzbia- Princeton Electronic .lfusic Conter Roy Lindstrom a marvelous Art Director machine is helping to compose music. H. C. Robbins London European Editor The Dwindling Racket 43 Everett Helm Is experimental music on the skids? Editorial Board All- Purpose Tenor 45 Herbert Kupferberg John M. Con ly Nicolai Gedda not only sings in eight languages; he can think in them. Chairman E. Power Biggs Music for the Age of Calorie Counters 29 Nathan Broder Nathan Broder An editorial. R. D. Darrell Alfred Frankenstein Notes from Abroad 18 Howard Hanson Our correspondents report London and Paris. Julian Hirsch ... Robert C. Marsh Francis Robinson Joseph Scigetl EQUIPMENT

Warren B. Syer General Manager Do You Need a Phantom Channe ? 36 Norman Eisenberg Claire N. Eddings For stereophiles, answers to the problem of the hole -in- the -middle. Advertising Soles Manager Walter F. Grueninger Equipment Reports 47 Circulation Director Sherwood S -5000 Stereo Dual Amplifier -Preamplifier Audax CA -60 Speaker System Publication Nlicy Pickering 800 Gyropoise Stereotable Charles Fowler ESL C -99 Stereo Cartridge Lawrence Gotta Dynaco B $ O Stereodyne TA -12 Stereo Arm and Pickup W. D. Littleford Madison Fielding 630 FM Tuner Warren B. Syer Webster Electric GLO -4 Stereo Tape Preamplifier

High Fidelity Newsfronts 85 Ralph Freas A D V E R T I S I N G Kit Report: EICO HFS -3 Speaker Main Office System 86 Claire N. Eddings, The Publishing House A kit for the novice builder. Great Barrington, Mass. Telephone 1300 New York 1564 Broadway, New York 36 Telephone: Plazo 7 -2800 Bert Covit, Sy Resnick REVIEWS Chicago 188 W. Randolph St., Chicago I Feature Record Reviews 55 Telephone: Central 6 -9818 Andy Spanberger Beethoven: Wellington's Victory ( "Battle Symphony") Los Angeles (Morton Gould and Orchestra) 1520 North Gower, Hollywood 28 Shakespeare: Four Tragedies, Complete Telephone: Hollywood 9.6239 George Kelley Other Classical Record Reviews 58 The Lighter Side 70 Jazz Record Reviews 77 The Tape Deck 80

Published monthly at Great Barrington, Mass. The by Billboard Publishing Co. Copyright U 1960 by The Billboard Publishing Co. The design and contents of High Fidelity Magazine ore fully protected by copyright and must not be reproduced in any manner. Second -class postage paid at Great Barrington and at additional mailing offices. One -year subscription in U. S., Possessions, and Canada 56.00. Elsewhere $7.01'.

www.americanradiohistory.com AUTHORitatively Speaking

The pictures which adorn European Editor H. C. Robbins Landon's essay into the Venice LAFAYETTE RADIO EQUIPMENT of Vivaldi, p. 30, were taken by British photog- AVAILABLE THROUGH A rapher Hans Wild. Mr. Wild returned home to SELECT GROUP OF London not quite sure he hadn't been in pursuit AUTHORIZED FRANCHISED DISTRIBUTORS! of a myth (Venice has no Vivaldi museum, no grave, no monument); but whether or not Lafayette Radio, world's foremost electronics and hi -fi supplier, Vivaldi ever existed (Mr. Landon says quite expands its facilities to serve you better. After careful screen- clearly that he did), the baroque beauty of Ven- ice itself remains real and tangible (as Mr. Wild's ing, a select group of representatives has been appointed as own photos attest). Among other mementos of Authorized Franchised Distributors of Lafayette's own top Mr. Wild's visit is one we unfortunately cannot quality equipment and stereo kits. Lafayette dependability, illustrate: it seems that he bought himself a plus your dealer's reliability and facilities, guarantee you the painting- abstract and a bit outsize. Conductors was v finest in said it too big to accompany him on trains, quality and service. See your authorized dealer, or shop airline officials refused to allow it on planes, the Lafayette catalog-we know you'll be satisfied. there was some question as to whether he could get it through his own front door. He did, and even found a wall to accommodate it. Vene- tian sojourn viewed as great success, we hear. .... _ r Professional Stereo Pre -Amp Master Control Center Norman Eisenberg, author of "Do You Need a "The Lafayette KT -600 is unquestion- ably one of the most flexible stereo Phantom Channel ?" (p. 36), was once a student KT -600 control units available today. Its flexi- of philosophy and a working poet. He found the bility is complemented by overall per- formance comparable to manufactured latter course fun but not very profitable, and units selling for far more than its turned a former hobby of technical tinkering modest price." into full -time profession of audio. Mr. Eisenberg HIGH FIDELITY MAGAZINE -OCT. '59 has written for innumerable high -fidelity and electronics magazines, has edited a trade journal, Stereo Tuner Kit has produced dozens of handbooks and manuals, "The assurance of success lies in the and expects to bring out fall a book on high - excellent design of this Tuner, the this thoughtful manner in which it was fidelity and stereo kits. He finds time too for planned for assembly from a kit of bridge, chess, and the joys of suburban living. parts, the use of RF and IF printed KT -500 circuit boards in the FM sections, and the very complete illustrations and Eric Salzman of the New York Times music instructions. You will have reason to staff is critic, composer, conductor, and practi- be proud and pleased with the results." HI -FI MUSIC at HOME July -Aug 19581 tioner of the performing arts (violin, contrabass, voice -and he's even gotten paid for his efforts in the last direction). fact he is A 50 Watt Integrated Whether the that Stereo Amplifier Hit an alumnus of Columbia and an old Princetonian ...11110lr has any relevance we don't know, but in any case Simplicity, versatility and handsome II styling have been integrated into this the sum total of his experience indicates very KT-250A outstanding 50 watt stereo amplifier special qualifications for the job of describing the (25 watts each channel). A full range of controls and inputs assure complete work now being donc at the Columbia- Princeton flexibility. You build an amplifier com- Electronic Music Center. See p. 40. parable in every way to a factory wired .unit. Although he spends a good deal of his time in Europe, where he has been Theatre and Music Officer for the U. S. Military Government in NOW AT AUTHORIZED LAFAYETTE DISTRIBUTORS Germany and is now regular correspondent for CALIFORNIA INDIANA MICHIGAN various music publications, Minnesota -born BERKELEY MUNCIE FLINT Everett visits zacKIT Corp. Muncie Electronics, Inc. KLA Labs. Helm makes frequent to this LONG BEACH e KENTUCKY GROSSE POINT country for performances of his own composi- KlerulR Sound Corp. KLA Labs. LOS ANGELES LOS'ISVILLE tions (which include opera as well as orchestral KlerulR Sound Corp. The Golden Ear NEW JERSEY LOS ANGELES-WEST works) and for lecture tours. "The Dwindling .b KlerulR Sound Corp. MARYLAND ATLANTIC CITY ORANGE. BALTIMORE Almo Radio Racket" on p. 43 suggests how one contemporary American Distributing Co. CAMDEN KlerulR Sound Corp. composer views some his fellows. PALO ALTO The Hi FI Shop Almo Radio of Zack Electronics COLLEGE l'K. a RIVERSIDE Rucker Elec. NEW YORK Kieruln Sound Corp. SALISBURY BINGIIAMPTON SANTA BARBARA Almo Radio Stack Electronics zarKIT Corp. SILVER SPRING ELMIRA SAN FERNANDO VALLEY Rucker Elec. Stack Electronics nigh Fidelity, August 1960, Vol. 10, No. 8. Kierulrt Sound Corp. Published monthly by The Billboard Pub- MASSACH USETTS ITHACA lishing SAN FRANCISCO HOLYOKE Suck Electronics Co.. publishers of The Billboard, Vend, Zack Electronics ETC Electronics ROCHESTER Funspot, and The Billboard International. SANTA ANA Craig Audio Lab Telephone: Great Barrington 1300. Member Sound GREENFIELD KlerulR Corp. Del Padre Supply SY RACI'SE Audit Bureau of Circulations. STUDIO CITY PITTSFIELD KlerulR Sound Corp. W.G. Brown Sound Co. Del Padre Supply Editorial Correspondence should be ad- SPRINGFIELD PENNSYLVANIA dressed to The Editor, High Fidelity, Great DELAWARE Del Padre Supply WILMINGTON NORRISTOWN Barrington. Mass. Editorial contributions will WORCESTER Almo Radio Almo Radio Co. Del Padre Supply be welcomed. Payment for articles accepted PHILADELPHIA will be arranged prior to publication. DISTRICT OF COLUMBIA Almo Radio 13 Locations) Un- Rucker Electronics MICHIGAN solicited manuscripts should be accompanied ALLEN l'AltE VIRGINIA by return postage. INDIANA KLA Laboratories FT. WAYNE BIRMINGHAM ARLINGTON Ft. Wayne Electronics KLA Laboratories Rucker Electronics Change of Address notices and undelivered Supply Co. DETROIT copies should be addressed to High Fidelity. INDIANAPOLIS KLA Laboratories CANADA Subscription Fulfillment Department, 2160 Graham Electronics Supply. Hudson's Northland MONTREAL I'. Q. Patterson Street. Cincinnati 22. Ohio. Inc. Hudson's Downtown Electronic Tube Co Subscriptions: Subscriptions should be ad- dressed to High Fidelity. Great Barrington, L A F A Y E T T E R A D I O Mass. Subscription rates: United States. Pos- JAMAICA, N.Y. NEW YORK, N. Y. BRONX, N. Y. sessions, and Canada, 1 year, S6; 2 years. SI I ; 3 years, SIS; 5 years, $20. Elsewhere S1 per NEWARK. N. J. N. J. BOSTON. MASS. PLAINFIELD, year extra. Single copies 60 cents.

CI I(CLI: 48 11.V READER- SERVICE CARD 4 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com COLUMBIA RECORD CLUB offers with pride the greatest musical achievement since the introduction of stereo records

The first complete recordings of the 9 SYMPHONIES of BEETHOVEN

conducted by BRUNO WALTER with the Columbia Symphony Orchestra

reproduced in glorious STEREO in a delu ce package of UNANIMOUS CRITICAL ACCLAIM! seven 12 -inch ... a noble exposition of Beethoven long- playing records as seen by one of the greatest of his prophets" -High Fidelity Magazine "A collection which stands as near the pinnacle of perfection as any human product ever can" ALL $ 98 -San Francisco Chronicle FOR DNLY "One of the triumphs of a memorable 5 REGULAR RETAIL career ... the result is a 7 -disc act of remarkable clarity" -Time Magazine VALUE, $41.98 J "One of the summits of modern re- of you join tie Club row and agree to purchase corded music" as few as sic selections from the more than 150 -New York Herald -Tribune to be made amailab1e during the coming 12 months

DELUXE PACKAGE Seven 12" Colombia ste-eo records in a luxurious box, covered with s-hite lead er- like Fabrikoid and lustrous black -and -gola cloth. Also includes 48 -page booklet with previously, unpublisded photograph.. program rotes. anecd,tes and re- views by Beethoven's c-m- temporaries and present NOTE: Stereo records day critics. must be played only on a stereo phonograph THE CORNERSTONE OF ANY STEREO LIBRARY.., SEND NO MONEY - Mail this coupon now to receive the 9 Beethoven If you now own a stereo phonograph, or plan the coming 12 months. Thereafter, you have no Symphonies for only $5.98 to purchase one soon, here is a unique oppor- obligation to purchase any additional records tunity to obtain - tor only $5.98 - this mag- and you may discontinue your membership COLUMBIA RECORD CLUB, Dept. 224 -4 nificent Columbia 7- Record Set containing all at any time. Terre Haute, Indiana nine Beethoven . . . Symphonies in glowing FREE BONUS RECORDS GIVEN REGULARLY: If Please send me. at once. the Deluxe 7- Record Stereo Set of performances by one his Beethoven Symphonies. of greatest interpret. you wish to continue as a member for which I am to be billed only after pur- S5.98. plus a small mailing and ers, Dr. Bruno Water . . . and reproduced handling charge. Enroll me chasing six records, you wi.l receive a Colum- in the following Division of the Club: with amazingly realistic "concert hall" fidelity bia or Epic stereo Bonus record of your choice (check one box only) through the miracle of stereophonic sound! free for every two selections you buy. Stereo Classical Stereo Popular TO RECEIVE YOUR BEETHOVEN SET FOR ONLY The records you want are mailed and billed I agree to purchase six selections from the more than 150 S5.98 simply fill in and mail the records to be offered during the coming 12 months. at regular - coupon to you at the regular list price, generally $4.98 list now. Be sure to indicate price plus small mailing and handling charge. There- which one of the (Classical $5.98), plus a small mailing and han- after. if I decide to continue my membership. I am to re- Club's two Divisions you with to join: Stereo dling charge. ceive a 12" Columbia or Epic stereo Bonus record of my Classical or Stereo Popular choice FREE for every two additional selections I buy. - whichever one MAIL THE COUPON TODAY! best suits your musical taste. Since the number of Beethoven Sets we can If you wish to receive your Beethoven Set in regular high - distribute cn this fidelity check below the musical Division your HOW THE of choice. You CLUB OPERATES: Each month the special offer is limited - we sincerely urge to purchase 6 selections from more than 150 regular high Club's staff of music experts selects outstand- you to mail the coupon at once. fidelity records to be offered in the next 12 months. ing recordings from every field of music. These Classical Popular Show Music Li Jazz selections are described in the Club Magazine, ALSO AVAILABLE IN which you receive free each month. REGULAR HIGH FIDELITY! Name You may accept the monthly selection for It roil have a standard phono;rauh. you mas r, 1Please Print) ,'cive the your Division ... take any of the other rec- regular high -fide Its version of chi Address ords offered (classical or popular) Deluxe Beethoven Set for only $5.98. The Phan ... or take is exactly the saine as outliced above - except NO record in any particular month. that you loin any one of the C'lub's four regular City ZONE.... State musical Divisions, and you pay the usual list Your only membership obligation is to pur- price, generally $3.98 (('tas deal $4.95). for the CANADA: address 1111 Leslie St., Don Mills, Ontario chase six selections from the more than 150 regular high -fidelity record, you accept. ('heck If you scant this membership credited to an established Colunibla or :Il'l'r iodate box in ,.,, Ii Epic reword dealer. authorized to accept subscriptions. in below: Columbia and Epic records to be offered in P.,n. fill Dealer's Nome MORE THAN 1,000,000 FAMILIES NOW ENJOY THE MUSIC PROGRAM OF DPol er's Address 228 I BS-DA (STER) I BS-DG (REG)i, COLUMBIA RECORD CLUB TERRE HAUTE, IND. L_ o Columbia Reeurds sales Corp., 1900 ® "Columbia." "Epic," Marcos Reg. ® c t.1RCLF: 2:1 ON It I tntat- uI-:IMCE l :Ural \i ct-sT 1960 5

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6 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com "ir'etzv'e`9-e- C hO 0$ 2a ANGELaNY FoUR ALBUMS , PLUS A SMALL CHARGE EOR POSTAGE. PACKING AND .r MAIIINC -..when you become a member of the Angel Record Club and agree to buy as few as six future recordings at the usual retail price during the next twelve months.

.Hake Your Selections from the 27 Albums Listed Below... 44 $700. SOVIET ARMY CHORUS L BAND. 200 5735. M.Mevee: PIANO CONCERTO NO. 4. thundering male voices sing Russian folk Russia's lamed Emil Gaels is soloist with ballads and army songs.$4.la; Stereo 55.98. the Philharmonia Orch. $4.98; Stereo $5.91.

702. THE SCOTS GUARDS. The Regimental $734. Eckel : SYMPHONY NO. 4. Band and Massed Pipers in pulse-quickening Constantin Silvestri and the Philharmonia marches, reels, strathspeys. á1.5S. Orchestra. $4.75; Stereo $5.95. 747. CAMAS PUCCINI HEROINES. 748. Beethoven: PATHETIDUE ana WALD. Arias from Manu Leseaat, Butterfly, STEIN SONATAS. Hungarian pianist Annie B ohm', Teraseet, others. $4.95. Fischer plays two distinguished works. $4.95. 724. NUTCRACKER SUITE; WATER MUSIC 5731. Sibelius: SYMPHONY NO. 2. Power. SUITE. Fresh interpretations of two favorite fully played by the Philharmonia Orchestra, works by Herbert Von Karajan conducting Paul Kletzki conducting. $4.95; Stereo $5.95. the Philharmonia Orchestra. 14.95. 737. KhatehatseJae: VIOLIN CONCERTO. 775. Grieg: PIANO CONCERTO; Schumann: David Oistrakh plays. the composer con. PIANO CONCERTO. Brilliantly played by Clau duels, in a dazzling performance. $4.95. dio Arrau and the Philharmonia Orch. $4.55. 732. Schubert: SYMPHONY NO. A. Sir Thomas Beecham 5777PrHNtev: SYMPHONY NO. S. A stun. conducts the delightful "Little Symphony." rang rendition of a heroic work by Thomas plus two Grieg selections. $4.98. Schippers with the Philharmonia Orch. $4.95. 5741. Prokofiev: CINOIRELLA. The ballet's enchanting music. Robert Irving conducts $705. LOLLIPOPS. Sir Thomas Beecham. B the Royal Philharmonic. Stereo "musical sweetmeats" by Berlioz. Debussy), í4.5g; $5.98. Mozart, others. 54.55; Stereo $5.911. 745. Chopin: 5 MAZURKAS; 3 POLONAISES. Witold Malcurynski at 730. Brahms: SYMPHONY the piano in fiery NO. 4. His final renditions of notable works. symphony, beautifully played by the Phil. Il $4.95. harmonía Orchestra, conducted by Herbert 735. 0 : SYM . S ( "Ne Von Karajan. Weru" (. Constantin Silvestri conducts a fine new performance with the Orchestre $740. Tubai :VIOLIN CONCERTO; National de la Radiodiffusion. $4.95. N osiest : VIOLIN CONCERTO. Hand somely played by Christian Perras with the 743. Straviesky: PETROUCNKA. The complete Philharmonia Orchestra. 54.55, Stereo $5.95. score of the famous ballet. Etrem Kurtz conducts the Philharmonia Orchestra. $4.95. 725. SORCERER'S APPRENTICE; LA MSC; Suite from THE THREE CORNERED NAT; 775. Mozart: 4 HORN CONCERTOS. Virtuoso "CLASSICAL" SYMPHONY. 4 works in pieces flawlessly performed by Dennis Brain great with the Philharmonia exciting new readings. $4.55. Orchestra. $4.95. 5727. FIRE BIRD; CHI 'S 729. Berlioz: SYMPHONIE PANTASTIOUE. A CAMES; MOTHER GOOSE SUITE. striking interpretation by Herbert Von Kara. The Philharmonia Orchestra. under Carlo Maria Giulini, Ian and the Philharmonia Orchestra. $4.98. plays Stravinsky, Bizet, Ravel. $4.95; Stereo $5.95. 725. W OPERA SELECTIONS. The 748. SCHUBERT SONGS. Dietrich Fischer. Berlin Philharmonic In overtures and orchestral Dieskau sings B charming Schubert songs, interludes from The ranging from the Flying Outckmae, Cetterdammereng. gay and buoyant to the $4.95. deeply tragic. $4.95. 749. VERDI OPERA CHORUSES. La Scala 742. PAVLOVA MALLET FAVORITES. Chopin: Chorus and Orchestra in great choruses from Aietame ; Glazounov: Bacchanals; Ee.eatore, Traviata, Aida, stell., Sew i, I SaintSaens The Swan; Tchaikovsky: Russia. Lombardi, 54.5$ D ance; others. $4.95.

ANGEL RECORD CLUB Dept. 2023, Srranton 5, Pennsylvania Please accept my application for membership These are the 4 albums I choose (RETAIL VALUE UP TO $19.92). WRITE ALBUM NUMBER IN BOXES: All you will bill me L 99, plus a small charge for pontage. packing and mailing. d'In masterful use of reproduction. I agree to buy 6 records during (he neat 12 months from over Itel to be offered) tort the rate of t last one every other month I at the usual retail price of $4.96. plus a small charge for postage. packing and mailing within .even Angel NEwswEEK days after 1 receive each album. holds the lead."- After theme purchses I may cancel my membership. Or, if I remain member. 1 will select BONUS ALBUM each time I purchase two records. Each month you will send me description of the new Recommended Anuel Selection, plus range of alternate selections. If 1 want the Recommended Selection. I do If you collect records, you know the 4 nothing. Il will come auto - choose any -a total retail value matically. 11 1 want an alternate selection. or no record at all that month. I will notify you on the loco always provided. Angel label denotes music for the of $19.92 -and pay only 99, ( plus NO -RISK GUARANTEE: 11 not delighted. I will connoisseur. It is where you find a small charge for postage, packing STEREO: Chock five if yew return these four albums within seven days and earn a STEREO record ployer my member-drip and all charges will be cancelled the world's great artists, flawlessly and mailing 1, under the Angel and ogre. to buy your six future without further obligation. Record selections in stereo which the reproduced at the height of their Club trial membership Club sella for S1.00 more (hen PRINT monaural. 4 terms spelled out at the right. Mail Then the records NAME artistry. Now through the Angel you have chosen marked "S" - the coupon today and see for your- will be sent to you in STEREO Record Club -you may acquire with a bill for only SI.00 more ADDRESS self why the Saturday Review says I Total: SI.991. BONUS these extraordinary Angel albums ALBUMS and future selections of Angel Records: It is hard to say will also be in .stereo. NOTE: CITY ZONE at impressive cash savings. Stereo records can he played which is the greater mira- only on stereo equipment. 27 varied Angel albums are de, the performance or STATE Hr -1 SEND NO MONEY. We wall bill you. 'Membership limited to one per household i Slightly described on this page. You may the recording." higher In Canada: Angel Record Club of Canada. 1184 Castleseld Are.. Toronto I5. Ontario If you wish to Join through an ANGEI, record dealer ulhorlred to solicit club subscriptions, write has name and address in margin

CIIte:LF: t 11\ I(ELI)F:It-SF:It% ICF: (AHD .\tctsr 1960 7

www.americanradiohistory.com Wagnerian Lament SIR: Today's Wagnerians lament the inadequate supporting artists that Kirsten Flagstad has been plagued with. They dream of re- recordings; but I am too realistic for that, and would initiate instead a crusade for re- issues of some of her superb performances when she had the support of great artists. The removal from the catalogue of the Bridal Chamber Scene of Lohengrin and the duet with Lauritz Melchior in the garden scene of Parsifal evidences the most flagrant disregard for those who demand true artistry for their aesthetic enjoyment of Wagner. The same may be said for her Immolation Scene under the incomparable Furtwängler, and for some German songs (arranged by the cybernetically engineered Dyrumsgárd) with Gerald Moore's piano accompaniment. professional stereo tape recorder by These great recordings must not be doomed to oblivion. They must be reissued. John R. Abrahamsen Larchmont, N. Y. NEWCOMB Man As Well As Artist You now have your choice of either quarter -track (Model SM-310 -4) or half -track SIR: interest "The Life (Model SM -310) versions of the exciting new stereophonic tape recorder by I have read with great of Leonard Warren" in the June Newcomb. Specifications for the two are identical. They are deeply satisfying to and Death HIGH FIDELITY. work with because they are cybernetically engineered. That is, controls are so ar- Although the article succeeded in reveal- ranged that the natural thing to do is the right thing to do. Tape movement is con- ing something of Warren's remarkable clarity trolled by a central joystick...the easiest machines to operate you've ever tried... of purpose, the slant portrayed him as a most easiest on tape, too. Broken, spilled, stretched tape are things of the past when you difficult person, and a complete egomaniac. work with a Newcomb recorder. And few, if any, machines include such a wealth In his clear-sighted pursuit of his ideals he of features. Newcomb recorders take any reel size 3" to 10 % ". They have - twin, was, to a certain extent, like this, but I level illuminated recording meters arranged pointer -to- pointer for instant compari- feel that it does him an injustice to neglect son, four digit counters, mixing controls for "mike" and "line" for both channels, other facets of Warren's character which bal- balance control, ganged volume control, two speeds - 714 or 31/4 inches -per- second anced, and modified, the "temperament." with automatic compensation for 31/4. The Newcomb tape machine is designed to be If Mr. Warren was self- centered as a singer, an inseparable, dependable, indispensable companion for the serious recordist. Write he was the opposite as a person. Those of for the complete story contained in Bulletin SM -3. us who knew him find it impossible to meas- ure the warmth, kindness, sincerity, and NEWCOMB AUDIO PRODUCTS CO., Dept. !l' -8, 6824 Lexington A re., Hollywood, Calif. goodness of this man. He gave unstintingly of his time and strength, in quiet ways which never made the headlines. He was also an extremely devout person who lived his religion, yet one who never preached... . Unlike many of his colleagues, Mr. War- ren would not do anything for publicity. He did not bother much with the critics, PORTABLE STEREO SPEAKER SYSTEMS - Four choices are saying that he himself always knew how he 0 0 u 0 0 offered, varying in sire and efficiency. The latest techniques sang. He deplored the present acceptance are used to reproduce big bass of mediocrity as the standard, and he de- on a compact space and to achieve unprecedented audr spised criticism based on a singer's reputation ence coverage Speake r, have Model SA BO portable 2 channel amplifier is Y ckpool metal grilles, carrying and the pressure of public following. He did powerful end worthy compan,on to the New. handles. and are covered in fan clubs, saying (and this comb Recorders .40 watts peak per channel scratchproof. washable. warm not bother with

. ganged controls - bass. treble. volume. bal. gray tabrika,d to match the once reels store rn cover. SA40 and SM 310. Continued on page 10

cIHt:LF: 61 ON ItF.UIF:H-FF.HyICF: t:%HgF HIGH FIDELITY MAGAZINE

www.americanradiohistory.com FAIRCHILD 440 NOW...A NEW FAIRCHILD 1111111111111/el [11/I/!/111///1i11;i111///////1 m/r//llrf:r11!!! /irt PRECISION TURNTABLE t11111111111i 1111111111111A 111111111111111 i11AWKW111S1i AT INLY $69.95

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EVERY MODEL 440 COMES WITH INDIVIDUAL WOW AND FLUTTER GRAPHS AS INDICATED ABOVE

Fairchild Recording is proud to introduce the 440 belt tension. Thickness held to 2 /10,000 of an inch by exclusive ...a new precision turntable that is certain to set new Fairchild process. standards for the serious record collector. Turntable platter is solid cast aluminum contoured for easy record handling. Main bearing is babbitt, rifle drilled for Based on the proven principles of the widely trouble free, noiseless operation. known Fairchild professional model 530G ($629.50) and the current 412 -1 ($87.50), the 440 is truly a Handsome shock mounted walnut mounting board and masterpiece. It combines famous Fairchild "know- matching walnut wrap -around...only $19.95. - how" in the field of superior electro- mechanical Performance speaks for itself. Compare the audio equipment with a design that is clean, modern graphic recordings made under identical test condi- and functional. tions of the Fairchild 440 and two competitively priced units. Note that wow and flutter of the Note these exclusive features found in no other Fairchild turntable is remarkably low fact, it turntable even at much higher prices: -in exceeds professional NARTB standards by over

Two speeds...33% and 15 RPM. Speed selected by automatic 100% ! Rumble, both vertical and lateral, is an im- Push -Pull Selector; no belts to adjust, no "digging" under the pressive 56db below 7 cm /sec at 500 cycles. Unques- chassis. tionably the new Fairchild 440 sets performance Speed Sentinel Control permits speed variation of ±1'/2% of goals that make it the finest turntable in its class. specially selected Fairchild motor. Strobe disc supplied. See it, operate it. Your dealer will be pleased to Single endless belt drive that is self adjusting for proper demonstrate the precision Fairchild 440.

RECORDING EQUIPMENT CORPORATION FAIRCHILD 10.40 45th Avenue, Long Island City 1, N. Y. /:HIELT: 31 WS RF :ZDF :R- SERnlCI: (: %RD AUGUST 1960 9

www.americanradiohistory.com LETTERS

Continuedfrom page 8

is perhaps a key to his character), that he preferred to have his listeners' remembrances of him, rather than have a big scrapbook of reviews and be forgotten. There was not any mention in the article of his wonderful sense of humor -he was an excellent, but always malice -free, mimic. He was well aware of his position and ac- complishments, of course, but he was always approachable, and generous with his time. To sum up, I believe that in neglecting his innate generosity and kindness, your Witztutaleed. a. writer has done Leonard Warren an injustice. 1 for these qualities, as well as his complete 1302-A K dedication and devotion to his art, made Warren the truly rare person that he was. 40uAtd. poi? Those of us who were privileged to have known him miss him as a person, as well as a great singer and artist. Your article does refer to "his burning honesty of purpose," but surely much more should have been said. Helen Hatton Clarkson, Ont. Canada

McCormack Memorial Society SIR: Some few years ago (Feb. 1957) you pub- lished an article by Max de Schauensee on John McCormack, the celebrated tenor and concert personality of a bygone era. You are probably aware of the current resurgence of interest in McCormack. His Camden album of Irish songs has long since Bozak Speaker Systems are acclaimed by connoisseurs the world passed the 100,000 sales mark and his latest over for their unique ability to reproduce music and voice as they album of operatic numbers is reported to really sound. have sold in excess of 12,000 copies since its release in March. Additionally, a McCor- We are often asked if there is a solid technical basis for their judgement. mack Memorial Society is very active in The answer is - decidedly yes! Ireland and America. Its objectives are to Through fundamentally valid design and superb craftsmanship, Bozak establish an archive of the tenor's memo- rabilia (ultimately, a museum) produces the only speaker systems available which combine all of the and to release special albums of his best proven quality features necessary for natural, fatigue -free reproduction works to Society members. I mention this so that you of musical sound. Specifically: variable density cones of felted paper; can pass the information along to your readers. linear -displacement magnetic motors; linear -compliance cone suspen- Interested parties are invited to write either sions; exclusive damping devices; non -ringing crossover networks; myself, at the address below, or Mr. Mor- passive infinite -baffle enclosures; broad polar dispersion. rough Linnane, at the Royal Bank House, For a convincing demonstration visit a Bozak Franchised Dealer. Dun Laoghaire, County Dublin, Ireland, for details. Frederick M. Manning 399 Lakeview Ave. Drexel Hill, Pa.

Misery Loves Company SIR: Misery must indeed love company! My fam- ily and I were somewhat comforted after reading Mr. Sylvester's letter to the editor in the April issue concerning the noisy surfaces and warped discs the record com- DARIEN, CONN. panies are producing. We also have spent a fair amount of money on stereo equipment but cannot completely

T H E V E R Y B E S T I N M U S I C Continued on page 12 CIRCLE 17 ON READER-SERVICE (:ARI) HIGH FIDELITY MAGAZINE

www.americanradiohistory.com MONAURAL CONSOLE OWNER - WHY DON'T YOU RELEGATE THAT ANTIQUE RELIC

TO THE ATTIC AND GET INTO STEREO THE EASY WAY WITH THE PILOT "602 "?

MONAURAL COMPONENT OWNER - YOU'LL NEVER BE ABLE TO PERFECTLY MATCH

YOUR PRESENT EQUIPMENT. GET INTO TRUE STEREO WITH THE PILOT "602 ".

MONAURAL EAVESDROPPER - STOP LISTENING TO YOUR NEIGHBOR'S STEREO

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_ "602" IT'S A STEREO FM /AM TUNER IT'S A STEREO PRE-

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Controls: Master Volume /Power, Automatic Shutoff, Loudness, Stereo Balance, Dual TroLok Controls (Bass Channels A & B, Treble Channels A & B), 8 position Selector, FM tuning, AM tuning. Inputs: 2 pair non -shorting for permanent simultaneous con- nection of multiplex adapter, tape recorder or TV -1 pair for turntable or changer. Outputs: 4- Channel A & B tape, Multiplex 1 & 2. Sensitivity: FM -2uv for 20 db of quieting on 300 ohm antenna; AM -3uv for 1 volt DC at detector; Phono -3 millivolts; Multiplex -110 millivolts; Tape recorder 110 millivolts. Tube complement: 16 tubes, 1 tuning indicator, 4 silicon diode power rectifiers, 3 germanium diodes. Speaker Impedances: 4, 8 and 16 ohms. Weight: 26 lbs. Write for complete specifications. z ONLY PILOT COULD HAVE BUILT THE NEW "602" FOUNDED 1919 PILOT RADIO CORPORATION, 37 -02 36 STREET, LONG ISLAND CITY 1, NEW YORK I JR( 1.1'. hl 11\ ItF.UF:Il- SF:II%lu:l'. l'. %III

.A1 1.ß , r i)( /l I I

www.americanradiohistory.com LETTERS

Continuedfrom page 10

enjoy it because two out of every three of our records are either warped or as Mr. Sylvester describes it, "sound like they were recorded during a hailstorm." V'c have had our stereo set for almost a year and two arc still looking for a record company two can rely upon to produce a quiet, flat disc. Doris !Vest Ivy, Va.

We're Pleased Too SIR: I am enthusiastic about the changes made in the Equipment Reports section in the April issue -everything is a vast improve- ment. I am particularly pleased to hear that equipment of general interest will be tested first and all equipment tested will be re- ported on as soon as possible after it is on the market. The loudspeaker tests promise to be very fine indeed. In short, this new policy answers to my complete satisfaction criti- cisms I have made in the past. I am sure you will concentrate on reference standards for tuners, amplifiers, turntables, etc. Walter C. Burcroff Salisbury, Conn.

SIR: I'd like to take this opportunity to say how very much I've enjoyed the Hirsch -Houck Equipment Reports. I'm particularly happy to see several of these reports each month and very pleased to have the facts, without deletions or sugar -coating. Martin Sticht Flushing, N. Y. Model 2500 turntable $99.95 shown with model 2400 arm SIR: I would like to compliment you on your A new standard of comparison! Equipment Reports. I sincerely hope that this section of your magazine will continue During the first moments of examination, to review the important new components discriminating users will see more as they are introduced, and that they will solid engineering quality, and more continue to be as frank as they have been in useful features, than in any other recent months. comparable units. Ciaron W. Swonger Clarence, N. Y.

(measured in full accordance with NARTB specs.) Model 2400 $29.95 Casting Desdemona SIR: I read with great interest [June, "Music Makers "] that RCA Victor is planning to record an Otello. Having heard (and seen) SONOGRAF LOUDSPEAKER SYSTEMS Gobbi's performance a few years ago, I Unique. four component. designs, now offer FULL STEREO IN DEPTH- REGARDLESS was overjoyed to hear that, at long last, it OF THE THE LISTENERS POSITION OF would appear on discs. Model 253 -SS. Complete Teak $169.50 I have no quibble with Vickers, but how i could Victoria de los Angeles have been ig- nored in casting Desdcmona? her ! ! ! Certainly voice would be much better suited to the role than that of Mme. Rysanek. Is it pos- d sible that somebody could voice a protest SONOGRAF ELECTRIC COMPANY Jobo turntable before its too late? 37 East 28 Street. New York 16 N Y Seas loJdspeakers Anthony Amberg New Haven, Conn. CIRCLE 70 ON ItF:Al/ER-SERVICE (AHD 1? HIGH FIDELITY MAGAZINE

www.americanradiohistory.com T ffltJnfosh C20

Eiaa FLEXIBILITY uah SIMPLICITY

Maximum enjoyment in stereophonic reproduction is dictated by adequate control flexibility in a Stereo preamplifier. Maximum facilities, with simplicity of operation, has been carefully engi- neered in the design of the McIntosh C20 Stereo Compensator. Stereo reproduction excellence and superior monophonic were design requirements used to give even the keenest listener the finest result.

v,,

/0- /9.'"4

ue.' ioe Tul COMMQ

nM Kt CYn aCcrt ® SIEREO COMPENSATOR ` ... dtle16":A

The C20 has conservatively modern beauty, and utili- tarian design that compliments not only the decor of your home but also your good taste. The lustrous, soft glow - lighted panel permits easy viewing from your favorite listening position. The cleanness of gleaming brass and black fits any deco- rator scheme. For unparalleled performance and beauty compare the McIntosh C20 at your franchised McIntosh dealer's showroom.

IWlufosh ... Mc ` BSH LABOR C. 4 Chamers t., .ing .n, N. Y. INDUSTRIES. ITO., Industrial **sign by Gory N. Kress Associates. IN CANADA. MANUFACTURED RY M -/ .Y RADIO 27 FRONT STREET WEST, TORONTO, CANADA CIRCLE Si ON READER- SER%'ICE CARD www.americanradiohistory.com When Electro -Voice engineers set out to create a new series of ultra- compact speaker systems, they recognized that it was impossible to end with an instrument capable of satisfying the audio perception of everyone. Thus, their primary aim became (as always) the most natural reproduction of sound possible. The theory behind such an obvious objective is to let the musical acuity of the customer judge the performance of a speaker system - to let the customer listen to the music rather than the speaker.

Cutaway of ESQUIRE 200 That such a fundamental approach to design and engineering was successful has recently been verified by a series of listening tests conducted among three groups of the most severe critics in the high fidelity field. In New York, Boston and Los Angeles nearly 300 sound room personnel of top high fidelity dealers were given the opportunity to spend an afternoon listening to and rating the "sound" produced by three of Electro- Voice's new ultra- compact systems (Regal, Esquire, Leyton) and six other currently popular ultra -compact systems. All nine systems were placed behind an opaque curtain and each listener's selector switch was coded but unmarked so he had no way of knowing which system he was hearing.

More than 80% of the listeners ranked Electro -Voice Esquire and Regal units either first or second. And, Electro- Voice's ESQUIRE 200 economical Leyton was ranked third by over 50% of the listeners - thus, out -scoring units at double its price. We suggest that recognition such as this could not be earned by merely "another" speaker system - but must result from our earnest effort to create an instrument that takes nothing away from nor adds anything to the music you want to hear.

SERIES OF COMPARISON TESTS BEFORE WORLD'S TOUGHEST

AUDIENCE PROVES VALUE OF NEW EV SPEAKER SYSTEMS

We urge you to spend the time necessary to conduct your own comparative listening test. Visit your own dealer and ask for a demonstration of these remarkable new Electro-Voice instruments. Write directly to the factory for a complete description of these new units contained in High Fidelity Catalog No. 137.

CONSUMER PRODUCTS DIVISION

ELECTRO -VOICE, INC., DEPT. 80H, BUCHANAN, MICHIGAN CIRCLE: 32 O'S Iti:al)F.R- SEItv'ICE C IItGtI FIDELITY MAGAZINE

www.americanradiohistory.com infinite versatility!

deluxe `stere- o- matic' 4 -speed automatic record changer

compatible with all custom hi-fi V-MI High- Fidelify Transcription - and stereo installations! Type Turntable -Model 1580 Ideal for Custom Systems New and functionally- perfect are the features of this professional turntable -type record changer. New "Automatic Manual -Play" fea- Massive 11" Turntable! Feather- ture returns tone arm to the rest post automatically after single light, Extra -long, Dynamically-bal - record play! New Massive Turntable is a full eleven inches in diam- anced Tone Arri! Finger -lift for easier Tone -Arrn eter and has new micro- precision Set Down! Micro - bearing system with TEFLON thrust Precision- Turntable Bearing with bearings. New extra -long, dynamically balanced, non -resonant tone Teflon Thrust Bearing! Exclusive arm reduces the possibility of uneven needle pressure on wall of V -M Deluxe Styling! record groove! New Accessory "45" rpm spindle adaptor stores in handy well right in changer baseplate. New V -M styling plus all the other famous V -M record changer features!

V -M Deluxe 'Stere-O-Matic'404-Speed Automatic Record Changer with Cartridge and DIAMOND NEEDLE -Model 1571. Available with O- pole motor and plug-in tone arm head for magnetic cartridges as Model 1572. Model 1586 is Model 1571 mounted on High Impact Plastic base. Model 1587 is Model 1572 mounted on High Impact Plastic base.

V -M RECORD CHANGERS COMBINE TRUE TRANSCRIPTION TURNTABLE FIDELITY WITH AUTOMATIC RECORD CHANGER CONVENIENCE! see your V M dealer the\oice of Music® today!

V -M CORPORATION BENTON HARBOR, MICHIGAN WORLD FAMOUS FOR THE FINEST IN RECORD CHANGERS, PHONOGRAPHS AND TAPE RECORDERS CIRCLE 80 ON READER- SERVICE CARI) AUGL'S'r l 00) 15

www.americanradiohistory.com Ono of a series

. the /ow -noise high -mu twin triode for supersensitive preamplification

C below C, 130.81

Shifting overtones give the piano its vibrant ring. Lower register tones, as the first oscillograna indicates, may gener- ate 10 or more perceptible overtones that continually change in relative intensity. In higher registers, as the second oscil- logram shows, the struck tone dominates at first, but fades quickly leaving the first octave predominant. The subtlest shadings emerge with utmost clarity when you design your preamp circuits around the RCA -7025.

C above C, 523.25

Developed especially for high -gain resistance - coupled preamplifier stages in top -quality audio systems, this 9 -pin miniature twin triode performs with almost imperceptible hum and noise. Hum is minimized by use of a double helical hairpin -type heater in each triode unit. Minimum noise and microphonics are assured by use of an exceptionally sturdy cage structure with short, stiff leads, over- sized side rods and newly designed micas. Result: average noise and hunt voltage for each unit is only 1.8 microvolts rms. And -this versatile per- former operates from either a 6.3- or 12.6 -volt heater supply for extra design flexibility.

Characteristics, Class Al Amplifier (Each Unit):

Plate Voltage 100 250 volts Grid Voltage -1 -2 volts Amplification Factor 100 100

Plate Resistance (approx ) 80000 62500 ohms Transconductance 1250 1600 ,mhos Plate Current 0.5 1.2 ma

Discover a new world of preamp performance with the RCA - 7025. For full information on RCA's comprehensive line of audio tubes, check with your RCA Field Representative, or write to RCA Electron Tube Division, Commercial Engi- neering, Section H- 74 -DE, Harrison, N. J.

Electron Tube Division, RCA Field Offices ...EAST: Newark 2, New Jersey, 744 Broad Street, HUmboldt 5 -3900 MIDWEST: Chicago 54, Illinois, Suite 1154, Mer- Zuj The Most Trusted Name in Electronics chandise Mart Plaza, WHitehall 4-2900 WEST: Los Angeles 22. California, 6355 CORPORATION OF L Washington Blvd., RAymond 3-8361 `RADIOlell e AMERICA

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New N. H. Scott -- 88 watt Stereo Amplifier drives 20 KLH Speakers at once!

H. IL SCOTT proudly introduces the most wEight 47 pounds. Power Rating: 44 watts powerful, most versatile, complete stereo per channel (IHFM rating; ; 0.E. % Total Har- amplif er ever mad:. A _ ecent demc nst_ation m,on:c Distortion; Power Bard Width 20- at KLH Research and Development Corp., 25,009 cps. $2E9.95. Slightly higl-er West of Cambrilge, Mass., proved the 272's amazing Rockies. Accessory Case Extra. capabilities. This Fowerfu: new unit simul- taneot sl;î d_ ove 20 KLH Model Six speakers to fu_l room volume (with virtually unmeas- urable distortion). The versati:ity of the 272 is unmatched. It H.H. SCOTT has 2E separate controls. Its advanced fea- 1. H. $ctt Inc., Dep.. =.8, 11l Powdermill Road, tures include such H. H. Scott Exclusives Marna.:, Mass. as: electronic Dynamic Rumble Suppressor* Rish me your few 1960 Hi Fi Guido anc Catalog. whict. automatically removes annoying turn- A so include complete technical nfornation on your powerful table and record -changer rumble without new 272 conplete stereo amp Fier. audib :e :oss of music ; unique Pick -U7 Selector NAMF Switch; separate Bass and Treble ccntro :s on ADDRESS each channel; Cen,er Channel Output with rITY STATE front panel c)ntrol; mass:ve outp-it trans- Export: Telesco International, 36 W 40tí St., N.Y.C. formers using EL34 output tubes. Total Covered by ose .r more of the . ollor.'i-ty patents: 2,606,971, ,60î,97Y, 3,606,773.

www.americanradiohistory.com speaker -space problem gone..

WEATHERS Harmony Speakers offer finest in stereo sound to person with space problem LONDON -Jacques Leiser, of EMI Inter- and with fingers of steel. The concerto re- national, Paris, the young man who signed cording is expected out on HMV here, on up emigré Gyorgy Czilfra for HMV during Angel with you, in September. Pollini will the Budapest uprising, went to Warsaw last be back at the Abbey Road studios in au- spring for that annual joust of ambitious tumn to record two discs of Chopin études. young pianists, the Frédéric Chopin Compe- tition. Of the eighty -nine contestants, he Richter: Obiter Dicta. In Helsinki, Leiser heard the six finalists and a handful more. stopped off to talk with another touring Before the jury had even made its decision, artist, Sviatoslav Richter (who, incidentally, he invited aspirant Murizio Pollini to will begin a three -months' visit to the lunch at the Hotel Bristol. At eighteen, States in October). Pollini was the youngest 1960 competitor, "Who," he asked, "is the pianist, dead as well as the only Italian among them. or living, whom you admire most ?" Leiser said to him, "I have heard you play. Richter mentioned three names instead I liked your playing. I would like to offer of one: Gieseking, Lipatti, and Michelangeli. you a recording contract" "What piano recording do you like best ?" "But why ?" objected Pollini, a poised, pursued Leiser. cool, and politely skeptical young man. "I "One of my favorites," said Richter, "is haven't won a prize yet." the Brahms Paganini Variations played by replied it wouldn't matter to You're in an average living room, neatly, typi- Leiser that Michelangeli, the one with the Bach -Busoni cally furnished. You're listening to a new realm him if Pollini never won a prize in his life. Chaconne on the other side." of stereo sound of unusual depth and clarity "What does matter is that you play well, Richter had heard the disc but didn't own calls that swells throughout the room. Weathers so well that you must be recorded." it. Leiser has sent him a copy. it Triophonic Stereo. You look for the speakers Pollini agreed to think it over. Next day responsible for this magnificent stereo dimen- it was announced that he had been awarded eyes Whit when all good sion, but there are none visible. Then your the First Grand Prize. Leiser saw him again. Hazards. On Monday, glance it appears to be supposed to be at the seaside or fall on a book. At first Pollini still hesitated about the proffered Britons are a large edition of Webster's Dictionary. en route, the London Sym- contract. Perhaps yes. Perhaps no. He made in traffic jams Actually it is one of Weathers Harmony Trio phony Orchestra worked at Wembley Town thick, 11" high and 91/4" a small seesaw motion with his hand. speakers ... size 3%" Hall from 10 a.m. until 10 p.m. with Antal to believe this tre- front to back. It's still hard Dorati, recording for Mercury Bartók's mendous sound could be coming from such a A Tyro's Pangs. A fortnight later, in his Music for Strings, Percussion and Celesta. little speaker. You look again for some huge native Milan, he yielded. As he is a minor, was in beach shoes. He had begun the corner speaker. All you find is a similar book - his parents signed the contract for him. A Dorati sessions in ordinary street shoes. The size speaker on another shelf. month after this he arrived at EMI's London Bartók first playback threw up the shuffle and shock What about that clear bass sound studios and plunged into the Warsaw test of his soles and heels as he moved about on where is it coming from? Carefully tucked piece, Chopin's E minor Piano Concerto, Taking his shoes off, under the sofa you discover Weathers unique, with Paul Kletzki and the Philharmonia the wooden podium. Bass, not much bigger he continued for a while in his stocking feet. nondirectional Hideaway Orchestra. He had never been in a recording the book -type speakers. an ugly splinter. in size than studio before. Came the first playback. After One of his feet acquired effec- The beach shoes were brought out by express This is a blended -bass system and its a few bars Pollini put his head in his hands. to keep oil from hotel on the far side tiveness depends upon its ability "What's wrong ?" asked Kletzki. messenger Dorati's tones out of the single woofer. Most Henceforth they will directional "Nothing much," said Pollini. "My play- of sweltering London. such systems fail to accomplish this because be his regular wear at Wembley. is very bad, that's all." their relatively high crossover frequency still ing allows audible amounts of signal as high as Kletzki clapped him on the back. "You've This 800 cycles to creep into the bass speaker. A nothing to worry about," he tried to reassure Mercury- Artists and Repertoire. crossover network slopes off the speaker's re- him. "If that's bad playing, all I can say is company's team, headed as usual by Wilma sponse rather than cutting it off sharply at the that I've heard play- Cozart, her husband Robert C. Fine, and crossover point, so to keep all the directional ing five times worse Harold Lawrence, were booked in at the upper -range tones from the woofer, the nomi- on many a success- Town Hall for thirty sessions with Dorati must be below 100 nal crossover frequency ful first record." and the LSO. Among other items scheduled cycles, as in the Weathers Harmony Trio system. Pollini refused to were Prokofiev's Violin Concerto No. 1 and This low crossover is best accomplished by an be When the two Bartók Rhapsodies for Violin and electronic crossover network (which must be persuaded. Orchestra, with Szigeti as soloist. A good half used with a separate power amplifier for the the others went out was of standard bass channel), and it makes the Weathers bass for a meal he stayed of the schedule made up speaker so completely nondirectional that it on in the studio, sat repertory pieces, including (naturally) the can be placed anywhere in the listening room down at the key- Pollini B flat minor Piano Concerto of Tchaikovsky. without upsetting the system's directionality. board, and, frown- The soloist in the latter was Horowiti s The results -perfect stereo listening enjoyment ing doggedly, began to play scales and pupil Byron Janis, who is as yet little known room" left! for you, with lots of "living arpeggios. The recording was finished in two to English concertgoers. and a half sessions. The master tape differed One title which caught my eye on the For more information write today to little from the playback which had provoked session list was Wellington's Victory (Bee- WEATHERS INDUSTRIES Pollini's despair. The young man's attitude thoven), better known here as the Battle Industries, Inc. n Division of Advance at the end was one of stoical resignation. Symphony. Like Tchaikovsky's 1812, mem- 66 E. Gloucester Pike, Barrington, N.J. Dept. HF-8 His EMI mentors were jubilant. They see Export: Jos. Plasencia, Inc., 401 Broadway, N.Y.C.13 Pollini as a new Horowitz, with intelligence Continued on page 20

I :iit1 :1.1-: BI tl\ %Itl) 15 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com what makes the Warrens' records sound different than ours

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

this booklet on the tasteful nrt/SIC art of selecting, begins with a SHURE playing and Stereo Dynetic preserving records phono cartridge is available for 25e. Send to: from $16.50 to $89.50 SHURE BROTHERS, INC., 222 HARTREY AVENUE, EVANSTON, ILLINOIS, DEPT. AA CIRCLE 69 ON READER -SERVICE (:ARD AUGUST 1960 19

www.americanradiohistory.com NOTES FROM ABROAD wea DYNAKIT Continued front page 18

orablv recorded by Mercury with salvo effects from a 1761 fieldpiece borrowed from Wrest Point, Beethoven's pièce d'occasion lends itself conspicuously to martial trim- mings. I questioned Miss Cozart on this point. Yes, she said, Wellington's Victory was going to be trimmed well and truly. Special sound effects would be recorded in America and edited into the Wembley tapes. Sorry, she couldn't say a word about what effects 5 kit, 29.95 assembled, both including cover Stereo 70-$99.9 $1 were planned. Sometimes the hush in the record industry is as tense as on a ballistic vau &taw missile site. CHARLES REID PARIS- Beethoven? Non. The fellow who (QU te BEST! said Brahms was Clara Schumann with a I lue beard was close to the truth. Concert audi- smarter than you think. Airliners The DYNAKIT STEREO 70 set the pattern for ences are are out. Liszt? Oui. Ocean liners are in; stereo power amplifiers, and no others high quality excuse for loafing on tour. Composing with unique combination of quality, can approach its tape is great for sound, but the death of free- the dis- reliability, simplicity and sheer value for dom. Jazz, Haydn, Hindemith, and spoofing criminating audio buyer. the classics arc fine. The persons of a pianist's trinity are Mozart, Chopin, and Debussy.

The Very French M. François. I find the BEST IN EVERY WAY above opinions in my notes as a result of a recent conversation with Samson François, Whether you purchase a kit, or pre- * Finest Performance the young pianist who has recently been fer a factory wired and tested 35 watts continuous (80 watts peak) each chan- making considerable nel at Tess than 1% distortion. Frequency STEREO 70, you can be sure per- response ±0.5 db from 10 cps to 40 KC. Power stir in Paris and else- without formance specifications will be met response within 1 db of 35 watts where. They remind basic exceeding 1% distortion. Hum and noise more or exceeded in all respects. The than 90 db below 35 watts -below audibility me of an ancient pun amplifier circuit, utiliz- due to choke filtered power supply. Superior DYNAKIT square wave performance at any test fre- about King Francis ing DYNACO's patented output demonstrates its outstanding transient quency I which is used to transformers (worth one -half the response and unconditional stability under any load. Perfect results are obtained with any teach children Old cost of the kit) and other highest dynamic or electrostatic loudspeaker without quality components, yield an ampli- the necessity of restricted bandwidth typical French and patriot- of inferior designs. 1.3 volt sensitivity en- ism: Monsieur Fran- fier of uncompromised perform- ables use with any preamplifier. ance. qui est tout The two 35 watt amplifiers provide * Most Conservative Operation françois. These para- sufficient power for any need, in a Output tubes operated at only 65% of capacity Francois graphs might have package which and filter capacitors at less than 85% of compact, attractive rated voltage. Highly efficient operation re- begun with "Mister assemble in one enjoyable less than 175 watts of AC power, al- you can quires Francois, who is all French. . . ." He is DYNAKIT's heavy duty lowing cooler running. Traditional DYNAKIT evening. design makes possible a one -year guarantee, French in his robust idiosyncrasies and in his pre -assembled etched circuits save unique in the kit field, and seldom found on words liking for poetry without bluff. Ravel, oui. you more than 2/3 of the effort, and the most expensive amplifiers. In the of one reviewer: Wagner, non. provide an added measure of relia- "This amplifier's components are operated bility for years to come. Detailed more conservatively than those in any other We were sitting in his apartment in the commercial amplifier we have tested. . It's step-by -step instructions and over- power and distortion ratings are completely fashionable Passy quarter of Paris. The place diagrams enable even conservative. It's listening quality is unsur- was loaded with evidence of his taste and size pictorial passed."-H.H. Lab Report, High Fidelity Maga- the novice kit builder to construct zine, December 1959. profession: Louis XV furniture, two pianos, this amplifier with complete confi- high- fidelity components, piles of records Highest Quality Components dence. * and sheet music, a television set, Scotch It is not necessary to spend a lot of Matched EL34 output tubes, XXXP etched cir- whisky, English cigarettes. Out in the hall - money to have the best sound avail- cuit boards, highest quality plastic molded capacitors and all premium grade resistors way the younger François, age three, played able. DYNAKITS are designed to assure utmost reliability. Only small compon- by ents are mounted on the etched circuit board, with the family dachshund. In the middle be the finest and to be used those and all major parts are secured directly to who are not satisfied with less than the heavy plated 18 gauge bright nickel steel of the floor stood the symbol of a pianist's ulti- chassis for unparalleled structural rigidity. The success: a pile of luggage. Mme. François the best. We believe that the cover, which is included, is finished in abra- mate economy lies in sustained per- sion- resistant charcoal brown baked vinyl. hovered over it, worrying about train times. formance from equipment whose "Samson's refusal to fly is restful," she said, quality makes changes needless. We * Patented Dynaeo Circuit "but it complicates things." invite you to visit your high fidelity The DYNACO -developed pentode- triode phase - He was leaving for London and a recording the DYNA- inverter- driver and advanced -design feedback dealer and compare output stage minimize the number of phase- of the Liszt concertos with Constantin KITS with the most expensive alter- shifting stages, providing improved overload its and the Philharmonia Orchestra (to natives. Send us a postcard for and stability characteristics by virtue of Silvestri implicit simplicity. Fewer stages mean lower on the Angel label in America). complete specifications. distortion. be issued Then back to Paris and on to Venice, Athens, and way points. In October an appearance DYNACO, INC., 3916 POWELTON AVENUE, PHILA. 4, PA. CABLE ADDRESS: DYNACO, PHILA. Continued on page 22 CIRCLE 28 ON READER -SERVICE CARD

O HIGH FIDELITY MAGAZINE

www.americanradiohistory.com acoustic suspension loudspeakers*

° U. S. Patent 2,775,309, issued to Acoustic Research, Inc.

high fidelity (John H. Newitt, former staff member, MIT)

"One of the most unusual features is that a very small size enclosure is not only permissible but is actually desirable ... the small cabinet just happens to be a desirable by- product of the over -all plan to obtain a linear suspension .. . "These small units are, therefore, equal to or better than two large woofers that require cabinets many times the size of the acoustic suspension unit."

HI-FI SYSTEMS "In terms of bass response, these [acoustic suspension] speakers represent a phenomenal improvement in the state of the art."

STEREO. NIFI9gó (H. H. Fantel, associate editor, HiFi /Stereo Review) "A major breakthrough in the theory of loudspeaker design ... It should be noted that the compactness of acoustic suspension speakers is not the result of compromise." POPULAR SCIENCE (Robert Gorman) "The bomb that is still shaking the loudspeaker industry was dropped by ... Acoustic Research, Inc.... "The AR speakers created an immediate sensation in the audio world. They won rave notices from music critics and were adopted as a reference standard for bass reproduction by several independent testing laboratories."

AR-1 $185 AR-3 $216 AR-2a $122 (Speakers are shown with grille cloths removed) Prices shown vary slightly. according to finish. 5% higher in the West and deep South.

The speakers shown above may be heard at AR's permanent display, the AR Music Room on the west balcony of Grand Central Terminal, New York City. Literature on any or all of these models is available on request. ACOUSTIC RESEARCH, INC. 24 Thorndlke St. Cambridge 41, Massachusetts

CIRCLE I ON READER- SERVICE CARD AUGUST 1960 21

www.americanradiohistory.com NOTES FROM ABROAD

Today's Continued from page 20

with Leonard Bernstein in New York will biggest cubic mark the start of a two -month American tour. Before the year is out the world's air- lines will have lost a tidy sum on him.

foot François on Ravel. A couple of weeks before -- our talk he had recorded Ravel's two con- certos for Capitol, with Cluytens and the of Paris Conservatory orchestra, and he was still full of the subject. "The one for the left hand," he said, "is tremendous-a great tragic drama. Alfred Cortot, you know, sound: transcribed it for two hands, and Ravel re- jected the idea. He was right. H'hen I play it I feel -perhaps because of the way you have to use your left hand -that I am actually playing a stringed instrument, and the sound I hear is that of a stringed instrument. Ravel was a maniac about sound and precision. I feel he was a maniac when I play him. And yet there is a great deal of Liszt in all this, just as there is in Gaspard de la Nuit." G-501 And the Concerto in G Major? "That's FISHER entirely different," he said. "It's really just STEREOPHONIC HIGH -FIDELITY a sort of eighteenth -century divertimento, with jazz effects. Charming and amusing, but COMPONENTS General Electric that's all- although I like it very much. It is said that in the second movement Ravel AND COMPLETE SYSTEMS BOOKSHELF SPEAKER was inspired by Mozart's Clarinet Quintet, and in fact there is a surprising amount of Superior in the four vital areas ... Mozartean atmosphere. During our record- ing session, however, we had the most ex- Book- Size: General Electric's G -501 citement in the last movement. You know shelf Speaker System brings you how the piano and the orchestra are sup- famous G -E Extended Bass perform- posed to race through it. Well, we were all cubic ance in an ultra- compact one really in a hurry. Cluytens had an appoint- foot enclosure ideal for stereo (91/2" ment, the orchestra was leaving town, and I x13 "x22 "). had to catch a train. So, without anyone's Bass: Dramatic new design puts out saying anything, we tore into the presto and as much as 4 times the bass sound all of us began jazzing it up. I would seem power of conventional speakers in to get ahead a bit in the race, and then Cluy- similar enclosures. Low frequency tens would bring the orchestra roaring right response unusually full and clean. after me. Then I would try to gain once more, and in a second they would be all over me Treble: New 3 -inch tweeter achieves again. I think we played it very well." maximum dispersion of highs for full stereo effect. Special cone and voice François on Many Things. The conversation coil extend response; dome improves shifted to more general topics. The public, performance at high volume levels. François feels, is much too bent on turning Appearance: Handsomely finished on every pianist into a specialist. "When I re- cord Chopin," he said, "they put me down all four sides; may be used on either ELECTRONIC TUBE AND as a Chopin specialist. Then I become a end or side; fits any room seuing. COMPONENTS DIVISION Grille cloth designs individually Ravel specialist. Actually, my favorite com- patterned to match 4 genuine wood posers are Mozart, Chopin, and Debussy, and CANADIAN veneer finishes - walnut, ebony and I think they are all of the same family, so to walnut, mahogany, cherry. $85.00 speak. They are all poets of the same sort. (mfr.'s suggested resale price). They remind me of Racine. Debussy, of Marton course, has changed music completely. Be- COMP fore his time, music was in a sense all in black

and white. He added color -it wasn't really 830 BAYVI r .:r ,TORONTO, ONTARIO Wagner who did that. Now all music has black and color. We won't tolerate ordinary BRANCHES: VANCOUVER WINNIPEG white anymore. And we forget that in music MONTREAL HALIFAX it was Debussy who made the change. Ravel GENERAL contributed to it, and so did composers like Richard Strauss. But it was mostly the work ELECTRIC of Debussy." Audio Products Section Ror MCMULLEN CIRCLE 37 ON IUS%I)EIt- titat)I( :F: C HU CIRCLE 20 ON READER -SERVICE CARD 77 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ANOTHER TRIUMPH FROM THE LABORATORIES OF

FISHER RADIO ONLY :12950

THE NEW WIDE -BAND FISHER FM -50 THE NEW FM -SO resulted from a simply worded memo- Distortion -Free Wide -Band Circuitry- eliminates inter- randum from Management to Engineering: "Design an ference, assures high fidelity reception of strong and weak FM tuner good enough to bear the FISHER name, but signals, maximum stability and selectivity. Sensitivity - at a moderate price." FISHER engineers have complied 1.3 microvolts for 20 db of quieting; 1.8 for 30 db of quiet- with this request -spectacularly! To assure DRIFT -FREE ing! Four IF Stages, including two short -time -constant OPERATION, they modeled the FM -50 after the FM -100, limiters -for high gain, selectivity, and complete sup- the tuner relied on for its absolute stability by leading pression of random and impulse -type noise. Exclusive broadcast stations. To provide normally high -cost SEN- Dual- Purpose MICRORAY Indicator - assures precise effort- SITIVITY, they designed a radically different front -end. less tuning, and serves as a VU -type TAPE RECORDER LEVEL The result -the FM -50 is the most sensitive FM tuner in INDICATOR! Local -Distant Switch. Independent Level its class! For MAXIMUM OPERATING CONVENIENCE, Controls. Four Output Jacks. Eight tubes, two diodes, they equipped the FM -50 with features found in no other one bridge -type rectifier. Size: 151/4" wide, 81/4" deep, tuner, regardless of price! 4"i.;" high. Weight: 11 pounds.

WRITE TODAY FOR COMPLETE SPECIFICATIONS

FISHER RADIO CORPORATION 21 -25 44th DRIVE LONG ISLAND CITY I, NEW YORK

Export: Morhan Exporting Corp., 458 Broadway, New York 13, N. Y. Available in Canada through Canadian- Marconi Clli(:LF: 35 ON RF:%IFF:1(- S4:It%I(:F: (:%1(1)

23

www.americanradiohistory.com FRICS s1 MAGAZINE HIGH FIDELITY D BY PUBLISHED O high fidelity 1C01 ster1961 EDIT now offers you the most Easy Now Stereos

the Airwaves. Stereo On up -to -date and Soon? How Now Much?

the Most Getting authoritative System ¡tom your Stereo

Spectaculars Ten Sonic guide to Discs on Stereo STEREO

on sale September 15 or order your copy by mailing the form below today- actual size: over 100 pages, 8%" X 11 %" -only $1

Tits economical new annual knocks the confusion how easy they are to install. Page after page of pictures out of stereo. It shows you how to have stereo at low cost generate ideas on ways to install stereo in your home at- ... how to assimilate stereo in any decorative scheme tractively and to the best advantage acoustically. ... how popular, jazz and classical music is enhanced by Charles Sinclair asks and answers-stereo on the air stereo ... and lots more. waves: how much and how soon? R. D. Darrell gives you Specifically .. . 10 "sonic spectaculars on stereo discs" and lots more in- Ralph Freas, audio editor of High Fidelity, discusses formation to assist in more active listening. the progress and promise of stereo and tells why you can Norman Eisenberg tells you how to get the best sound safely buy it now. Norman H. Crowhurst points out the from your stereo system, large or small. John Diegel moves toward simplification in stereo components, showing guides you to build -it- yourself, including a listing of what the wife can do in such a project! John Indcox points out Fill in and Mai! the Form Today! the joys of stereo as experienced by expert listeners. Ralph Berton discusses differences between mono and stereo recordings of outstanding jazz releases and offers a 8 -60, High Fidelity, Great Barrington, Mass. "Jazz Starter Set in Stereo." Frances Newbury reviews For the enclosed dollar, send me a copy of STEREO -1961 Edition. briefly 100 outstanding stereo discs of the recent past.

Name The concluding section describes and illustrates the very latest stereo equipment. Address You'll know far more about the advancing art of stereo and the way to more pleasure with music when you read STEREO -1961 Edition. Order your copy at once!

24 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com only for those who want the ultimate

SHEROOD 33000 RE

FM /MX STEREO TUNER

The FM tuner that has everything... 0.95µv sensitivity, Interchannel Hush noise muting system, "Acro- Beam" tuning eye cascode bal-

anced input, automatic frequency control, "local - distant" switch ... now brings you the only FM TUNER with "CORRECTIVE" INVERSE FEEDBACK

Every high fidelity amplifier today incorporates "corrective" inverse feedback for lower distor- tion and improved response. Now, Sherwood brings the same performance benefits to the S -3000 Ill FM Tuner; these include reduction of distortion due to overmodulation by the FM sta- tion and better quality long- distance reception. READY FOR FM STEREO

Stereo via FM multiplex broadcasting is just

around the corner. The S -3000 Ill contains chassis space and all control facilities to plug

in a stereo multiplex adapter. Other features

include flywheel tuning, plus 7" expanded slide - rule tuning scale. cathode -follower output, and front panel output level control. Sherwood Electronic Laboratories, Inc., 4300 N. California

Ave., Chicago 18, III.

( Other tine Sherwood Tuners: S -2000 AM -FM Tuner $145.50 S -2200 AM FM MX Stereo Tuner $179.50

FOR COMPLETE TECHNICAL DETAILS WRITE DEPT. H1-8

t:IRCI.F: OH ON READER -SERVICE CARD AUGUST 1960 15

www.americanradiohistory.com -4 cAuuNOuutcentiot o dove ipo1faee

from the world's largest manufacturer of electronic equipment in kit form! gaunous

Now, for the first time, availabl o you fully wired . completely assembled ready o -plug in for your immediate enjoyment!

Heath, first in performance, first in qual- gone, into the designing, building and test- ity, first in dependability, has always ing of these exciting new fully wired units. endeavored to bring you "more of the Just as all build -it- yourself Heath elec- best from the leader." tronic equipment has always reflected the From the exciting early days of the highest existing standards of quality and Heath Company down to this very an- dependability, so do the new completely nouncement, Heath units have constantly assembled Heath units mean top -notch been designed and engineered to make performance, pleasing appearance and available to you in kit form the latest and long lasting service as well. the finest electronic equipment developed For the new fully wired, completely as- by science. The history of the Heath Com- sembled units are, in fact, identical to the pany in -the field of electronics is a story famous Heath build -it- yourself equipment of continual leadership directed at serv- . . factory assembled for those who pre- ing you. fer this new convenience . . . in Hi -Fi. Now, fully in line with that historic Stereo, marine, amateur, test and general role, Heath proudly presents a brand new electronic equipment.

advance for your greater enjoyment . . . The seven Heath units shown on tha taking a bold new step that is a worthy facing page, for example, reflect every companion to the many other precedents exactingly high standard of traditional set throughout the years. Heath performance, whether you choose For the very first time, selected items to put them together yourself ... or to of Heath equipment can now be obtained plug in and play. not only in the regular build -it- yourself A new Heath special brochure is avail- kit form, but in completely assembled, fully able for your convenience, showing just wired units, ready to be plugged in and which units in the Heath line can currently enjoyed the very moment you remove be obtained in the dramatic new fully them from the shipping carton! wired, completely assembled form. Use the All of the dependable Heath engineer- convenient coupon to send for your free ing know -how, all of the top quality ma- copy or see your nearest Heath dealer. terials, and all of the rigid standards of There is a wide range of fine Heath elec- ultimate performance that characterize tronic equipment now ready for your im- Heath build -it- yourself equipment have mediate use.

www.americanradiohistory.com *:ir`3... _..... here is really professional performance! Wired Professional -Rated 55 watt Amplifier Comparison reveals that the fully wired WW 7A brings you unprecedented performance at the lowest cost obtainable anywhere in the field! Improved design and advanced techniques give this amplifier unit dependability, durability and top -notch performance characteristics.

Heath wired model (WWAI ... . 594.50 Heathkit buildilyoursell model (W 7/1, 559.95 our finest -euer stereo amplifier is now fully wired! Wired Hi -Fi Rated 25/25 watt Stereo Amplifier excellent for medium power usage Reflecting the latest advances in the art and science of Wired Hi -Fi Rated 14/14 watt Stereo Amplifier designing and building a stereo amplifierpreamptilier This is a really good buy in the medium power class, combination, the new WAA50 provides just about every providing 14 watts in each stereo channel, or 28 watts quality featue you can possibly want. You have corn - for monophonic use. Adequate input facilities for tape plete control over selection of stereo or monophonic recorder, television. etc., as well as a system of versatile sources to be played over either channel individually or controls that give you fingertip command of every func- both channels at the sanie time. You can play back di- rect from tape recorder heads. Special outlet provides tion. Stereo. stereo reverse, and complete monophonic for sharp. select ire F31 t caning operation are provided for by this sensitive, depend- facilities for hooking in a third speaker. There is an able instrument, now ava labte completely assembled. Wired "Special" High Fidelity FM Tuner additional input for use with a monophonic magnetic cartridge and all inputs (except tapeheadi Heath wired model (WSA -2i 599.95 This is not only a highly precise completely assembled have level FM tuning unit that will in with controls to erable you to maintain the balance that you model bring clarity and Heathkit build it- yoursell (SA -2i $54.95 personally may prefer. All in all, you have sharpness the programs you select: it is also a mag- available live nificent visual addition to the decor of your home. switch selected inputs for each channel. Cleanly designed in the contemporary manner, it will Heath wired model (WAA 50) S139.95 fit unobtrusively into your design scheine while serv- Heathkit build ityoursell model (AA -50) 579.95 ing functionally to bring you the kind of FM reception you have always dreamed of. It features such highly desirable advantages as automatic frequency control iAFC) to do away with annoying station "drift." fly- wheel tuning for precision and multiplex adapter output jack.

Heath wired model (WFM 4i . . . $62.95 Heathkit buildityoursell model IFM -4) $39.95

Wired Utility -Rated 3/3 watt Stereo Amplifier stereo enjoyment at low cost If you're just "breaking in" to stereo reception. this eco- nomical yet dependable completely wired amplifier will provide you with the power you need for average home lis- tening enjoyment. Each channel has two inputs, allowing you to accommodate crystal or ceramic cartridge record

players, tuner, television, tape recorder, etc. Handy, easy - to -read controls enable you to select monophonic, stereo or AI% the ultimate in broadcast stereo reverse as you decide. enjoyment.! Heath wired model IWSA -3) $55.75 Wired "Deluxe" AM -FM Stereo Tuner Heathkit buildityourself model SSA -3) 529.95 You can listen to AM alone ... you can listen to FM alone ... or you can enjoy the finest of broadcast music by tuning simultaneously into AM and FM stereo! This magnificent fully wired tuning instru- really superb )monophonic performance ment enables you to tune effortlessly and precisely with its flywheel drive and its large. easy to read, Wired Hi -Fi -Rated 14 -watt Amplifier edge -lighted. slide -rule type dial. FM drift is com- For rich fully enjoyable monophonic performance the fully as- pletely eliminated by the automatic frequency con- sembled WEA 3 represents one of the finest amplifier units you trol rAFC feature, and an accurate tuning meter can obtain anywhere. Provides you with separate bass and treble provides you with the means of insuring tuning tone controls. inputs for magnetic or crystal phono and tuner perfection when you zero in on either or both bands. operations and lull range. low noise. distortion -free reproduction. Handsome y designed, with clean lines that will Miniature tubes are used throughout. seem right at home wherever you place it! Heath wired model (WEA -3i $52.95 Heath wired model WPT -1i $154.50 Heathkit build ityoursell model EA -3, 529.95 Heathkit build-II-yourself model PT 1 589.95

c'nee Catalog C994deniing t,gosinuCtiotns Over 150 items of stereo, marine, Fill out the order blank below, giving us your name and address in the space provided amateur and test at the right. All prices F.O.B. Benton Harbor, Mich. A 20% deposit is required on all equipment are C.O.D. orders. Prices and specifications subject to change without notice. Dealer described in the and export prices slightly higher. OSTROM complete Heathkit Catalog.

Quantity Item Model No. Price HEATH COMPANY BENTON HARBOR B. MICH.

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$hip via: Parcel Post Express C.O.D. Best Way City Zone State CIRCLE 42 ON READER- SERVICE CARD www.americanradiohistory.com Progress Report #3 troir. Garrard Laboratories

THE FUTURE OF RECORD PLAYING HAS BEEN TURNING ON THIS MOTOR FOR THE PAST 8 MONTHS

It's true. Behind the locked doors of the Garrard laboratories, our engineers have been testing some significant new gramophone motors. Someday you can expect one of them to establish its own standard of quiet e,ciency, just as the present Garrard motors are doing today. When it is finally released, it will reflect all the arduous months of creative engineering that went into it. Our designers developed it out of a 40 -year tradition of experimentation, the perfectionist tradition that has enabled Garrard to pro- duce and provide so many of the meaningful advances in the world's finest record playing equipment.

world's finest CIRCLE 18 ON READER- SERVICE CARI) AEA www.americanradiohistory.com Music for the Age of Calorie Counters

ITHE FOUR VOLUMESV of musical criticism by Bernard Then came the revolution. When Columbia introduced Shaw, written from 1888 to 1894, Purcell is discussed the 33% -rpm disc in 1948, and when tape recording a few times, a half dozen other composers born before became a general practice the following year, more Bach are mentioned casually, and Vivaldi's name does music could be recorded for less money, and many new not appear at all. In Virgil Thomson's The Art ofJudging companies entered the field. In the struggle to stay alive Music, which contains newspaper reviews written from fresh repertory was sought, especially in the vast region 1944 to 1947, six composers born before Bach attain called "pre- Bach" music. A taste for this music was brief mention, and there is still no Vivaldi. This is only acquired by a portion of the public -not a very large another way of saying that for concert audiences of the portion but large enough to encourage most of the period immediately following World War II, as well as surviving record companies to continue bringing out for those of Victoria's time, music began with Bach. As some of it. Its success emboldened some of the ensembles far as the general musical public was concerned, it was that recorded it to undertake concert tours. And so, as if nothing had been done in the intervening half "canned" music enriched the world of "live" music, century to push back the frontiers of history. instead of the other way round. Actually, of course, a great deal had been done. Even Of all the neglected masters that the long -playing in Shaw's day as a music critic, work in this field was disc has introduced to the musical public, Vivaldi has well under way; Shaw himself, not an easy man to please, made the largest number of converts. Some hundred and praised the pioneering concerts of old music, played on fifty of his works have now been recorded, quite a few replicas of old instruments, that were given by Arnold more than once. It is easy to understand why there Dolmetsch and his family. Since then the art and science should be a dozen versions of the delightful Seasons. of musicology (it is both, in the hands of its best practi- But why have so many of the other concertos found tioners) has proliferated enormously. Light has been an audience after slumbering for more than two cen- trained onto a vast area unknown or little known pre- turies? This is not an easy question to answer. To viously. But for a long time this new knowledge was say that Vivaldi is a "good" or even a "great" composer confined to scholarly books and journals, and to printed doesn't help much. Josquin and Lassus are by the corn - scores. It is only in the last decade or so that it has been mon consent of respected authorities "great" composers, made available in any quantity to the listening public. but they occupy only a few lines in Schwann. The next volume of reviews by a New York newspaper It is possible to regard the art of our time as a flight critic will have to report entire programs devoted to from the nineteenth century. In music we have been Josquin, Lassos, Schütz, and Vivaldi. exploring eagerly in both temporal directions. As always There can be no doubt that the long -playing record in such movements the advance parties -scholars dealing was the most powerful single factor in bringing this with, say, thirteenth- century motets and composers situation about. Usable scores by many of the Renaissance writing "totally" serial and electronic music -are far and baroque masters were in existence long before World out from the main body of plain music lovers. But that War II. But if you said Sweelinck to an a & r man of body has been stirring and moving and has begun to the Twenties, you might as well be talking Swahili. If absorb more and more territory- Bartók in the one it wasn't something Galli -Curci could sing or Mischa direction and the baroque composers in the other. Per- Elman play, it was meaningless to him. In the Thirties, haps Vivaldi is preferred because the best of his music record fans who kept up with the latest developments (naturally, in so huge an output, there are not a few began to hear of ventures into unknown territory -an duds) fits so well the requirements of the plain listener album called 2,000 Years of Music, a set of Gregorian seeking respite from the clichés and excesses of the ro- chant records by the Benedictine monks of Solesmes and mantic style. His themes are clear -cut, sharply profiled, issued by RCA Victor, a whole series of discs exotically easily recognizable on recurrence; his forms are simple, titled Anthologie Sonore and available only at a certain his rhythms lively; his harmonies, while occasionally shop in New York. But these remained esoteric things, daring, never dripping; his counterpoint is handled of interest, as far as the record companies could tell, lightly. This is ideal music for an age that counts calories only to the music departments of a few colleges. and avoids cholesterol. NATHAN BRODER as HIGH FIDELITY sees it

www.americanradiohistory.com The Red Priest of Venice

To hundreds of Venetian foundling girls he was music master. To a Protestant cantor named Sebastian Bach he was a most honored colleague. To us he is almost a mystery. His name was Antonio Vivaldi, and his home was the most enchanting city in the world.

by H. C. Robbins Landon

TIES CHANGE, and we with them," says an old Latin ago, anyone had come up with the idea of recording 450 proverb. In the field of music there is hardly better proof Vivaldi concertos, people would have thought he had than the recent change in attitude towards Antonio Vi- gone out of his mind. Now, Max Goberman is well valdi, the great Venetian composer of the baroque era. launched on his release of the complete works in his Some twenty years ago, no one knew for certain when Library of Recorded Masterpieces. And if, twenty years Vivaldi was born, when (or even where) he died, or how ago, you had wanted to identify any one composer with many works he had written ( "many concertos for various the fabulous and colorful island city of Venice, you would instruments" is the casual description you will find in not have put forward Vivaldi's name as leading candidate. most of the older musical dictionaries). If, twenty years Today, in 1960, it is no exaggeration to say that of all the

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www.americanradiohistory.com composers whom Venice has brought forth, none -not "since on three occasions I had to leave the altar without even the Gabrielis or Cimarosa -has achieved the wide- completing [Mass] because of this ailment." spread acclaim now given the man whom his contempo- At the same time, he went on studying music: violin raries called the "Red Priest." with his father and the organ with a well -known Venetian Musicology, like any merchandise, is to a large extent master, Giovanni Legrenzi, then highly regarded as a regulated by the laws of supply and demand. Mozart composer as well as "maestro of the organ." Through has been in favor fora century, and since 1850 both schol- Vivaldi senior he secured a position as violinist in the ars and popularizers have been writing Mozart books, same orchestra in which the father served. This dual life, recording companies bringing out vast quantities of his musician and priest, comes as something of a surprise to music, publishing houses issuing innumerable editions of us today, but it was quite common in baroque Italy for a his works. Until very recently, Vivaldi was given nothing priest to be engaged in thoroughly secular activity. Actu- like this attention -for the simple reason that no one ally, Vivaldi seems to have been deeply, indeed fanat- really cared. Even at present, biographical data is scanty. ically religious, throughout his life. The famous Venetian But information is certainly to be found, hidden away poet, Carlo Goldoni, whose racy librettos changed the in dusty archives. An Italian scholar, lamenting the fact entire face of Italian opere buffe, once went to call on that his countrymen are all too casual about such "ar- Vivaldi. chive research," recently said to me: "What we need is to "I went to Abbé Vivaldi's house [writes Goldoni in his Afem- let loose a squad of eager German musicologists all over oiresJ ... and found him surrounded by music and with his Italy; in a year we'd have Vivaldi's life wrapped up." breviary in his hand. He rose, made the complete sign of the Now that Vivaldi's music is becoming known not only to Cross, put down his breviary, and made me the usual compli- the specialized concertgoer but to the general public of ments. [After a short opening conversation] the Abbé took up record listeners, we may be sure that the next decade his breviary once more, made another sign of the Cross, and did not answer. will bring us a full revelation of composer and man. "'Signor,' I said, 'I don't wish to disturb you in your re- Yet as partial our present knowledge is, one unwaver- ligious pursuit; I shall come again another time.' [Vivaldi ing fact of Vivaldi's life stands out. The city of Venice continued the conversation, however] walking about with his was its focus, the gravitational point to which the com- breviary, reciting his psalms and hymns... . poser returned from every sojourn except the fateful As luck would have it, the "Red Priest" was able to last one. In the crazily kaleidoscopic, breathtakingly find a position that happily reconciled his priestly garb beautiful, riotously colorful atmosphere which has held with the violin. In the fall of 1703, when he saw that his every visitor spellbound for hundreds of years, Vivaldi weak health would not permit him to continue his re- was born; here he received his education, musical and ligious duties, he secured a post as all -round music master otherwise; and here he wrote a large part of his non - of an extraordinary Venetian institution, the Conserva- operatic music, for a curious institution with which he tory of the Ospitale della Pietà. was associated almost whole the of his life. Here, too, This "hospital," affectionately referred to by its most of his operas were first produced; and here, iron- diminutive, ospedaletto, was something similar to the ically, was he forgotten soon after his death, his once London Foundling Hospital of Handelian fame. Venice adored music shelved in favor of other, newer, works. boasted four such charitable institutions, originally Venice, "beautiful and fickle like an exotic mistress," was founded to receive orphaned girls (most illegitimate), unfaithful to Vivaldi; but no one, least of all the "Red give them an education at the city's expense, and then Priest," could long remain unfaithful to Venice. marry them off when they reached a suitable age. Gradu- Vivaldi's father, Giovanni Battista, was a violinist ally the Pietà became to all intents and purposes the best in the orchestra of the ducal chapel of San Marco and music school in northern Italy. It must have been gay apparently a musician of some local standing: in a con- and frivolous as only a Venetian institution could be. temporary source he is referred to as "virtuoso di mu- An English traveler, writing in the early 1720s (or when sica," same the title later applied to his more illustrious Vivaldi's fame was at its height), writes: son. Red -haired Antonio, one of at least four sons, seems to have been born about 1678; despite his father's pro- fession, he decided to become a priest, and was tonsured in 1693, acceding to the priesthood on March 23, 1703. He was a sickly child, and his whole life was plagued ABOUT THE COVER by a severe asthma which practically rendered an him On the Riva degli Schiavoni r'the invalid. "Because of this strettezza di petto [tightness in sunniest spot in Venice") is situated the chest] I nearly always remain at home," wrote the Ospitale della Pieta. As in the Vivaldi to a patron, "and my travels have always been seventeenth century, gondolas still float by, and the building remains as it most expensive because I have always had to undertake was in the years when Vivaldi went them with four or five persons in assistance." This crip- there each doy to instruct its young - pling affliction also forced him to give up saying Mass, lody residents in the fine art of music.

AUGUST 1960 31

www.americanradiohistory.com "Those who would choose for a tyife one that has not been circulate all over Europe and England. It was not long acquainted with the world go to these places [the ospitale] to before a German Kapellmeister, one J. S. Bach, got look for them, and they generally take all the care they can hold of the concertos was they shall be as little acquainted with the world afterwards. of Op. III and so completely ... Every Sunday and holiday there is a performance of fascinated by them that he not only used them as music in the chapels of these hospitals, vocal and instrumental, models but actually transcribed a large number for other performed by the young women of the place, who are set instruments: for example, one of Vivaldi's Concertos for in a gallery above and, though not professed, are hid from any Four Violins and Orchestra in B minor became, in distinct view of those below by a lattice of ironwork. The or- Bach's hands, a Concerto in gan parts, as well as those of other instruments, are all per- A minor for Four Harp- formed by the young women. They have a eunuch for their sichords and Orchestra. (As things turned out, it was master [poor Vivaldi!] and he composes their music. Their the renewed interest in Bach, a century ago, which led performance is surprisingly good ... and this is all the more to the first investigations into Vivaldi.) In faraway amusing since their persons are concealed from view." Bohemia, Count Morzin, an ancestor of the patron A famous picture by Guardi (reproduced here) con- who was to engage Joseph Haydn more than a quarter jures up better than any words the carefree and happy of a century later, engaged him as a kind of long-distance atmosphere. Although the young ladies were supposedly Kapellmeister- "Maestro in Italia dell'illustrissimo Conte" "cloistered like nuns," manners in the Pietà seem to have was the composer's new title. Vivaldi not only supplied been pretty free and easy. J. J. Rousseau even managed the Count with music (including The Seasons and other to get himself smuggled into the girls' premises for sup- concertos entitled I! cimento dell'armonia, published as per, and though he found them supremely ugly (of one, Op. 8 and dedicated to Morzin), but -as recently dis- he wrote "she was horrible "), they were "not without covered archive material in Prague reveals-sent singers charm." Another writer, mentioning that many of these and other musicians to Bohemia for the patron's chapel. orphans had been forced to take the veil, says that "even (Thus it is not really extraordinary that in the Prague after having taken vows their they maintained worldly National Library there recently turned up a hitherto practices dressed and elegantly ... their bosoms only unknown Vivaldi Magnificat: this stunning work is to half covered by narrow pleated bodices of silk... . be published by the Universal Edition.)

The stillness of the cloister was sometimes broken . . . by the merry shouts of the young aristocrats as they The Pietà is situated on the Riva degli Schiavoni, danced with the nuns, who would go so far as to stay out the sunniest, warmest spot in Venice ( "particularly all night with their lovers." recommended for sojourns during the damp winter In this "delightfully corrupt" atmosphere, Vivaldi months" says my 1898 edition of Baedeker). Of all the began to compose the lean, wiry concertos which soon cities in Europe, hardly one has changed so little made him famous throughout Europe. Apart from the physically since the baroque era, and to follow what sacred music written for the Pietà's church, Vivaldi's was probably Vivaldi's daily walk from the Piazza secular concertos were often performed in the church San Marco to the Pietà is to be transported back to ritual, for instance as a substitute for the Gradual of seventeenth-century Venice. Dress has changed, but the Offertory. Baroque Italy found nothing incongruous stately tower of San Giorgio across the lagoon, and even in Maestro Vivaldi's playing a virtuoso concerto for the the gondolas are practically the same. On a warm sum- violin with a dazzling ca- denza in a church service; indeed, one such concerto is entitled "fatto per la Solen- nità della S. Lingua di S. Anto[niol in Pad[ov]a" ( "writ- ten for the solemn festival of Saint Lingua at the [church of] Saint Anthony in Padua"). Vivaldi's fame soon began to spread far beyond his na- tive land. His first published works, chamber music (Opus I and II), came out in Ven- ice, but from Opus III - the brilliant L'Estro Armon- ico series of concertos (1712) -his music was published in Amsterdam and began to

32 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com . in Venice on the Bridge o/ Sighs, A palace and a prison on each hand."

To stroll today thrcugh the "city of a hundred isles" is to see much that Byron saw, and much that Vivaldi saw a century earlier. The stone- flagged garden of the Pieta lies serene in the sunlight, anc its nuns will still give shelter to the child abandoned at their door. The Piaz- zetta, along which Vivaldi must have walked from the Pietb to St. Mork's, glistens in the afternoon rain, ane across the lagoon stands S. Giorgio, the same now as to the Red Priest.

Photographs by Hans Wild

www.americanradiohistory.com chirped, and the whole scene was like some remote monastery courtyard. "Just what was Vivaldi's position here ?" I asked the Director. "It's curious that you should ask," the Director said. "You see, we don't really know." I looked puzzled, and he went on: "It's most confusing, because his title is different on practically every old document. Sometimes he seems to have been director of the orchestra, some- times he is listed as our 'house composer,' sometimes as maestro di coro, which doesn't appear to mean 'chorus' but 'coro' in the old Italian sense of 'everyone,' that is, all the singers, the instrumentalists, the organist, the cembalist, and so forth." "Was Vivaldi expected to compose a fixed number of works per year for the Pietà?" I asked. "That's also a curious thing," the Director said. "Ob- viously he must have written church music and some of the concertos as part of his regular duties as maestro di cappella -or muestro di coro. But occasionally he sent us TV antennas aside, this is the view Vivaldi saw from the Pietú. a bill for the music he wrote. For instance, in December 1739, shortly before Vivaldi left Venice for the last time, mer evening, when the moon transforms the Piazza San Prince Frederick Christian, King of Poland and Elector Marco into a fairy -tale dream, you can hear the gondoliers of Saxony, came to Venice. We at the Pietà gave a big singing their songs in the rough Venetian dialect, songs concert for him. It was a tremendous affair, and all the with curiously timeless quality which net even radio and canals round this part of the city were illuminated in his TV have managed to spoil. You walk past the Ducal honor. Well, Vivaldi received fifteen ducats and thirteen Palace to the dancing green waters lapping against the lire for the new works -the documents are still extant if Piazzetta (here foreign ambassadors arrived in fantasti- you'd like to see them. By the way, the works that were cally elaborate state gondolas and barges, and here pris- played are all preserved in the Dresden Library and are oners were dragged out of the dungeons and torture among the most precious Vivaldiana that we have today. chambers of the neighboring Carceri and, screaming, put The King must have asked for copies from the composer. to death in the public place of execution). Turning left, "Although Vivaldi was a kind of Jack -of -all- trades parallel to the famous Bridge of Sighs (Ponte dei here at the Pietà," the Director summed up, "it wasn't, Sospiri), you keep along the lagoon and in a few minutes mind you, that we didn't appreciate him, he was so often you are in front of the church of Santa Maria della away and for such long periods at a time that he couldn't Pietà, the scene of Vivaldi's triumphs. The present have held down a steady job here. We must have thought church was rebuilt a few years after Vivaldi's death, but highly of him, though, because whenever he returned to the "gallery above" with the "lattice of ironwork" looks Venice, he took up his old position immediately." much as it must have done in the Red Priest's time. It is on the subject of Vivaldi's foreign tours that the The Director of the Pietà, which still exists as an in- most research needs still to be done. For a time he seems stitution (even in 1960 you can leave your baby in front to have stayed at Mantua, in the service of Prince of the building and it will be cared for by the nuns until Philip of Hessen -Darmstadt (then governor of the town), it's of age -"though this hasn't happened for quite some and we know that he was in Vienna a couple of times, in time," said one of the Sisters), received me in his stately Amsterdam once, and possibly in Darmstadt. Rudolf() office on the first floor. Gallo, an Italian musicologist, discovered an interesting "There isn't much left to remind you of Vivaldi here," document in the Venetian City Archives, dated Septem- he said. "The musical instruments -harpsichords, trum- ber 30, 1729, in which Giovanni Battista, Antonio's pets, kettledrums, violins, and so on, are all in the Venice father, asked for a leave of absence for a whole year to Conservatory of Music; also the scores and manuscript accompany his son to Germany. We are not sure, how- parts, such as still remain. The rooms have changed a ever, when they left nor where they stayed in Germany. lot, too," he added. He rose and went over to the window, Another aspect of Vivaldi's career which ate con- pointing down to the quiet, sunny garden. siderably into his teaching and composing activities for "Perhaps there is the part of the Pietà that has changed the Pietà was his steady production of operas. Although least," he said, opening the window to let in the sounds we are now getting to know a great deal about Vivaldi of the Venetian spring. A nun crossed the stone flagging the instrumental composer- thanks primarily to record- below us, quietly closing a door behind her. The birds ings -and something of his stature as a composer of

34 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com church music, scarcely anyone except specialists even Vivaldi's Venice is still there, in all its glory, but the realizes that Vivaldi was a popular and fantastically great operatic tradition of Goldoni and Vivaldi and prolific operatic composer. (On the autograph of one of Pergolesi and Metastasio -this has gone. irrevocably and his opera scores is the statement "written in five days" completely, along with the culture in which it could thrive. -surely some kind of speed record even in baroque Italy.) From about 1713 to 1739 he turned out nearly before World War II, Rudolfo Gallo (to whom fifty stage works, most of which were first given in one Vivaldi enthusiasts owe so much) finally discovered of the Venetian theatres. Justthe details of Vivaldi's ill -fated last journey. Follow- Musical habits have changed a great deal in Italy - ing up an obscure lead, wherein it was reported that the as they have all over Europe. In Vivaldi's lifetime, master had died not in his own country (as generally Venice boasted half a dozen theatres, large and small, believed) but in Vienna, Gallo had the necrology of the which produced operas in each of the three annual parish of St. Stephen's Cathedral examined. It was seasons, the winter or "carnival" season (Christmas to discovered that Antonio Vivaldi had in fact died a mis- the end of March), the spring or "Ascension" season erable pauper's death, "of internal inflammation" says (Easter to the end of June), and the autumn season (Sep- the vague document, in July 1741 and had been buried tember to the end of November). Vivaldi did not write in the cemetery of the Bürgerspital. The records casually for the large and prosperous Teatro S. Giovanni e Paolo refer to him as a "secular priest "; the cemetery in which but generally for the smaller Teatro San Angelo. Unfor- his remains were placed was, a few years later, destroyed, tunately, very few of these old theatres have survived and now not a trace of his grave remains. The analogy (the "Teatro Fenice" is a glorious exception), and none with another composer who died in Vienna fifty years of those with which Vivaldi was connected. The theatres later, was given the last rites at St. Stephen's, and thrown were often privately run by the wealthy Venetian into a pauper's grave, is only too obvious: but it is indeed aristocracy and were often installed in the corner of a a curious quirk of fate that two such masters, Vivaldi and great palace. In fact, the physical location of the theatres Mozart, should have received such unloving farewells can be found, but with the passing of time. they have from life and should lie in unmarked graves, a mile or so been turned into anything from cinemas to warehouses. from each other, somewhere under the city of Vienna.

Guam /i's famous painting of life al the Pieta an atmosphere corrupt perhaps, but delightfully so.

AUGUST 1960 35

www.americanradiohistory.com Right in the middle of your splendid stereo sound, there may be a big hole, hideous to contemplate. Perhaps something can be done about it.

6y NORMAN EISENBERG

AMONG its other ground -swelling effects, stereo has they can reproduce only two sound tracks -the "left" enriched the already opulent language of high fidel- and "right," or A and B respectively, of a stereo disc, ity with some new phrases -of which "phantoms, fills, tape, or broadcast (see Fig. 1). Somewhere along the and flankers" intended to provide a "third channel" line, the term "sound source" has been confused with are probably the most interesting and controversial. "channel." The result is that merely providing physical These terms might well give pause even aside from their separation between bass and treble reproducers has been audio implications, in an age when older concepts of held to justify the use of multichannel terminology de- space and time have been challenged and upset. In the spite the fact that no matter how you divide your case of stereo -recorded as two channels and derived woofers and tweeters, they can reproduce no more than is in playback the same way -the high fidelity listener may fed into them. A system in which all the bass is channeled well ask: "Does one plus one now equal three ?" Or, in to one center speaker with the treble from "A" and "B" some cases, one -and -a -half? then going to flanking left and right speakers can indeed

A noteworthy step towards clarity here has been taken provide very acceptable stereo -but it's not really "three - in a joint proposal issued by the National Better Busi- channel" stereo. It is, if you will, "three-sound- source" ness Bureau and the Magnetic Recording Industry Asso- stereo, and it will not, inherently, offer "more" than a ciation which defines a "channel" as a "single complete pair of full -range speaker systems of comparable quality. electronic transmission path" that "must include one or On the other hand, two full -range speakers, with a more separate microphones, an amplifier, and one or third added, can -under certain conditions -definitely more loudspeakers.... In a multichannel system, the enhance the stereo effect. This too is still a "three- sound- number of channels is equal to the number of main source" rather than a "three- channel" system, but with t ransmission paths." the main business of channels A and B handled by inde- If this is a "channel," what is a "track "? A track, pendent speakers, a third speaker located between them we are advised by the NBBB and the MRIA, "is a path will give added depth. Depending on the way in which which contains reproducible information left on a me- the program material itself was recorded, the spacing of dium by recording means energized from a single the left and right speakers, and the acoustics of the listen- channel." Thus, a playback channel "includes the means ing room, this arrangement can provide anything from by which the recorded sound on a single track is repro- the remedial effect of filling that "hole in the middle" duced." And finally -the clincher: "In a multichannel to the spatial effect of what some people call "making system, the number of channels cannot exceed the the walls disappear." The latter illusion results whether number of tracks." the original material was recorded with two, three, or What all this means, of course, is that many so- called any number of microphones. three -channel stereo systems have been misnamed since This form of "third channel" (pardon, "sound-source ")

36 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com in the listening room helps stereo for very nearly the distance from each other and from the players, and so on same reason that a second loudspeaker helps monophonic are all calculated to produce a desired effect in the re- sound. It provides another sound -radiating source to cording. Now, take the living room and its loudspeaker. lessen the effect of hearing music emanating from a hole The room itself is smaller than the studio; it has random in a box, or -with stereo -from two holes in two boxes. acoustics that may or may not be controlled by its occu- Much has been said regarding the need for a third or pants; its ratio of reflected -to -direct sound, as well as its "center fill" speaker for stereo listening on the grounds reverberation time, differs completely from the studio's that during a recording session more than two micro- and indeed each listening room probably differs from all phones are used. This explanation of the need for a others. Moreover, loudspeakers invariably are placed "third channel" is, however, only partly valid. To begin against a wall or in a corner of two walls, and their with, some stereo recordings have been made with only sound-radiating pattern is not nearly as omnidirective two microphones, left and right, and these discs also sound as that of a microphone. better when played through a three -loudspeaker setup. The most apparent difference in sound from playback At the opposite extreme, as many as seven microphones under these conditions, as compared with what one hears can be used. Does this then mean that for proper stereo- in the concert hall, is not so much a matter of frequency phonic reproduction we must use seven sound- sources? response, or highs and lows, or even of directionality. In fact, the issue is not the number of microphones Rather it is a matter of "air" around the sound, a sense of used, but the very nature of microphoning. Consider depth and fullness, or -to put it in more technical terms this: in the studio or concert hall, itself a relatively large -the temporal spacing of the elements comprising the room that has been acoustically treated, the microphone musical signal. In other words, there is no phase distortion picks up sound with a high degree (or at least, a control- in live music played in an acoustically good hall, and very lable and calculated degree) of reverberation, with a rela- little chance for any in a carefully controlled recording tively high ratio of reflected -to- direct sound, and with a session. But in the very nature of playback in the average transducer sound -space pattern that is virtually non- room, even with good equipment, there is considerable directive. Unlike speakers, microphones are not placed chance for phase distortion and consequently a loss of against a wall; they are suspended. Their spacing, their naturalness, of that air around Continued on page 88

Two -Channel Two -Channel Amplifier Amplifier

Treble Bass from Treble Speaker Speaker Speaker Channel Both Channel A A -B B A Channels B

Figure 1 Figure 2

Stereo Preamp with Two -Channel Amplifier "Center Channel" Output and "Blend': Control

Parallel Power Power Power Speaker Amplifier Amplifier Amplifier Speaker A Speaker A B II Speaker Parallel A +B Speaker (Variable) B

Figure 3 Figure 4

Aucusr 1960 37

www.americanradiohistory.com America Has

Old Organs, Too .. .

Much good music -and perhaps even some minor masterpieces-are part of the American musical heritage that until recently has remained largely unexplored. Helping in furthering this discovery of the past is a soon- to -be- released disc of Amer- ican music of the eighteenth and early nineteenth centuries played by organist E. Power Biggs and issued by Columbia Records. This recording introduces the work of some ten mainly unfa- miliar composer- countrymen at the same time as it provides sonic documentation of several organs In Salem, Mass., an organ built in 1827. built by American craftsmen and used in the days when each community made its own music.

The small organ shown at left in the gallery of this classically elegant church at Portsmouth, N. II., dates from 1713 and was the first in the Colonies. Unhappily, it is no longer in usable condition.

www.americanradiohistory.com The French Huguenot Church of Charleston, S. C., houses an 1845 organ by Henry Erben.

A pause in the graveyard of the old church above.

Here and on the facing page we show some of the scenes Mr. Biggs visited in his search for Americana -in this instance for organs built during the first century or so of the art in this country. With a briefcase of American music in hand and an assortment of recording equipment in his car he traveled the Eastern seaboard, making pilgrimages to old churches and museums of local history and trying out the instruments he found. All the organs used for the recording that Mr. Biggs at a Tannenberg organ of 1804, York, Pa. resulted are tracker- action types (i.e., have a direct mechanical linkage between key and pipe valve), and all have beautifully designed cases that afford both fine tone projection and genuine pleasure to the eye.

www.americanradiohistory.com 1

- 0000 From Composer00. .- to Magnetron - r,M,r Cflni .,. oec,,,,, ,t, fIntsáx,; o You by Elic Snlr,r»nn

On New York's upper West Side the world's most versatile music

synthesizer is now in operation. Is this electronic behemoth a soulless and sterile monster useful only for creating eerie sound effects? Or can it be called a genuine musical instrument capable of enriching the repertoire?

WHAT may well turn out to be the biggest revolution Milton Babbitt, one of the directors of the Center, in music since the invention of counterpoint is going on swings into action. Dials are turned, switches are thrown, right now in a rather closely guarded building at 125th panels are patched, an oscilloscope begins to dance, and Street and Broadway prosaically labeled "Columbia lo, a sound emerges from a speaker on the left. University Engineering Center." It isn't much of a sound, true. But wait. In front of the The main activity within these walls is actually elec- machine is a typewriter keyboard affair with a big roll tronics, and the watchful eye of the guard at the door of paper behind. Some energetic punching on the "type- has reference to the confidential research that goes on writer," and the paper, looking now like nothing so much inside. An atmosphere of science fiction prevails; there as a player piano roll, is set in motion. The newly punched are locked laboratory doors, dark hallways and obscure holes pass under a row of wire brushes and, again lo! corners; unidentifiable objects, casually roped off and this time a whole phrase of music comes out of the marked "Danger, Do Not Touch, High Voltage," speaker. Furthermore, the phrase can be altered in a occupy a big, open hall. At the back of the building there staggering number of ways. Pitch? Tone color? Attack? is an inconspicuous door lettered "Columbia-Princeton Dying away? Loudness? Duration? This fantastic ma- Electronic Music Center" behind which is a spacious chine can make changes so obvious a tone -deaf person room blocked off at the end by a massive computer - could hear them, others so subtle that no human ear can type piece of machinery. The eye is dazzled by a maze of detect them. switches, lights, switchboardlike patch panels, control Known as an electronic music synthesizer and built panels, and dials. by RCA, this contraption in theory at least, can produce What has all this got to do with music? all possible sounds, heard and unheard, imagined and

40 Elicit FIDELITY MAGAZINE

www.americanradiohistory.com unimagined. Repeat, all: every noise and sound of any With Gallic orderliness, Schaeffer and his companions kind which ever has been produced or ever could be combed Paris and the countryside with roving "candid produced by any means whatsoever. This cannot be mikes" and compiled a huge library of sounds which are achieved at the moment, but it's a theoretical possibility carefully filed away (in alphabetical order) at the Centre -like sending a spaceman to the moon. Possessed of the d'Etudes Radiophoniques in Paris for the use of corn- mechanical wonder which opens up such prospects (and posers of musique concrète. Examples of their work have armed with a five -year grant of $175,000 from the Rocke- been issued on two Ducretet- Thompson LPs with the feller Foundation) the Columbia -Princeton Center be- title of "Panorama of Musique Concrète." They were comes by far the most advanced studio of its type in the distributed here by London Records and London officials world. Although electronic music has been written in have not yet gotten over the astonishingly high sales. various countries and by varying means and equipment, But London dropped the entire label and, alas, the rec- it is safe to say that nothing matching the synthesizer is ords can only be obtained on import. in operation anywhere. While the French were experimenting out of sheer The idea of electronic music has been toyed with as joy in sound for its own sake, German musicians, often far back as the early part of this century. Feruccio preoccupied with metaphysics and mathematics, went at Busoni seems to have been the first person to envisage electronic music in quite a different way. The studio of the possibility, and there is a report about an American the West German Radio at Cologne was founded by a inventor, Thaddeus Cahills, who attempted to construct group of theoreticians and acousticians. Even the com- a mechanism with the crude means at his disposal. In the posers who wrote for it claimed backgrounds in electron- Twenties a good many people became interested in the ics, acoustics, and phonetics and were dedicated followers possibility of sound for sound's sake. Henry Cowell was of a numerological approach to composition. The Ger- plinking and plunking the insides of a piano; Alois Hábá man group proposed to develop a line of experimentation was writing with quarter tones; Edgar Varèse composed which discarded all prerecorded sound. They were not Ionisation, scored exclusively for percussion instruments. interested in the reproduction but in the production of Milhaud, Stravinsky, and others were intrigued by the sounds by electronic means. sound of the player piano and even by the tinny tone of Electronically operated musical instruments have, of early recordings. Unwitting pioneers were the unknown course, existed for a number of years. Among others, the persons who first thought of playing a record backwards Ondes Martenot (invented by Monsieur Martenot), the or at different speeds; real path breakers were the hardy Trautonium (invented by Herr Trautwein), and the souls who trekked around the world (with the elaborate Theremin (invented by Mr. Theremin) have had some equipment necessary in pretape days) to record such success. But for the most part these instruments have esoteric items as lions roaring, Big Ben striking, and passed on to the dustbin. Electronic organs, principally tropical storms raging. the Hammond, still survive (mainly because they replace With the invention of the tape recorder, it became enormously expensive musical instruments at low cost), possible for anyone to make a permanent record of any but their musical possibilities have never attracted serious sounds desired: instruments, voices, airplane motors, composers or serious listeners. pneumatic drills, fog horns, or whatever. Some patching and splicing will produce a "Symphony of Noises" - the aural counterpart of the artist's collage or montage. In more sophisticated fashion, these sounds can be doc- tored up with all kinds of ingenious gadgets which pro- duce speedups, slowdowns, echoes, and other types of sound alterations (some of which you have been trying to eliminate from your home sound reproduction all these years; what you thought was distortion turns out to be music to some people's ears).

RRIS, the center of the avant garde in so many ways, was in the forefront here also. Shortly after the War, a young engineer and writer by the name of Pierre Schaeffer discovered for himself some of the tricks that can be played with recorded sounds. M. Schaeffer may be designated as the founder of the first "school" of the new music -"musique concrète." " Concrète" does not refer to cement mixer music, as some wags would have it, but to real, concrete, everyday sounds: drills, foghorns, the noise of traffic, running motors. The synthesizer -and Messrs. Ussacheusky, Maazey, and Babbitt.

AUGUST 1960 41

www.americanradiohistory.com only modest fanfare, the American experimenters began to make "tape music" in a simple, direct, pragmatic way, using conventional instruments for sound sources (al- though splicing, speed changes, and echo reverberation effects often made these unrecognizable in the final ver- sion). The first real pieces produced by the studio were Composer to presented publicly at a concert of Leopold Stokowski at the Museum of Modern Art in the fall of 1952. A work Magnetron for tape recorder and orchestra, Rhapsodic Variations by Luening and Ussachevsky, has been recorded in the Louis- ville Orchestra series, and a similar joint effort for the same combination, A Poem of Cycles and Bells, can be found on a Composers Recordings release which also in- The Germans did not propose to invent a musical cludes two strictly tape pieces. A third record of their instrument of the conventional type, however. Their work was released on the old Innovations label, and two interest was in creating equipment that would drive a of the pieces on that disc, Sonic Contours and Fantasy in loudspeaker or magnetize a tape to produce any sound Space, plus three new works by Ussachevsky and three by desired. There is a basic theorem in acoustics to the Henry Jacobs have turned up on Folkways' "Sounds of effect that any tone, no matter how complex, is made up New Music." The Luening -Ussachevsky Concerted of a combination of simple and pure tones known as Piece for Tape Recorder and Orchestra, written for the "sine" or "sinusoidal" tones. An ordinary alternating New York Philharmonic, was performed by that orches- current will produce such a tone on a loudspeaker or a tra under Leonard Bernstein last spring. It was played on tape, and by combining these "sine tones" in various the four regular subscription concerts as well as on a ways, the German experimenters thought they could children's program and a nation -wide television broad- produce the whole gamut of notes and tones. cast, preceded each time by Mr. Bernstein's discussion But, alas, it wasn't that easy. Merely combining tones and explanation and followed by a vastly divided critical on tape has proved to be a difficult problem; to produce and audience reaction. any kind of music at all, months and months of splicing Since the early efforts at Columbia, the studio has are necessary. Nevertheless, quite a bit of tape music been enlarged and considerably improved. Even with the has been written in Cologne, in Milan, and elsewhere. addition of the RCA synthesizer, the "old- fashioned" Deutsche Grammophon has issued three ten -inch discs equipment will not be obsolete for years to come and of music written at Cologne, including Karlheinz there may always be things that will be easier on the less Stockhausen's Gesang der Jiinglinge, one of the most im- sophisticated machinery (just as a human being or a sim- portant pieces of electronic music yet composed. ple adding machine can total up two and two more easily The European studios, nearly all of which are associat- than a computer can). It is unquestionably the syn- ed with radio stations, have been subsidized, often by the thesizer, however, that puts the Center way ahead of state. Until very recently composers in this country have its fellow studios. not been so fortunate. Experimenters like Louis and Bebe The sound sources are twelve tuning forks, supple- Barron and the Vortex group in California (whose work mented by twenty -four variable oscillators which allow was described in the May 1959 issue of HIGH FIDELITY for minute subdivisions of the octave. These basic tones and has been issued on a Folkways stereo disc) have had can be endowed with an enormous number of different to work with very primitive means. characteristics by adjusting settings and turning switches The Columbia studio was in much the same fix for a - the possibilities stagger the imagination. There is a de- long time. Vladimir Ussachevsky, a professor of music vice for producing pure or "white" noise, which is the at Columbia who was in charge of the University's loud- combination of all the audible frequencies in simultane- speaker systems and tape recordings, became fascinated ous, random oscillation. Any combination of sounds can by what happened to musical sounds when they were be tried out immediately by simply flipping a switch. played at the wrong speed on a tape recorder. He devel- Completed ideas or compositions are given permanent oped other devices for altering musical sounds, and his form by punching them out on the "player -piano" roll first experiments were played at Columbia in 1952. At (or tape), which can be run through the machine at this time, the work of musique concrète was little known various speeds without affecting pitch. here, and the German studio was just getting its start. The synthesizer is actually made up of four separate With the assistance of Otto Luening, a fellow member of machines so that "four -part harmony" or "counterpoint" the Columbia music faculty, and with the invaluable help can be produced at the same time. If more than four of engineer Peter Mauzey, an embryo electronic music "parts" are desired, they have to be run off separately on studio was created. tape and then synchronized. There are special settings Without expounding metaphysical theories and with for effects like tremolos and Continued on page 90

42 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com by EVERETT HELM

The Dwindling ¶Rchet

The author, himself a composer as well as a critic, sees much latter -day experimental music as entering its final, twilight phase.

wICE IN OUR CENTURY the musical aftermath of a have been shed. New, "unmusical" sounds have been I great war has been a period of experimentation and, introduced in " musique concrète" (based on the use of to a certain extent, of sensationalism. Following the natural sounds and on tape manipulation) and in elec- First World War there emerged in Europe such "wild tronic music, which has "split the musical atom" by young men" as Hindemithi, Bartók, Schoenberg, Stra- means of a hitherto undreamed -of control of overtones. vinsky, and Milhaud, writing music that completely For some observers, the question as to whether these upset the traditional applecart through the introduc- techniques and their results should be considered as tion of bitonality, polytonality, atonality, twelve -tone music at all is dubious. For nearly everyone, the question technique, polyrhythms, and other such innovations. as to how much of the vanguard postwar music will All of this seemed at the lime generally confusing, and survive remains an open one. Presumably time will many serious musicians proclaimed that the end of the answer in its customary inexorable way. musical world had come. Then there followed a period It has been enormously interesting, and often amusing, of assimilation, during which the new techniques and to watch this development in its various phases. It has the new idioms were, so to speak, digested and incorpo- been a stormy one, accompanied by pyrotechnics of all rated into the main stream of music. The music -and kinds -musical, verbal, and emotional. My first encoun- even the names -of many composers who through sheer ter with the new style, then not yet `official" but soon sensationalism made brief h story in the 1920s have in the to become so, was at the 1948 Darmstadt International meantime disappeared into limbo. Holiday Courses for New Music, which may justly be Since World War II another rash of experimentation regarded as the cradle of the current avant garde. At that and (perhaps to an even greater extent than in the earlier time, German music, which had been under the Nazi period) of sensationalism has broken out, and another cloud from 1933 -45, was just catching up with the rest musical Armageddon has seemed at hand. Again a whole of the musical world. Hindemith, Bartók, and Stravin- set of young composers has taken the field: Berio, Boulez, sky had been absorbed, and Schoenberg was next on Henze, Nono, Stockhausen, et al., whose works have the agenda. The 1948 program, consisting of twelve seemed to some to threaten the very existence of musical concerts, displayed a preponderance of Hindemith and art. The serial practices of twelve -tone technique have a good representation of the other three. been expanded into the "totally organized structure" Among the younger composers, Hans Werner Henze of mathematical precision; the last vestiges of tonality was the center of attention -then twenty -two and

AUGUST 1960 43

www.americanradiohistory.com described in the program notes as "one of the most the past decade. They have been at once a weather vane, hopeful talents of the youngest generation." His Cham- indicating from which direction the wind of modern ber Sonata for Violin, Cello, and Piano received its music is blowing, and the wind itself. To use another first performance that year and was met with general metaphor (and metaphors can be useful in connection consternation. What was this "atomized" series of with the unprecedented situation of new music), they squeals, squawks, and hoots that purported to be music? have been the salons at which the latest models have been The more knowing members of the audience recognized displayed. At the same time they have been gauges of its origins clearly in Anton von Webern's Variations for public reaction to the new music. Piano, Op. 27, also on that year's program, but most These generalizations are based on my almost unin- listeners were quite unaware of Webern's music at this terrupted attendance at and participation in these two point. (The Opus 27 was the only Webern work played; festivals since their beginnings in 1948 and 1950 respec- in 1949 there was none.) Besides, it was a far cry from tively. Darmstadt, the first to be inaugurated, is much this composer's restrained, epigrammatic, pianissimo more than a festival, although it is that too; it is an style to the stormy, overlengthy pieces of his followers, incubator of composers and enthusiasts. Besides the with their profligate use of notes and their violent dy- many concerts offered the participants in the Holiday namic contrasts. Courses for New Music, Kranichstein (as it is generally In any event, general reaction to the "new" music called after the castle in which the preliminary sessions in those early days was as violent as the new music's own were held in 1946 -47) also provides instruction in the break with tradition. The uproar following the first composition and performance of new music, lecture performance of Luigi Nonti s Variations for Orchestra courses on its various aspects, and formal lectures on the in Darmstadt in 1950 was a classic affair, surpassing, if nature and aesthetics of contemporary music. Kranich- possible, the riots so graciously accorded Henze in the stein attracts a truly international group of predom- two previous years. Tumult and hostility are the stuff inantly young musicians and sheds its beam into the on which the avant garde feeds, and the best thing that most remote portions of the globe. It is without doubt can happen to a young "radical" composer is that his the leading institution of its kind in the world, and its works should be booed and hissed and heaped with influence on the music of postwar Europe (and beyond) abuse. Many a bright aspirant took immediate cogni- has been incalculable. zance of this fact, and we have since witnessed the un- For that reason, certain aspects of Kranichstein have likely spectacle of a large and well- organized avant aroused grave misgivings in less than wildly radical quar- garde -something never before seen and in many respects ters. The programs have become more and more one- a contradiction in terms. sided, representing a single aspect- With few exceptions the musical the post -Webern trend -of contem- avant garde of past generations has porary music; and the atmosphere of consisted of isolated figures, or at most the Holiday Courses has become that a very small group of figures working of an exclusive club, or better yet of in relative isolation (e.g., Schoenberg, a fanatical sect, possessing the only Berg, Webern) and indeed ahead of valid formula to musical salvation. their time. Today the avant garde While the basic idea of Kranich- comprises large numbers of systematic stein finds almost universal approval, "radicals" who by virtue of their radi- voices have been raised against the calism claim membership in a move- exclusivity of approach that has char- ment of international proportions. Also in strong contrast acterized it and other élite circles during the past several to the past is the fact that these composers are by no years. Webern's melodic and harmonic serialism has been means out of the musical picture and /or starving in gar- expanded to produce the totally serialized work, in rets because their works are not understood or performed. which very little is left to the creative impulse. One They are performed, they get commissions, and they are of the most unpleasant works I have heard in recent given a degree of financial and moral support that would years is the young Japanese composer Yori -Aki Matsu - have utterly astonished Schoenberg or Webern. For one daira's Variations for Violin, Cello, and Piano, which was thing, the radio has been, and continues to be, a welcome accompanied by program notes stating proudly that and often lavish (if not always discerning) patron of new serial technique is applied "not only to a tone row but music; in fact the present situation of new music in also the note values, rhythmic cells, registers, attacks, Europe would be unthinkable without the support of intensities, dynamics, colors, figurations, and to the jeux, radio stations. as well as to the tempo of each variation." However Various festivals have also become to greater or lesser impressive this description, the composition is a higgledy- extents bastions of advanced music -chief among them piggledy of sounds that make as much sense as scrambled being Darmstadt and Donaueschingen. These two festi- alphabet soup. On the same program was a piece by vals have set the pace and the tone for new music during another composer, constructed Continued on page 92

44 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com DouQias Glosr ill- lurpo_re Tenor

Nicolai Gedda says he can think in eight languages; hence he is at ease with Bach, Barber, Gounod, Verdi, Mussorgsky, and Franz Lehár.

by HERBERT KUPFERBERG

RIGHT NOW Nicolai Gedda has a fighting chance of Not long ago in New York Gedda was persuaded to going down in musical history as the most frequently express his own views about musical versatility, its causes recorded of all tenors. Admittedly, it will take a good and effects. We were talking over coffee cups and to the

deal of work to overtake Enrico Caruso, or even Mario accompaniment of Drigó s Serenade, as performed by Lanza. But right now Gedda has some twenty LP sets teatime musicians in the Plaza's Palm Court. and singles to his name, most of them complete opera "I think part of it is because we Swedes have a feeling recordings. And all have been made in a career that has for style," he said. "The Nordic peoples have nothing spanned a mere seven years and therefore can be de- like Italian opera with its musical traditions handed down scribed as just getting under way. Today Gedda is only from generation to generation. We are influenced from thirty -three years old, is in excellent vocal form, and all sides. We have to learn everything. We have to work." has never felt better in his life. So there's no reason the Gedda has dark brown hair, a solid build, and a pleas- records shouldn't keep rolling. antly round face. His six -foot -two frame alone is enough But it is the diversity of Gedda's recordings rather to make him conspicuous among lyric tenors. He pre- than their sheer numbers that makes him such a phe- fers to be known as Russian -Swedish rather than Swedish, nomenon among present -day tenors. Lehár's Merry largely in deference to his father, a former Don Cossack Widow, Bach's B minor Mass, Puccini's Butterfly, Stra- singer named Michael Ustinoff who married a Swedish vinsky's Perséphone, Rcssini's Turco in Italia, Cornelius' girl and settled in Stockholm, where he became choir- Barber of Baghdad, Bizet's Carmen -in all these Gedda master of the Russian Orthodox Church. Gedda's father finds himself equally comfortable. started him off as a boy soprano, found he had perfect

AUGUST 1960 45

www.americanradiohistory.com pitch, and set him to studying not only Russian liturgical during its first season, and took the part again during music but also harmony, counterpoint, and piano. the 1958-59 season, when he also appeared in The It was Gedda's knowledge of Russian-his father's Magic Flute, Tales of Hoffmann, and Eugen Onegin. instruction encompassed language as well as musical style The 1959 -60 Metropolitan season included Gedda ap- -that opened his way to big -time recording, and, pearances in Traviata, Don Giovanni, Rosenkavalier, eventually, to the great European opera houses and the Faust, Manon, and The Gypsy Baron as well as roles he Metropolitan in America. had previously sung on that stage. In 1952 Walter Legge of EMI was in Stockholm, look- ing for a tenor who could sing, in Russian, the role of ALTHOUGH Gedda was the only non -American in the Dimitri in an HMV recording of Boris Godunov starring cast of Vanessa, his English was invariably the most Boris Christoff, the Bulgarian basso. Gedda had just intelligible. Vanessa also afforded Gedda his first oppor- graduated from Stockholm Conservatory and had made tunity to record in English -and in the United States; a successful debut in Adolphe Adam's Le Postilion de when RCA Victor tapped the Barber opera in 1958, Longjumeau at the Stockholm opera. He applied. Gedda was in his accustomed role as Anatol. "Mr. Legge gave me an audition," Gedda recalled. When it comes to recording, as well as to singing on a "He wanted me to sing in Russian so I did some of Di- stage, Gedda professes to have no favorite roles or com- mitri's music. Then I sang from Faust and Don Giovanni. Fosers. "I want always to sing Mozart" is the closest he Then I sent him some extra tapes of me after he went comes to expressing personal inclinations. He conceded, back to London. I got the job." however, that singing operetta, which is something he Legge was obviously impressed with his new find; in does very well, is not quite the same as singing Stravin- Gedda's words, the British impresario "opened a lot of sky. Between Johann Strauss and Richard Strauss, he doors" for him, notably in Germany and Italy. Legge has found, there is a difference. also introduced him to Herbert von Karajan, who put "I always have loved singing operetta," he said, with him to work promptly. the air of a man who would be glad to do it for nothing. For Karajan, Gedda sang such oddly assorted works as "It was always my dream to sing operetta. I used to Bach's B minor Mass, Stravinsky's Oedipus Rex, Carl listen to records by Tauber endlessly. To sing Lehr and Orff's Trionfo di Afrodite, and Bizet's Carmen. In Lon- Johann Strauss - that is a pleasure. And yet I really don, without Karajan, he made his debut in 1953 in enjoy the more difficult and serious operas. When we Rigoletto; in Paris he met French audiences on their own recorded Strauss's Capriccio- Richard Strauss's Capriccio grounds with Gounod's Faust, then took them on to his -it was more difficult. But I enjoyed the difficulty." with Weber's Oberon. When the Parisians found that While Gedda is able to shift operatic styles almost Gedda understood not only their music but their lan- with the smoothness that he changes costumes, he guage, he was installed as one of the favorite Opéra and acknowledges that the demands of recording require Opéra -Comique tenors. Gedda settled in Paris for a techniques quite different from those of the stage. time and even took up matrimony there, a marriage "It is more difficult to record than to perform in the since terminated. opera house," he said, "even though on the stage you Gedda ascribes a good deal of his stylistic versatility can't erase your errors and you often make new mistakes in music to his flair for languages. just by thinking about the old ones. What makes it "English I learned in school," he said. "Most of us do harder to record is that you can't use the same expressive- in Sweden. My father taught me Russian. The others - ness or intensity as on the stage. Everything comes out well, I just learned them. Now I find that I even think so exaggerated on a record. When you sing it, it sounds in the languages I speak, or sing. I used to have to trans- fine. When you hear it . . . late them in my head." Gedda held up his hands in horror. Gedda gets along in eight languages - English, "I remember when we made Mireille, the Gounod French, German, Italian, Russian, Swedish, Norwegian, opera, in Aix -en- Provence," he said. "In Act III I have and Danish. He has sung in all, including the Scandi- a fight with Ourrias, the baritone. Michael Dens and I navian. on the stage sang it with much ardor, determination, Perhaps the most convincing testimonial to his mas- shouting. On records it was awful, terrible. So we had tery of English -aside from speaking with him -was to do it over again, moderating our voices and taking it his being chosen to create the role of Anatol, "a hand- easier. There are times you are very glad you can do it some young man in his early twenties," in Samuel Bar- over on a record." ber's opera Vanessa at the Metropolitan Opera House Gedda spoke feelingly of the emotions with which in January 1958. Gian -Carlo Menotti, the librettist of singers listen to the playbacks of passages they have just Vanessa, first asked Gedda in Europe whether he would recorded. He depicted a tense and anxious scene, with be interested in the part; Gedda, who is interested in singers and conductor grouped anxiously about the almost any part that he's never tried before, said yes. "leader" - i.e., the recording director. Gedda sang in all the Met's performances of Vanessa "Sometimes," said Gedda, Continued on page 84

46 HIGH FIDELITY MAGAZINE

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

high fideli

EQUIPMENT REPORTS

AT A GLANCE : The Sherwood S -5000 is an exceptionally flexible control amplifier which meets or exceeds all its rather impressive performance specifications. In the unit we tested, the manner in which its two channels were closely matched in all their characteristics was most impressive. Compromise in performance, often encountered when many operating functions are designed into a compact unit to sell at a competi- tive price, was totally absent. The S -5000 (chassis less case) sells for $189.50.

IN DETAIL: The Sherwood S -5000 is a complete stereo amplifier, with two pre- amplifiers and two 20 -watt power amplifiers, and many control functions accessible Sherwood on the front panel. Three high -level inputs, for FM /AM tuner, TV or multiplex adapter, or other S -5000 Stereo Dual program source, are provided, plus two low -level inputs for magnetic cartridge or tape head. Output jacks are provided for a tape recorder, with the signal unaffected by tone or volume controls, as well as input jacks for monitoring a tape recording while Amplifier -Preamplifier it is being made. A front -panel slide switch opens the signal path so a tape recording can be made and simultaneously monitored. A front -panel knob controls selection of the other inputs. The two bass tone controls are concentrically mounted, with a friction clutch so they can be adjusted individually or together. The same arrangement is used for the treble tone controls. The loudness control may be used as an ordinary volume control, or by means of a slide switch, the Fletcher -Munson compensation may be added to boost both low and high frequencies at low volume levels. A function selector knob offers the choice of normal stereo operation, reversed channel stereo, either channel input feeding both speakers, or the sum of both chan- nels feeding both speakers. The power switch is also on this knob. A group of four colored lights serves as pilot light indication, and shows which input or inputs are connected to which speaker. A stereo balance control can reduce the volume on either channel to zero without materially affecting the volume on the other channel. A unique, and very convenient, feature is the inclusion of a phase -reversal control on the same knob as the balance. Pulling the balance knob out slightly reverses the phase on the left channel. This can be handy during the initial installation of the amplifier, and if desired the speaker leads can be changed after phasing so that the knob is normally pushed in. Along the left edge of the panel is a group of push- button switches similar to those which have been on Sherwood mono amplifiers for some time. A presence control introduces a peak of some 6 db in the 3 -kc region. There are buttons for rumble and scratch filters, which have 12 db /octave slopes and affect both channels. The bottom knob is not a switch, but a phono level control. It is set for correct loudnesscompen- sating action on phono, and other program sources are then set with their own level controls to produce the same sound volume from the amplifier.

AUGUST 1960 47

www.americanradiohistory.com SHERWOOD STEREO AMPLIFIER -PREAMPLIFIER

On the rear of the chassis, apart from the inputs mentioned previously. is a center -

INTERM000L TION DISTORTION channel output jack. This provides the sum of the input signals, for driving a separate

60/5000 cps amplifier and speaker for center fill, if this is desired. Two AC convenience outlets are provided, one of them switched on with the amplifier and the other energized con - tinuously. A jumper system on the speaker terminals allows the use of the normal high damping factor (I0) or a low damping factor of 2. Finally. there is a very nice system for balancing the output tubes without using any meters. The two output stages have their individual balance controls, concen- trically mounted on the chassis. A switch next to them injects a 60 -cycle test signal, 0.1 0.1 10 10 20 30 in phase, to the two output grids. R'hen the balance control is properly adjusted, the hum heard in the speaker is at a minimum. It works beautifully. Our show that the frequency response of the S -5000 is flat within plus +5 measurements ToneTo Control SoWen or minus 1: db from 20 to 20,000 cps with the tone controls in the center position. This -s fa -- is as the specifies, and is exceptionally flat for an amplifier in which the -10 manufacturer Relative to NARTB or tone controls are not switched out of the circuit in their flat position. The rumble and -15- RA11A01 E00AE12ATION ERROR -to scratch filters are excellent, with sharp knees and no effect on middle frequencies. 70 S0 100 300 S00 IR 7R 51 10E IOR Phono equalization is also very precise, being within 1 db of the RIAA characteristic from 20 cps to over 15 kc, and only slightly down at 20 kc. +s delivered 20 watts before any visible distortion was apparent on an 111111=1*1111111.1MININIMINMEN Each channel 0 oscilloscope. Best of all, the full power was delivered from 20 to 20,000 cps, which is -s MEW WOW 1111 1.1 a quite expensive - 10 Tom Controb Fat rare in our experience except for few large, heavy, and generally - 15 "'Rumble F Iter Scratch Filter amplifiers. Measured in accordance with the standards, the power bandwidth L l Channel IHFM - 70 of the S -5000 extends from below 20 cps to 10,000 cps, referred to 20 watts output - 75 20 50 100 300 500 10 X X ICE TOR and 1% distortion. This means that the amplifier will deliver 10 watts per channel (half the rated maximum power) between these frequency limits without exceeding 1% distortion. Po .-.20 w. max. Pówsr Response 0 db = 10 w S g$ distortion remains under 0.5 %, at the usual listening levels o The intermodulation RIM Phono Equalization Error -5 of a watt or less. It reaches 2% at about 22.5 watts. The amplifier is stable under a I I I I I variety loading conditions. >l0 SO 100 300 500 IR 3R SR 101 t0R of capacitive The gain of the S -5000 is quite high, with only 0.8 millivolts needed at the phono input (1,000 cps) to drive it to 10 watts output. The hum level is about 68 db below IO watts on the phono input, at our standard gain setting (for which 10 millivolts input equals 10 watts output). This is totally inaudible. On the high -level inputs the hum is 70 to 80 db below 10 watts at full gain. We appreciated the excellent tracking of the two sections of the ganged volume control. They remained within 1.5 db of each other except for one point near the bot- tom where they were 3 db apart. There was some 0.7 db of backlash in the ganged control, but this was not troublesome. All in all, the only observation made during the test of the S -5000 which did not excite enthusiasm was the fact that the phase reversal switch changed the gain of the left channel by 1.5 db. In practice, this is of minor importance, since the switch is set once and left alone. The Sherwood S -5000 is one of the few unit stereo amplifiers we have tested which shows no signs of compromise or corner- cutting in design or construction. H. H. LABS

Audax CA -60 AT A GLANCE: The Audax CA -60 is a very compact, inexpensive speaker system, occupying slightly less than one cubic foot and containing two 6 -in. speakers and a Speaker System in. tweeter. The enclosure has a ducted port. to get the most performance at low Ircquencies from the speakers. One cannot expect a speaker system of this size to deliver tremendous bass output, and no miracles are performed in the design of the CA -60. However, the low frequency performance of this diminutive speaker system is very respectable for one of its size, being reasonably clean down to below 70 cps. The over -all response is smooth and extends to beyond 13 kc, except for a broad .. peak in the 2- to 4 -kc region. If you like presence, there is plenty of it in the CA -60. Priced at $59.95, the cabinet is constructed of genuine walnut with an oil finish.

IN DETAIL: The frequency response of the Audax CA -60, measured out -of- doors,

HIGH FIDELITY MAGAZINE

www.americanradiohistory.com is within plus or minus 5 db from about I I5 cps to 14 kc, if the peak in the middle is ignored. Even with the peak included, it only varies plus or minus 8 db over this range. This is pretty good for a loudspeaker system, even for some costing a good deal more than the CA -60. The low frequency response would normally be improved when the speaker is installed indoors, particularly near a corner. The low frequency distor- tion curve gives a better indication of the truc low frequency performance of the speaker, and we would expect 60 to 70 cps to be the true lower limit of its response. The flat portions of the response curve between 500 and 1,300 cps, and between 9 kc and 13 kc, are not actually as flat as shown, but there were no fluctuations in response of more than 2 db in those intervals, so they were drawn as flat. The sharp dip at 250 cps is probably a cancellation effect from the two speakers rather than a truc response. The polar response, taken at 7.5 kc, shows a fairly good high frequency dispersion, symmetrical about the center of the speaker cabinet. The tweeter is in the center of ON n OFF ON OFF the speaker board, so this symmetry is to be expected. The efficiency of the CA -60 is relatively high, being some 19 db greater than our Typical tone burst response.

reference speaker when tested with white noise. 20 One of the most surprising test results was the tone burst response. At all frequencies Is IIMM I0 the attack and decay characteristics of the speaker were very good, with no particular _ S 3ü®=lä amount of ringing or spurious frequencies. 0 mrJiILUmYnm listening tests, the -60 sounded rather too bright for our taste. Part of titis In CA lo 1111=111111111M=MIf was undoubtedly due to the extended high frequency response and relative lack of 15 rMIIIIIlMINI11111111 lows, and part to the peak at 2 to 4 kc. Certain percussion instruments, with appre- 20 energy in this region. tended to out towards the listener with a rather ciable jump ç 70 Nl,oYOMr NSTOtnION sharp effect. Tone controls can compensate for this but at a loss of much of the speaker's lo ii11111O111M111=11M11 systems, setup, E` 0 high frequency response. A pair of these used in a stereo would probably 20 SO I00 300 x00 IN 3N sit I0N 700 do much better due to the increase in bass radiating area.

The CA -60 was operated in a stereo system together with other speakers having more -10 -30 -70 -10 0 10 70 30 bass response, and the results were much more satisfactory. The CA -60 sounds pleasant at moderate or low volume levels, particularly if the highs arc rolled off slightly to balance the loss of lows. It cannot be pushed, however, since the 6 -in. cones cannot handle large excursions without distorting. It is noteworthy that this is a true bookshelf enclosure, being only 9!.z inches high. It can be placed on any ordinary bookshelf, rather than on an encyclopedia -sized shelf as is the case with most compact speaker systems. Taken for what it is, a minimum- priced speaker system, it does a good job and is a good value. 11. I I. Lnes.

AT A GLANCE: The Pickering 800 turntable has a unique bearing system which floats the turntable on a cushion of air. This is designed to reduce the transmission of vertical rumble to the turntable. Although this clever concept is only partially f successful, as explained later in this report, the end result when the turntable is prop- erly mounted is a satisfactorily low rumble level, particularly when the low price of Pickering 800 the Pickering 800 is considered. Combined with low wow and flutter, excellent speed accuracy, and a low hum level, this makes the Pickering 800 a good value in a single -speed turntable, suitable Gyropoise Stereotable for a high -quality music system. Chassis only, $59.85. Complete base (blond, mahogany, or walnut), $15.

IN DETAIL: Most turntables have a shaft through the center of a platter of alLlml- nunT or steel, and a sleeve bearing to contain the shaft and allow the rotation of the turntable with a minimum of friction and irregularity. The weight of the turntable, which may be great, is usually supported by a steel ball under the end of the shaft. Any vertical vibrations of the motor board, due to the motor, may be transmitted directly to the turntable through the ball and the shaft which rests on it. The solution

Equipment tested by HIGH FIDELITY is token directly from deolers' shelves. We report only cn regular production -line models. The choice of equipment to be tested rests with HIGH FIDELITY'S editorial deport- ment. Most equipment reports oppeoring here are prepared for us by Hirsch -Houck laboratories, a REPORT POLICY completely independent organization whose staff was responsible for the original Audio League Reports. A few reports ore prepared by members of the HIGH FIDELITY staff or by other independent testing organ- izations working under the general supervision of Hirsch -Houck Laboratories. All reports are signed.

AUGUST 1960 '

www.americanradiohistory.com PICKERING sa) STEREOTABLE

to this problem, as executed by Pickering, lies in the use of two ceramic ring magnets to replace the usual ball -thrust bearing. One ring is fastened to the motor board, con- centric with the sleeve bearing. Another ring magnet is fastened to the underside of the aluminum turntable, concentric with the shaft. The two magnets have like poles adjacent, which results in a force tending to push them apart. This keeps the turntable supported on air, via the magnetic force exerted by one magnet on the other. The magnetic force acts as a very compliant spring, which acts with the mass of the turntable to prevent the motor vibrations from moving the turntable. So far as we can tell, this works very well. There is, however, a second means for the transmission of rumble from motor to pickup. If the tone arm vibrates relative to the turntable, the effect is the same as though the turntable vibrates relative to a stationary arm. The motor vibration, thoroughly decoupled from the turntable by this ingenious magnetic device, proceeds to vibrate the metal motor board and with it the tone arm. Probably the best solution would be to fasten the metal board to a very rigid and large wooden motor board. However. the mounting base sold by Pickering for use with this turntable is rather light, and the turntable is supported on very springy mounts. This reduces the effect of shock and floor vibrations very well, but leaves the motor free to vibrate the relatively low mass of the turntable assembly itself. In our rumble measurements, we initially had the spring mounts at their upper limits. In this condition, the turntable had a tendency to bounce or float when touched, with a low resonant frequency. We were quite surprised to measure a considerable amount of rumble (by good turntable standards, at any rate) in the vicinity of -34 db relative to 7 cm, sec at I,1)01) cps. The vertical rumble was about 5 db worse, or -29 db. Further investigation showed that as the turntable motor board was pressed down against the base. the rumble decreased. We ended by tightening down the mounting springs to make them as still as possible. An improvement of 7 db was realized, with the lateral rumble -41 db and the vertical rumble -36 db. Possibly some further improvement would have been possible by mounting the unit in a heavy board. The lateral rumble figure is a most respectable one, particularly for a popularly priced turntable. The vertical rumble, in spite of the design features, is substantially greater than the lateral rumble, though well above the performance of any record changer in this respect. So far as we can determine, the vertical rumble is transmitted to the arm via the motor board. \Cosy and flutter were O.2 and 0.12 %- respectively. The hum field over the turn table was lots, and should not cause trouble even with poorly shielded cartridges. The speed of the turntable was exact, and totally unaffected by line voltage (a synchro- nous motor is used). The turntable is covered with a plastic foam pad which should be very easy on record surfaces. The OX -OFF lever operates the motor switch and simultaneously engages the idler wheel, which normally rests free of the turntable and the motor shaft. H. H. LABS.

AT A GLANCE: The ESL C -99 is a somewhat less expensive version of the C -100 stereo cartridge, which is still being offered. In basic operation it is similar to the C -100, being a moving coil cartridge. ESL C -99 The response of the C -99 is smooth, with a slight peak at 13 kc. Its channel separa- tion is good to at least 12 kc. It has high compliance, and tracks at 3 grams or less. Stereo Cartridge The output of the C -99 is extremely low, and a transformer is required for satisfac- tory operation. It should not be used with a ferrous turntable, because of the con- siderable magnetic attraction of such a turntable. Price: 1Ì49.50.

IN DETAIL: The ESL C -99 is quite similar to the C -100 in all respects which might allcct installation and use. To the eye, the chief external difference between the two is that the C -99 has a black plastic stylus arm, which appears bulky but is actually very light. The specifications in the data sheet are the same as those for the C -100. The first thing which became apparent was the extremely low output. No amplifier we had was able to produce more than a background music level from this cartridge, even at maximum gain. We had previously used the C -100, which delivered nearly

1 millivolt, and found it to be quite usable with a high gain amplifier. Not so the C -99.

")II HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Measurements showed an output of 0.24 millivolts at 5 cm /scc stylus velocity at 1,000 cps. A step -up transformer, such as the ESL TM -100, is an absolute necessity with the C -99 cartridge. The cartridge tracked music records very well at 3 grams force. In fact, for most records a force of 2 grams was adequate. We used 3 grams during our tests, however. Needle talk was very low. Hum pickup was negligible (though it is difficult to find an amplifier which is hum -free, at maximum, and this cannot be charged against the cartridge). Our turntable is made of steel, and we found a strong magnetic attraction even with a X1-in. cork mat on the turntable. It was necessary to add another mat, to a total thickness of over u in., to reduce this attraction to negligible proportions. Otherwise, the 3 -gram force became 6 grams when the stylus reached the record. The frequency response followed the familiar sway - backed characteristic which we have found to be in the N'cstrex IA record. The high frequency resonance occurred at 13 kc, and usable response extended to beyond 15 kc. Channel separation was very good in the left channel, and slightly less in the right channel. The bump at 4 kc in the right -channel separation is at least partially in the record. In both channels the separa- to 10 kc. In our sample, the right -channel separa- tion remains relatively constant up FREQUENCY RESPONSE tion fell off to zero at 15 kc. - Loft -1 Right frequency resonance occurred at about 9 or 10 cps. This indicates a very high Low OWNS MUM stylus compliance. The range of linear stylus movement, however, was not exceptional -LA--4 not track the lowest frequency bands of our Cook Series since the cartridge would XI WI II 60 test record. This is an extremely severe test of a cartridge's ability to track large recorded amplitudes, much beyond those usually encountered in musical records. In listening tests, the ESL C -99 acquitted itself admirably. Although we acre unable to get the volume high enough to please us, it was apparent that the sound was clean and unstrained. Operation without a step -up transformer should not be considered, however, and we recommend an aluminum or brass turntable with this cartridge. H. H. LANs.

AT A GLANCE: The Dynaco TA -I2 is an integrated stereo pickup incorporating the Dynaco Stereodyne cartridge and a unique gimbal - pivoted tone arm. The arm, well designed and constructed, enables the cartridge to deliver its best performance, with only 2% grams of tracking force. The TA -12 is a first -rate stereo pickup. Matched-arm and cartridge are priced at ;49.95. Dynaco B & O IN DETAIL: The Dynaco Stereodyne cartridge was reviewed in the July 1959 issue of HIGH FIDELITY. The unit we tested was one of the early Stercodynes, and we were Stereodyne TA -12 units compared to it. At that time interested to see how the most recent production Arm and Pickup we noted the unusually high channel separation, low needle talk, insensitivity to Stereo induced hum, and good over -all sound. Our criticisms were chiefly directed against the tendency for dust to clog up the stylus assembly and the difficulty of keeping it from forming a gummy mass with the viscous damping compound. In the new Stereodyne (identified as the Stereodync II when sold separately) the problem of dust collection has been eliminated. Using a different damping method the cartridge is now no more susceptible to this trouble than any other cartridge on the market. The cartridge, as used in the TA -12 pickup. is identical to the ones sold separately except for the mounting bracket. In the integrated design, the cartridge plugs into a sleek, simply designed arm -there are no installation problems other than merely making connections to the wires coming through the mounting base of the arm. The arm is pivoted on true gimbals, similar to those used on compasses and gyroscopes. A counterweight completely balances the mass of the cartridge, making the arm in- sensitive to leveling. This is another one of those arms which could be played upside down. The stylus force is derived from a stretched coil spring, by means of a ring which may slide along the body of the arm to any desired point. The arm body is calibrated is where ac in grams, from I to 4. The recommended force is 2.5 grams, and that operated the pickup in our tests. It proved to be perfectly adequate for all normal playback requirements. The arm mounts in a single hole in the motor board, as does the arm rest. Nothing

51 AUGUST 1960

www.americanradiohistory.com DYNACO B & O ARM AND PICKUP

could be simpler. The arm rest holds the arm firmly in place, when it is pushed down into the clip on the rest. The frequency response of the Stercodvnc cartridge proved to be very close to the inherent frequency characteristic of the Westrex IA record. It was generally quite similar to the response we had measured on the earlier unit. The channel separation, while very good by any ordinary standard, was not so outstanding in the unit we +s Leh tested as on the first cartridge. Nevertheless, it was 20 db or more over the major 0 ----- Right =i portion of the useful stereo spectrum. -5 ""- yREntls RL 47K The cartridge is surrounded by a mu -metal shield, which is very helpful in reducing :.. -10 Force: 7.5 gms induced hum. In this respect the Dynaco cartridge is one of the two or three out- 7 -is standingly good types we have encountered. ( - 70 III! The needle talk in the old unit was very low. In this one, hardly any needle talk CHANNEL SEPARATION ------.--. v - 7s could be heard except by playing very loud passages and putting our ear within a 30 loot or so of the pickup (with volume control off, of course). 2 ] 4 s 10 is The listening quality of the Dynaco TA -12 is excellent. It should prove acceptable to the most critical listener. The very quiet background made possible by its nearly complete immunity to induced hum and its moderately high output, plus complete absence of acoustic output from the stylus, contributes greatly to one's enjoyment of its performance. The bass response of the pickup is unusually solid, measuring within plus or minus 0.5 db from 25 to 100 cps on the Components sweep record used for measuring arm resonance. The resonance proved to be a 1.5 to 2 db broad peak between 20 and 25 cps, with a falling of response below 18 cps. The tracking error of the arm is less than 1.5 degrees for record radii from 2 inches to over 5 inches, and only 3 degrees at a 6 -in. radius. It appears that the original Stercodyne, a good cartridge, has been somewhat improved and presented in an integrated pickup design which o0ers an exceptional value in today's market. H. H. LABS.

AT A GLANCE: The Madison Fielding 630 FM tuner is a relatively low- priced unit ($84.95), quite sensitive, and in other respects is at least the equal of most corn- petitively priced tuners. Its rather unusual dial moves past a stationary tuning -eye tube, and has a very linear and legible calibrated scale.

IN DETAIL: In recent years FM tuners with very simple and basic tube comple- ments have achieved high sensitivity and over -all level of performance-a rarity in the past. The Madison Fielding 630 illustrates this phenomenon quite well. Its functional tube complement (exclusive of audio, tuning -eye, and rectifier tubes) r amounts to only four tubes, yet it has a usable sensitivity, according to IHFM Madison Fielding Standards, of 4 microvolts. This high sensitivity has been achieved at some sacrifice in IF and /or detector bandwidth, for the distortion fluctuates between 1% and 3% as signal strength is varied. This distortion is at 100% modulation, and is considerably 630 FM Tuner lower at more usual modulation levels. The automatic gain control (AGC) action is excellent, with little change in audio output for any signal strength above IO microvolts. The Madison Fielding 630 has amplified and variable AFC. A front panel knob selects any degree of AFC action from zero to maximum, which is strong enough to reduce drift or mistuning by more than five times. On the unit we tested, when AFC was used, or when the set was care- fully tuned for eye closure without AFC, the distortion did not go below 3% at 100% modulation. This may have been a matter of alignment, but since we found that the only way the distortion could be reliably brought below 3% was by tuning with the aid of a distortion analyzer, we must conclude that the 3% figure is typical of what would be met in practice. The 3% ligure relates to - 30 db on the sensitivity curve. The AFC also showed signs of inadequate filtering, since it caused a loss of low frequency response. At AFC settings less than maximum this does not become objectionable. The warm -up drift of the 630 was about 15O kc, and took about ten minutes to stabilize. If a station were tuned in as soon as the tuner was put into operation, it would require retuning within ten minutes, but not after that. Use of the AFC, of

52 HIGH FIDELITY MAGAZINS

www.americanradiohistory.com course, would eliminate the need for retuning. The tuner was relatively insensitive o _AU01O OUTPUT to drift caused by line voltage variations. 0 db 1.2 volts 10 00% modulation at 400 cps The tuning system is unique and a variation on one used by Madison Fielding in 70 one of their earliest tuners. In the older arrangement, a tuning -eye tube acted as a Noise, hum and distortion referred to 100% moving dial pointer. In the 630, the eye tube, a vertical -bar type, remains stationary 30 modulation ait 400 cps

in the center of a rectangular dial cutout. A plastic dial scale moves past the opening, -10 - NUR SENSITIVITY Usable sensitivity 4.0 uv with the eye as a tube acting pointer. In this way the eye of the user remains fixed SO s on one point and sees both the frequency setting and the exact tuning indication of 1 10 100 IK 10K 100K the eye tube. The front end, or tuner portion, of the 630 is a separately packaged assembly. The entire IF and detector circuitry is on a printed board. A cutout portion of the chassis 4-10 +s I is covered with a screwed -on plate which may be removed and replaced with a multi- AFC off

plex adapter at a later date (when and if FM multiplex becomes officially approved FREQUENCY RESPONSE 0"AFC rtay. by the FCC). Presumably Madison Fielding make the adapter available then. 1 I 1 - will so 100 700 500 it 7K 5K lOK 2010 This Madison Fielding FM tuner is a good value for moderate- priced systems. It doesn't quite measure up to sonie more elaborate tuners in distortion and stability, but on the other hand it costs a lot less. Any audible differences arc slight indeed. 1l. H. LABS.

AT A GLANCE: The Webster Electric GI.O -4 is a complete stereo record /playback preamplifier, intended for use with tape decks not having their own electronic sec- tions. It supplies erase and bias currents as well as the necessary equalization for both 3a/ ips and 7% ips tape speeds. The playback equalization is good at middle and high frequencies, but somewhat Webster Electric Glo -4 lacking at the low end. The tone controls in most control amplifiers should be able to compensate for this, however. Distortion is reasonably low. At maximum gain set- Stereo Tape tings. hum levels arc rather high, but are insignificant at lower gains. Price: $199. Record /Playback Preamp IN DETAIL: The Webster Electric GLO -4 has no centralized switching system; each channel has its own volume control, tone control, play /record switch, equalization selector (for the 33% and 7% ips tape speeds), and volume indicator meter. The only common control (other than the power switch) is the erase knob located below the two meters. In its clockwise position, only the right channel is fed the output of the erase /bias oscillator, and a neon indicator above the right channel meter glows to indicate that the erase current is on. This setting is used for mono recording. When making stereo recordings. the erase switch is turned counterclockwise. This lights indicators over both meters and supplies erase and bias current to both heads. The erase switch is interconnected with the two play /record switches so that erase current is supplied to the selected channel only if the corresponding function switch is set to RECORD. As with any system employing separate preamplifiers. it is necessary to remember to switch both function switches to PLAY before rewinding the tape. The volume controls are common to both recording and playback functions, which can be a trifle awkward at times. Probably the best way to handle the situation is to set them for suitable recording level and use the volume controls on an associated control amplifier to set correct playback levels. The tone controls affect only the playback response. In their counterclockwise position, the response is flattest, and clockwise rotation Continued on page 87

NEXT MONTH'S REPORTS

Citation I Preamplifier Wharfedale 60 Loudspeaker System EDII Stereoscope 535 Control :mplifit'r Stromberg-Carlson ASR 8-80 Amplifier

. . . and others

AUGUST 1960 53

www.americanradiohistory.com AN UNPRECEDENTED RECORDING!! ON AUDIO FIDELITY RECORDSL1f

LOUIE and the DUKES OF DIXIELAND

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I:IIi1:LF: 11 E1\ iEi:uFF:lt-SF:II1IE:F: E:ufl) 54 HIGH FIDELITY \ IAGA"J.IXE

www.americanradiohistory.com PAUL AFFELDER NATHAN BRODER O. B. BRUMIIF.LL R. D. DARRELL ALFRED FRANKENSTEIN reviewed by HARRIS GOLDSMITH JOHN F. INDCOX ROBERT C. MARSEI Records CONRAD L. OSBORNE

S. WILSON in JOHN Review

Beethoven's "Battle Symphony"

Old Showmanship in Brand -New Sonics

by R. D. Darrell B.n, nn Archives Wellington in Spain: \'«poleon

BEFORE you puritanically condemn any the sun, but only that which "bath been to Mr. von Sunnleithner [the librettist of contemporary composer or conductor already of old time, which Was before us." Fideliol, the latter mockingly replied that for seeming to prostitute his art for the sake And if your ears cringe when some fanati- the crowd would have enjoyed it even more of a stereo spectacular, or you bewail the cal stereophile assaults them with an all - if their own empty heads had been thumped lack of taste in a listening public which rev- stops -out reproduction of the present show- in the same way." els in sonic extravaganzas, take a moment piece, you will at least have a model de- Yet, whatever your opinion of spectacular out to ponder the case of the Revered nunciation ready with which to taunt the stereo in general or of this somewhat naive Master Ludwig van Beethoven and the proud demonstrator. Just quote the reac- early example in particular, the well -docu- Viennese musical élite who, nearly a century tions of two of Beethoven's own colleagues mented story of its origin, public success, and a half ago, set the pattern for such sup- to one of the first live performances under and consequences is a fascinating one for its posedly present -day aberrations. The lesson the composer himself. The Czech composer own sake. Indeed its protagonist is one of of history may or may not help to justify the Tomaschek reported of this occasion that the most fabulous characters who have sensationalism of this only too realistic "R'hen the orchestra was almost entirely haunted the peripheries of music history: "Battle Symphony," but at least it will submerged by the godless din of drums, the a clear prototype of today's audiophile. Best serve as a salutary reminder of the Biblical rattling and the slambanging, and I expressed remembered nowadays as the inventor (or contention that there is nothing new under my disapproval of the thundering applause more accurately, perfecter) of that watch-

AUGUST 1960 55

www.americanradiohistory.com dog of many generations of music students, itself but also by the chance to have his still original directions for deploying bands and the metronome, Johannes Nepomuk Maelzel unperformed Seventh Symphony played. percussion on the far left and far right, for (1772 -1838) was a kind of "Yankee" Aus- The hurriedly prepared concert of Decem- using the largest bass drums available and trian mechanical genius. He won an appoint- ber 8, 1813 must have been a fantastic one, watchmen's rattles to simulate musketry, to ment as Court Technician in Vienna on the for the augmented orchestra had only a core produce a "Battle- Symphony" display of strength of his invention of the Panharmon- of professionals and included, beside many the most advanced stereo techniques. Un- icon -one of the best of the pin- and -cylin- amateurs, such notable guest participants as questionably this performance would have der music makers of the time and the prede- Saleri, Hummel, Moscheles, and Meyerbeer put the premiere to shame (no Meyerbeer cessor of the Orchestrions and similar in- (the last of whom incurred Beethoven's here is late on the beat); and if few ears are struments which years later enjoyed a pre - fearsome wrath for coming in late on the bass likely to distinguish the authentic Napole- jukebox vogue in this country. drum!). While the second movement of the onic -era field drums from the modern va- In 1812 Maelzel opened a Cabinet of Seventh was politely encored, the large au- riety, or the actual cannon shots from their Artifices in which he displayed an improved dience was more obviously pleased with the bass -drum simulacra, there still will be a model of the Panharmonicon (now includ- antics and march tunes of the lifelike, fancily mass audiophile audience to share its Vien- ing Haydn's Military Symphony in its reper- costumed automated trumpeter, and most nese predecessor's unbounded enthusiasm - tory) and his latest creation, an automated deliriously enthusiastic about the "Battle and still purists to lament the "debasement" trumpeter. But he craved ways of publiciz- Symphony" itself. That this first real smash - of art to make a sonic holiday. ing his inventions more dramatically than he success Beethoven had ever enjoyed was no But amid all the furor there also may be had yet managed. These opportunities he flash in the pan was proved when the con- some who accept the showpiece on its face was confident he had found in the happy cert was repeated a few days later, and then values -a potboiler, to be sure, but both combination of a friendship with Vienna's (after a bitter falling -out between Maelzel amusing in itself and unmistakably bearing leading composer (for whom he constructed and Beethoven) in further concerts pro- Beethoven's characteristic signature. At the several ear trumpets) and the prospect of duced by the composer alone, and for his very least it is an effective pièce d'occasion, capitalizing on public enthusiasm over the own benefit, on January 2, 1814 (with the by no means deserving of the obscurity to famous victory (June 21, 1813) of the Eng- Rains of Athens music replacing Maelzel's which it has been sternly relegated by the lish and Austrian allies, led by Wellington, trumpeter) and again on February 27 when composer's purist partisans. Certainly it over the French army at Vitoria, Spain - the Eighth Symphony was played for the richly warrants the kind of recording for the turning point in the Peninsular War, first time. which it was prematurely devised and which which was soon to lead to Napoleon's com- Except for the ruptured friendship and an it never could receive earlier. (Even the plete downfall. inconclusive lawsuit about the rights to the Leibowitz LP, which lingers on in the Beethoven, then at a low point in his "Battle Symphony," all ended well. Maelzel Schwann catalogue, is no better than a career and dreaming of a trip to England set off for London with his trumpeter and travesty.) which might recoup his fortunes and dupli- the now completed "Battle Symphony" Once Beethoven and Maelzel have been cate the British triumphs of Handel and Ianharmonicon cylinders, and did so well vindicated, the remainder of the disc, given Haydn, readily fell in with Maelzel's there and in later trips to the United States to Grofë s Grand Canyon Suite, holds one's schemes. He would write a musical com- (where he added an automatic chess player attention only by its similarly superlative memoration of Wellington's victory for to his repertory of inventions) that on his recording -like that of the "Battle Sym- performance on the Panharmonicon, and, death he left an estate of some half million phony" almost as brilliantly transparent and after a Viennese tryout which was certain to dollars. Beethoven, having proved to him- powerful in monophony as in stereo, but in receive public acclaim, he would travel with self and the world that he could win the fa- the former of course lacking the expansive- Maelzel to London with a surefire box-office vor of the populace as well as of musical ness, antiphonal effects, and atmosphere attraction. Maelzel outlined the require- unique to the dual -channel medium. The ments in specific detail (one of his less imagi- liner notes make much of technological in- native feats, since even then, many years genuities utilized here too (separated horn before Tchaikovsky's 1812 Overture, the choirs, megaphoned trombones, echo cham- formula for "battle" pieces was well estab- ber enhancements, etc.), and these are lished): the fanfares and marching -on, first handled with unobtrusive skillfulness and of the English and then of the French ar- contribute invaluably to the sonic spacious- mies, to the tunes of Rule Britannia and .1I art ness and magic. Unfortunately, the perform- borough s'en ra -t -en guerre respectively . . . ance itself, unlike that of the crisply straight- the Challenge and Acceptance ... the forward "Battle," is so painstakingly careful Battle itself, with plenty of cannon and as to be downright dull. Grofé's pictorial musket fire, and with the French forces travelogue, for all its hold on the public's finally retreating disconsolately ... followed affection, is slight stuff, and in this gorgeous- by a triumphal "Symphony" [i.e., Over- ly technicolored, multidimensioned apoth- ture] for the victors, culminating in a fugue eosis its sheerly Hollywoodian spectacularity on God Sate the King. is only too vividly exposed. But it would take a lot of time to "record" Yet I dare say that Johannes Maelzel all this in pin- and -cylinder form, so the im- would have loved every moment of it. patient Maelzel persuaded Beethoven to At any rate, he certainly would have been score the work for an augmented true or- rapturously delighted with this latter-day chestra (unusual only for its size, calling for version of the "Battle Symphony" he two double bassoons, for example, in addi- Morton GoMld. no amateurs for him. inspired. tion to the auxiliary brass -and -percussion bands representing the opposing armies) so connoisseurs, got one more money- making BEETHOVEN: Wellingtons Sieg, Op. 91 that it might be launched promptly in a potboiler out of his system (a cantata, Die ( "Battle Symphony ") monster benefit concert. The proceeds were glorreiche Augenblick), forgot all about leav- tGrofé: Grand Canyon Smite to go to wounded Austrian war veterans, ing Vienna, and concentrated his full pow- Morton Gould and His Orchestra. but the hope was the promoters would ers on the production of the heaven- storm- that RCA VICTOR LM 2433. LP. $1.98 benefit in publicity -Maelzel through a ing masterpieces of his last years. (for a limited time only). display of his mechanical trumpeter, Bee- Today, Morton Gould and the RCA Vic- RCA VICTOR LSC 2433. SD. $2.98 thoven not only by the "Battle Symphony" tor engineers have only to follow the faded (for a limited time only).

56 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com by Conrad L. Osborne

Four Shakespeare Tragedies,

And No Passion's Torn to Tatters

Settmonn Archives On discs, at least, the play's the thing.

HE RECORDED SHAKESPEARE repertory been impeccably done, and the performance chief among them being a tendency to say in I continues to be enriched- recently by has many points to recommend it. These eighteen lines what could be said in a couplet, four productions of unusual interest: uncut Marlowe Society productions will keep a re- but it is still a fascinating piece of work. performances by the Marlowe Society of viewer honest, for all the players are anony- The performance is a fine one. Both of Romeo and Juliet and Troilus and Cressida in mous, and there is always the possibility that the leading players bring a breathless lyrical London's series of the Complete Works, and the actor you have labeled a "rank amateur" quality to their scene of intimacy, rendering of King Lear and Julius Caesar by the Dublin will later turn out to be a Gielgud or Olivier Cressida's later inconstancy all the more in- Gate Theatre on the Spoken Word label. or Richardson. I will say, however, tha: the supportable. I would have liked a bit more Romeo and Juliet has perhaps special sig- Juliet is unusually good, having a sufficiently ironic relish in Cressida's little farewell nificance as the first of the Marlowe Society youthful sound for the early scenes, and soliloquy, and a bit less in the way of girlish productions to be given benefit of stereo. The enough womanly strength for the later ones. hysterics during her leave- taking; otherwise performance is a good one, and it has been The Romeo is also very acceptable, though there is little to complain of. The other prin- carefully recorded; yet this release points up he has his moments of preciosity, and the cipal characters are sharply drawn and lustily anew some of the questions posed by trans - supporting players are all up to the occasion. projected. The perspective problem again ference of drama to records. The matter of Of particular note is the fact that the smaller is at hand (Thersites sounds as if he is about placement of the actors has never been satis- roles are never given to actors who are down- to swallow the microphone), but the re- factorily resolved, and on most monophonic right embarrassing, and some are turned to cording is clear, surfaces silent, and the back- recordings of plays we have instances of positive account -the fellow who plays the ground noises of battle superbly rendered. actors moving up close to the microphone for Apothecary, for example, lends real atmos- The present Spoken Word releases do not an intimate dialogue or soliloquy, and then phere to his brief scene. have the technical gloss of the London re- away for the more declamatory speeches. In Troilus can be counted on to inspire long cordings. There may have been some diffi- a stereo recording, with its much sharper paragraphs of equivocation from the cata- culties in the processing of the discs, for the definition of depth and breadth, of nearness logue critics, for none of the classifying second record in my review copy of the Lear and farness, this technique becomes too trans- labels are quite right for it. (Only three are set has quite a surface hiss on both sides, and parent a device. In scenes whose draina is of allowed, you know: "Tragedie," "Comedic." bubbles appear from time to time. The fan- an inward sort, some of the finest moments and "Historic. ") I am not sure that the ques- fares and flourishes seem conspicuously pre- result from the close -up. But in Romeo (and tion is of any consequence, but I am sure recorded effects, and the sound does not this applies in some degree to all of the pro- that a great deal of Troilus is downright have the spaciousness of London's. Never- ductions considered here) the technique funny, in a horrifying way. Those characters theless, both albums are worth investigating. merely call: attention to itself as a trick for who are not villains of the most flamboyant There is an old theory to the effect that achieving an easy effect -now "in" for the sort are perfect asses, from the brawny, Lear is not an actable play. What is meant, I Queen Mab speech, now "out," "in" again dumb Ajax to the cowardly, narcissistic think, is that Lear is too actable a play. The for the Balcony Scene, etc. London's other Achilles and a collection of pompous gener- problem lies in finding the right actors. effects (the sounds of swordplay, the passing als. Even Ulysses, it seems to nie, for all his Every scene of Lear is conceived in terms of of the musicians in County Paris' retinue, verbal gift and command of logic, comes in theatre, every speech in ternis of acting - for instance) are all evocative of a stage per - for some ribbing. The characters who are not great acting, to be sure, and theatre on a formance -we picture the action in a thea- villains or asses are of the house of Calchas, mighty scale. Proof of the play's almost ab- tre, not in the streets of Verona -and the Pandarus and Cressida -disloyal weaklings. solute actability lies in this, that no matter constant shifting of perspective is annoying. Certainly Troilus and Cressida is a bitter how incompetent individual performances, It would seem that Shakespeare might well play. Its central theme is betrayal. It system- no matter how much of a fiasco the produc- be the logical place for record companies atically sets up and dashes illusions, ascribes tion as a whole, sections of the drama will still to go the whole hog with "staged" stereo. the basest motives to some of the noblest be immensely moving and exciting. The The close -up business should not put off names in the classical lexicon, offers no hint Dublin Gate's performance is far from ideal, the real lover of Shakespeare, though. of catharsis, and assigns the last word to a but it is decent enough to put across the Apart from that matter, the recording has dejected l'andar. The play has its defects, play's essential quality. Its big drawback is

AUGUST 1960 57

www.americanradiohistory.com in the Lear of Anew McMaster. McMaster's formances are really electrifying. A compari- SHAKESPEARE: Troilus and Cressida Lear begins feeling sorry for himself in the son of the two Dublin albums serves to dem- Past and present members of the Marlowe first scene, and the role is soon submerged onstrate the values of the true repertory Society of the University of Cambridge, in self-pity. Within this conception Mc- company, for Anew McMaster, the Lear, George Rylands, director. Master plays the role beautifully, but the turns up as an excellent Brutus; Milo O'Shea, LONDON A 4413. Four $19.92. fact is that the old king does demonstrate the Edmund of the Lear set, appears in the qualities other than senile feebleness and small roles of Marullus and Varro; and the SHAKESPEARE: King Lear gullibility. The rest of the long cast is quite excellent Fool, Christopher McMaster, is Players of the Dublin Gate Theatre, Anew good. There is a particularly strong Kent now a very adequate Marc Antony. The McMaster. director. by Leo Leyden; and Maurice Good, the whole production is intelligent, clear, and SPOKEN WORD SW -A9. Four LR Edgar, is splendid in his scenes as Poor -l'om. fast-paced. $23.'[2. I ans also grateful to Christopher McMaster, who does not so burlesque the role of the fool SHAKESPEARE: Romeo and Joliet SHAKESPEARE: Julius Caesar that we cannot understand what he is saying. Past and present members of the Marlowe Players of the Dublin Gate Theatre. Anew Julius Caesar is, of course, much less of a Society of the University of Cambridge, McMaster, director. challenge than Lear. The production is a George Rylands, director. SPOKEN WORD SW -A15. Three LP. laudable one, though none of the per- o LONDON OSA 1407. Four SD. $23.92. $14.94.

the fifteenth, complete control coupled with that of a small band of players in the roost. sensitive, singing phrasing results in a per- You can hardly ask for more. R.C.M. CLASSICAL formance of classic grandeur. It is fascinating to compare this with the equally grand BEETHOVEN: Sonatas for Violin and performance of Landowska, who stresses Piano: No. 1, in D, op. 12, No. 1; No. 9, the romantic aspect of Bach. Both, it seems in A, Op. 47 ( "Kreutzer ") ALBINONI: Concertos, Op. 9: for Oboe to me, are legitimate approaches. N.B. and Strings, No. 2, in D minor; for Zino Francescatti, violin; Robert Casadesus, Violin and Strings, No. 4, in A; for piano. Violin and Strings, No. 10, in F. Sonata BACH: Concertos for Harpsichord and COLUMBIA ML 5453. LP. $4.98. S. "or Strings, in G minor, Op. 2, PP'o. 6 Orchestra: No. 1, in D minor, 1052; CoLUMiiiA MS 6125. SD. $5.98. No. Z in E, S. 1053 J I Musici. heels Christopher Wood, harpischord; Golds - Here, hard on the of the Szervng- Epic LC 3682. LP. $4.98. brough Orchestra, Lawrence Leonard, cond. Rubinstein edition, is another stereo Kreutzer EPIC BC 1076. SD. $5.98. FORUM F 70003. LP. $1.98. featuring two concert figures of great in- FORUM SF 70003. SD. $2.98. dividuality and eminence. Their perform- Albinoni seems to me to be one of the most ance has the fire and drive some found ingratiating of the Italian baroque com- There is nothing distinctive about these lacking in the Szeryng- Rubinstein set, and posers. The first movements of these con- discs but their price. Only in the slow move- I should imagine that for the majority of certos arc lively and melodious rather than ment of the D minor is an effort made to record buyers this new Columbia disc will dramatic, the adagios are songful, and the transcend mere routine. The sound is a bit become the preferred collaboration. It is a finales are couched in lighthearted but skill- harsh in the D minor, slightly distorted on genuine joint effort. Both players are in top fully wrought counterpoint. The Musici the other side. There is no particular advan- form, and their approach is close enough to the perform these works with their customary tage in the stereo: in D minor the harpsi- create a strong and harmonious interpreta- vitality, but, as is also customary with chord seems to be on one track and the tion both in the early Op. 12, No. I sonata them, the harpsichord cannot be heard orchestra on the other, so that the dialoguing and the more popular Kreutzer. most of the time. In the stereo version the violins come out of the same speaker. More- The recorded sound is very good in both sound is natural and warm; in the mono, over, there seems to be less distortion in the editions. Stereo adds something to the size the violin tone becomes edgy. Interpreta- mono version of the E major. N.B. and strength of the sound source, but the tively there is not much difference between difference may not be worth a dollar sur- these performances and those in Vox's BEETHOVEN: Octet for Winds, in Eliot, charge. R.C.M. complete Op. 9. From the standpoint of Op. 103 -See Mozart: Serenade No. 11, recording, the Epic stereo is superior. N.B. in E flat, K. 375. BEETHOVEN: Symphony No. 6, in F, Op. 68 ( "Pastoral "J BACH: Aria with 30 Variations, in G, BEETHOVEN: Quintet for Piano and Rafael S. 988 ( "Goldberg Variations") Royal Philharmonic Orchestra, Winds, in E flat, Op. 16 Kubelik, cond. Divertimento IJ"inds and Ralph Kirkpatrick, harpsichord. [Mozart: for CAPITOL G 7213. LP. $4.98. No. 1, in E flat, K. 113 ARCHIVE ARC 3138. LP. $5.98. Strings, CAPITOL SG 7213. SD. $5.98. ARCHIVE ARC 73138. SD. $6.98. Members of the Vienna Oc t. LONDON CS 6063. SD. $5.98. As Kubelik secs it, this score is a tender, V "For all their lyricism and tragic passion midsummer day's dream that creates and and exuberance," wrote Ralph Kirkpatrick One of the great merits of stereo is what it sustains a mood of sylvan romanticism. more than twenty -five years ago, "the Aria can do in its less gaudy applications. This is Adopting this approach, the conductor and the Variations seem of a divine substance surely a worthy continuation of the Vienna develops it with imagination and taste to entirely refined and purified of anything Octet's entrancing series. The Beethoven is produce an edition that stands alone among personal or ignoble, so that in playing them available stereophonically in its alternate those in the catalogue. Those who share one seems only the unworthy mouthpiece of version for piano and strings, and this is its Kubelik's outlook ought to prefer this record a higher voice." It is a sentiment to which third appearance in dual channels as scored to all others of this music. Those who take he still subscribes, as is shown by the present for piano and winds. The other sets are good, their ideas about the score from the classical performance. Every tempo chosen is con- but the playing of these Vienna musicians point of view of Toscanini and Klemperer vincing, every note falls into its proper gives them immediate preference. The will undoubtedly protest Kubelik's lack of place in a profoundly grasped scheme. The Mozart, which here makes its stereo debut, rhythmic strength and his failure to main- improvisational quality of a variation like is played in its original version with clarinets tain plastic continuity in the final move- the twenty -ninth is given its full value, but and horns. A thoroughly engaging example ment -which does become rather rhapsodic. elsewhere, as in the galloping figure of the of its type, it too is projected with charm Admittedly there are faults here. The fourteenth variation or the poetic song of and felicity. The effect of the recording is town musicians are sleepy with the summer

58 HIGII FIDELITY MAGAZINE

www.americanradiohistory.com heat and the horns are suffering from a er than usual. The tonal range is good, but movement takes on far more eloquence and touch of the sun. The same dreaminess that reaches farther into the lows than into the meaning when treated in this manner. (The gives us unreal peasants in the scherzo pro- highs. In mono, the sound is well balanced; only other conductors known to me whose vides an unconvincing storm a moment in stereo, it is evenly distributed and pleas- records reveal a similar approach are later. Klemperer, on the other hand, excels ingly directional, with a good deal of depth. 'l'oscanini and Paray.) The Vienna Phil- in both these movements. But for all that, As in all too many versions of the Fan - harmonic is in its best form, and the en- I find nothing in Kubelik's performance tastique, the third movement is split be- gineers have given the performance excel- that is not inherent in Beethoven's score, tween the two sides. The playing of the lent stereophonic distribution. P.A. and I welcome the full -scale treatment that Vienna Philharmonic is polished and relined. this aspect of the music has been given. the string tone especially lustrous, the BRUCH: Concerto for Violin and Or- Others, notably Markevitch, have approxi- brasses sonorous; but in my opinion the best chestra, No. I, in G minor, Op. 26 mated this interpretative position without disc performances are still those by Munch tSpohr: Concerto for Violin and Orches- working to its conclusions so resolutely. (RCA Victor) in mono, Wallenstein (Audio tra, No. 8, in A minor, Op. 47 The engineering is at its best in stereo, Fidelity) in stereo. l'..A. although even this lacks sharp outlines and Joan Field, violin; Berlin Symphony Or- well- defined bass. This lack of focus over -all BRAHMS: Symphony No. 4, in E minor, chestra, Rudolf Albert, cond. is more evident in the mono version, un- Op. 98 'TELEFI'NKEN TCS 18031. SD. $2.98. fortunately. Kubelik plays the repeats in Vienna Orchestra, Rafael both the first and third movements. R.C.M. Philharmonic There are plenty of good recorded versions Kubelik. cond. of the Bruch G minor Concerto. and this 2 LONDON CS 6170. SD. $4.98. interpretation by Joan Field may BEETHOVEN: Wellingtons Sieg, Op. 91 persuasive the preferred list, particularly ("Battle Symphony") The breadth, sonority, and logic with which be added to is so well presented at such a low tGrofé: Grand Canyon Suite Kubelik invested the first three Brahms since it Miss Field also does well by the ac- symphonies in this series made his readings price. Spohr Concerto, but as music Morton Gould and His Orchestra. a joy to hear. His interpretation of the companying 2433. LP. $1.98 this is another of those routine -sounding RCA VicroR LM Fourth is no exception. It is a beautifully nineteenth -century works through which (for a limited time only). warm, sane performance from beginning to is obliged to wade. The stereo RCA VICTOR LSC 2433. SD. S2.98 end. What's more, Kubelik further dis- every student in both concertos is (for a limited time only). tinguishes himself by doing what few other sound excellent, with placed P.A. conductors have done: he maintains an the soloist nicely left of center. For a feature review of this disc, sec page 55. even, steady tempo throughout the final chaconne, accelerating- regrettably -only CHOPIN: Polonaises: No. 1, in C sharp BERGSMA: Quartet No. 3 at the beginning of the coda. This last minor, Op. 26, No. 1; No. 2, in E flat, f Eoss: Quartet for Strings, No. 1

Juilliard String Quartet (in tt a Bergsma); American .Art Quartet (in the Foss). / COLUMBIA ML 5476. LP. $4.98.

Y Slowly but quite surely it becomes apparent NEXT MONTH IN that among the composers of essentially conservative bent in America, William Bergsma is one of the most gifted, eloquent, and important. This is the seventh work of his to appear on discs in recent years, and, as is the case with its six predecessors, high fidelity hearing it is a very rich and moving experi- ence. Bergsma has a lot to say in this grand, big, commanding score, and he is extremely U1 lucky to have the collaboration of the Juilliard Quartet and Columbia in saying it. Victoria of the Angels The quartet by Lukas Foss on the other side is also beautifully played and recorded, but The reigning diva of our day -so many people consider the it is a rather superficial charm- piece, es- Spanish soprano Victoria de los Angeles. pecially by comparison with the Bergsma's by Roland evocative work. A.F. Gelatt

BERLIOZ: Symphonie fantastique, Op. 14 Are You Cheating Yourself on Speakers? Vienna Philharmonic Orchestra, Pierre Questions answered, with some advice for the budget- minded. Monteux, cond. by Charles Fowler RCA VICTOR LM 2362. LP. $4.98. RCA VtcroR LSC 2362. SD. $5.98. Nobody Calls Him Willie Now

Monteux's : nterpretation of this dramatic Instead, he's Sir William Walton, a composer program -symphony lacks the inner tension who's also a bon vivant. and outer fire that a truly convincing treat- ment of the score requires. The dreams and by Patrick Cairns Hughes passions of the first movement are serene and sweet; the waltz in the second movement could be an excerpt from a ballet divertisse- Amplifier Ratings -Fact and Fantasy ment; the Scene in the Fields, with some Specifications help, but they don't tell all. strangely detached phrasing for the solo English horn and oboe, is like a summer pas- by David Fidelman torale; the March to the Scaffold has the weight of a coronation processional; and the And Also -A Preview of New Fall Recordings Witches' Sabbath is lacking in ferocity, though it is revealingly transparent. Reports on New Components Both the monophonic and stereo editions were recorded at a volume level slightly low-

AUGUST 1960 59

www.americanradiohistory.com Op. 26, No. 2; No. 3, in A, Op. 40, No. climaxes, as with "Ah, vi disperda!" or "Oh 1; No. 4, in C minor, Op. 40, No. 2; No. be /!'alma innamorata" in the final pages. 5, in F sharp minor, Op. 44; No. 6, in A Bastianini sings "Cruda, funesta smania" flat, Op. 53 forcefully but rather clumsily; the cabaletta that follows is excitingly done, and he is fine Witold Malcuzvnski, piano. in the second -act scene with Lucia. Vinco ANGEL 35728. I.P. $4.98. does not have the large, rolling tones needed ANGEL. S 35728. SD. $5.98. to make an outstanding Raimondo. The comprimario parts are adequately filled The first six Chopin Polonaises, as played -I ans fascinated by the tenor who sings consecutively, make a most satisfying Normanno, identified only as "N.N." sequence with the extrovert brilliance of Sanzogno does not capture the the popular A major and A flat major quite lilt of the ensembles in Serafin's nicely contrasted to the austere introspec- manner, and his tempos seem uncomfortable Bas- tion of the first two, the gravely aristocratic for tianini at a couple of points, but his leader- C minor, and the ardent drama of the ship is direct and usually well paced, and he bravura F sharp minor. Malcuzynski is restores cuts that are normally taken in the most successful in conveying the dramatic, Act II finale and the Mad Scene. Sound is nationalistic sections of the music. Some- excellent in the stereo edition, but a trifle times his climaxes don't press forward quite edgy and sometimes distorted in the mono- enough, and I feel that the rubato effects in phonic version. C.L.O. lyrical passages are too contrived. But pending the arrival of a really superlative version, Malcuzynski's sturdy performances Renata Scotto: the first look's fine. FOSS: Quartet for Strings, No. 1 -See make a formidable rival to the monophonic Bergsma: Quartet No. 3. Rubinstein edition. (And the music itself is glorious!) from it to appear. The work employs a GEMINIANI: Concerto Grosso in C minor, The recording seems to have been made rather simple -minded American rural story, Op. 2, No. 2 -See Handel: Double in a concert hall or very large studio. The but on it Copland has hung some of his Concerto No. 3, in F. stereo has a tremendously vivid, acute live - most captivating music. This is Copland, ness. The monophonic sound, while more the composer of folkloric lyricism, at his GRIEG: Concerto for Piano and Orchestra, constricted than its SD counterpart, is also most eloquent, luminous, delicate, and re- in A minor, Op. 16 brilliant. I I.G. strained. There is, to be sure, a folk -dance episode in the middle of the suite to give it 'liftoff: Concerto symphonique, Op. 102: Scherzo change of pace. but its main drift is espres- CHOPIN: Sonata for Piano, No. 3, in B sitro rather than scherzando, and in Copland's Peter Katin, piano; l.ondon Philharmonic minor, Op. 58 richest vein. Orchestra, Colin Davis, cond. tSchumann: Kinderszene,t, Op. 15 Spring is. Appalachian of course, too well R,cnsloND 19061. I.P. $1.98. known to require comment; all one need Rudolf Firkusny, piano. RICHMOND S 29061. SD. $2.98. say is that Copland gives it a marvelous CArtroL. P 8526. LI'. $4.98. performance (as he does the Tender land CAPITOL SP 8526. SD. $5.98. This performance of the Grieg is fully music) and receives all -out support from competitive with those by more celebrated Firkusny's pianism is lovely. I lis fingers are the orchestra and the recording engineers. soloists, but it does not displace Lipatti deft and his touch is varied and sensitive. A. F. or Novaes from in affections. And although In addition, there is precision and taste in I liked Peter Katin's reserved, )et poetic his musical approach. Both interpretations DONIZETTI: Lucia di Lammermoor playing. I felt the orchestral support was abound in felicitous detail and poetic in- occasionally sluggish. The SD seems to be Renata Scotto (s), Lucia; Stefania Malagù sight. But however stimulating his per- pressed on a higher than (ins), Alisa; Giuseppe di Stefano (t), Ed- grade vinyl its formance of the sonata might be if heard is, gardo; N.N. (t), Normanno; Franco Ric- monophonic counterpart; it at any rate, once in recital, I feel that it is too elaborate a better- sounding record. The Mendels- ciardi (t), Arturo; Ettore Bastianini (b), and wayward to wear well in repeated sohnian piece is played with Enrico; Ivo Vinco (bs), Raimondo. Chorus Litollf deftness playings. In spite of the inferior sound of and sparkle. H.G. and Orchestra of Teatro alla Scala (Milan), the old Lipatti recording, I prefer that Nino Sanzogno, cond. version, which. though equally studied, has HANDEL: Concerti grossi, Op. 6: No. 1, in more pulse, sounds more economical, and MERCI "RY Of. 2 -108. Two LP. $9.96. G; No. 2, in F; No. 3, in E minor is less sectionalized. MERCURY SR 2 -9008. Two SD. is Firkusny's Kinderszenen somewhat more $11.96. Handel Festival Orchestra (Halle), Horst - successful. In Träumerei, he heightens the Tanu Margraf, cond. dreamy quality of the music by employing This is a Lucia with all the stops pulled out, Epic BC 1074. SD. $5.98. a flexible rubato, while his Ritter rom and what it lacks in Donizettian elegance it Steckenpferd is characterized by judicious makes up in dramatic impact. It gives us The twelve concerti grossi for string orches- pedal effects. Some of the other pieces could our first extended look at Renata Scotto, tra. Op. 6, are surely, with the Bach Brand- stand a bit more solidity and rhythmic who has scored impressive European suc- enburgs, the richest and noblest works of contour. This last quality is present to a cesses in Lucia and Sonnambula. She is this kind produced in the baroque period. greater degree in the editions of Curzon, obviously an important new artist. lier As the present trio of compositions show, Gieseking, and Novaes. Fine though it is, voice ranges over the music without pausing I landel lavished on them first -rate material, Firkusny's, I think, must yield to these for adjustment. and performs the runs painstaking workmanship of the highest or- artists'. I I.(;. cleanly. The art of embellishment is not der, and a depth of feeling rarely encoun- quite second nature to her, and she does not tered in his other instrumental works. The project the role's sadness quite. as Callas performances here are high -grade too. The COPLAND: The Tender Land: Suite. does, her interpretative ideas being along orchestra sounds rather large, but it is flexible Appalachian Spring: Suite more conventional lines. But her tone is and competent. The soloists (Gerhard Bosse Boston Symphony Orchestra, Aaron Cop- always balanced and steady -limpid, yet and Maria Vermés, violins; Friedemann land, cond. with a pungent bite to it. She ought to Erben, cello) play with a full, round tone; a Violetta, I who some of the move- RCA VICTOR LM 2401. LP. $4.98. make fine Gilda or and hope and Margraf, takes she is given a chance to record these roles ments more broadly than other conductors RCA VICTOR LSC 2401. SD. $5.98. soon. do, nevertheless keeps the line from sagging. The Tender Land, Copland's most important Di Stefano sings pleasantly in the more Except for the harpsichord, which is so faint opera to date, was finished six years ago, lyrical moments -the love duet and "Fra that it might just as well be absent, the but this is the first recording of any excerpts poco" -but is thoroughly distressing at the sound is fine. N.B.

60 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com HANDEL: Double Concerto No. 3, in F KHACHATURIAN: Gagne: Ballet Ex- harmonics formed by the ebb and flow of tVivaldi: Concerto for Flute and Orchestra, cerpts five or six supple lines, these works repre- in D, Op. io, No. 3 ( "Il Gardellino' ) sent Renaissance London Symphony Orchestra, Anatole polyphony at one of its tGeminiani: Concerto Grosso in C minor, Fistoulari, cond. highest peaks. There is deep feeling through- Op. 2, No. 2 except in where EVEREST SDBR 3052. SD. $4.40. out, In hora ultima, Lassus is led by the text into some cheerful word Samuel Baron, flute; Saidenberg Little Sym- painting. phony, Daniel Saidenberg, cond. KHACHATURIAN: Gagne: Ballet Suite The performances arc rather better than AMERICAN SOCIETY CONCERTS-IN-THE- fKabalevsky: The Comedians, Op. 26 in previous recordings of Lassus by the same HOME AS 1001. LP. $4.98. Vienna State Opera Orchestra, Vladimir forces, though still not ideal. In the Mass AMERICAN SOCIETY CONCERTS-IN-TIIE- Golschmann, cond. and the De profundis instruments support HoME SAS 1001. SD. $5.98. I VANGUARD SRN' 113. LP. $1.98. the voices. This keeps the singers' intona- VANGVARD SRN' 113. SD. $2.98. tion steady, but also results in a kind of This is another in a new series of recordings muddiness' of color: one hears the instru- adorned by Picasso drawings printed on the In Soviet Russia there may be a demand for ments, but seldom clearly enough for sleeves. Like the recent disc of Purcell and a complete set of seventeen concert ex- identi- fication, and they cling doggedly to other baroque composers in the same series, cerpts from the Gagne Ballet, but even their respective vocal lines a this one contains excellent performances. eleven of these (more than in any previously throughout move- ment. The De profundis sags towards the The novelty here is the Handel, which is available American edition except Kurtz's end, but Grischkat keeps the other works apparently not otherwise available on rec- quite ancient LP) are probably too much for moving. In the Requiem the tenors are ords. It is for three little orchestras, one con- most listeners in this country, especially sometimes inaudible; elsewhere the balance sisting of strings and each of the others com- since only a rollicking llopak, among the less is better. The sound is acceptable. N.B. prising pairs of oboes and horns and bassoons. familiar selections, boasts any distinctive In the mono version this work, except for a attractions. In any case the best that can be LISZT: Hunnenschlacht -See Mussorg- brief but noble Adagio, sounds like second - said of Fistoulari's present collection is that sky: Pictures from an Exhibition. rate Handel, and maybe that is what it is, his performances are louder, faster. and more but stereo gives it a vitality lacking in the vehement than even the brashest of the LITOLFF: Concerto symphonique, Op. 102: other recording. With pairs of horns, or many slam -bang earlier versions. The re- Scherzo Concerto trios of woodwinds, bandying ideas back and cording too is ultrasensational, but even the -See Grieg: for Piano and Orchestra, in A minor, Op. 16. forth across one's living room, the work is toughest ears are likely to flinch from its fun, even though the ideas are not Handel's excessively hard tonal qualities and exag- MAHLER: Symphony No. 2, in C minor finest. Mr. Baron imitates a goldfinch pleas- gerated stereoism. ("Resurrection"); Das Lied von der antly, and the Geminiani is decent enough. I much prefer the less virtuosic, but far N.B. more resilient and zestful treatment of seven Erde of the best -known excerpts by Golschmann, Ilona Steingruber, soprano; Hilde Rössl- HAYDN: Concerto for Piano and Orches- and I enjoy still better the light touch and Majdan, contralto; Academy Chamber tra, in D, Op. 21 -See Mozart: Concerto humor he brings to the more ingratiating Choir; Chorus of the Society of the Friends for Piano and Orchestra, No. 22, in E Comedians Suite by Kabalevskv. And the of Music (in the Symphony); Elsa Cavelti, flat, K. 482. Vanguard recording, too, has a more genuine mezzo- soprano; Anton Dermota, tenor (in concert hall authenticity and sonic appeal, Das Lied); Vienna Symphony Orchestra, particularly in its warmly poetic, delicately HAYDN: Mass No. 2, in E "Great Otto Klemperer, cond. flat ( detailed. and plastically rounded stereo Organ Mass") Vox VBX 115. Three LP. $6.95. edition. This release ranks near if not at the Elisabeth Roon, soprano; !tilde Rössl -Maj- top of the available Gagne- Comedians cou- There is an element of irony in the situation dan, contralto; Waldemar Kmentt, tenor; pling listings; at its present bargain price it when Klemperer's seventy -filth birthday Walter Berry, bass; Bruno Scidlhofer, organ; is definitely the best buy. R.D.D. (which his British record makers have com- Akademie Kammerchor; Vienna Symphony memorated with a Wagner album not yet Orchestra, Ferdinand Grossmann, cond. LASSUS: Requiem for Five Voices; De scheduled for American release) should go J LYRICuORn LL 84. I.P. $4.98. Profundis; Motets; Ubi est Abel; Justoru'n unmarked here save for the reissue of these animae; In hora ultima two sets dating from a decade ago. This is the first full -length Mass by Haydn Swabian Choral Singers and Instruments Not, mind, that I object to the restora- that has survived. Thought to have been (Stuttgart), Hans Grischkat, cond. tion of these performances to the catalogue. written about 1766, it is a big work, with 1-YRlctroRO I.I. 87. LP. $4.98. Klemperer is one of the great Mahler con- considerable brilliance and some very tine ductors, although this facet of his musician- sections, such as the poignant choral portion The music is magnificent. In the finely ship has been slighted in recent years. It is of the Et incarnatus est and the lovely Agnus shaped melodies, in the rich and poignant good to find him again in that role. But lei. A special feature of this Mass, aside even with the splendid job of sonic revitali- from the fairly elaborate organ part which zation which Vox has done, an album such gives it its nickname, is the extraordinarily as this is primarily of interest as a document. skillful and expressive writing for the solo Improved as the sound is (one need only quartet. The soloists are sometimes divided compare it with the original masters to be into two opposing pairs, sometimes juxta- impressed), Mahler's music bursts the bonds posed three to one, and sometimes sing one here imposed by the microphone. The fact at a time or all four together. Fortunately, remains, however, that Vox is offering more the singers here are all very capable, and than two hours of important music in conductor and recording engineer maintain Klemperer's distinguished performances for proper balances. Miss Roon, who is not as $6.95 -an exceptionally good buy. R.C.M. frequently encountered on records as the others, reveals an attractive voice wide in MARTINO: Concerto for Two String Or- range and accurate in intonation, and the chestras, Piano, and Timpani; Three other soloists are all in good form. The Frescoes chorus sounds sturdier and steadier than in Czech Philharmonic Orchestra, Karel An- some other recent recordings. Grossmann cerl, cond. takes the Kyrie rather slowly, but other- p ARTIA ALP 135. LP. $4.98. wise keeps things going nicely. The sound is IN ARTtA ALPS 135. SD. $5.98. good. N.B. The music of Bohuslav Martina .has never KABALEVSKY: The Comedians, Op. 26 been my dish of tea, and I am therefore -See Khachaturian: Gayne: Ballet especially pleased to report that I found the Suite. Franz Joseph Hardis Concerto for Two String Orchestras, Piano,

AUGUST 1960 61

www.americanradiohistory.com (in the Symphony); Orchestra of the Vienna in the other recordings of this work. Under \'olksoper (in the Midsummer Night's Reiner's magic stick the orchestra turns in Dream); Edouard van Remoortel. cond. the best- sounding recording of the Overture Vox GBY 11310. I.P. $1.98. I have ever heard. N.B. Vox STGBY 511310. SD. $2.98. Winds and The young Belgian conductor takes a spa- MOZART: Divertimento for 1, K. 113 cious view of the Scotch Symphony, also a Strings, No. in E flat, -See rather serious one. Spaciousness allows for Beethoven: Quintet for Piano and ample clarity. but seriousness deprives the Winds, in E flat, Op. 16. symphony of some of its inherent brightness. This quality is missing most in the overly MOZART: Serenade No. 11, in E flat, K. broad finale. Filling out the second side is a 375 rather stiff, unimaginative reading of the tBeethoven: Octet for Winds, in E flat, Midsummer Night's Dream Overture and, Op. 103 in the monophonic edition only, the Scherzo Conservatory Professors Chamber Society and IU'edding March. There is some distortion Prague. in the single- channel version. but the stereo of VANGUARD VRS 1046. LP. $4.98. edition is well distributed and cleanly VANGUARD VSD 2043. SD. $5.95. and brightly reproduced. P.A.

The Beethoven is an early work. despite the high opus number. but it shows its twenty - MOZART: Concerto for Piano and Or- two- year -old composer already thoroughly at Martin,: sometimes in the neoclassic rein. chestra, No. 22. in E Jlat, K. 482 home in writing for the sv'nds, es-en though tHaydn: Concerto for Piano and Orchestra, his ideas are not particularly noteworthy and Timpani a very moving. beautiful. and in D, op. 21 here. Mozart. of course, hit his stride earlier impressive work. Written in 1938, towards Jörg Dcmus, piano; Radio Symphony Or- in life than Beethoven did; the Serenade, the end of the period when comlxrsers were chestra Berlin, Franz -Paul Decker, cond. written at the age of twenty -five, is a mature much interested in the concerto grosso DEUTSCHE GRAMMOPHON LPM 18588. work, constructed with consummate skill type of neoclassicism, it is one of the most I.P. $5.98. and full of attractive ideas. The good profes- masterly examples of that genus I know. DEUTSCHE GRAMMOPHON SLPM sors of the Prague Conservatory play togeth- Martinis himself thought this to be his best 138049. SD. $6.98. er neatly and precisely, but it cannot be said work, and he was probably right. that they overwhelm the not very impres- Demos' playing here has more pep and in- The Frescoes, overside, are in the typically sive competition they have in recordings of terest than he has shown in other recordings romantic, richly scored. well -made manner these works. The first clarinet is a bit shrill in that 1 have encountered. His performance of Martins], and, like so much of this com- the upper register, and both horns are rather of the Haydn is quite nice. and while he does poser's music, might have been written by tentative, especially in the Beethoven; the not probe very deeply below the surface of anybody. The Frescoes, incidentally, were group as a whole could be a little more in- the great slow movement of the Mozart, his inspired by the paintings of Piero della cisive in spots, and the dynamic range is reading of the finale of that work is crisp and Francesca in the church of St. Francis at narrow -there isn't a pianissimo on the lively. Crispness, in fact. is a quality that Arezzo -the very same paintings which led disc. N.B. Luigi Dallapiccola to the composition of his seems a bit overdone on this disc: not very much legato can be heard in the solo part. as yet unrecorded, Due Pezzi magnificent, MUSSORGSKY: Night on the Bare Moun- orchestra. Otherwise, the Mozart suffers from the com- for tain (arr. Rimsky- Korsakov) See The performances by Ancerl and the mon fault of poor balance, ornamental pas- - Respighi: Pini di Roma. Czech Philharmonic are full of fire and sages in the piano often drowning out the are A assurance, and the recordings are good if woodwind material they embellishing. not startling. A.F. hilly satisfactory performance and recording MUSSORGSKY: Pictures from an Ex- of this work is still in the future. N.B. hibition (orch. Ravel) MENDELSSOHN: Sonatas for Cello and tLiszt: Hu,vnen:chlacht 1, B Op. 45; No. 2, Piano: No. in fiat. Orchestre de la Suisse Romande, Ernest in D, Op. 58 MOZART: Concerto for Piano and Orches- I Ansermet, cond. tra, No. 25, in C, K. 503; Don Giovanni: David Soyer, cello; Harriet 13'ingreen, LONDON CS 6177. SD. $5.98. Overture piano. MONITOR MC 2045. LP. $4.98. André Tchaikowsky, piano; Chicago Sym- Back in the days when this Ravel orchestra- phony Orchestra, Fritz Reiner, cond. tion was regarded generally as Koussevitzky's Mendelssohn's only two cello sonatas. like RCA VICTOR I.M 2287. LP. $4.98. property, one heard the Pictures less often so much of his other music, have an easy RCA t'ICToa I.SC 2287. SD. but, I think, enjoyed them more. Now that melodic flow that reflects the facility with $5.98. they are a staple, heard all too frequently which the composer worked. Of the two. the To judge by this performance, André in inflated performances, it is easy to forget second is more popular, and justly so, for it Tchaikosysky is a young artist with tem- what imaginative music this is and how has more originality, especially in its unique perament, over which he will probably gain brilliant the Ravel orchestration can be. scherzo and its slow movement, the latter more complete control than he manifests As far as 1 am concerned, this Ansermet presenting a chorale in the piano embellished here. Together with some sensitive phrasing version is the only stereo set to approximate by an obbligato in the cello. and a technical command that enables him my recollection of the old Koussevitzky There is ample facility in Soyer's delivery to play long scale passages non legato yet timbres or, for that matter, to do justice to of the cello part, but his tone. at least as rapidly and lightly, he reveals an occasional Ravel. Here there is no muscle -bound recorded here, is not very- bright. There is lack of polish or lapse in musicianship. as quality but lightness and a refreshing sense also very little variation in his style or in- when he permits his left hand to grow too of movement. The accents are deft and terpretative intensity. All these desirable loud when it is merely accompanying. telling, and the textures remain open so qualities are possessed to a far greater degree Both the Serkin (Columbia) and the that such important voices as the tuba by Miss Wingreen. Altogether, an adequate Matthews (Capitol) performances seem to register with their intended effect. And though not outstanding presentation. P.A. me superior to this. Neither of those discs, Ansermet's intentions seem to have been however, surpasses this one as a recording. assisted in every way by the London engi- MENDELSSOHN: Symphony No. 3, in A The sound here is gorgeous. When the neers. who provide crisp, clean, wide -range minor, Op. 56 ("Scotch"); A Midsummer alone, it is as though a bright sound that allows the conductor's wonder- Night's Dream: Overture; Scherzo; Wed- orchestra plays of fully expansive account of the final move- ding March light were illuminating every cranny the score, and when the piano is playing, it Orchestra of the Southwest German Radio does not drown out the bassoons as often as Continued on page 64

62 HIGA FIDELITY MAGAZINE

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www.americanradiohistory.com ment to fill the room with a radiant en- warm, and the high note with no mixture of history of this richly dramatic score. Here, semble quality. chest resonance in it cannot possibly sound in other words, is not just another reissue Since Liszt's The /funs comes as a bonus, round, open, strong. In short, the graver the of a popular piece; it is all done with such it is, perhaps, enough to say that it remains division, the more limited is the singer in freshness, vitality, and quality as to make it an old- fashioned tone poem. made passably the ability to color tone, and the narrower is a real event. A.F. interesting by the taste of Ansermet's per- the range of selection at the artist's disposal. and microphones' As one part of the voice fights against the formance the exploitation PROKOFIEV: Peter and the Wolf, Op. 67 of its varied sonorities. R.0 \t. others, the only expedient at the singer's command is throat pressure -the beginning Bob Keeshan, narrator; Stadium Symphony PONCHIELLI: La Gioconda of the end for many a great voice. Orchestra of New York, Leopold Stokowski, This is not to say that there are no cond. Maria Callas (s), Gioconda; Fiorenza Cos - moments of beauty or revelation in the EyEREST LPBR 6043. LP. $4.40. sotto (ms), Laura: Irene Companeez (c), Callas Gioconda. for there is a certain kind EVEREST SDBR SD. $4.40. Enzo; j_ 3043. Ia Cieca; Piero Miranda -Ferraro (t), of insight that she will communicate if her Renato Ercolani (t), Isepo & 2nd Voice; voice is nothing more than a hoarse croak. The forcefulness and clarity of Stokowski's Aldo Biffi (t), 1st Voice; Piero Cappucilli On the whole, though. she is less exciting, a handling of the music here would make it (b), Barnaba; Leonardo Monreale (b), trifle more polished, than in her earlier suitable for audiences of any age, but on the Zuane; No Vinco (bs), Alvise; Carlo Forti effort. Ferraro is a sturdy, dependable kind whole this version is aimed at the kiddies. (bs), Singer & Pilot; Bonaldo Giaiotti, of singer with a voice on the metallic side; Its narrator is the "Captain Kangaroo" of Barnabatto. Chorus and Orchestra of Teatro his Enzo would fit into any of the big houses TV Lime, and the override of the disc is a alla Scala (Milan); Antonino Votto, cond. on a routine repertory evening. Cap - sort of do- it- yourself Peter and the Wolf ANGEL 3606 C /L. Three LP. - $15.94. pucilli, a competent Ashton or Germont, the musical score without the narration. ANGEL 3606 C /S. Three SD. $18.94. uses his resources intelligently. but his It may prove entertaining and educational Barnaba has small impact. The same is for small fry who want to imagine the story Front -line artists who formerly constituted really true of Cossotto's Laura, although she or retell it themselves, but as a straight the nucleus of almost every Angel operatic s'ngs extremely well and is undoubtedly symphonic work it does not hang together release have recently been turning up fine in less dramatic roles. Companeez, a very well (nor was it meant to). Everest's regularly on other labels, and in making this singer whose name is entirely new to inc. is sharply focused sound is first -rate in both recording the company seems simply to have a solid La Cieca. No Vinco is heard to better mono and stereo; in the latter form, it is complemented Maria Callas in a role she effect here than on the new Mercury Lucia: well and widely distributed. For any audi- hasn't recorded too recently with whatever his singing is even and darkly colored, and ence older than seven or eight, however, I to be available. Big - professionals happen he brings considerable conviction to his big would recommend the Ritchard -Ormandy name singers are not, of course, necessarily scene. I would judge him to be the most (Columbia) or Flanders -Kurtz (EMI better than artists of limited reputa- -Capi- any significant of the artists on this recording, tol) version. P.A. tion, but Gioconda depends almost solely with the obvious exception of Callas. on vocal grandeur, and generally only estab- Orchestra and chorus leave no room for RACHMANINOFF: Preludes, Op. 32 lished dramatic singers will have sufficient objection, and the recording (to trust the 03); and theatrical sweep to carry Prelude in E flat; Prelude in F temperament evidence of stereo advance pressings) has in vocal it off. Such singers, even poor form, good breadth and balance, if not quite as Stewart Gordon, piano. are preferable to smaller -scaled artists who much depth as I would like. Stage effects WASHINGTON \VR 427. LP. $4.98. may really be using their equipment more are kept to a minimum, and directional con- skillfully. The old Cetra recording of the trasts are used sparingly. C.L.O. Since the withdrawal of Moura Lympany's opera, which afforded Callas her disc debut, estimable album of Rachmaninoff preludes, is a case in point. It is chock -full of bad PROKOFIEV: Alexander Nevsky these works have been neglected by record singing, but it is bad in a big way. At least companies. Last summer brought Colin Rosalind Elias, mezzo four of the principals (Callas, Barbieri, -soprano; Chorus; Horsley's disc, with eight scattered preludes Silveri, Neri) sing without inhibition, and Chicago Symphony Orchestra, Fritz Reiner, on it, but the performances were too genteel, cond. as a result the performance has life and if musical enough. Stewart Gordon's disc is RCA VICTOR LM 2395. LP. $4.98. color. even in its worst moments. The new better played but still disappointing. A Angel Gioconda is well conducted by Votto RCA VICTOR LSC 2395. SD. $5.98. IS sensitive lyricist and a creator of interesting and well recorded by the stereo engineers, textures in the slower preludes, Gordon does This is the first recording of Alexander but it is pretty largely a dud because the not seem to have strong enough fingers to Nevsky to appear in some years, and the leading singers do not bring to it a full define completely the musical outlines of first recording of it ever to be offered in a measure of interpretative flair or vocal the faster ones. Too little accentuation and stereophonic version. \Vhether stereo or weight. too much pedal also tend to rob these works mono, the registration is superb, and the The troubles begin with Mine. Callas of their power and sting. Nor is the pianist performance is one of the greatest in the herself, whose work is not, I'm afraid, very helped by the engineering, which muffles interesting. In technical terms, the root of the tone and overloads the bass. R.E. her difficulties lies in the fact that the two basic vocal functions (usually called the RESPIGHI: "head" and "chest" functions), never per - Pini di Roma fectly melded in her voice, are becoming tMussorgsky: Night on the Bare Mountain increasingly separate, and the range is (arr. Rimsky- Korsakov) dividing itself into three independent seg- tRimsky- Korsakov: Capriccio espagnol, ments, rather raw in the low section, muffled Op. 34 in the middle, and sharp and unsteady at Berlin Philharmonic Orchestra, Lorin Maa- the top. Since the connection between the zel, cond. middle and upper sections is less trouble- DEurscnE GRA>I\IOPHON DGM 12026. some than that between the lower and mid- I.P. $5.98. dle, an intelligent artist (and Callas is DE('TSCHE GRAat\IOPHON DGS 712026. always that) can fairly successfully disguise SD. $6.98. this condition in music that seldom descends very far. Gioconda is hardly in that category, This is the best recorded effort to date by and this recording demonstrates clearly the the young American conductor Lorin very serious cleavages in the soprano's in- Maazel. His readings of these three orches- strument. The problem cannot be dis- tral tours de force are notable for their clarity, missed as a "mere technical blemish," for it proportion, and control. He allows the has a profound effect on a singer's ability to music to speak for itself without trying to project a variety of moods. The raw chest tone cannot possibly sound tender or soft or Reiner: Alexander Nevsky is a real event. Continued on page 66

64 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com THE WONDERFUL WORLD OF MUSIC

PROBOPIßFF:STYPHONT NO.AOp.IOO ii v un GEORGE SEEM. - LEON FLEISHER

GEORGE SZELL ë ì b11EARM:1 os - LEON FLEISHER, Pianist, PROKOFIEFF: SYMPHONY NO 5, Op. 100. VIVALDI: THE SEASONS. "I MUSICI," SCHUMANN: KINDERSCENEN, Op. 15; THE CLEVELAND ORCHESTRA, THE CLEVELAND ORCHESTRA, FELIX AYO, Violinist PAPILLONS, Op. 2; SCHUBERT: GEORGE SZELL, Cond. GEORGE SZELL, Cond. LC 3704 BC 1086 16 GERMAN DANCES, Op. 33; LC 3689 BC 1080 LC 3688 BC 1079 INGRID HAEBLER, Pianist LC 3705 BC 1087 Ian

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PING PONG PERCUSSION WHO'S AFRAID OF THE BIG BAND HITS FROM THE HILLS. I WANT TO BE HAPPY. Joe Harnell - Chuck Sagle and His Orchestra BEAT? Francis Bay and The Big Band The Merrill Staton Choir Piano with Orchestra LN 3696 BN 568 LN 3695 BN 567 LN 3103 BN 572 LN 3708 BN 573

HANDEL: CONCERTI YOURS ON DALLAPICCOLA: FIVE GROSSI, Op. 6: Volume II FRAGMENTS OF Nos. 4,5 and 6. HANDEL EPIC SAPPHO; FIVE SONGS; FESTIVAL ORCHESTRA, TWO ANACREON HALLE, HORST -TANU RECORDS SONGS: GOETHE MARGRAF, Cond. LIEDER; CHRISTMAS LC 3707 BC 1089 CONCERTO. ELISABETH Presenting THE KROLL SOEDERSTROEM, Soprano; QUARTET. HAYDN: FREDERICK FULLER, QUARTET IN D ALBENIZ, GRANADOS STRING Baritone; Instrumental - Op. 64 No. 4, "THE MUSIC FOR TWO MAJOR, Ensembles conducted by LARK "; SCHUBERT: GUITARS; VILLA - LOBOS, LUIGI DALLAPICCOLA STRING QUARTET IN D SOR -MUSIC FOR ONE and FREDERICK MINOR, Op. Posth., "DEATH GUITAR. REY DE LA PRAUSNITZ AND THE MAIDEN "; TORRE, Classic Guitarist LC 3706 BC 1088 TCHAIKOVSKY: STRING LC 3674 BC 1073 QUARTET IN D MAJOR, Op.11; PROKOFIEV: STRING QUARTET NO.1, EPIC O p. 50 /11

SC 6037 BSC 108 (2 12 ") ®' EprC'. Marca Reti ' CBS T. 61. Pnnted in U. S. A. CIRCLE :t:t ON IiF:tlll:It-SF:It% t:5ltll August 1960 65

www.americanradiohistory.com he used to make a nuisance of himself with Minneapolis Symphony Orchestra, Antal this cliché cantata at every opportunity. It Dorati, cond. disappeared from the concert stage when he MERCURY MG 50202. LP. $4.98. did; now it comes back in high fidelity and MERCURY SR 90202. SD. $5.98. stereo and sounds flimsier than ever. On the other side is a group of folk songs and fake For all its popularity, Don Juan has appeared songs sung by Odetta in the worst imagi- only twice previously in stereo, and neither nable taste. Poor gal! Hirai FIDELITY'S Ed- of these earlier editions could be taken ward L. Randal to the contrary, my own without reservations. Here in one lot are feeling is that though she had something three additional versions, any of which once, the night clubs have ruined her al- could have dominated the field if the other together. A.F. two had not appeared simultaneously. Galliera, Steinberg, Dorati are the way I SCHUBERT: Overture in the Italian rate them, although it ought to be stressed Style, in C, Op. /70 -See Weber: Over- that all three conductors stay very close to tures. what has to be described as the standard performance of this music. Galliera and SCHUMANN: Concerto for Piano and Steinberg make use of the same orchestra, Orchestra, in A minor, Op. 54 and it plays well for both of them. To judge from the engineering, however, Van Cliburn, piano; Chicago Symphony Steinberg's recording was made nearly a Cliburn: Schumann passionate and lovable. Orchestra, Fritz. Reiner, cond. year before the Galliera version, and the RC.\ VICTOR 2455. LP. $4.98. LM 'later technique is plainly better. Less self - RCA \'IcrroR LSC 2455. SD. $5.98. consciously stereophonic (the horns, for whip it up to fever heat; still, plenty of ex- example, have not been transported to left citement is communicated. The engineers The past year has brought a deluge fine of field), it offers a rich and lifelike ensemble have been sensible in their treatment, too. discs of the Schumann Piano Concerto, but quality that makes for superior sonics in Both mono and stereo editions are marked ranks any them. this new one with of both stereo and mono. Galliera's filler is a by cleanliness and transparency, with a good Cliburn's performance may lack the intel- warm and glowing account of the Siegfried sonic spread and directional effect in the lectual rigor of the great Lipatti interpreta- Idyll that is quite worth the having. Stein - two -channel version. Furthermore, there is the Solomon's, tion, chiseled symmetry of berg's own suite of music from Rosen- no distortion in the big climaxes, even in the or the wistful shyness of the Richter - bavalier is not one of the happiest of these finale of the Pines of Rome. Rowicki; but in its own broadly effusive compilations, although he plays it with ap- style, it is unsurpassed. Cliburn's playing is propriate gusto. RIMSKY -KORSAKOV: Capriccio es- fervently impassioned and passionately The Mercury recording is a success in pagnol, Op. 34 -See Respighi: Pini di honest. A1ost important of all: it is decidedly both stereo and mono if You happen to like Roma. lovable. The pianist has made real growth the metallic coloring that lies over the in the last two years and his playing has ensemble timbres, the steel -strung violins, RIMSKY -KORSAKOV: The Golden more direction and continuity now. More- the very brassy brass, and the cold glitter over, Reiner collaboration has far more Cockerel: Smite; Tale of the Invisible the of the tuttis. 1. frankly, do not think that City of Kitezh: Suite initiative and impulse than Drips afforded this is the actual sound of the orchestra; it Rubinstein's similarly spontaneous but more is an engineer's effect, a very Prague Symphony Orchestra, Vaclav Smet- and not pleasing mannered rendition. one to my ears. Dorati's performances, acek, cond. Although the first few bars seem a trifle however, are firm and dramatic, although PARLIAMENT PI.P 130. LP. $1.98. coarsened by reverberation, thereafter not always as sensitive to detail as those of PARLIAMENT I'LPS 130. SD. $2.98. Victor's sound is rich, billowing, and spa- his rivals. Observe, for example, his failure cious. The stereo adds separation and a to bring out the famed dissonant In this country, at least, excerpts from trumpet little more focus to a first -rate monophonic note in the last page of Don Juan. R.C.M. Coq d'Or are frequently heard, but Kitezh disc. One further observation: RC.\ has remains unknown. is virtually It gratifying, devoted a whole twelve -inch record to this therefore, to be able to become better one work, while most of the rival versions TCHAIKOVSKY: Fantasy Overtures: acquainted with its tuneful and often are contained on one disc side and offer Hamlet, Op. 67; Romeo and Juliet charming music through this. the only cur- attractive bonuses. H.G. JLondon Philharmonic Orchestra, Sir Adrian rently available recording. I find Smetacek Boult, cond. a little tentative, however, in his approach SCHUMANN: Kinderszenen, Op. 15- SOMERSET SF 11600. SD. $2.98. to both suites. His tempos are sometimes See Chopin: Sonata for Piano, No. 3, in on the leisurely side, and he is not always B minor, Op. 58. Since both of these popular works are based as incisive as he might have been. Never- on Shakespeariana, are nearly identical in theless, he does insist on transparency from structure, and complement each other his orchestra, and this he gets, with an SPOHR: Concerto for Violin and Orches- musically, it is strange that only one pre- able assist from the recording engineers, tra, No. 8, in A minor, Op. 47 -See vious disc (Fistoulari on M -G -M, now who have allowed every drum tap in the Bruch: Concerto for Violin and Orches- deleted) paired them. They make an ideal rear to come through with perfect clarity tra, No. 1, in G minor, Op. 26. coupling. Sir Adrian directs conservative, and definition. The only flaw is that winds traditional readings that stress a broad, and percussion are favored over strings, STRAUSS, RICHARD: Don Juan, Op. 20 singing lyricism. The orchestra is fine and which sound rather too light. The over -all tWagner: Siegfried Idyll well rehearsed, and except for a slightly sound is pleasingly bright and clean in both Philharmonia Orchestra, Alceo Galliera, gimmicked stereo effect the recorded sound mono and stereo; but whereas the stereo cond. is silken.. it the quoted price, this is a most effect is very much in evidence in Coq ANGEL 35784. LP. $4.98. attractive record. H.G. is almost absent from d'Or, it entirely ANGEL S 35784. SD. $5.98. Kitezh. P.A. TCHAIKOVSKY: Symphony No. 2, in ROBINSON: Balladfor Americans STRAUSS, RICHARD: Don Juan, Op. 20; C minor, Op. 17 ( "Little Russian") R,senkavalier: Suite (arr. Steinberg) Odetta; De Cormier Chorale and Symphony Orchestre de la Société des Concerts du of the Air, Robert De Cormier, cond. Philharmonia Orchestra, William Steinberg, Conservatoire de Paris, Georg Solti, cond. VANGUARD VRS 9066. LP. $4.98. cond. LONDON CS 6118. SD. $5.98. VANGUARD \'SD 2057. SD. $5.98. CAPITOL SP 8423. SD. $5.98. In discussing the recent Giulini version of In the far -off handsome days of 1939, when STRAUSS, RICHARD: Don Juan, Op. 20; this symphony for Angel, I mentioned that Paul Robeson was at the peak of his career, Tod and Verklärung, Op. 24 conductor's "idiosyncrasies" of tempo and

66 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com said that the Solti (monophonic) version was more "straightforward." Now that I have reheard Solti in stereo, I think that "perfunctory" would be a more apt de- TOP CRANK RECORDS scription. For one thing. Solti lacks integration and unity. Whereas Giulini, for all his rhythmic pi n s elasticity. is able to integrate the various components of the work into a cohesive whole. Solti's performance is marred by un- related extremes of tempo. Take. for ex- ample. the first movement introduction marked Andante sostemuo. As Solti plays it, "LASe the passage is neither sustained nor in motion; T MOMENTS Rather. it is slack and lumbering. As a result, the ensuing .Allegro vivo sounds jerky and unsettled. Moreover, the orchestral playing on the Solti disc cannot compare with the superlative work of the I'hil- harmonia under Giulini. I was further dis- OF turbed by the bleak tonal characteristics of GREATNESS" Solt i's French ensemble as a whole, especially so by the tremulous wobble of its trumpets and the saxophonelike horn playing. London's stereo sound. however, is tech- nically finished and suave, much better than Angel's. My advice: obtain the excel- lent monophonic Giulini disc. If one must filia have stereo, I would still recommend the 42 aIl.tlme ¡teat casr tunee. Angel in the hope that some pressings may MOMENTS be better than my review copy. I have not OF heard the Swarowsky performance on Urania. H.G. I'P 10 pare atet2 el a Mistime era of music and .ts; e TCHAIKOVSKY: Symphony No. 5, in E the lives if the Do,seys. minor, op. 64 Philadelphia Orchestra, Eugene Ormandy, cond. - iL_=-Y---- CoLustxt.s MS 6109. SD. $5.98. 1T.1' ; 4 large elate and white seethes created for Iramma There is a rich. creamy texture to this per -' formance. but sometimes the richness be- comes overly lush. particularly when Or- . mandy takes time to linger over certain TOMMY DORSEY ane N,a oteNeava Ie,I,,,,,,y JIMMY DORSEY RTJ-1 sections of the first two movements and en- for .,aCI;. ]oeiNL tul I.CIIIeU 191ó aeaEleaNCt at tut CGII eODUI Mtn tCu, courages his violinists to slide from one note to another. This by now should be taboo in interpretations of thrice -familiar Tchai- A kovsky symphonies. Despite some beautitill the late sounds from the orchestra, just as beautifully. MEMORABLE reproduced and stereophonically distil, uted. I prefer the crisper, less mannered EVENT IN approach of Szell or Monteux. whose efforts, TOMMY DORSEY equally well recorded, will have better wear ing qualities. l'.. \. orchestra featuring RECORDED

VIVALDI: Concerto for Flute and Orches- HISTORY tra, in D, Op. 10, No. 3 ( "II Gardellino"J JIMMY DORSEY See Handel: Double Concerto No. 3, in F.

WAGNER: Orchestral Excerpts Recorded During Their 1956 Appearance Gi;tterdännnerung:Siegfried's Rhine Journey; New York's Famous Cafe Rouge Siegfried's Funeral March. Tannhäuser: Over- ture. Die Meistersinger: Prelude.

Philharmonia Orchestra, Wolfgang Sawal- TOP RANK RECORDS lisch. cond. BOX H, 24 WEST 57 STREET, NEW YORK 19, N. Y. ANGEI. 35755. I.P. $4.98. Gentlemen: A:ccet. S 35755. SD. $5.98.

LIMITED I want "Last Moments of Greatness" for my own record Sawallisch is rather ponderous about his EDITION library. Enclosed please find my (Check, Money Order) Gättcrdännmrung, and he gives the listener in amount of $ less of it than most conductors. He begins literally with the Rhine Journey, omitting '24" NAME the Dawn section which customarily pre- ADDRESS cedes it in concert, and at its conclusion he leaves off in midair. Here, too, only the CITY STATE Funeral March is played, again without the CHICLE 83 ON READER- SF.RIVCE CARD Ar'GtST 1960 67

www.americanradiohistory.com prefatory Siegfried's Death. The young con- Jan Peerce, Jussi Bjoerling, Cesare Valletti, ductor becomes brighter in attacking the RECITALS AND /tenors. Tannhäuser Overture and most of the RCA VICTOR LM 2372. LP. $4.98. Meistersinger Prelude, though at the end of MISCELLANY Y the latter, he suddenly allows the pace to There cannot conceivably be any argument slacken, providing an overly broad and over the contents of Side 1 (except that I am pompous ending. One suspects that the not sure we need yet another incarnation engineers must have been heavy with beer of PIERRETTE ALARIE and LEOPOLD Caruso's "No, Pagliaccio non son "), for each that day, too. In mono, the sound is laid on SIMONEAU: Opera Recital of these selections presents a great artist at with such heavy strokes that there may be the top of his form. Side 2 brings us one or a few tracking problems. It is a trifle less Pierrette Alarie, soprano; Léopold Simoneau, two singers whose credentials for admittance heavy and just a bit brighter in the nicely tenor; Berlin Radio Orchestra, Lee Schaenen, to this circle are dubious, and distributed stereo edition. P.A. cond. one or two oth- DErrscutE GR. %ttopnoN LPM 18593. ers who certainly have done better singing than this WAGNER: Siegfried Idyll-See Strauss, I.P. $5.98. record would indicate. I'm sure a better example of Johnson's his Richard: Don Juan, Op. 20. DEUTSCHE. GR.AMMOPIION SLPM art -possibly 138056. SD. $6.98. moving, firm - voiced account of ''l'esti la giubba" -could have been found than the WEBER: Overtures Der Freischutz; O- beron; Euryanthe; Preciosa The essential thing about this record, Pm quavery, dry version of the Louise passage, and Peerce has tSchubert: Overture in the Italian afraid, is its utter bloodlessness. Both singers made better recordings than Style, this labored rendition in C, Op. 170 turn in a fair amount of delicate, finely of "Fra poco a me grained singing; Alarie also offers ricoverò." The Melchior, Bjoerling, and Amsterdam Concertgebouw some di- Orchestra, An- gressions from pitch and occasional pinched Valletti numbers, though, are exemplary, tal Dorati, cond. and collectors who tone, while Simoneau gives us a few bars of don't own more than, say, EPIC LC 3684. LP. $4.98. half annoying preciosity. Neither artist seems to the originals will find the record a reason- Eric BC 1078. SD. $5.98. have discovered the slightest hint of emo- able purchase. C.L.O. tional content in any of the music. The or- Dorati's performances are direct and rarely chestra is necessarily discreet. All in all, ANATOLE FISTOULARI: "Ballet Music subtle, and their a simplicity assists here in numb release. C.L.O. from the Opera" the appreciation of some of the grand effects Weber contrived. Unfortunately, Orchestre de la Société des Concerts du the con- ARTHUR FIEDLER: ductor and the great "Everything But Conservatoire de Paris, Anatole Fistoulari, orchestra he directs the Beer" have been betrayed by engineers who offer, cond. in stereo, a disc of insufferably restricted Ozan Marsh, piano (in the Liszt); Boston RCA VtcroR LSC 2400. SD. $5.98. dynamic range. The monophonic form, Pops Orchestra, Arthur Fiedler, cond. which has a little more body, is the only one RCA VICTOR LM 6082. Two LP. An old hand at conducting ballet, Fistoulari in which this collection can be considered. $9.98. invests this familiar ballet music with plenty Unfortunately, it is up against heavy com- RCA \'ICroR LSC 6092. Two SD. of color and spirit. His tempos in the Aida petition, not the least of it from the old $11.98. selections and especially in the Saint -Saëns Toscanini %ersions. The Schubert overture, Bacchanale from Samson et Dalila are on the which is momentarily without duplication Probably the bulkiest of all special disc rapid side, but they tend to add to the in Schwann, is the principal attraction of "packagings" ever released (the records general excitement of the scenes. The re- the set. R.C.M. themselves are boxed with a pair of full -size cording is unusually live and three- dimen- sional, brasses "Budweiser Pops" beer mugs), this Seventy - the and percussion emerging WOLF -FERRARI: Orchestral Excerpts fifth- Anniversary Pops commemoration pro- with exceptional brilliance. P.A. gram lives up to its album Orchestre de la Société des Concerts du title in re- creating as closely possible a ROBERT IRVING: Conservatoire de Paris, Nello Santi, cond. as typical evening at the "Carnival Time" summer concerts in Boston's LONDON CS 6154. SD. $4.98. Symphony Berlioz: Le Carnaval romain: Overture. J Hall. And, as at the Pops themselves, the Saint -Saëns: Le Carnaval des Animaux: Le trappings are fortunately subsidiary to This completely delightful collection of the cygne. Traditional: Carnival of Venice (arr. music making: familiar light instrumental excerpts-overtures, intermez- symphonic Banks). Svendsen: Carnival in Paris. Stra- standards played with immaculate zos, and ballet music -from the operatic straight- vinsky: Pétrouchka: Danse russe. Schumann: forwardness and verve, works of Ermanno \N'olf- Ferrari bears the and topped off by Carnaval: Chopin (trans. Jacob). Albéniz: still lighter vivacious album title "Jewels of Wolf- Ferrari." and more encores. Ibéria: Fête -Dierx à Séville (trans. Arb6s). To the omnivorous Perhaps these jewels are not of the most discophile the only Chabrier: Le Roi malgré lui: Fête polonaise. precious variety, but they surely sparkle relative novelty here is the Liszt Hungarian Fantasia, and that only for what I believe brightly enough. This half-German, half- William de Mont, cello; Douglas Gamley is the recorded debut of the young American Italian composer, who died as recently as and Donald Banks, pianos (in the Saint - pianist, Ozan Marsh, who more 1948, had a flair for turning out music for than con- Saëns); Sinfonia of London, Douglas Gamley firms the opera house that was full of lightness, his concert reputation as a I.isztian (in the Carnival of Venice) and Robert wit, and charm. Even the suite of four specialist in the old grand tradition. The Irving, tonds. is n excerpts from his tragic verismo opera The engineering, however, brand -new (stem- EMI- CAPIroL G 7214. LP. $4.98. ming sessions held a Jewels of the Madonna is light- textured and from just few months EMI -CAPITOL SG 7214. SD. $5.98. ago) high -spirited. But this music and its compan- and notably more sonically authentic, full -blooded, wide- range, and richly satis- ions on this disc are not without substance. What binds these diverse works factory than even the best of the always together Among the most charming numbers are the is their common association with excellent Fiedler releases. Even in monoph- the title Overture to The Secret of Suzanne, the "carnival" or 'fête." The choice ony there is superb spaciousness and dra- of such Serenata (usually referred to as an inter- quietly romantic items as The Swan and matic immediacy; stereo, with its re- creation mezzo) from The Jewels of the Madonna, the Chopin, on the grounds of the authentic Symphony Hall acoustical that they come from Intermezzo from I quattro rusteghi (known "carnival" music, seems a bit ambience, makes this evening at the Pops, farfetched, in England as School for Lovers and in this but the spirit festival is with or without beer for the accompanying of in the rest of country as The Four Ruffians), and the less the compositions, and is mugs, still more enjoyable. R.D.D. each done to a turn. familiar Ritornello from 11 Campiello. The one novelty in the collection is Donald Nello Santi is a conductor who obviously Banks's new, rather sensitive arrangement of appreciates the spirit and quality of these FIFTY YEARS OF GREAT OPERATIC Carnival of Venice, a welcome relief from works. He directs performances notable for SINGING: TENORS the ubiquitous setting for cornet and band. their crispness and delicacy. London has Enrico Caruso, John McCormack, Ben- All the performances are of a high order, as provided transparent, well- distributed stereo iamino Gigli, Giovanni Martinelli, Tito is the sound, which gains somewhat in reproduction. Warmly recommended for Schipa, Edward Johnson, Lauritz Melchior, brightness and spaciousness in the stereo cooling summer listening. P.A. Giuseppe di Stefano, Ferruccio Tagliavini, edition. P.A.

68 HIGA FIDELITY MAGAZINE

www.americanradiohistory.com A9 444444444444Q CHARLES MACKERRAS: "Apéritifs" I 6613-tiQo680o8ÖAtiá8tib0á08titib000 Philharmonics Orchestra, Charles Mackerras, cond. ANGE.t. S 35750. SD. $5.98. ghe J Iusic Box Charles Mackerras must have planned this OFFERS program as apéritifs for two different repasts. The first side of the record, containing ex- Discriminating Audiophiles Throughout the World cerpts from Berlioz's Damnation of Faint and Les Troyens, is slow- footed and heavy- handed the second side (Chabrier's España A Mail Order Service on all Long Playing Records and Stereo and Fête polonaise) is bright and buoyant, Tapes that is unrivaled anywhere clear and spirited. The playing throughout sonies truc and is of a high order, the stereo C6 well pinpointed. P.A. PERSONAL SERVICE features . . . FRITZ REINER: "Festival" OUR UNIQUE a Chicago Symphony Orchestra, Fritz Reiner, Meticulous inspection of every brand All records, on all labels, including the cond. new, factory fresh, unplayed record for following world famous import labels, LP. 53.98, visible imperfections. Odeon, Pathe, Electrola, Cantate and RCA VICTOR I sl 2423. Rococo. Also we can supply, to special RCA VICTOR LSC 2423. SD. $5.98. Careful dusting, cleaning and de- stati- order, any Long Playing records in the cizing of each selected record, which is current English Catalogs. then enclosed in one of our own poly- "Festival of Russian Music" might have ethylene sleeves. Personal advice, by a well known au- on been a better title for this disc. There are thority, all matters pertaining to Greatest possible care in packing, en- records and tapes. no out -of- the -way novelties to get excited suring that all records reach you in but there are some mighty ex- perfect condition. All records are sold at the manufac- about here, turer's suggested list price only. Check citing readings of hard - ridden warhorses. Domestic Orders mailed POST FREE or money order should accompany your I cannot recall having encountered a more to anywhere in the U.S.A. Overseas order. Sorry ... No C.O.D.'s. orders at usual parcel post rates. thrilling account of A Night on Bald ,\foun- We have a limited number of deleted tain; Reiner's masterful interpretation can Extremely fast shipment to all parts of and hard to find records on all labels. world. Please send in your want list. quicken the pulse of the most jaded listener. the His performances of the Ruslan and Ludmilla Overture and the Po/ortsi March also have Marat Street Colas Breugnon Overture plenty of zest. The THE MUSIC Box GREAT BARRINGTON, MASS. is cleanly set forth, though at a slightly slower tempo than that which this conductor employed in his old 78 -rpm recording with the Pittsburgh Symphonv.All the sparkling CIIt(:LE 59 ON IeF:ADEIt-SERVICE CARD work on this record has been admirably preserved by the engineers. Either edition is fine. though stereo provides more hall resonance and horizontal spaciousness. P.A. TITO SCHIPA: Recital Thomas: Mignon: Addio, Mignon, fa core; Ah, non credevi tu. Rossini: Barbiere di Siviglia: Ecco ridente in cielo; Se il ozio nome. Brand -New Massenet:.%fanon: Il sogno. Verdi: Rigoletto: Recording of the Classic Questa o quella; Parmi ceder. Puccini: losca: :. LIVING STEREO Film Score O dolci mani. Gouraud: Faust: Salve dimora. Donizetti: Lucia di Lammermoor: Tu che a PROKOFIEFF Dio. Mascagni: Cavalleria rusticana: Brindisi; ALEXANDER NEVSKY Siciliana. Leoncavallo: Serenata. Zazà: Ed REINER, /CHICAGO SYMPHONY Muo SORT ora io mi domando. Cilca: L'.Irlesiana: NO LISP í111S Lamento di Federico. fTito Schipa, tenor; Orchestra. ETERNA 734. LP. $5.98.

A good cross section of the art of the Gunous tenure leggiero, dating from the acoustical and early electrical periods. These selections reveal not only Schipa's familiar grace and flexibility (as in "Quest,' o quell t" or "Ecco ridente"), but his ability to bring impact to more dramatic selections, such as the Zazà excerpt. Ilis voice gathered resonance and focus as it went up the scale (in his gotxl days, at least), and did not flatten out into Eisenstein's majestic ,filin, ".4I.E.YANDER ? EI'SKY, "inspired a voce bianca in the manner of so many light musical masterpiece. Now Fritz Reiner. with the Chicago one or two noisy cuts, tenors. Except for Symphony Orchestra and Chorus, presents the first truly the sound on this record is listenable. C.L.O. modern recording of the score ! This narks the first version SHAKESPEARE:'Romeo and Juliet; recorded in stereo in the past three years. - Troilus and Cressida; King Lear; Julius Living .Stereo and regular L.P f { , i ( "' O14 Caesar \ For a feature review of these albums, see p. 57. CIRCLE 65 ON READER-SF:ItyICF: CARD AUGUST 1960 69

www.americanradiohistory.com e

al POPULAR THEATRE FOLK

Rodgers & Hammerstein -Always Room for More

Romberg "Oklahoma" ; "Carousel" ; "The King and I." Soloists; Chorus; Orchestra. Epic LN 3678/80, $3.98 each (Three LP); BN 562/64, $4.98 each (Three SD).

"The New Moon" ; "White Horse Inn" ; "The Girl Friend." Excerpts. Rodgers Soloists; Michael Sammes Singers; Johnny Gregory and His Orchestra. Epic BN 566, $4.98 (SD).

Hummerstein

FI MAY BE PERMITTED a little wishful thinking, sparked To take them up in the order of their stage production, I by the three Rodgers and Hammerstein musicals Oklahoma is chiefly notable for Fay DeWitt's delightful included in the present batch of Epic releases, it is that performance of Ado Annie and for the manly Curly of the company intends to set up a resident musical comedy Stuart Foster. I am not as enthusiastic about Lois recording company similar to those which both RCA I lunt's performance as Laurey. Her voice, sweet enough, Victor and Columbia employed back in the days of 78 sounds too old for the young Oklahoman, and there rpm. It would be a sensible, and probably profitable, are times when she obviously is having trouble with idea. Although we have original cast recordings of these some of her numbers. Epic, unhappily, seems to have works, as well as sound track recordings of their film skimped slightly on the ensemble, which both in Many counterparts, there is always room for additional versions, a New Day and even more in the rousing title song seems particularly when they're as successful as these. rather inadequate. No such reservations hold for

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www.americanradiohistory.com Carousel. This score has never enjoyed the popularity and Charmaine I harma are both admirable. The recorded of its predecessor, yet it is full of some of Rodgers' sound, in all three cases, is clean and brilliant. loveliest melodies. The singers here serve him well. Miss The Romberg /Stolz - Benatzky /Rodgers disc was re- Hunt seems more assured and in better voice than in her corded in England. The stereo sound is even better than Oklahoma role, and she is most admirably supported by that heard on the American issues considered above, and Harry Snow, Charmaine Harma, and Helena Seymour. musically, the performances are better also. Doreen With The King and I the series reaches its peak. This Hume is an exceptionally fine operetta singer, and in has always seemed to me Rodgers' finest and most in- The New Moon her work is outstanding. Her male ventive score, and it is presented here in a beautiful vis- à -vis, Bruce Trent, has a serviceable voice. a rather performance by everyone concerned. Lois Hunt is deep baritone, which is best displayed in the Romberg completely at ease in the music written for Anna, giving music. I find him a trifle heavy for the two songs assigned a lovely, sympathetic portrait of the governess. If it him in the 1926 Rodgers musical The Girl Friend. Even never quite reaches the level of Gertrude Lawrence's so, it is good to find this early Rodgers score finally memorable performance, it is beautifully sung, full of managing to obtain some recognition, even if that is individual ideas, and altogether charming. In the Yul confined to only four excerpts from a lovely score. I am Brynner part, Samuel Jones is a bit heavier than his afraid that I have a blind spot where the White Horse Inn predecessor, but his conception of the role is perfectly of Ralph Benatzky and Robert Stolz is concerned. Al- valid. and he presents a realistic portrait of the slightly though Miss Hume and Mr. Trent do as well as anyone puzzled King. As Lun Tha and Tuptim, Harry Snow could with the numbers, I am still unimpressed. J.F.I.

Brass and String Spectaculars Done in Style

"The Sound of Top Brass," Peter London Orchestra, Art Harris, Nick Perito, Vic Schoen, Bonds. Medallion MS 7500, $5.98 (S D).

"The Sound of Strings." Michael Leighton and His Orchestra. Schoen Vordl Medallion ML 7502, $4.98 (LP); MS 7502, $5.98 (SD).

ee LECANT" is the word for the new Kapp subsidiary's to the underlining of appropriate musical and expressive E debut releases -elegant alike for the folder pack- points. aging with unusually extensive and detailed notes, the It's probably my own taste in instrumental timbres virtuoso playing of chromium -sleek special arrangements, which determines my preference here, but it may be and the most sophisticated of current recording tech- that Frank Hunter's string arrangements for Michael nology. Even the processing is so expert that the one Leighton and his orchestra are in fact less imaginative or LP I've heard is a close match for its stereo counter- more synthetic than those of the three arranger- conduc- part in everything save cross -channel antiphonies and tors who share the brass program. Anyway, the four switchings. pieces by Art Harris strike me as the most uniformly The primary aim here apparently has been to bring an successful (especially a Sabre Dance which does much to optimum degree of stylistic polish to the vogues of brass - restore this warhorse's zestfulness). But Vic Schoen's and percussion- dominated, and of string- dominated, more romantically sonorous numbers (Mood Indigo in "spectacular" elaborations of popular tunes-in order particular) and Nick Perito's Latin- American diver- to heighten their appeal to the general listener while tissements (Poinciana, etc.) also provide a stimulatingly still retaining their fascination and usefulness to the wide range of stylistic as well as sonic contrasts. On the aficionado of sheer sonics. Few of the materials or devices other hand, and except perhaps for the intensely rich (including the frequent electronic switching to accentu- scoring of Stars Fell on Alabama, Sentimental Journey, ate stereoistic effects) are particularly new, but seldom and Sleepy Lagoon, the string program seems in general before have the players themselves been as consistently overfancy and sometimes excessively penetrating tonally. skillful or the technological trickeries applied as deftly Yet the performances themselves are magnificent

AUGUST 1960 71

www.americanradiohistory.com throughout, as might be expected from the presence of young listeners. There may even be a risk of incurring such soloists as Arnold Eidus, Sylvan Shulman, and the aural equivalent of strabismus ( "an affection of the David Nadien (in the 22 -man violin section), or of eyes in which the axes of vision cannot be coincidentally Emanuel Vardi and Harry Zaratzian among the violists. directed to the same object "). Certainly there are mo- My only hesitation about these discs is that the in- ments here when I definitely sense my ears "crossing "! sistent emphasis on sound- source localizations and I wouldn't go so far as to say that this necessarily results channel jumping (the latter once a stereo sin, but now in a "cockeyed image" of music; nevertheless, I can't deliberately cultivated as a positive virtue) panders to help fearing that if "stereoismus" ever becomes chronic, a craving for exaggerated sonic movement which may it may fulfill the secondary definition of strabismus as a perhaps spoil more orthodox music making for many "perversity of intellectual perception." R.D.D.

For All Savoyards, the News Is Good

"Iolanthe. " Soloists; Glyndebourne Festival Chorus; Pro Arte Orchestra, Sir Malcolm Sargent, cond. Angel 3597 B /L, $10.98 (Two LP); S 3597 B /L, $12.98 (Two SD). Sargent Morison

FOR ALL Gilbert and Sullivan devotees, but especially You're Lying Awake, which he takes more slowly than for that little coterie who have a very particular af- Martyn Green used to, without making it in any way a fection for lolanthe, the news is wonderful. The new An- less successful tour de force. As for the other male mem- gel recording of what is possibly the most musical of all bers of the cast, John Cameron does as well as anyone the famous G & S operas is a stunning success, a shining I've ever heard to make Strephon believable and attrac- example of what can happen when affection and good tive; Owen Brannigan brings a large, orotund bass musical taste are conjoined. Immediately, from the lov- voice to bear on the Sentry's Song to fine effect; and Ian ingly played opening phrases of the Overture (one of the Wallace and Alexander Young sing the two Earls few that Sullivan himself orchestrated), it is obvious that splendidly. we are in for a rare orchestral performance of the score; The distaff side provides equal felicities. Elsie Morison and by the time the final notes of the jaunty closing air is a most winsome Phyllis, singing with unusual assur- die away, we know we have had it. Sir Malcolm is in ance and much artfulness. It was Gilbert's whim to make wonderful form, offering a beautifully shaped, jocund, the Queen of the Fairies a rather plumpish lady, and it is and lilting reading that gleams at every point. And per- Monica Sinclair's triumph that this is what one actually haps catching some of the conductor's liking for the sees in her portrayal. The voice, a dark contralto, is used music, the Pro Arte Orchestra plays with both tonal with great discretion and musicality. As lolanthe, Mar- beauty and great enthusiasm. jorie Thomas is in excellent voice, though sometimes Turning to the vocal department, one finds the news overcautious (but perhaps in a waterlogged fairy this is equally good. I doubt that I have ever heard this music understandable). Two newcomers to the company, April sung more beautifully by everyone concerned, nor, I Cantelo and Heather Harper, sing the music of Celia and might add, more stylishly. There is now considerably Leila with a good deal more distinction than is usually more interplay and communication between characters the case. All in all, a nearly faultless vocal account of than in earlier issues by this group, and the style has be- Sullivan's lovely score. come both distinguished and correct. In a company of Angel's engineers have gone all out to provide a most such general excellence as this, I feel that the work of the seductive sound on both issues. If not much stereo illu- veteran George Baker as the Lord Chancellor needs some sion, there is a little more body and fullness to that ver- very special commendation. Baker is now over seventy, a sion than to the LP, though the latter too has an un- fact you would scarcely guess from his lively, dry por- deniably pleasant, comfortable sound quality. No matter trayal and excellent vocal performance. He is particu- which you buy, you cannot fail to be enchanted by the larly resourceful in the celebrated patter song When entire performance. J.F.I.

72 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Hawaiian Song By a Master of the Genre

"The Best of Alfred Apaka." Alfred Apaka; Hawaiian Village Serenaders. Decca DXB 163, $7.96 (Two LP); DXSB 163, $9.96 (Two SD). Apoka

T THE BEGINNING of the nineteenth century, the invest potboilers like Sleepy Lagoon with a certain dig- Hawaiian Islands boasted Polynesia's proudest nity, while hearing his Hawaiian Wedding Song was to and most advanced culture. The end of the same century rediscover melody. found that culture moribund and the Polynesians them- Unhappily, Apaka recently died, in his fortieth year. selves swamped by successive waves of Chinese, Portu- Decca's two -disc tribute to him is probably the last of guese, German, Japanese, Puerto Rican, and Filipino his art that will come our way. Gratefully, we can settlers. Yet, surprisingly, the songs of Polynesia lingered recognize that it includes most of his finest songs, such on in a pure -or almost pure -state. And today every as Song of the Islands, Beyond the Reef, and Forevermore. melody labeled "Hawaiian" is either a Polynesian hold- It also includes a pretentious Bali Ha'i and a totally over (Aloha 0e) or a Tin Pan Alley accretion (The Moon miscast You Are Beautifitl. But on the whole, despite a of Manakoora). Somehow, Hawaii's music has escaped certain tendency to gimmickry natural in a night club the melting pot. performer, the level of selection and of performance is Among the Islands' numerous vocalists -and mainland high. One could have wished for a greater wealth of truly labels have flushed them out in their thousands since the authentic material, but then this would have given a granting of statehood -Alfred Apaka combined uniquely false impression of Apaka: he was an entertainer, not a the exotic vocal heritage of Hawaii with a genuine gift folklorist. The sound in both versions is excellent, with for making it intelligible, and winsome, to outsiders. His the crisp, full -bodied monophonic edition every bit as baritone, rich and resonant and full- ranged, could even effective as the stereo for my money. O.B.B.

"Yves Montand and His Songs of Paris." done. Two of the more exciting performances cond. Medallion ML 7501, $4.98 (LP); LYves Montand; Orchestra. Monitor MP are those of Once in Love with Amy and MS 7501, $5.98 (SD). 535, $4.98 (LP). You're in Love, where the countermelody A most handsome portfolio of ten musical A collection of chansons that course the issues from one speaker, the true melody scenas, performed with unlimited verve by lights and shadows, the streets and quarters from the other, yet without a bothersome the Medallion Band. Some of the selections of Paris: a visit to the Vel d' Hiver, the wide separation. The Mooney arrangements are old enough to be new to many listeners, awakening markets of Rue Lepic, the bitter have a slight jazz tinge and thew are beauti- while others have all but entirely dis- love song of a factors' worker in La Grande fully played by an orchestra which boasts a appeared from the scene in the past few Cité. Montand has long identified himself fair complement of well -known jazz musi- years. Welcome returnees to the catalogue with the aspirations, the joys, and the cians. J.F.I. are A Hunt in the Black Forest, with its heartbreak of proletarian France, and he is hunting calls, clanging anvils, and galloping at his warm, superlative best in songs such J "Duel." Basilia National Band. Musidisc huntsmen, and In a Clock Store, a piece of as these. Need more be said? Clear, full - 1J MS 16010, $4.98 (SD). musical horology that used to be a great range recorded sound with splendidly atmos- Audio Fidelity's Mexican series set the pat- favorite. Sound on both versions is excep- pheric orchestral accompaniments. Transla- tern for bullfight toque and intermission tionally good, with the stereo something tions but no texts. O.B.B. divertissement documentaries, but these special. My cat, ordinarily an imperturbable South American examples, under an anony- feline, quickly cocked her ears at the barking "Voices In Song ... American Musical mous but obviously skillful and high - dog in The Whistler and His Dog, and then Theatre." Gene Lowell Singers; Orches- spirited conductor, outdo their models both proceeded to investigate each speaker for tra, Hal Mooney, cond. Time S 2003, in the gusto of the performances (especially the birds heard in the Hunt and Clock $4.98 (SD). those of Lady of Spain and Valencia) and selections. Great fun for adults, and perhaps Just how effective stereo can really be when the ultrabrilliance of their recording. Par- even greater fun for the kids. J.F.I. it is used imaginatively is brilliantly demon- ticularly notable, in contrast with the strated in this fine recording of show music. acoustical dryness of its predecessors, is this "Rebel." lad Paul, banjo. Liberty LRP With the exception of Ellington's Tomor- disc's reverberance, which further enhances 3153, $3.98 (LP); LST 3153, $4.98 (SD). row Mountain and Cole Porter's mock tear its strongly stereoistic realism. R.D.D. A congress of songs emanating from south jerker Friendship, the songs are staple in- of the Mason -Dixon Line, some traditional, gredients, though I dare to suggest that they / "The Sound of Musical Pictures." Medal - others right off the Nashville hit parade, but have never before been quite so handsomely 'V lion Concert Band, Ralph Hermann, all played with tremendous verve and spec-

AUGUST 1960 73

www.americanradiohistory.com tacular technique. Occasionally, Paul re- "Swing, You Lovers." Keel Smith; Or- have not long since encountered Seville ceives the benefit of double and triple chestra, Gerald 1)olin, Bond. Dot DLP and his engaging creations, but however tapings, and then the results arc both un- 25265. $4.98 (SD). belatedly, I must climb on the bandwagon usual and exciting. The stereo far outdoes Keely Smith's pert and happy way with a too. They are disarmingly amusing in this the mono version, even though the sound song has seldom been more brightly dis- spirited songfest, which includes a fine on the latter is very good indeed. J.P.I. played than in this program of easy swinging Comin' Round the Mountain, Witch Doctor, numbers. Her style has always a freshness, an Row Your Boat, and When Johnny Comes "El Terremoto Gitano." Dolores Vargas; insouciance, that makes her one of the most Marching /tome, it also a disconcertingly L Pepe Castellon, guitar. Decca DL 4019, delightful singers around today; and when jazzed -up Swing Loin Sweet Chariot. The $3.98 (LP); DL 74019, $4.98 (SD). she has the chance to work alone, she seems kids should love it -and learn quite a bit A lithe recital -in guitars, castanets, voices freer in spirit, as well as more assured, than about stereo from the clever antiphonies in dual- channel version, which I prefer and heels -of flamenco that is only mildly when partnered by her husband, Louis the polished for los extranjeros. Dolores Vargas, Prima. This is certainly one of her better even though the more sharply focused LP the "Gypsy Earthquake" of the album records, if not her best. J.F.I. edition gives the Chipmunks' own chatter greater intelligibility. R.D.D. title, is a dynamic artist from the tips of her flashing fingers to the sharp staccato of "Sing Again with the Chipmunks." her flashing heels, and her guitarist- husband, David Seville and The Chipmunks. Lib- "Sentimental Sing Along with Mitch." Pepe Castellon, is in faultless rapport. erty LRP 3159, $3.98 (LP); LST 7179, Mitch Miller and The Gang. Columbia Buy the SD, which captures the full sweep of $4.98 (SD). CL 1457, $3.98 (LP); CS 8251, 54.98 a cuadro flamenco. O.B.B. I expect I must be one of the very few who (SD). The tenth volume in Miller's "sing along" series proves that the well -tried formula is VANGUARD as suitable for these sentimental songs as it recordings for the connoisseur was for folk, party, or Saturday night revels. There may be a couple of numbers here that seem a little out of place (after all how ENTERTAINMENTS -IN DEPTH sentimental can you get about When the Saints Go Marching In or Singing in the Rain ?) but on the whole the program makes an Darwin's "survival of the fittest" ideal record for another community singing had nothing on the record session. J.F.I. industry. Here the unceasing struggle rages with hundreds "Alan Dale Sings Great American Hits in of records issued monthly Italian." United Artists UAL 3091, $3.98 for no other reason (LP). somebody's guess at This unorthodox gambit comes off sur- than prisingly well. Paradise, Stardust, Blue Moon "what the public will and other Made -in- America standards gain buy." The formula is a new dimension -a new lyricism, if you more sound for the will -from the melting tonalities of the money, and the richer Italian language. Although Alan Dale the sonic and orches- adulterates his full -bodied baritone with a tral finery in which few too many mannerisms derived from the MARTHA SCHLAMME AT early Bing Crosby, he handles the songs an artist is clothed, TOWN HALL with ingratiating ease. Definitely different the more certain the A fabulous concert by the international mistress of and definitely enjoyable. O.B.B. "hit." At Vanguard folk song. With Tanya Gould, piano. and chamber is no such "hit" instrumental group. there "Berlin; Portrait of a City." Horst Buch- psychology. We feel VRS -9072 d VSD -2070' LEON BIBB sings holz, narrator; Eva Nelson, diseuse. Pano- that an entertainment LOVE SONGS rama PLP 2006, $3.98 (LP). The most cherished of - no less than an American and English folk Out of this skillful interweaving of corn oratorio should be a -icings. With instr. ensem- mentary and song evolves an affectionate ble, Obun conductor, and satisfying aesthetic guitar. appraisal of the charm of the German city. experience. A lone VRS -9073 A VSO -2067' The greater contribution comes from Eva GERMAINE MONTERO Nelson, a talented diseuse whose intense voice can touch the sings FOLK SONGS OF and loving performances of a dozen songs well a lush SPAIN, Vol. 2 heart as as "In the realm of Spanish written in and of Berlin not only suggest sounding orchestra, and copular song. Montero is la primera." High,Filelity. the gaiety of the city, but also the despair better if the latter is not With orchestra and guitar. that permeated its musical atmosphere in VRS -9067 the music calls for. The the years between the wars. This is accom- what THE ROYAL ARTILLERY music comes first, and done BAND ON DISPLAY plished performing in the best European England's famed military tradition, quiet, subdued, and enormously right, it lives and finds its and concert band in a market, whether large or "pops" concert. Suppé effective. Mr. Buchholz, in reminiscent overtures and operatic mood, is more concerned with tangibles, small. Herewith are listed marches. VSD though not, perhaps, less in with some outstanding new VRS -9071 8 -2064' love TAVERN SONGS Berlin. J.F.I. "entertainments" by such Catches and Glees, both Ribald and Refined. The consummate artists as Martha Deller Con'ort. "Persuasive Percussion," Vol. 2; "Pro- Schlamme, Leon Bibb, BG -602 d BCS -5030' vocative Percussion," Vol. 2. Terry VAUGHAN WILLIAMS Germaine Montero, The FOLK SONG ALBUM Snyder and the All Stars, Enoch Light The greatest of folk songs, and the Light Brigade, respectively. Royal Artillery Band, Alfred in inspired creative set- Deller and Willy Boskovsky. tings. Alfred Deller and Command RS 33808 and 33810, $4.98 The Deller Consort. each (LP); 80; and 810, $5.98 each VRS -105a d VSD -2058' J BONBONS AUS WIEN (SD). 12" Monaural 54.98 (Schubert, Mozart, The sensational success of the first releases ' Stereolab 55.95 Strauss, tanner) in this series made the present sequels Send for Catalogue to: Rare Old Vienna Dances in Vanguard Recording Society, lnc. Original Scoring. Boskov- inevitable. These too are handsomely Willy Bos - 154 West 14 Street sky Ensemble. decked out in folder -albums with detailed New York 11, N. Y. kcvsky violin and director. VRS -1057 A VSD -2068' annotations describing the featured instru- CIRCLE 79 ON READER-SERVICE CARD 74 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com mcnts in each piece and the switching tech- fairly robust, a trifle darker in timbre, but bird calls, provides fresh sauce for hit film nique (designed initially for optimum just as warm and pleasing when applied to tunes, surprisingly effective with We're Off channel- balancing checks but now perhaps a romantic ballad as it was twenty years to .See the Wizard, Children's Marching Song, an overworked device relished for its own ago. The program is made up mainly of Savonara, and Carioca. The eight other sake). Again I find the Snyder ensemble's songs long associated with Martin, plus a arrangements are somewhat more incon- performances a shade more interestingly couple of newer tunes to please the younger gruous, but Denny's glittering performances varied and imaginatively scored than those set. Among the latter put Thank !leaven and bland expressiveness are captured as by the Light Brigade. And again the ultra - for Little Girls, which evolves here from a effectively as always in gleaming recording stereoistic recording is dazzlingly brilliant brief, but delightful, interlude with a shy -more atmospherically in stereo than in and glassy -hard. But I fail to see the point young miss from Mesa, Arizona. Like many the sharper -focused LP. R.D.D. of monophonic versions, which not only stereo recordings of live cabaret perform- lack the characteristic cross -channel and ances, the sound varies from excellent to dis- "The Russ Columbo Story." Paul Bruno; switched- channel ingenuities of the SDs, appointing. J.F.I. Orchestra, Lon Norman, cond. Coral but are sonically edgier and in even higher. 57327, $3.98 (LP); 757327, $4.98 (SD). level modulation almost overpowering to all "Martin Denny's Exotic Sounds from the Although not as versatile a singer as Bing but the toughest cars. R.D.D. Silver Screen." Liberty LRP 3158, Crosby, with whom he waged a losing $3.9S(LP); LST 7158, $4.98 (SD). "Battle of the Crooners" back in the "Alan King in Suburbia." Alan King; The now familiar "exotica" treatment, early Thirties, the late Russ Colombo ex- Orchestra, Jack Quigley, cond. Seeco featuring August Colon's bongos and jungle celled in romantic ballads. Paul Bruno's SA\V 2101, $3.98 (LP). Alan King's amusing monologue on the problems that face the newcomer to subur- ban living should raise a good many chuckles among the sixty million Americans who now reside in suburbia. King's manner of re- GRADO "Truly the world's finest..." to counting the difficulties of adjusting o suburban togetherness, intractable crab grass, and energetic neighbors, and the frustrations of coping with decorators and local school zoning regulations is extremely funny, and made doubly so by the famil- iarity of the situations. The comedian has G interlarded his discourse with a few songs, LABORATORY SERIES TONE A which, though they make for a change of pace, do not show him off to any great advantage as a vocalist. J.F.I.

"Guitars, Guitars, Guitars." Al Caiola and His Ensemble. United Artists UAS 6077, $4.98 (SD). Memorable swing -era dance band arrange- ments are ingeniously adapted here for six guitarists (doubled by dubbing processes) plus a rhythm section; and while the tonal qualities are often overly metallic, there is a fascinating variety of them, as well as extensive exploitation of antiphonal effects in the markedly channel -separated stereo - ism. Best are the bouncy String of Pearls, Back Bay Shuffle, and Jumpin at the Wood- side. A special word of praise also should go to the informative jacket notes. R.D.D.

"The Sound of a Chorus." Compañeros of L Mexico. Kapp ML 7503, $4.98 (LP); MS 7503, $5.98 (SD). Kapp has clearly lavished great care and attention to detail upon this record. Fronted nobly by the virile baritone of Carlos q Ramirez, the eighteen choristers of the Compañeros shape lustrous, catchy arrange- ments of Latin- American hits such as La Gunstock walnut wood Vertical azimuth adjustment Paloma, Cielito Lindo, and Ali Viejo Amor. in and mass This performance was designed with stereo Smaller size Interchangeable cartridges in mind, and the engineers have brought it Vertical balance adjustment Adjustable overhang alignment to magnificent fulfillment. Note particu- Lateral balance adjustment Completely wired to preamp larly the subtle interplay of bongos and maraccas in Adios Mi Chaparrita, as well as the strikingly effective contrapuntal cas- tanets in El Relicario. One could have LABORATORY SERIES TONE ARM $39.50 wished for a more adventurous repertory, With Master Cartridge $85.00 but sound's the thing here. O.B.B. "Tony Martin at the Desert Inn." Tony Martin; Carlton Haves Orchestra, Al Sendrev, cond. RCA Victor LSP 2146, For further information write: GRADO LABORATORIES, INC. $4.98 (SD). This is the first Tony Martin recording to 614 Seventh Ave., Brooklyn 20, N. Y. Export - Simontrice, 25 Warren St., N. Y. C. which I have listened in several years, and it is a pleasant surprise. The voice is still CIRCLE 39 ON READER -SERVICE CARD

AUGUST 1960 75

www.americanradiohistory.com IDN came w,..rtoD^ ,. ,+4.4 sT es- TRACK r tribute to this now legendary singer is a collection of line songs which have always been identified with Columbo. Bruno wisely makes no attempt to imitate directly CORELLI the insidious charm of the Columbo style, but he very successfully JOINS suggests it, even though his voice is a good deal more robust than that of the late singer. The orchestral arrangements are sometimes overtlambov- ant, but this is a pleasing memento of a singing style popular some thirty years VIVALDI ago. ".Sheer listening joy!" - 'Pleat's chat Leonard Bernstein call the Library of Ife- /) "Aphro- Gypsia." Artia ALP 120, $4.98 f corded Masterpieces exciting new 1I\ 11.I)t (l.P). recording project w Rich has hr ght forth such Behind this grossly overstated title is some comments from listeners as, " kst 'siting of the most beautifully played, beautifully are plishment ( \ew York Tintes) ... "The finest recordings I have ever heard- ... recorded, and beautifully memorable Eastern 101 Strings interpret "Truly magnificent" ... Gorgeous' ... -Su- European traditional music in the catalogue. perb and delightful." the musical Soul of The music is culled from both Hungarian and Romanian sources: Spain on this exciting And Now n New Delight -all of (:orelli's much of it is purely music recorded on 12 IT records, with s gypsy in origin. All of it is stunningly played new STEREO TAPE by six varied pieces and concerto grosso fr by musicians who arc, regrettably, un- Opus 6 on each record i +sued monthly ... identified. O.B.B. and after the first nine records, you get the bel canto last three free. "Ping-Pong Percussion." Chuck Sagle and For the First Time in musical record- and His Ensemble. Hear it on 2 -track or 4- ing history , the music lover enjoys 'recording Epic LN 3596, $3.98 track reel -to -reel or new in depth" of the complete output of a great (LP); BN 568, $4.98 (SD). tape Write for composer played in the style of the original Like most imitations, Saglc's arrangements cartridges. follow ing the authentic scores recorded - by and performances attempt to beat earlier Catalog Al2 of over 100 leading artists with the most advanced Ici fi Bel Canto releases. recording tel lues available in both mon- percussion releases at their own game, and aural and store , - plus the authentic scores where these arc not too ambitiously over - with each record - and all this at less than fancy, actually succeed in doing so, par - the scores alone would cost. Bel Canto Stereophonic Recordings ticularly in sonic and mood variety. Here a subsidiary of Thompson Ramo Wooldridge Inc. Write Today for Free Prospectus, for the general style is less Latin- American 1977 -1985 McAllister Avenue l' 1'iralr /i, Cfor Corelli or I'Cfor both than Dixieland, and even if Dixie in the COLUMBUS, OHIO l.ibrar. of Recorded Masterpiece,. Dept. 11F2, old days was never like this, there is real 130 West 82nd Street. New fork 21 jauntiness as well as razzle -dazzle in many of the present selections. The closely miked CIRCLE tl ON READER- SERVICE CARD CIRCLE. 51 ON ItEAI)F.at- tit:ItyICI: (::(1(1) two -channel version is brilliant and stereo - Istic, the sharper -toned LP less effective. R.D.D.

"Moscow After Dark." Yulya. Kapp KL THE EAR 1158, $3.98 (LP). These Russian pop songs sung by erstwhile THAT HAS Soviet citizen Vulva 1'hitnes' in a robust HEARD but breathy soprano weave an immediate spell. The Steppe, for example. encompasses EVERYTHING, all the haunting emptiness of its subject; and the poetic yearning of the World War II HAS HEARD hit, The Roads of War, relates to our own wartime hits -1 am thinking of the likes of NOTHING Praise the Lord and Pas.; the Ammunition, Roger Young, etc. -about as Shakespeare UNTIL does to Edgar Guest. Rather close .,liking IT HEARS and a modicum of tape hiss, but otherwise All the gaiety a clear recording. Weil worth investigating. ALAN KING in SUBURBIA and excitement of the O.B.B. celebrated Vienna Philharmonic Ball COMEDY WITH MUSIC by America's brilliant " `Big' Tiny Little's 20s." "Big" Tiny young comedian, Alan King is a record that is a l.ittic and Honky -Tonk must in the library of every suburbanite, PHILHARMONIC Ili. Piano. former suburbanite and all future suburbanites. Brunswick BI. 54057, S3.98 (LP); BL In this album Mr. King, well known through his BALL 754057. $4.98 (SD). recent T.V. appearances continues his special Although one doesn't expect subtlety from brand of humor. Music of Johann &Josef Strauss a honky -tonk pianist. I don't believe I have King's favorite subjects are expounded In time ever encountered playing of such uncon- with the music. He spares nothing in his rendi. Auf Der Jagd; Delirien Waltz; Pizzicato Polka, tion of life in suburbia; his wife, trolled exuberance as I.ittle indulges in here. his children, Fruhlingstimmen; Ohne Sorgen; Blue Danube his lawn, and even his garbage disposal. It is a He hammers away at the great old songs Waltz; Transaktionen; Perpetuum Mobile; treat in records for the family. Egyptian March. Vienna Philharmonic Orchestra from the Twenties as if determined to make - Willi Boskovsky you understand why the period acquired Stereo: CS6I82 Mono: CM9042 the descriptive term "Roaring." I enjoyed HI- FIDELITY the demonstration thoroughly, although STEREOPHONIC Write for free catalog twenty -six minutes of it at one sitting can be a wearing experience. Better take this in small doses, when it will surely amuse ffrr O/YDO2Y ffss and stimulate. J.P.I. mono 3 RECORDS stereo Dept. AD. SAW 2101 539 W. 25th St., N. Y. 1, N. Y. SEECO RECORDS, 39 W. 60 ST., N.Y.C. CIRCLE (.7 ON READER -SE:10 ICE CARD CIRCLE :,' ON RF. \IIFIt-SE:I0 ICE CUM 76 HIGH FIDELITY MAGAZINE

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Buck Clarke Quintet: "Cool Hands." Off- Dizzy Gillespie Octet: "The Greatest (playing vibes). The playing on the Atlantic beat 3003, $4.95 (LP). Trumpet of Them All." Verve 8352, set, on the other hand, in addition to being A multi- instrumentalist named Charles $4.98 (LP). well recorded, is freer and less muscle -bound Hampton makes himself known on this disc Using compositions and arrangements by (possibly a little too free on Monterey Apple as a performer of unusual promise. Hampton Benny Golson and Gigi Gryce, Gillespie Tree which starts out as an enticingly driv- plays piano, alto saxophone, clarinet, and has produced a session devoted almost en- ing performance but is allowed to ramble a wooden flute and contributes three com- tirely to gentle, ember -glowing jazz. The off aimlessly). The group's cohesiveness is mendable compositions to the set. Although basic mood is broken sharply only by shown in a booting version of Four Brothers he is a satisfactory pianist, it is on alto Gryce's Smoke Signals, but even then Gilles- and the closely knit ensembles of Skoobee- that he is most impressive, playing a slow, pie leaps through his solo lightly, and with doobee, while on the lengthy Like Some Blues poignant, but essentially gutty solo on Lover scarcely any pyrotechnical cannonading. it achieves a disciplined relaxation normally Man and romping through I'll Remember Gillespie's work throughout is warm and found only in big bands which have been April with joyous fluency. And on an ex- affecting as he adapts readily to the moodily together for a long period. hilarating piece called X -A- Dose, on which minor feeling of Golson's writing, a quality everyone else turns to vigorous percussive which also turns up in much of Gryce's Lennie McBrowne and the 4 Souls. Pacific tasks, Hampton gets some wonderfully work. dirty Gillespie's octet includes both Gryce Jazz I, $4.98 (LP). effects on a wooden flute. The group as a and Golson as well as pianist Ray Bryant. McBrowne, a drummer with some of the whole is pleasantly capable, with no strong suavely exotic tendencies of Chico Hamilton attachments to any style. John Handy, the Vernacular." Rou- HI: "In in his solo work, provides a good foundation lette 52042, $4.98 S 52042, $5.98 (LP); for the 4 Souls (Donald Sleet, trumpet; Dan- Duke Ellington and His Award Winners: (SD). iel Jackson, tenor saxophone; Terry Trotter, "Blues in Orbit." Columbia 1445, Excitement bristles from several of the CL piano; Herb Lewis, bass), a new Nest Coast $3.98 (LP). tracks on this disc, generated to some ex- group. The group does not yet have much Ellington and the blues have been comfort- tent by Handy, a alto fluent saxophonist personal identification and seems satisfied to able companions for thirty -five years so with a hard, assertive it attack, but more often follow in the hard bop and gospel funk foot- comes as no surprise to find the Duke in one Williams by Richard on trumpet and Roland steps established by several East Coast of his most relaxed and piquant moods a in Hanna's piano. Williams has crackling, groups in the past year. Jackson plays with this collection of blues. Two of the selections stabbing, often startling manner of playing assurance, somewhat under the spell of Sonny are old Ellington favorites Jam Blues which sometimes seems as if it would actually -C Rollins, and Sleet has a crackling attack al- and In a Mellow Tone (graced by an excel- reach out and grasp the listener its with though his tone is thin. The group shows up lent muted trumpet solo by Ray Nance) agitated importunings. Hanna is almost well on the three tunes that make up one and one, Pie Eye's Blues, comes from Elling- equally commanding. These three, propelled side of the disc (an excursion into gospel ton's film score, Anatomy ofa Murder. Other- by the alertly intense drumming of Roy funk, a misterioso showcase for McBrowne wise it is new material, highlighted by a pair Haynes (who seems to have been revitalized i' with mallets, and a surprising uptempo ver- of subtle collaborations between Ellington by the example of Louis Hayes), produce sion of Dearly Beloved in which the theme and Billy Strayhorn, one of Duke's slow, some strong magnificently ensemble playing is dissected in an unusual and interesting moody ventures into and as impressionism, a and occasionally, on Quote Unquote, sus- manner). But the second side shows their selection featuring Jimmy Hamilton's warm, tain a tremendous momentum throughout repertory is still quite shallow; it is one rugged style on tenor saxophone (which is both ensembles and solos. continuous expanse of tedium. so far superior to his clarinet work and so much more interesting than Paul Gonsalves' Woody Herman: "The Fourth Herd." Jazz - dry efforts on tenor). Jland 17, $4.98 (LP). "A.t_the Monterey Memphis Slim: "The Real Honky Tonk." Jazz Festival." Atlantic 1328, $4.98 (LP). Folkways 3535, $5.95 (LP). Walt Gifford's New Yorkers. Delmar 206, Iritrybireis still interested in arguing Both as singer and pianist, Memphis Slim $4.98 (LP). East Coast jazz vs. West Coast jazz, these is somewhat erratic in this collection of One of the most drawn -out advance cam- two discs should add fresh fuel to the fire. blues and boogiewoogie. He shows up ex- aspects paigns for any product (promised periodically Here we have Woody Herman, a model of tremely well in both on slow, rugged for more than two years) has finally come to consistency, leading two different bands blues, such as Whiskey Drinking Blues, when he can give the lyrics full meaning and back an end with the release of this disc. It would within a period of two months in 1959 - be stretching a point to say it was worth an East Coast group on the Jazzland disc them up with a heavy, well- placed piano waiting for this long, but the record is, and the Westerners with whom he appeared accompaniment. But at medium and faster tempos, particularly when he is nonetheless, a creditable and lively set of at the Monterey Jazz Festival on the At- running Dixieland performances. The main point of lantic set. While the basic Herman big -band through the boogiewoogie formulas, his per- interest is the strong trumpet work of style is recognizably present on both discs, formances have a disinterested, surface Johnny Windhurst, who adds suggestions of his West Coast group is a vibrantly swinging quality. Wild Bill Davison's swagger to a base of band while his East Coasters perform in Beiderbeckeian lyricism. He is capably sup- ponderous and undistinguished fashion. The Thelonious Monk Quartet Plus Two: "At ported by Ed Hubble's rough trombone, Jazzland set is further afflicted by dull writ- the Blackhawk." Riverside 12323, $4.98 Bob Mitchell's bubbling, New Orleans en- ing and tubby recording, although an occa- (LP); 1171, $5.95 (SD). semble clarinet, and the steadying influence sional perky solo spot is contributed by The two additions to the Monk Quartet on of old pro Dick Cary at the piano. Herman, Nat Adderley, or Eddie Costa this occasion are Joe Gordon, trumpet, and

AUGUST 1960 77

www.americanradiohistory.com Harold Land, tenor saxophone. Land's lean this disc she offers a choice collection of Teddy Bunn; and a typical slice of Fats solo style is suitably complementary to swingers and ballads, and one rich, warm A'aller's rhythmic cynicism, Bessie, Bessie, the more fleshed -out playing of Monk's blues with splendid backing by Tommy Bessie, recorded in 1941, with moving solos regular tenor, Charlie Rouse, but Gordon Flanagan, Danny Barker, Tommy Potter, by Al Casey on guitar and Gene Sedric on adds little to the group (although he is not and Jo Jones. the lower reaches of the clarinet. It also makes helped by having a conversation carried on available again the waspish version of Why in front of the mike all through his solo on Bill Russo and His Orchestra: "School of Don't You Do Right by Lil Green which Worry Later). Monk himself appears to be Rebellion." Roulette 52045, $4.98 (LP); later served to launch Peggy Lee's career, a in a placid and relatively bland mood. The L. S 52045, $5.98 (SD). spirited 1Vingy Manonc selection, a slick program includes a new, long version of The big band which Russo conducts on this duet by Jack Teagarden and Louis Arm- 'Round Midnight on which Rouse, who is disc has been in the planning stage since strong, and an adequate blues sung by Lead - often inclined to worry Monk's themes, gets the spring of 1957, and in rehearsal since belly. But there arc also some remarkably much deeper into the development of his January 1959. .Their goal, says Russo, is poor choices, notably one of the least suc- solo than he usually does. "the excitement of the intellect." The music cessful Count Basie -Jimmy Rushing collabo- here is not the arid jazz that so often results rations, Walking Slow Behind You. Nor has Phineas Newborn Trio: "I Love a Piano." from a deliberately intellectual approach. Leonard Feather, who produced the disc, Roulette 52043, $4.98 (LP); S 52043, Russo's music appears to have definite ties done himself much credit by including four $5.98 (SD). to the Stan Kenton of about ten years ago. tunes written either by himself or his wife, This amiable, unprepossessing collection of But where Kenton's work became labored only one of which -a genteel blues on which piano solos is another encouraging indica- and self- conscious, Russo has achieved a Pete Brown and Danny Polo make brief tion that Newborn is escaping from the lightness and fluidity that gives even his solo appearances -is worth preserving. cloying clutches of the effete virtuosity he least overtly rhythmic pieces a springing once seemed to equate with jazz. He plays sense of propulsion. The band has several Buddy Tate: "Tate's Date." Prestige/ simple, tuneful pieces here, using lean lines good soloists, notably Larry Wilcox on tenor L. Swingsville 2003, $4.98 (LP). and a strong beat and, in general, foregoing saxophone, and Bill Elton, trombone, but Tate's dark - toned, well- lubricated tenor decorative touches. The result is quite satis- the group is interesting primarily for its saxophone sets a swinging, stomping pace factory jazz - touched cocktail piano. work as an ensemble, for the crispness and for this disc. The group he leads is essentially polish of its section work, and for its sensi- the one with which he has been playing Mary Osborne: "A Girl and Her Guitar." tive use of shading. around Harlem for several Years. This is Warwick 2004, $4.98 (LP). straightforward, middle- period jazz with the In a day when jazz guitarists seem to be / "Singin' the Blues." RCA Camden 588, soloists riding on ensemble riffs and the growing increasingly delicate and wistful, $1.98 (LP). rhythm prodding the group along constantly. Miss Osborne is, praise be, running against Some fascinating things turn up in this Basically, Tate's group functions in a style the tide. Her playing brims with vitality and reissue excursion into the dimmer recesses and with material once known as rhythm life. She wastes no time on frills but moves of Victor's files. Two previously unissued and blues. Several pleasant subsidiary con- straight ahead in an easy, unaffectedly swing- performances are included -a surprisingly tributions are made by Pat Jenkins on ing fashion, drawing on both the lyric pro- well- recorded 1930 selection by Lizzie Miles trumpet, Eli Robinson, trombone, and Ben pulsion of Django Reinhardt and the flow- on which she receives strong accompani- Richardson, clarinet. ing, looping lines of Charlie Christian. On ment from the almost forgotten guitarist, JoRN S. Wtt.soN

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www.americanradiohistory.com br tape, a very moving tribute both to the Grosso in G minor, Op. 8, No. 6 ("In forma di late conductor's artistry and to the creative Pastorale per it Santo Natale"). fantasy of an otherwise too little known con- I Solisti di Zagreb, Antonio Janigro, cond. temporary Spanish composer. 1\ VANGUARD VTC 1617. 37 min. $7.95. RACHMANINOFF: Concerto for Piano There are few of my jealously guarded 2- and Orchestra, No. 2, in C minor, op. 18 track tape treasures for which I'm happier to find 4 -track replacements than this per- Peter Katin, piano: New Symphony Or- haps most endearing of all the Janigro- chestra (London), Colin Davis, cond. Zagreb recorded programs. And not the RlcusfoND RCH 40002. 33 min. least of its present attractions is is $4.95. that it now processed at a much more suitablemodu- lation level, as well as more conveniently TCHAIKOVSKY: Concertofor Piano and -and much less expensively- united on a Orchestra, No. 1, in B flat minor, Op. 23 single reel. Even the least distinctive selec- Peter Katin, piano; New Symphony Or- tions included here, the overromantic Kele- chestra (London), Edric Cundell, cond. men Bach chorale transcriptions, now sound RICHMOND RCH 40003. 32 min. less anachronistic than I found them at first, $4.95. while the serene yet songful performances of the Corelli and Torelli Christmas Con- The late and greatly gifted Argenta. The first low -price London -subsidiary tapes certos impress me more than ever as the are relatively almost as much a bargain as finest available. Yet perhaps the most their stereo disc counterparts, especially enchanting singing of the High Priestess. immediately delectable work here (and the since the processing here does even better In this work, however, the soloists them- most striking proof of the affinity between justice to the cleanly bright original re- selves are less vital than the over -all drama, modern stereo technology and eighteenth - cording (that of the solidly authentic piano and long and varied as Aida is (especially century music) is the pert "Toy" Symphony tone in particular), although I personally in 1'on Karajan's sometimes slow but long attributed to Haydn. but more re- would prefer a larger auditorium's rever- always panoramic reading), it seizes and cently identified as drawn from a Sinfonia berance for these big showpieces. Katin's holds one's most absorbed attention through- Berchtolcgadensis by Leopold Mozart. In its readings, for all their assurance and notably out. Not least of the taping's advantages is naive but irresistibly zestful way this is a fluent passage work, fall somewhat short of the ideal fitting of each act complete on a kind of premature "hi -fi demonstration" full dramatic conviction, and the New reel "side" -thus avoiding the less felicitous piece with amusing sound effects (rattle, Symphony Orchestra seems a bit undersized breaks of the six -sided disc version. Its sole quail, and cuckoo calls, etc.) captured to and sometimes a bit coarse in fortissimos. disadvantage is that at one extreme of the perfection. By less demanding standards, however, both enormously wide dynamic range, the versions should be pleasurable. scrupulous observance of the composer's Apps results at times in so low a modulation VERDI: Aida that the background noise and perhaps a touch of reverse- channel become crosstalk "Around the World in 80 Days." Original Renata Tebaldi (s), Aida; Eugenia Ratti (s), more obvious than they might be otherwise. Priestess; Giulietta Simionato (ms), Am- sound track, Victor Young, cond. Decca neris; Carlo Bergonzi (t), Radames; Piero 517 9046, 44 min., $7.95. di Palma (t), Messenger; Cornell MacNeil Although this popular film score has been (b), Amonasro; Arnold van Mill (bs), somewhat more brilliantly recorded by Ramfis; Fernando Corena (bs), King of ATAULFO ARGENTA: "España" Franz Allers on an Es-crest SD, not all ad- Egypt. Singverein der Gesellschaft der Chabrier: España Rapsodie. Moszkowski: mirers of the music may approve of its Jack Saunders' Musikfreunde; Vienna Philharmonic Or- Fite Spanish Dances, Book I, Op. 12. Rimsky- added lyrics and dialogue, and in any case the original sound track warrants ttfchestra, Herbert von Karajan, cond. Korsakov: Capriccio espagnol, Op. 34. Gran - tape LoNDoN LOR 90015. Two reels: ados: Danzas Españolas: No. 5, in E minor, documentation -every bit as sonically approx. 83 and 66 min. $21.95. Op. 37 (Andalttra). lush and big as was heard in theatres, if here with seemingly even heavier lows. At last, the first of London's literally com- London Symphony Orchestra, Ataulfo Ar- plete operas and for that matter the first gen ta, cond. .'I Want to t.ive." Original sound tracks by major grand opera production on tape. It is LONDON LCL 80014. 39 min. 4 -'9'. the Orchesi,,,.. Johnny Mandel, cond.. no disappointment either, particularly in and by Gerry Mu1hy; .: ch.. Jazz This collection (oru...atty issuM, as "España, the most theatrically dramatic (and stereo - Combo. United Artists UATC 2201/2, Vol. 2," on in 1957, but so transparently genic) Triumphal, Temple, and Judgment LP two reels, 30 min. and 29 min. respec- and brightly ree rded that the present stereo scenes, which surely must rank among the tively, $7.95 each. taping is a consistent delight to one's ears) is most successful achievements of matched In its own more sinister and full -bodied of unusual interest in that it presents a fasci- technological and artistic talents and which way, Johnny Mandel's powerfully dramatic natingly novel slant on the familiar works prove in some ways more thrilling than jazz score for this film is as much a - even included. To hear the three examples of of path the finest staged performances. breaker as John Lewis' cooler, crystalline "Spanish" music by non -Spanish composers The splendors of the recording are less score for "Odds Against Tomorrow." Like played for the first time by an authentically evident in the more conventional solo and that, this also is unfortunately enigmatic and idiomatic Spanish conductor is a revelation. duo passages, yet even here they contribute episodic when divorced from the visual Even the usually salonish dances by Mosz- valuably to the Vienna Philharmonic's action. Nevertheless, both the music itself kowski disclose surprising piquancy and matchless accompaniments. By the same and the twenty- six -man band (including a prancing zest, while the Rimsky Capriccio standards, the soloists are likely to evoke French horn section and a wonderfully and Chabrier Rhapsody are given grace and less enthusiasm: for me, Bergonzi lacks both growlly double bass clarinet) are often fear- vibrancy barely hinted at in more conven- conviction and color; Tebaldi sings beau - fully impressive, perhaps particularly so in tionally dramatic performances. tifully most of the time, but also is not very the darkly expressive Peg's Visit, melan- dramatically convincing; and while Simio- choly Letter- Writing, and remorselessly per- ANTONIO Eighteenth- nato is excellent in this respect, her marked JANIGRO: "An cussive Stakeout sequences. The second reel, Century Concert" vibe to _ atd register contrasts make her confined to more extended improvisations on vocally less distinguished to my taste than Corelli: Concerto Grosso in G minor, Op. 6, Mandel's themes and dominated by Mulli- she apparently is to most other reviewers. No. 8 ( "Christmas Concerto "). Bach: Chorales gan's hoarse baritone sax, stands up better on But MacNeil, Van Mill, and Corena are (orch. Kelemen): Vom Himmel hoch, S. 606; its own, especially in its atmospheric Bar- first -rate, as is Di Palma in the usually Jesus, bleibet meine Freude, S. 147, No. 10; bara's Theme and jumping Life's a Funny botched Messenger role. The surprise of Lobt Gott, ihr Christen, S. 609. L. Mozart: the whole cast is Eugenia Ratti's sheerly "Toy" Symphony in C. Torelli: Concerto Continued on next page

AUGUST 1960 81

www.americanradiohistory.com 040.1.0010,,,r- BACH TAPE DECK 7 OR Continued from preceding page LOUIS0 KEELY!1 Thing. Both reels are superbly recorded and BE-BOP effectively stereoistic, and there is some fine straight jazz in the latter, vet it well may be the extraordinary originality of the enig- matic big -band score which is likely to linger longest in one's memory.

"Join Bing and Sing Along." Bing Crosby, Chorus. and Ensemble, Jack Halloran, cond. Warner Brothers WST 1363, 39 min., $7.95. 4444 Mitch Miller may have started (or at least TRACK resurrected) the "sing- along" craze, but it has taken the Old Master to supply the de- finitive triumph of this genre. He's in his LOUIS PRIMA & KEELY SMITH jauntiest form here, leading an unusually never sounded as great robust backed by a vigorously steady chorus, as they do on this red hot rhythm section, in performances which im- periously demand participation. Best of all, :d cool STEREO TAPE by the ten medleys here include no less than thirty -three songs which skip practically bel canto none of the old favorites, yet still take mo- ments out for stop -time dance- breaks and Hear it ... on 2 -track or rich barbershop harmonizing. 4 -track reel -to -reel or new tape cartridges. Write for "Music Hall Bon -Bons." Radio City Music free Catalog A10 of over I fall Synlhhonvv Orchestra, Raymond 100 Bel Canto releases. ON PATIO ... LAWN ... Paige, cond. Everest 1'4 1024, 37 min., TERRACE... POOL... $7.95. Bel Canto Stereophonic Recordings Mr. Paige's return to recordings after a a subsidiary of Thompson Ramo Wooldridge Inc. THRILL TO OUTSTANDING long absence is more successful here than 1977 -1985 McAllister Avenue in his ambitious "Classical Spice HIGH FIDELITY SOUND more COLUMBUS, OHIO Shelf" program, since the present materials WITH UNIVERSITY'S (familiar light symphonic pieces by David Rose, Leroy Anderson, Raymond Scott, WEATHERPROOF (:nt(:LF: 82 (1\ ttEtnElt-SF:Ity1CF: CU(D 'LC' SPEAKER SYSTEMS and others) are so much better suited to his talents. Nevertheless, the conductor : w persists in playing down to his audiences . and too often seems either self -consciously w v cute or pretentious in his readings. The result is that the primary attractions here are the fine stereo sonics. Music Mountain "Old Heidelberg." Will Glahe, His Ac- MODEL MLC MODEL BLC cordion, Orchestra, and Chorus. London Falls Village, Connecticut Each model is a true coaxial speaker, I.PM 70017, 25 min., $6.95. with separately driven woofer ana A real beer -hall Fest with Glahe's little tweeter, and built -in netwoik. Simply el.,e able and male chorus, starring occa- con,.cet to your an,p'- ?'i,;e, phonograph, sional a(,, Ji0 _.e.,1o, and animated by a radio, or TV ... the exceptionally effi- brisk rhythm section, hea..i in a quick run Berkshire cient 'LC' speakers provide high volume through some forty popular German folk sound of fine tonal quality. Cover any and student songs which fairly demand Quartet area you desire ... wide or narrow, shal- sing -along participation. low or deep ... according to model chosen and distinguished and placement angle. Leave in place rain "Oscar Peterson Plays : The Gershwin w. or shine, season after season . con- Song Book . . . The Richard Rodgers guest musicians . .; fident of the rugged dependability Song Book . The Duke Ellington built -in by University. Song Book." Verve VSTC 230/32, three reels; 33, 30, and 33 mins.; $7.95 each. Sundays at 4:00 MODEL MLC One -piece fiberglas reinforced Peterson's special niche seems to be bounded polyester horn. Response: 160 -16,000 cps. Imped- by true jazz pianism on one side and by July 3 through September 4 ance: 8 ohms. Power capacity: 16 watts. 12%" x 91" x 10%" d. Shpg. wt.. 10 lbs. User net: $34.50. frank cocktail -hour entertainment on the other. In the first two reels he generally MODEL BLC All metal construction. Response: Admission -$2.00 70- 16,000 cps. Impedance: 8 ohms. Diameter: leans towards the latter extreme, yet seldom 223 ". Depth 91/4". Power capacity: 25 watts. fails to redeem even his more conventional Shpp. wt., 21 lbs. User net: $53.70. performances with occasional touches of Write for folder For complete details write for brochure. Desk originality. In the Ellington program, there University Loudspeakers, Inc., White Plains, N.Y. listing programs is considerably more real jazz in a jumping Cottontail and Rockin' in Rhythm, but he also for the season is particularly effective in the lyrically flow- ing I've Got It Bad, Things Ain't What They Used to Be, and a buoyant Takin' the "A" Train. The fluent piano playing e is brightly reproduced, but Ray Brown's ;x ON REti*H- SF:Itt7CE CARD CIRCLE 60 ON READER- SERVICE CARD HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com Tape Deck

Reviewed by R. D. DARRELL

The following reviews are of 4 -track Vienna Philharmonic Orchestra, Rafael tions and employing a relatively small chore 7.5 -ips stereo tapes in normal reel form. Kubelik, cond. with an orchestra restricted to strings and I.osnox LCK 80008 (twin- pack). 76 harpsichord except for occasional ANTILL: Corroboree Suite oboe main. $11.95. doublings and the trumpet tGinastera: Pauambi Suite and timpani Widely admired in their 1957 LP versions vital for the few climactic moments specified London Symphony Orchestra, Sir Eugene (the later SDs seem to have been largely by the composer himself. Like every per- Goossens, cond. formance so overlooked in the first floods of stereo re- of genuinely "big" a work. F.VExt:sr 3003. 37 $7.95. there 74 min. issues), these recordings show little sign of arc details in this one over which specialists It is tempting to judge these works together, their age in the present tapings. Possibly can properly quibble. For me. the soloists are either to dismiss both as "poor men's Sacres" they have somewhat less marked channel dif- adequate rather than ideal, although or to exaggerate their novelty as unfamiliar ferentiation than is customary nowadays, even the weakest of them, Alarie, music of Australian aboriginal and Argentine but their smoothly broadspread sonics are achieves genuine eloquence in her "I Know that My Redeemer Indian tribal rites. Actually they have less in admirably suited to the music at hand, and Liveth." Again, some of Scherchen's tempos are common (apart from a predilection for aug- the dynamic range and low frequency solid- rather startling mented percussion choirs) than such verdicts ity are still notably impressive. Kubelik's on first encounter, although his "Pastorale Symphony" is now taken would suggest. John Antill's ballet is a labori- New H'orld can be safely recommended as more calmly than in his 1954 ously and somewhat synthetically constructed one of the finest on records: a trifle lacking in recording and even his fantas- tically evocation of tribal ceremonies, which must Czechish humor perhaps, but in all other slow "Amen" Chorus eventually achieves an impressive be electrifying in staged performances, but respects masculine, romantic, precise, and kind of glacial mo- mentum. which musically depends almost entirely on admirably free from mannerisms of any kind. But over -all the conductor's coherence and exaltation unintegrated sequences of now sinister, now I myself find his Second falling short of the more than justify his idiosyncrasies, and his eerie sound effects. Panambf is the more assured control and expansiveness of the -and Handel's- transcendent moments spontaneous work of a much more gifted and companion performance, but it is (on discs are incomparable. skilled composer. even though it was written as well as tape) the only stereo edition avail- Technically there can be no quibbling at all: the full- blooded in Ginastera's early twenties and swings able today. yet luminous stereo - ism is both somewhat jarringly from romantic lyricism an aural jov in itself and an ideally transparent medium to hard -driving tumultuousness. HANDEL: Messiah for the sinewy yet always sure But what the two works do have in com- and warmly expressive Pierrette :\brie, soprano; Nan Merriman, chorus and orchestra. And for good mon on the present tape is magnificently measure contralto; Léopold there is an controlled power in both performance and Simoneau, tenor; Richard exceptionally low level of tape Standen, bass; Vienna noise and hiss, recording. The latter, with its explosive Academy Chorus; and the boxed -reel format Vienna State Opera Orchestra, includes transients and tremendous dynamic and Hermann the complete text, as well as Scherchen, cond. Edward Tatnall frequency ranges. established Everest's tech- Canbv's historical notes, WESTMINSTER WT\\' 134. in a 20 -page nical reputation when the disc versions ap- Two reels: illustrated booklet. approx. 102 and 89 min. $23.95. peared: here it makes an even more over- whelming impact. A true monument in tape -recording history, RODRIGO: Concerto for Guitar and Or- not only for its length, but for the stature chestra ( "Concierto de Aranjuez") COPLAND: Symphony No. J 3 of its materials and their present interpreta- t Falla: Noches en los jardines de España London Symphony Orchestra, Aaron Cop- tive and sonic realization. This is not literally J land. cond. the "1742 Dublin Version" it is claimed to Narciso Yepes, guitar; Gon, piano; National )r:éftestîa EVEREST 41' 3018. 40 min. $7.95. be, for Scherchen wisely includes the best of SI. , . \tauló, known of the composer's own post- Dublin Argenta, cond A belated but nonetheless welcome release N additions to the score, but it is so in spirit: LON LCI. ROOM). 43 min. $7.95. of the 4 -track taping promised when 2- the this is essentially a purist edition of Messiah, track edition was reviewed. With each re- stripped clean of later arrangers' cncrusta- firm . amc aced to admit that only now I've hearing. Copland's opus magnum assumes 'belatedly "discovered" this Delectable - grander stature and reveals new ddectabili- - - Mountain pair*. Now, of course, I'm ties. This composer's version has been criti- avidly seeking co ,panion laggards in relish- cized in some quarters as lacking in dramatic ing the thrill of hearing the familiar Nights vitality, at least in comparison with Dorati's in the Gardens of Spain played for the first older reading for \icrcury, but for me its time by a native Spanish pianist, conductor, greater objectivity and lucidity make a pro- and orchestra in a performance which excels founder impression in the long run. In any all others on record in atmospheric magic. case. the Dorati recording is available only But the Rodrigo work is even more no.1 monophonically and stereo is essential to the and exciting: a little masterpiece of imagina- full sonic untangling of this intricate score tive music making as well as a quite unique The present taping sounds, if anything, ¿yen solution of the problem of not only balancing cleaner than the 2 -track Version :and again a solo guitar with an orchestra. but of making the only technical lack is -one of acoustical that odd combination sound wholly natural warmth-which undrtibtedl is the com- -and indeed ideal for Rodrigo's bubbling poser's own pi-el-crevice. flow of now nostalgic. now jaunty, but always rhapsodic musical ideas. The work has been DVORAK: Sy Phonies: No. Z in D minor, recorded more recently by others. but scarce- Op. 70; No. , in E minor, Op. 95 ( "From r With the subtle grace of Yepes and the New Wor "} Rafael Kubelik: a masculine New World. Argenta, and this version remains, on disc

.fïvrìJ - HIGH FIDELITY MAGAZINE

www.americanradiohistory.com bass is ovcrheavily balanced against it in the opposite channel, and Ed Thigben's traps chug along much too methodically in the middle. With

"The Sound of a Chorus." Carlos Ramirez IltiiEllNa 7r and The Campaneros dc Mexico, Cortez, cond. Medallion MST 470003, 34 min., $8.95. model 8 The new Kapp subsidiary proves that South of the Border engineers fag not a bit behind stereo amplifiers our own in stereo technology, and the fine eighteen -man chorus and its characteristic you will marimba, accordion, and percussion accom- panists sing and play no less effectively in a dozen delightfully straightforward, robust, get well over and colorful Mexican favorites (Alma Llan- era, Addita, Cielito Lindo, etc.). But the pleasantest surprise of all is the return of the Experts disagree fabulous Carlos Ramirez as baritone soloist. Ile must be no youngster these clays, but Engineers choose the new ESL -C99 time hasn't dulled in the slightest his mag- Micro /flex stereo cartridge because nificent voice and dramatic powers. of its patented, inherently linear 30 WATT S D'Arsonval movements and exclusive each channel Micro /flex separating system. "The Sound of Music: Selections." Trapp Family Singers and Players with Chorus, Musicians, on the other hand, prefer Father Franz Wasner, cond. Warner the ESL simply because it makes Brothers, WST 1377, 38 min.. $7.95. records sound better. In theory, neither the devotees of Rodgers' Are you enjoying this superlative hit show nor those of the Trapp Family's cartridge yet? It's only $49.50 earlier records (of largely baroque and folk at your dealer's. music) should be satisfied by this incon- gruous combination in which the reconsti- FOR LISTENING AT ITS BEST tuted group (plus some unidentified "ring- ers") turns its somewhat naive talents to the or more than... Electro -Sonic slightly tailored tunes provided for the dram- Laboratories, Inc. atization of its career. Yet miraculously the Dept H 35 -54 99th St Long Island City 8, NY musical sentiment here is so sincerely elo- CIRCLE 31 ON READER- SERVICE CARD quent that it remains on the safe side of senti- mentality; the hollow recorders, jangiy harpsichord, and vibrant little string en- STEREO semble add a genuinely quaint charm (es- pecially in the couple of sheerly instru- mental selections); and the unpolished but endearing singing is calculated to soften the hearts of even the most sophisticated listen- ers. In any case, what makes this program ir- resistible is the lucidity and acoustical warmth of the markedly stereoistic recording O WATTS -a miracle for these day s and perfectly suited for the simple yet effective polypho- monaurally BYRON JANIS nies of the present arrangements. RACHMANINOFF "Stereophonic Suite for Two Bands." CONCERTO NO.2 in C minor Les Brown and Vic Schoen Orchestras. Kapp ANTAL DORAIT Minneapolis Symphony Orchestra KT 41007, 40 min., $7.95.

PREE DE ¡ wear . t+inr PRnLDE i. E 41 mor A stereophile's natural and one of the first serious attempts to compose specifically for the two- channel medium, this undoubtedly RACHMANINOFF Piano Concerto No. 2 in C minor; significant release I find difficult to greet Preludes in E flat major and C sharp minor. Byron as enthusiastically as I probably should. Janis, pianist; Minneapolis Symphony, Dorati. After praising the often virtuoso playing SR90260/MC50260 and the brilliant and solid recording, and BALLET FOR BAND. Pineapple Poll (Sullivan); La after interpolating a special commendation for Kapp's a Boutique Fantasque (Rossini- Respighi); Faust Ballet inclusion of seating diagram of the dual personnel, I just can't say Music (Gounod). Eastman Wind Ensemble, Fennell. much about %'ic Schoen's music itself-except that SR90256/MG50256 it's loud and long. It interests without BERLIOZ Symphonie Fantastique. Detroit Symphony, satisfying me, and often repels by a kind of Paray. MC50254/SR90254 pretentiousness which leads to titling one composition Symphonie pour l'orchestre ameri- PROKOFIEV Symphony No. 5, Opus 100. Minne- cain and another The Strange and Stirring apolis Symphony, Dorati. MG50258/SR90258 Romance of the Inebriated Owl and the Write for Free booklet No. 41F Insubordinate Teacup. I liked best the less ambitious Oh, Those Martian Blues, with its rNan12e ileao larking piano solo by Don Trenner, but even this goes on too long. But perhaps others will 25-14 Broadway RECOROS. hear more in this racket than I can. Long Island City 6, New York CIRCLE Sa ON READER-SERVICE CARD CIRCLE 51 ON ItF:ADEIt- SERVICE CARD AUGUST 1960 83

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Kit Exclusive advanced systematized engineering FM Tuner HFT90: Prewired, prealigned, tempera. HWD: 24 ", 121/2 ", 101/2 ". Unfinished birch. Walnut or mahogany. Kit Lastest and finest quality parts ture- compensated "front end" is drift -free. Pre $47.50. Wired $56.50. Exclusive "Beginner- Tested" easy step -by- wired exclusive precision eye- tronicn traveling $59.50. Wired $69.50. 1.5 uy for 20 step instructions tuning indicator. Sensitivity: db HFS1 Bookshelf Speaker System complete with 2.5 uy 30 db Exclusive TRIPLE quality control quieting; for quieting, full limiting factory -built cabinet. Jensen 8" woofer, match- from uv. IF kc at 6 db Exclusive LIFETIME guarantee at nominal cost 25 bandwidth 260 points. ing Jensen compression- driver exponential horn Both cathode follower & FM- multiplex stereo IN STOCK Compare, then take home any EICO tweeter. Smooth clean bass; crisp extended - outputs, prevent obsolescence. Very low distor- equipment the shelf from 1500 highs. 70- 12.090 cps range, 8 ohms. HWD: 23" - right "off " - tion. "One of the best buys in high fidelity kits." neighborhood x 11" x 9". Wired EICO dealers throughout the U.S. AUDIOCRAFT. Wired Kit $39.95. $47.95 and Canada. - Kit $39.95'. $65.95'. Cover $3.95. 'Less cover, F.E.T. incl. HFS2 Omni -Directional Speaker System (not illus.) HF81 Stereo Amplifier -Preamplifier selects, HWD: 36 ", 151/4". 1112 ", "Fine for stereo" AM Tuner HFT94: Matches HFT 90. Selects "hi -fi" - amplifies, controls any stereo source & feeds it MODERN HI -FI. Completely factory -built. Mahog- wide (20 -9000 cps ye --3 db) or weak -station thru self -contained dual amplifiers to a pair any or walnut $139.95. Blond $144.95. 14W (20 (:) db) Tuned of speakers. Provides 28W monophonically. narrow -5000 cps -3 bandpass. for high & New Stereo Automatic Changer /Player: lam -proof Ganged level controls, separate balance control, RF stage selectivity sensitivity. Pre- cision eye- tronic. tuning. "One of the best 4- speed, all record sizes, automatic changer Independent bass and treble controls for each and auto /manual player. New extremely smooth, channel. Identical Williamson -type, oush -pull available." -HI -F1 SYSTEMS. Kit $39.95. Wired $65.95. Incl. cover & F.E.T. low distortion moisture -proof stereo crystal EL84 power amplifiers. "Excellent " - SATURDAY cartridge designed integrally with tonearm to REVIEW. "Outstanding extremely versatile." New FM /AM Tuner HFT92 combines renowned ... eliminate mid -range resonances. Constant 41/2 ELECTRONICS WORLD. EICO HFT90 FM Tuner with excellent AM tuning - Kit $69.95. Wired grams stylus force is optimum to prevent groove Incl. facilities. Kit $59.95. Wired $94.95. Incl. cover $109.95. cover. flutter distortion. No hum, turntable attractions, HF85 Stereo Preamplifier: Complete master & F.E.T. acoustic feedback, center -hole enlargement. stereo preamplifier -control unit, self -powered. New AF -4 Economy Stereo Integrated Amplifier Only 108" x 13 ". Model 1007D: 0.7 mil dia- Distortion borders on unmeasurable. Level, bass, provides clean 4W per channel or 8W total out- mond, 3 mil sapphire dual styli, $59.75. treble controls independent for each channel put. Kit $38.95. Wired $64.95. Incl. cover & F.E.T. 10075: 0.7 mil,3 mil sapphire, $49.75. Incl. FET. or ganged for both channels. Inputs for phono, HF12 Mono Integrated Amplifier (not illus.): Com- tape head, mike, AM, FM, & FM- multiplex. One plete "front end" facilities & true hi -fi perform- *Shown in optional Furniture Wood Cabinet each auxiliary A & B input in each channel. ance. 12W continuous, 25W peak. Kit $34.95. WE71: Unfinished Birch, $9.95; Walnut or "Extreme flexibility . a bargain." - HI -FI Wired $57.95. Incl. cover. Mahogany, $13.95. REVIEW. Kit $39.95. Wired $64.95. Incl. cover. New HFS3 3 -Way Speaker System Semi -Kit com- ttShown in optional Furniture Wood Cabinet New HF89 100-Watt Stereo Power Amplifier: plete with factory -built 34" veneered plywood (4 WE70: Unfinished Birch, $8.95; Walnut or Dual 50W highest quality power amplifiers. 200W sides) cabinet. Bellows- suspension, full -inch ex- Mahogany, $12.50. peak power output. Uses superlative ultra -linear cursion 12" woofer (22 cps res.) 8" mid -range connected output transformers for undistorted speaker with high internal damping cone for FICO, 33 -00 N. Blvd., L.I.C. 1, N. Y. HF -h response across the entire audio range at full smooth response, 31/2" cone tweeter. 21/4 cu. ft. Show me how to SAVE 50% on easy -to -build power, assuring utmost clarity on full orchestra ducted -port enclosure. System Cl of 1/2 for top-quality Hi -Fi. Send FREE catalog, Stereo Hi -FI & organ. 60 db channel separation. IM distortion smoothest frequency & best transient response. Guide plus name of neighborhood FICO dealer. 0.5% at 100W; harmonic distortion less than 1% 32-14.000 cps clean. useful response. 16 ohms from 20- 20,000 cps within 1 db of 100W. Kit impedance. HWD: 261/2 ", 137/8 ". 143'e ". Un- Name $99.50. Wired $139.50. finished birch. Kit Wired Walnut $72.50. $84.50. Address HF87 70-Watt Stereo Power Amplifier. Dual 35W or mahogany. Kit $87.50. Wired $99.50. power amplifiers identical circuit -wise to the New HFS5 2 -Way Speaker System Semi -Kit com- City Zone State superb HF89, differing only in rating of the out- plete with factory -built le" veneered plywood put transformers. IM distortion 1% at 70W; (4 sides) cabinet. Bellows-suspension, 5/v" excur- FICO WABC -FM. MC, harmonic distortion less than 1% from 20- 20,000 sion. 8" woofer (45 cps. res.), & 31/2" cone Listen to the Hour, N.Y.,95.5 1 Mon. P. Sat. P. M. cpswithin db of 70W.Kit $74.95.Wired$114.95. tweeter. 11/4" cu. ft. ducted -port enclosure. Sys- to Fri. 7:15 -8 M., 11 -12 HF86 28 -Watt Stereo Power Amp. Flawless repro- tem Cl of 1/2 for smoothest Tres, & best transient duction at modest price. Kit $43.95. Wired $74.95. resp. 45- 14,000 cps clean, useful resp. 16 ohms. © 1960 by EICO, 33-00 N. Blvd., L. I. C. 1, N.Y. I :IHcl k; 29 ON IiF :Al)F:14- te:11171:F:

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Out -Clancys Clancy: An astonishing nary dial twiddling that he would have ably smaller room! It sounded altogether number of readers commented on Russell to set to rights before playing his favorite cleaner and more full -bodied. Leaving Clancy's first person account of how his discs in the evening. the unit in the friend's apartment wasn't super stereo system grew (March 1960). easy as we thought it would be. You may recall that Clancy's "Quintes- What Did I Do ?: One of the peren- Incidentally, Stephens' sales manager, sence" (as he terms it -a friend of the nially popular sellers in the Lafayette Dick Rose, tells us that they are prepar- family irreverently calls it "the record catalogue, according to Stan Isaacs of ing to show a new eight -inch coaxial player ") is powered by six Marantz am- that firm, is an experimenter's kit. You unit, the 80CX. Frequency response is plifiers and employs three electronic know the kind of thing it is -a group of claimed from 40 to 18,000 cps. The cross- crossovers. All of this is most gratifying components (transistors, wire, earphones, over into the cone tweeter is at 5,000 cps. to Saul Marantz who, when last we spoke photocell, and so forth) with which the "We like the tweeter design," Dick to him, reported doing a lively business purchaser can quickly assemble such told us, "because it mounts within the in "Clancy systems." wondrous electronic items as a rain cone area and the over -all speaker depth "One dealer in Florida," said the alarm, photocell burglar alarm, two-stage remains the same." manufacturer, "sold four 'Clancys' and broadcast receiver, audio preamplifier, Stephens plans to price the 80CX at a 'super- Clancy.' " and eleven other gadgets. Lafayette's not more than $55. A "super- Clancy," 1\ larantz explains, "15 -in -1" kit has been so successful uses eight amplifiers and four crossovers. through the years that they are about to Advice for Aging Editors: Take along Don't think for a minute that the origi- bring out a "20 -in -1" kit with more tennis shoes and a bottle of pep pills if nal Clancy, its supremacy challenged, complicated things to build. you plan to visit R. T. "Rudy" Bozak's will remain unimproved for long. The "15 -in -1" kit costs only $14.95, speaker plant in South Norwalk, Conn. "1 plan many changes," its owner told but the low price, in Isaacs' opinion, isn't Rudy busied himself all winter designing us, "including a complete new furniture the reason for its popularity. a special all -weather speaker for outdoor design." "I think most of them are sold to use and naturally wanted us to hear it. Mrs. Clancy, who approved of the adults who have assembled a high -fidelity This entailed scurrying up and down fire photographs we took of her pleasant, amplifier from a kit or something just as escapes from his second floor office, trot- comfortable living room, is presumably complex," Isaacs told us recently. "After ting a reasonable distance away from the bracing herself for another year of ama- they put an amplifier together by the factory, back again -then onto the roof teur carpentry and electronic gadgetry. numbers, they say to themselves, 'It to hear the same unit in a special horn. works! What did I do ?' Because the How did it sound? Clear as a bell and re- Easy on the Eyes: Bell Sound Systems circuits are simple, the experimenter's markably clean in the upper and middle has a new design concept for their 1961 kit helps them to understand what they frequencies. Unbaffled, the speaker goes amplifier and tuner line. The less fre- did. Sure, the process is backwards; they down to about a hundred cycles. quently used controls (such as loudness, should have done the experimenting first. Close examination of the cone revealed rumble, and scratch filter, etc.) are But that's the way this crazy business is." use of a rubber film over -all as protection subordinated. This has the advantage of Lafayette, by the way, has several new against weather. styling simplicity and relieves any anx- audio kits in the works including a dual "Put it out in the yard or patio and iety the neophyte may feel when con- 50 -watt power amplifier. A full descrip- forget it," Rudy declaimed. "Neither fronted by rows of dials. tion appears in their fall catalogue. rain, nor snow, nor salt spray, nor sum- Seems to us to hold special advantages mer sun can stay this speaker from doing for the master of the house (and the high - New Life for an Old Speaker: We its appointed job." fidelity system) and his children. recently hooked up a simple mono system Its appointed job on the roof of the "Just use these knobs up here," he can for a friend, using an eight -inch speaker, Bozak factory seems to be that of stop- tell them, "and don't bother with the the Stephens 80 FR, in an RJ enclosure. ping traffic on the Boston Post Road. black ones." The sound of the speaker was very famil- As we stood there listening one car after And he can comfortably leave for the iar to us-or so we thought -after hav- another braked to a stop and the drivers office without worrying about the pigtail ing used it for over three years. What a got out, puzzled, looking for a carnival and sand -lot set doing a lot of unneces- surprise to hear it in another, consider- or fair.

AUGUST 1960 85

www.americanradiohistory.com EICO'S HFS -3 Speaker System

A Kit For the Novice Builder

AAside from the obvious budgetary ad- vantage that accrues to every kit builder, there is a special advantage to the novice builder in putting together a speaker EICO has since told us that all kits now Once the speakers are bolted to the enclo- system from a kit. A speaker system is the have the tube properly placed, positioned, sure, most of the assembly (the dividing simplest of all kits the audio hobbyist can and glued at the factory. networks and tweeter level control) is done assemble. The entire operation takes only In the unit we assembled the tube was on the backboard. Finally, the two units - an hour or two and the entire procedure is too long; it pressed against the kimsul backboard and enclosure -are brought to- simple. flaying completed it, the satisfied absorption material that is stapled to the gether to connect the network leads to the builder will undoubtedly be encouraged to inside surface of the backboard. A check speaker terminals. This can, but doesn't with engineer our cars' have be, an unwieldy procedure. We undertake a more challenging kit project. EICO's confirmed to belief the needed shortening. helpful to place speaker en- EICO's HFS -3, a three -way speaker that tube found it the should be on a system, is typical. Actually, it is a semikit How much? The end of the tube closure the floor- back up -next to and that is how the firm designates it. In an inch from the absorption material for the coffee table of approximately the same We other words, the cabinet is fully constructed enclosure to be properly tuned. But what if height. placed the backboard with its with the grille cloth in place. The builder it is a half inch too long or short? The assembled components on the coffee table difference is not assured top alongside the enclosure and made the has only to make a short series of simple that critical, EICO mechanical and soldered electrical con- us. The adjustment was easily made with necessary connections between the two nections and the job is done. the help of a carefully handled single -edge without difficulty and without having to need be. The HFS -3 uses three speakers (12-in. razor blade. make the leads longer than they -3 is available in unfinished woofer, 8 -in. midrange, and a 3 % -in. This minor alteration was the only hitch The 1IFS tweeter) with two dividing networks. Fre- in an otherwise straightforward assembly. birch ($72.50) or finished in walnut, quencies are divided at 600 cycles by means We counted only fifteen soldered connec- mahogany, or teak ($87.50). The unit was not subjected rigorous of a quarter section air -core coil and capacitor tions, all of them simple wire connections to to tests any more than its network, and at 4,000 cycles via a capacitor solder lugs. A red dot next to the proper comparative listening and, for high -pass filter. A level control is provided speaker terminals insures wiring the speakers price, proved itself a satisfactory performer. for the tweeter. A bass -reflex type, the en- so they operate in phase with each other. RALPH FREAS closure uses a ducted port tuned to 25 cycles. The woofer, for shipping convenience, is already in place and held by four hex nuts. Fuse Holder Holds Cables: A fuse holder These have to be checked to be sure they as shown can be used to fasten parallel are tight and four more hex nuts screwed HINTS wire cables together or keep them an on to complete the mounting. The instruc- equal distance apart. Drill a hole in the tions say that the nuts are not to be tight- holder to accept a woodscrew and the ened excessively, but the possibilities of cables can then be fastened down neatly. doing so without a special wrench are slight because of space limitations inside the en- closure. While not essential, by the way, a special hex nut wrench would be a pretty handy tool unless your finger tips are strong (unlikely) or you have pliers small enough to get at the not too accessible bolts. The second step of the assembly is the mounting of the cardboard duct, a rather "Bayonet" Opens Lug Eye: Give elaborate procedure that calls for pro- your soldering iron a bayonet to tecting the grille cloth from dripping glue remove solder from the wire eyes or and requires an hour for drying. Since we, the lug with like anyone else, would hate to pause for an lugs and tie points. Heat hour so early in the game, we were relieved the iron tip then insert the bayonet to see the duct already in place (sec photo). tip and withdraw to remove solder.

86 H)IGtI FIDELITY MAGAZINE

www.americanradiohistory.com EQUIPMENT REPORTS

ASPEN Conriuued fron page 5

rolls off the high frequencies. The first half of the controls' rotation has no detecta- YOUR PRESENT HI -FI MUSIC ble effect on frequency response, while the second half cuts highs drastically. EQUIPMENT for The playback equalization was measured the new from the tap head input jack to the output FESTIVA L connector. It proved to be very close to the NARTB standard from about 200 cps to 20 r kc, but dropped off at lower frequencies. CONCERTS The recording equalization was not actu- ally measured, but we used the GLO -4 to record and play back on the Viking 85ESQ S II LECTURE tape deck and found the quality to be very -3000 satisfactory in all respects. The erase and bias FM TUNER RECITALS currents of the GLO -4 are adjusted for max- imum performance with specific Webster whit inteischamosel issfcá4 heads, but the quarter -track heads in the Vik- 0.95 NV FM Sensitivity SPECIAL FM Multiplex Output ing deck are very similar to these heads "Feather -Ray" Tuning Eye Cascode Balanced Input electrically. Automatic Frequency Control EVENTS The intermodulation distortion of the "Local- Distant" Switch playback amplifiers in the Webster Electric amplifier was measured from tape head CONFERENCE input to the output. It reached l.4% at full output (I volt, corresponding to maximum ON AMERICAN meter reading on the volume indicator), and was much less at usual output levels. MUSIC The gain of the recording amplifier is high enough so that only 0.11 volts at 1,000 cps at the high level input will produce maxi- BUY SHERWOOD AT mum recording level. On playback, 1.75 AUDIO EXCHANGE AND S U M M E R millivolts from the head at 1,000 cps drives TAKE ADVANTAGE OF AUDIO EXCHANGE'S UNIQUE the amplifier to I volt output. The hum level 1 9 6 0 at maximum gain is -44 db with the head SERVICES SUCH AS: input shorted, and -29 db with a 5K ohm E6NEW COMPONENTS lowest competitive prices resistor across it, both referred to I volt out- put from the amplifier. These are rather EfUSED COMPONENTS - for 8 years largest high, but fortunately the hum level drops u supplier of fully guaranteed components ASPEN rapidly as gain is reduced and it is not a prob- TRADING OUR SPECIALTY lem in ordinary use of the equipment. u Highest prices. Trade up to Stereo We did miss the presence of a pilot light. COMPLETE STOCK -all major manufacturers Other than the erase warning lights, which KNOW HOW - Hi Fi is our only business. MUSIC are only on when recording, there is no in- Our people are experts in sales and service dication from the as front to whether the MAIL ORDER SPECIALISTS -We boast of preamplifier is on. satisfied customers in 49 states and abroad Also on the front panel are two micro- REPAIR AND CUSTOM INSTALLATIONS - phone input jacks, which cut off the high SCHOOL ULA by Hi Fi Experts -90 day warranty level input signals when a mike is plugged Write Dent. HF80S for our unique trade -back Plan into the jack. On the rear of the chassis. and trading information. DISTINGUISHED beside the high level input and tape head input jacks, arc crase and output signal jacks ARTIST - FACULTY for the two channels and three AC outlets for DEPTS.: piano, voice, the tape deck and two amplifiers. H. H. LABS. opera, diction, strings, chamber music, winds, percussion, conducting,

composition INSTITUTE Or HIGH,.uu

www.americanradiohistory.com PHANTOM CHANNEL power amplifier. This implies the use of a separate stereo preamplifier that has a "cen- Continuedfrom page 37 ter- channel" output in addition to the regu- lar pair of left and right outputs, as well as a FOR the sound. For this reason, the more omni- blend control to regulate the amount of directional the speakers, the better -and the cross -feed or signal mixing between the A more of them, still better. This is true for THE and B channels. This system, with three mono as well as for stereo sound. "Three - power amplifiers feeding three separate re- I channel" playback of two- channel stereo producers (see Fig. 4), can be adjusted to simply opens up more paths to the original PERFECTIONIST provide an enormous sense of depth without sound; it widens the acoustic environment destroying the "spread" of stereo. And by I and compensates to a large degree for the providing a separate power amplifier for limitations of our necessarily finite repro- each speaker, it still permits optimum T ducers. power and damping requirements for the The center sound source also has been most critical approach to amplifier -speaker termed a "phantom channel" by Paul relationships. These factors. plus the blend - Klipsch, or give it its full -blown title -to - control feature. mean that any acoustic the "2 -track phantom -derived third channel" canceling effects due to the room or to or "213H3." The idea here was to recover speaker placement or listener position can 1 the original signal by deriving a third sound be virtually eliminated. Admittedly the source from the two sound tracks of two - I costliest of the three -sound- source systems, channel stereo. By placing the third sound L The SME Tone Arm, built to this version of the "A plus B" setup is source midway between the two full -range standard rather than a "about as far as they could go" with two - reproducers minimally needed for stereo, price. Its unique features channel stereo for the home. Any version of much of what Klipsch terms "the original permit stable, distortion - "A plus B" of course helps monophonic geometry" of the live sound of the program free tracing with any mod- sound, since the additive signal always is material is restored or "reasonably approxi- ern cartridge below two present and provides another radiating mated." grams; since it was actually sound source. Now there are only two general methods designed to accommodate To go beyond "three- amplifier- three- of using two quantities to produce a third: the 1/2-gram and 1-gram speaker A plus B" stereo would mean, of you either add them or subtract them. In the cartridges of tomorrow. course, three- channel stereo-literally, in case of two- channel stereo, subtracting the the sense of the new definitions. It would signals from left and right (or A and B) The QUAD Mono -Stereo mean three transmission paths in recording, channels produces an "A minus B" signal. Control and Amplifiers. three sound tracks on the recorded medium, Such a signal represents the difference in 2 World renowned, the in- and three distinct playback systems. In intensity between the two regular channels. evitable choice of the pro- other words, not A and B -but A, B, and C. Remember that in recording, the micro- fessional as well as the (The possibilities for derived channels here phones do not pick up "pure A" and "pure music lover; undeniably -A minus B; A plus C; C minus A, etc. B." Microphone A picks up some of the - best for listening on wide could entice engineers anew.) Triple -track sound that microphone B gets with more range loudspeakers. stereo, in any case, appears to be coming, intensity, and the reverse is also true. The with the announcement and demonstration "A minus B" signal comprises the "A com- The QUAD Electrostatic by Minnesota Mining and Mfg. Co. and ponent" of the B signal and the "B com- Loudspeaker "seems des - CBS Laboratories of a new system of mag- ponent of the A signal. Necessarily, it's a 3 tined to remain in splendid netic tape recording using a new form of tape weak signal but, when fed through a center isolation . . . remarkable cartridge. The width of the new tape is less speaker of a three -speaker setup, it adds freedom from distortion than half the present width of standard tape. heft, depth, and body to regular two- channel ... uncanny transparency" And so, in the spirit of acoustic improvement stereo. It is, actually, the simplest and cheap- (Percy Wilson, GRAMO- by adding more tracks, here is a suggestion est way to derive a phantom sound source PHONE). to conjure with: if the 3M -CBS three -track (see Fig. 2). It widens the effective radiating system is successful on a narrow tape, why "the most advanced de- area in the room and -when used with two not use -on standard %- inch -wide tape - sign by far, unchallenged speakers that are relatively far apart -fills six tracks? Anyone for more speakers? in its lonely eminence" the middle. Of course, on monophonic pro- (Thomas Heinitz, Saturday gram material, the "A minus B" signal auto- Review). matically drops out; there is no "center" then because there is no signal "difference" These and other LECTRON- between the two left and right speakers. ICS distributed products Whatever "A minus B" can do for stereo, are available only through "A plus B" can do better. This signal ac- dealers. For fur- ALL-PURPOSE TENOR selected tually is a mixed or "blend" signal taken ther information, names of from the two channels. In its simplest ver- Continuedfrom page 46 dealers, write to personal sion, "A plus B" can be obtained by paral- I. M. Fried. attention of leling two additional speakers to an original with the authority of a man who has under- pair and then stacking the added units mid- gone the experience more than once, "every- way between them (see Fig. 3). A speaker thing is fine -the singers perfect, the orches- pad, or even a simple variable resistor in tra splendid. But there is no atmosphere. So LECTRONICS series with one of the lines, is needed for they say 'Once again, please.' And we do it OF CITY LINE CENTER, INC. each of the added speakers so that the center over. Other times, just the opposite. There fill does not overwhelm the original pair and is atmosphere, but somebody has done 7644 CITY LINE AVENUE destroy the stereo effect. something wrong. missed a note a little bit, PHILADELPHIA 31, PA. Still better is the "A plus B" system in or sung too loud or soft. So they say 'Once which the center speaker is fed from its own again, please!' CIRCLE 50 O. READER-SERVICE CARD 88 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com "And then there are times, when it's hard to explain. They just say 'Fantastic! Mar- velous! Wonderful! Once again, please!' " CALIFORNIA'S

In his first season in the United States, (vef a.... to -t/4 uAL Gedda got a look not only at the occupants of the red -plush seats at the Metropolitan, but at American concert audiences as well. He managed to squeeze in a country -wide concert tour among his Met appearances, and he seemed sincerely impressed by what he called the "fine, %yarm audiences" that turn out for a visiting tenor. end NEW TOWER world. "Maybe, it's because there are so many Colilo,nio, t.. Famous Resort overlooking the Blue Pacific Italians in this country," he said thought- where Wilshire meets the sea. Twenty minutes fully. "When you sing Italian arias the from International Airport. ISO luxurious rooms and bungalows, all with television and whole Italian colony comes out. Sometimes radio. Complete convention facilities. Banquet they come and speak with you after the rooms for up to 2,000, air'conditioned. Exciting new Venetian Room and Cantones. Room. concert. And you can hear them shouting Swimming pool Beautiful grounds and for you." landscaped gardens. Rate, from SII. It was suggested to Gedda that an Italian Wily% Write William W. Donnelly, Gen. Mgr. r audience shouting for a Swede Fill in coupon for a FREE One Year Sub - constituted Across the U.S.A. and in HAWAII scription to OLSON RADIO'S Fantastic Bargain an extraordinary accolade. Packed Catalog - Unheard of LOW, LOW, MASSAGLIA WHOLESALE PRICES on Brand Name "Ah, but they l'in an Italian," think CREST OF GOOD LIVING Speakers, Changers, Tubes, Tools, Hi -Fi's, he said. " Gedda could be an Italian name, Stereo Amos. Tuners and thousands of other JOSEPH MASSAGLIA, JR., President Electronic Bargains. you know." MASSAGLIA HOTELS NAME Gedda at present knows fifty -five com- SANTA MONICA, CALIF. Hotel Miramar SAN JOSE. CALIF. Hotel Sainte Claire ADDRESS plete opera roles of varying language, style, LONG BEACH, CALIF. Hotel Wilton and antiquity. His voice is perhaps more GALLUP. N.M. Hotel El Rancho ALBUQUERQUE. Hotel Franciscan CITY ZONE STATE notable for its artistry and flexibility than DENVER. COLO. Hotel Park Lane WASHINGTON, D.C. Hotel Raleigh If you have a friend interested in electronics send for sheer sensuousness of sound. But he can HARTFORD, CONN. Hotel Rend his name and address for a FREE sub- PITTSBURGH. PA. Hotel Sherwen scription also. hang out a high C with ease (as several CINCINNATI, O. Hotel Sinlon critics observed of his "Salut, demeure chaste HONOLULU Hotel Waikiki Biltmore Werldfemed hotels OLSON RADIO et pure" in his Met debut in Faust) and he --Teletype service-Fondly Plee CORPORATION is as ready to sing Verdi and Puccini as 55 S. Forge St., Akron 8, Ohio Stravinsky or Richard Strauss. Incidentally, his operatic experience (on CIRCLE 55 ON READER -SERVICE CARD CIRCLE 62 ON HEADER-SERVICE CARO discs as well as the stage) has made Gedda something of an authority on the leading you sopranos of the day; with diplomatic im- Can see the difference partiality, he says he regards them all as equally fine musicians, equally willing co- between these two needles? workers, and equally gracious ladies. In the same vein, Gedda said he had been surprised by the friendliness of the backstage atmosphere of the Metropolitan. In several European countries, notably Italy, a certain reserve -not to say frigidity -can be de- tected in the reception accorded a visiting colleague, Gedda reported. At the Met, he found, everybody was helpful and cheerful. For the future, Gedda's expectations are modest enough. He seemed astonished to hear that his record total had surpassed nearly all other tenors' in the last few years. A quality Clevite "Waite" W -75 "Unlicensed" inferior foreign imitation He indicated he was content to go on taking Differences in needles may defy the All Clevite "Walco" needles are things, including operatic roles and records, eye but not the experienced ear. There fully guaranteed. When you buy a as they come, a procedure that has worked is no visual difference in the above Clevite "Walco" exact replacement eminently well for him in his brief profes- needles, but a world of difference in needle, you get the same quality and sional career. If he had said, the sound qualities reproduced by precision that is put into all Clevite the choice, he them. Superficial similarities of size, " Walco" original equipment needles he'd like to record Lenski in Eugen Onegin, shape or tip material do not determine needles that are specified and in- Massenet's Werther, and an album of Russian a needle's effectiveness, but critical stalled in the cartridges of virtually songs. He'd also like to get back home to differences inherent in the nature every leading manufacturer. of the - work- Stockholm, where his parents live, a little metal and the quality of manship can and do effect the Write for FREE Sample Discover - more often than he does. compliance- of the shank and the fre- protective plastic record sleeve. And -least likely possibility-he'd like quency response transmitted. to get some enterprising record company Don't be misled by look -alike need- cLEVIre CLEVITE IVALCOa to undertake a les. Your Clevite "Walco" dealer has complete recording of Le the needle that not only fits your car- 60 Franklin Street Postillon de Longiumeau, the Adam operetta tridge ... but is right for it, giving _WO East Orange, New Jersey in which he made his debut seven years ago. the compliance and frequency re- Sentimental reasons? Of course. "But it's a sponse your player must have for ACCESSORIES: DisCovers Stati Clean DisCloth lovely operetta," added Gedda. "It would proper reproduction. DisCleen Stylus Pressure Gauge DisCleaner Kit

be a pleasure." REPLACEMENT PHONOGRAPH NEEDLES RECORD CARE ACCESSORIES CLEVITE BRUSH' HI -FI HEADPHONES CIRCLE 22 ON ItE.tI)Elt- SEItvICE CARD AucusT 1960 89

www.americanradiohistory.com COMPOSER TO MAGNETRON for less zvorlc and more play "BUCK Continncd from page 42 GET THE TURNTABLE STRETCHER" glissandos; the most unbelievable things (trills between one tone color and another, THAT CHANGES RECORDS! for example) can be obtained. HI -FI Long -range plans for the studio include the training of composers and technicians. Since VALUES! only one composer at a time can work di- rectly with the synthesizer, it is hoped that musicians can be trained so thoroughly in its workings that they will be able to sit at home 'T and punch out their compositions with one of the typetvriterlike mechanisms described at the beginning of this article. Then it MIRACORD XS-200 would be an easy matter to run the piece off heavyweight, professional -type turn- on the synthesizer and store it on magnetic C table -and a fully -automatic changer! Expand the buying tape. plays both stereo and monophonic! power of your Hi -Fi push- button controlled throughout! Nothing written with the synthesizer has Magic Wand spindles eliminate dollar at Sun Radio with substantial yet been recorded, but some material should pusher platforms and stabilizing arms! savings on new and fully guaranteed be forthcoming. Babbitt, the composer best rp f if tostai anti,/ $6750 rtudiaphile url name brand Hi -Fi components! equipped to deal with the machine at the Send for our special price quo- present time, is currently working on a cou- and for the stereo cartridge that tations and our Ni -Fi package ple of pieces. It is expected that when other specials! composers become sufficiently acquainted ELIMINATES HUM... Dept. Z -O with the working of the monster to be able to tame it, they will be eager to work with it, gel 210 ID STEREOTWIN too. RCA Victor has first -refusal rights on PERFECT FOR MONOPHONIC. TOO! anything written with a property which the FITS Al I. STANDARD TONE ARMS! Radio Corporation of America still owns. NOW 53450 audiophile net & ELECTRONICS CO. INC. for store nearest you, and for Free catalogue. please write Dept. H What is a plain listener to make of all 650 Sixth Avenue, New York 11, N. AUDIOGERSH CORP. Y. this? In the early days of modern mu- 514 Broad ea y, N.Y. 12 WO 6 -0800 Phone: ORegon 5 -8600 sic bewildered listeners used to ask (some still do): "Where's the tune ?" Now the CIRCLE 14 ON RF:ADEIt-SF:10'1l:E: CaJtl) CIRCLE 73 ON READER-SERVICE CURD question is: "What about the performer ?" or sometimes, "Music is being taken over by the machine." Among many people the idea persists that electronic music involves some Trader's J1larketplace Classified cAdvertising mysterious machinery which proceeds to write a kind of ghastly, inhuman, science - fiction music all by itself. ORDER FORM Of course electronic music is written with machinery; but what is the piano but a very elaborate piece of machinery? And look at modern wind instruments with their valves Fill in coupon below and mail, with check or money order and keys. Besides the widening of musical ho- (no cash). Rates 45¢ per word with no charge for name and rizons, the real revolution in electronic music lies in the merging of composer and perform- address. Print or type your ad below. er in one person. The composer "performs" upon the machinery and produces his music; but since his compositions can be stored on HIGH FIDELITY MAGAZINE tape, he doesn't have to "perform" in strict Great Barrington, Massachusetts time under ordinary performance conditions, but can work at his leisure. Pierre Schaeffer has suggested that the man who operates the tape recorder might himself become a performer. The sounds would be on the tape, but the man at the controls could change the speed, volume, or direction of the sound as does the conductor of an orchestra. Others have imagined an all - encompassing electronic instrument with a keyboard (or some other kind of simple NAME manual controls) which could produce all Next issue only the effects easily, directly, and efficiently Next 3 issues STREET ...... - with the results to be heard through loud- Next 6 issues idea CITY ZONE speakers. Another, more profitable, - Next 12 issues already put into practice by Luening and $ ...... Payment Enclosed STATE Ussachevsky, Varèse, Boulez, and others- has been to combine electronic music or

90 HIGII FIDELITY MAGAZINE

www.americanradiohistory.com music on tape with live instrumental Right now, the unlimited vistas are partly sounds. But most exponents of electronic theoretical, and composers and technicians TRADER'S MARKETPLACE music believe that conventional music writ- are only beginning to grapple with the tech- ten for performers and electronic and tape nical complexities of electronic music. The Here's the place to buy, swap, or sell music will simply continue on their own composer needs the aid of the technician used equipment, records or what have you. Rates are only 454a word (no charge separate paths. and the scientist - or he must become one for name and address) and your adver- There is something to be said for concert himself. This meeting of scientist and artist tisement will reach more than 110,000 performances of music on tape. Although may prove a very fruitful one: the scientist music listeners. Remittance must ac- the idea of sitting in a hall merely to listen can stimulate the artist's imagination with a company copy and insertion instruc- to tions. Copy must be received by 5th music coming through loudspeakers may new invention or procedure; the artist can of 2nd month preceding publication seem uncongenial, many people find the call upon the scientist to help him bring and is subject to approval of publishers. concert arrangement conducive to serious his ideas to realization. But the artist's prob- listening. More important, concert halls lem is the same as has it always been: to be WRITE FOR QUOTATION on any Hi -Fi components. offer the possibility of superior reproducing the master of the technical means and not Sound Reproduction, Inc., 34 New Street, Newark 2, N. J. equipment, particularly for stereo. Few pri- their servant. vate individuals can afford the cost of five or The SELL: Lansing 175 tweeter, Fisher 50 -A amplifier, Scott composer himself will continue to 121 -C preamps, 135 stereodaptor, Heath XO -1 crossover, six loudspeakers and the elaborate sound - provide the "human" element. Varese had best offer. Want: FM or McIntosh tuner, Viking RP -62Vu. Martin Bain, 2711 A Windsor Rd., Austin 3, Texas. reproducing equipment to go with them. been writing instrumental music for many Yet a composer might think such a setup years before he turned to electronics for RENT STEREO TAPES -over 1,500 different -all major necessary for his composition. There is no new possibilities of expression, but his elec- labels -free catalog. Stereo Parti, 811 -D Centinela Ave., Inglewood 3, Calif. real doubt, however, that the place for most tronic music is still Varèse. The same has of this new music will be on tape or records proved to be true for Lucning and L'ssa meant to be played in the room, THE NEW VALKYRIE SPEAKER SYSTEM -a 3- speaker sys- living on chevsky, for Stockhausen, for Kienek, and tem of superior performance. For details, write Eclipse the radio, or in the classroom. for many others. Their music expresses their Industries, 2729 San Diego Ave., San Diego 3, Calif. The composer, for the first time, hill com- vision, their ideas, tastes, and creative im- municate directly with his audience. He will pulses. Without replacing any other kind of AUDIO ACCESSORIES -best prices -free catalog. Audio - tone Recording Services, P. O. Box 9, Port Washington, be able to transform his imagined sound music, electronic music is another set of re- N. Y. patterns into music just as a painter or sculp- sources for the people who create music. --

tor shapes his material without the aid of an Eventually even electronic music will be- AMPEX, CONCERTONE, Magnecord, Presto, Bogen, Tend - berg, Pentron, Sherwood, - interpreter. will be Rek- O -Kut, Scott, Shure, Dyne But it still the composer come old, familiar stuff. Composers will han- kit, others. Trades. Boynton Studio, Dept. FH, 10 Pennsyl- who produces the sound; and he will work dle the medium with ease and with commu- vania Ave., Tuckahoe, N. Y. long and hard to do so. nication. And history will operate the way it Obviously, the composer of ordinary in- always does- making its selections for the HARPSICHORDS, CLAVICHORDS -Excellent modern Ger- man instruments by Sperrhake. Beautiful cabinetry, mod- strumental and vocal music is far more at masterpieces that will last. But right now erate prices. Robert S. Taylor, 8710 Garfield Street, Bethesda, Maryland. the mercy of the musical machinery for the wealth of fantastic, unexplored, and which he writes than is the composer of elec- barely comprehended possibilities can be ap- tronic TAPE RECORDERS, Hi -Fi components, sleep learning music. Certain notes just don't exist pealing and stimulating to the listener as equipment, tapes. Unusual values. Free catalog. Dressner, on the bassoon, certain chords cannot be well as to the composer. In the adventure of 69 -02A, 174 St., Flushing 65, N. Y. played on the violin, certain fast passages searching out and exploring unknown terri- are just too complicated for human fingers. tory the record listener can increasingly con- WANTED -University "Dean" Walnut speaker. E. Zoloom, 295 Fifth Ave., New York City. MU 3 -1630. The composer of electronic music can create tinue to share. He can go along with the all the complications and subtleties he wishes composer on his trip to the moon and back. SALE: 78 R.P.M. RECORDINGS, 1902 -1950. Many types. without worrying about whether or not they Free lists. Collections bought. Mr. Ellie Hirschmann, P. 0. Box 155(HF), Verona, N. J. can be performed. And he has complete free-

dom to imagine endless new tone colors and TANDBERG 5 -2. 3- speed, 4 -track record -playback. combinations. Brand New, thoroughly tested. 15% off net. William HI -FI DOCTOR -Will solve your hi -fi problems on -the- Eykamp, 31 Lawrence St., Cambridge 39, Mass. spot. Acoustic, Audio, Radio engineer. Stereo designing. Complete freedom? It makes the head Professional visits, day, evening. New York area, week- days. William C. Bohn, 550 Fifth Ave., New York City. swim. Some people are afraid of freedom: DEEPEN YOUR UNDERSTANDING of music and solve all Plaza 7 -8569. your record storage and indexing problems. Unique new they fear it will lead to chaos. But in a free card file helps make you an armchair critic, compare your society, the artist has the right search record ratings with the critics, and helps you select your ALL MAKES HIGH FIDELITY speakers repaired. Amprite, to next new records. Free brochure shows all this and more. 168 W. 23rd St., New York 11, N. Y. CHelsea 3 -4812. for new and wider means of expression. So Sample Record Index cards and Composer Guides in- cluded. Recocards (H8), 503 Hyde Park Bank Building, rich and promising a field as electronic 1525 East 53rd Street, Chicago 15,111. EXCELLENT QUALITY RECORDING TAPE -7" reels. 30- music could not be left long unexplored. 15000 cps guaranteed. 1200' Acetate, 3/3.90 -6/7.50; AMPEX 601 -2 stereo tape recorders, used twice, like 1800' Acetate, 3/5.10- 6/10.00; 1200' Mylar, 3/4.80- new. Paid $995, take $695. Rimy, 906 Athens Street, 6/9.00; 1800' Mylar, 3/6.60-6/13.00; 2400' Mylar, Altadena, Calif. SY 7 -1358. 3/9.60 -6/19.00. Plus 15r PP 6 Handling per reel. Foto HI -FI Sound, 88 Harbor Road, Port Washington, N. Y. PACKAGE LOW QUOTES on everything. HiFi A Stereo tapes. Bargain at tremendous savings List. HiFi, Dept. HF1, Roslyn, Po. AMPEX 350's, 601's- excellent or unused, 25 %-40% Bell Carillon 2221 20 W. Stereo Amp..... $ 99.95 off. Fisher amplifier, preamplifier. AR -2 speaker. List 25r. B ell Carillon 02222 FM /AM Stereo Tuner.... 109.95 INDUCTORS FOR Crossover Networks. 118 types in stock. Foster Gunnison, Jr., Suite 806, 600 Asylum Ave., Hart- G d RC -210 4 /SP Stereo and Changer Send for brochure. C 6 M Coils, 3016 Holmes Ave., N.W., ford, Conn. Base 54.45 Huntsville, Ala. Shure M7D Diamond Stereo Cartridge 24.00 2- University S -60 Speaker Systems 119.95 HIGH FIDELITY 10-88, Music at Home. Best Offer, Regular Catalog Price $405.30 STEREOPHONIC COMPONENTS, Recorders, Tapes. Pack- Bernard Desroches, 5611 Woodbury, Montreal, Que., YOUR COST 255.00 age quotes. Boyle Co., 1470 -F Elmer Road, Wantagh, Canada. N. Y. You Save -Almost 38% $153.30 DELUXE TAPE SPLICER. Regular $6.45. Special.. $2.95 BUY -RENT -ANY RECORDING -Disc or Tape. A II Labels. LEICA CAMERA, Add 50e for Shipping Ill two lenses, meter, deluxe slide pro - The Definitive Recordings Club, 11024 Magnolia Blvd., lector, accessories. Used, excellent. 40%-50% off. List North Hollywood, Calif. DON'T LIKE OUR PACKAGE -let us quote on yours- 25r. Foster Gunnision, Suite by return Air -Mail. 806, 600 Asylum Ave., Most standard brand Hi -Fi Components, Hartford, Conn. Kits, Speakers and Tape Recorders in stock and available for immediate delivery. Wholesale Price list -Free. let us COMPONENTS, RECORDERS, Tapes. Send for wholesale catalogue. Carston, 215 -A East Street, prove the statement "We Will Not Be Undersold." HIGH FIDELITY -complete, less 1 and 4; best offer plus 88th New York 28, freight. E. V. Schoonmaker, 710A West Glebe Rood, N. Y. Alexandria, Virginia.

Fidel SELL: Fisher FM CENIER /AM tuner 0 -watt amplifier, cabinet - NEW Fisher 100 amplifiers, $85 each. Rek-O-Kut L -34, $150; Altec 604C 15 -inch coaxial speaker -$125; Both - 1797A FIRST AVENUE, NEW YORK 28, NEW YORK base, $35. Fairchild 282 arm, 232 cartridge, $40. Roland $250. Michael J. Henry, Apt. E4, 430 Cooper St., Wood- S. Bond, Jr., 7008 Forest Lane, Dallas 30, Texas. bury, N. J. CIRCLE 43 ON READER- SERVICE CARD Aucusr 1960 91

www.americanradiohistory.com BUILD YOUR OWN this is only part of the DWINDLING RACKET ('Oiirr'ïl (/!chilli/ BOGEN -PRESTO Conlir)uedfrom page 44 ELECTRONIC ORGAN high fidelity from "a melodic rhythmic cell, which through serial treatment predestines, preestablishes SAVE 50% picture ... and pre'arics the music." Predestines it to oblivion, it might he added. These arc blatant examples to be sure, originating not in Darmstadt but in the thirty -second annual festival (Strasbourg, 1958) of the International Society for Con- temporary Music. They represent, however. T the kind of thinking underlying much avant ...04.1.0.. garde music, in which a "totally determined" structure is achieved through serial methods. One might assume that the sounds produced are as ordered auxl convincing as the methods Step by step instructions employed, but seldom is this the case. The Pay as you build prefabricated music seems to have no begin- Over 14 models ning, middle, or end, and the feeling of con- trolled form is conspicuous by its absence. ELECTRONIC Despite the often copious and ingenious ORGAN explanations about "ordering the chaos" of Send for free literature ..the rest is in the quality and per- raw musical material, no substitute has yet formance of the components. For been found for sheer musical intuition. The question arises, moreover: %\'here do ELECTRONIC ORGAN ARTS literature describing Bogen-Presto we go from here? After all conceivable ele- . J., LOS ANGELES 42, CALIF. tuners, amplifiers, turntables. and ments of composition have been "totally Please send me bin' iiJ/'orvJJnlioJl accessories, write to Desk 3 determined," what remains except to "uncle - terminc" them? ®BOGEN- PRESTO Writing about the 1957 Kranichstein BOX 500, PARAMUS. N. J. season, Heinz Joachim, chief music critic of L TY ZONE__ THE SIEGLER CORPORATION llamburg's Die Hell and an outspoken cham- ST-T A DIVISION OF pion of new music, remarked: H-8 t :Irrt :1.F: Is, ON RP: :ADEIt- SERVICE C :%RD "The extremists have won the upper J IIt1:1.F: :10 11\ It:F: t:%Nlr hand, to such an extent that the school Acknoevledged threatens to lose contact with the main currents Of music today. There is no lack of Spe,c,i.u.Q Oka 25¢ daredevils, who consciously burn their bridges behind them with the intention of Hear these setting up shop in splendid isolation -as if a new musical age began with them. authentic recordings "Speakers in and for the Darmstadt circle of dramatic events more or less openly declare that the entire development of music since Bach has been from a mistake and that future salvation lies in electronic music. Theodor Adorno proposed "The Amazing World of the remarkable thesis that music that does Short Wave Listening" not produce a 'shock effect' cannot be con- narrated by Alex TV "Man the Dreier, Radio on Go" sidered truly 'new'.... To be sure, Mr. President's voice from outer space! Adorno took back much of this drastic Actual capture of a desperate criminal! Radio amateur at Little America! statement by pointing out the danger of Ships at sea ... aircraft in action! `permanent infantilism.' which results in mere manipulation of modern techniques .44001- sx-110 to the detriment of the spiritual factor. receiver This warning was directed clearly at those $159.95 who quite apparently are determined to make 'shock effects' a permanent thing and 044 to prearrange the material to such an extent Standard broadcast plus short that there is no longer any place for the wave coverage from 1550 kc. to 34 mc. Cal. electrical bandspread. spontaneous creative impulse. The composi-

t/LA1L tions that originate in this way resemble COUPON one another so closely as to be practical) 10ppY1 hallicrafters interchangeable in the feeble monotony of DEPT. 15, CHICAGO 11, ILL

11 Im/11 their sounds, exploiting extreme registers, Gentlemen: Please rush by return mail my re- cording. "The Amazing World of Short Ware dissonances, tone colors and atomized Listening." I enclose 2SO. rhythms to the Ixrint of insensibility." NAMF During the past two years there has been PORTABLE LIGHTS RADIO BATTERIES ADDRESS considerable evidence that Herr Joachim's BURGESS BATTERY COMPANY implied prophecy of doom is already in the CITY STATE _ .- Division of Serve,. Int. FREEPORT. ILL. NIAGARA FALLS. CANADA process of coming true. The "shock treat- CIRCLE 40 ON READER-SERVICE CARD CIIt1:1.F: 14 ON ItI :tI F:N- sF :ItyIt :F: CUM 92 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ment" has indeed been a standard approach to composition during the past decade, and the patient (or should we say victim) has been a befuddled and often unhappy public. (1 am speaking, of course, not of the large public, which knows little or nothing of these goings -on and continues to bathe its ears happily in Brahms and 'Tchaikovsky, but of the relatively small public that is HI -FI -LITE interested in principle in the music of its time.) The trouble is that the patient has UNIQUE COMBINATION gradually developed an immunity. The ap- LIGHT FIXTURE AND parently guaranteed road to success called SOUND DIFFUSING BAFFLE épater le bourgeois has turned into a blind alley because the bourgeois refuses any longer FOR PATIO, POOL, OR GARDEN! to be épaté. GET MORE FUN AND LISTENING PLEAS- The Donaueschingen Festival supplies us URE OUTDOORS! TURQUOISE, GOLD here with remarkably clear documentation OR MIDNIGHT BLACK - EIGHT MODELS of what has transpired in the course of the TO CHOOSE FROM -WITH OR WITH- past few years. This splendid two -day mara- OUT SUPPORT PIPE. thon has laid great stress on the most radical music of the present and has been the scene of many important postwar premieres, some of them accompanied by highly satisfactory NEW! EASY -TO- ASSEMBLE "DO -IT- YOURSELF" KIT demonstrations of public antipathy to the works performed. Well I remember the early Hi- Fi -Lite comes knocked down in convenient kit form. Complete, days of this festival, in which the audience, easy -to -read instructions for quick installation. Kit PBK -8. including that half of it composed of critics SEE YOUR RADIO PARTS OR SOUND EQUIPMENT DEALER and professional musicians, expressed their OR WRITE approval or disapproval in completely unin- HEARD EVERYWHERE hibited fashion. As H. H. Stuckenschmidt . wrote of the 1953 festival: "The violence of MANUFACTURING COMPANY the resentment against the music, expressed ee through hisses, boos, and the slamming of 3030 Laclede Station Road, St. Louis 17, Missouri IN CANADA: Atlas Radio Corp., Ltd., 50 Wingold Ave., Toronto 10, doors, encompassing good and bad alike, Ontario warmed the hearts of friends and enemies I:Iltl:l.r: 53 ON IRF:tIF:IR-SF:IRV7l:F: CUM and stimulated the intensity of the ap- plause." In the good old days of the early Fifties a "wild" piece, goal or bad, was certain to get a reaction and thus achieve something DON'T SPEND ANOTHER equivalent to success. Such conditions, un- fortunately, also encouraged bad composers to write more bad music. CENT ON STEREO... In the course of time, however, the public has become less obliging. Sonorous audacities UNTIL YOU READ THIS that would formerly have evoked protest are now greeted with snores. In order to produce the desired effect and to goad the BOOK! reluctant audience into a good old -fash- ioned fury, the shock treatment voltage has been constantly stepped up. Still no response -at best, a few people walk out yawning. Most sit stolidly to the end, clap Why play hit -or -miss with your Written by a leading electronics either politely or not at all, and forget it stereo system? The fact -filled, illus- engineer, this trouble- shooting all over a small beer. trated STEREO HIGH FIDELITY HAND- handbook guides you step by illus- That was the net effect, for instance, of OOK will be worth many times its trated step through every stereo last year's expected sensation at Donaue- price in savings to you on home problem, and answers all your ques- sound systems. Its accurate, easy - schingen Pierre Boulez's Poésies pour Pou- tions about the theory of stereo- - to- follow instructions tell and show phonic sound. voir, scored for three orchestras, speaker, and It will give you a new you understanding of the whole world electronic sound. This composition is one how to buy, build, place and con- of high fidelity. Illustrated with of the most colossal undertakings to date, nect your stereo equipment hundreds of helpful photographs. for the realization of which eighty -four how to c t your present Order your copy of Norman H. loudspeakers were lined along all four walls mono set to stereo Crowhurst's STEREO HIGH FIDEL- and set in a huge rotating "arm" suspended ITY how to keep your stereo system HANDBOOK today. 55.95. from the ceiling. The same mild. unenthusi- in top shape without incurring SEND NO MONEY. 10 days' free trial. astic reception greeted Karlheinz Stock - expensive repair bills Order from CROWN Publishers, hausen's Groups for Three Orchestras. how to choose among the latest Dept. S -5, 419 Park Ave. S., N. Y. 1957 It now begins to appear that marked components and how to rate the 16, N. Y. Save postage by remitting the beginning of the end of avant -garde -ism newest developments now. Same return privilege.

Continued on next page CIRCLE 25 ON IREUF:H -FF:IR %ICE; C RIB) AUGUST 1960 93

www.americanradiohistory.com DWINDLING RACKET

maximum enjoyment Continued from ',rec'cding page FROM YOUR as an artistic way of life. That year Luigi RECORD TAPE Nono's super -serial Varianti elicited mur- UKE RECORDER sn murings which set in about halfway through send for the performance and increased in intensity to explode into a bedlam of catcalls when the ALLIED'S final note had been split. But the unequivo- X cal success of the festival was BARGAIN "MINI-MIX Hans Werner SUPPLEMENT I Ienze's Nocturnes and Arias, a "conserva- tive" piece. from $7.95 Voice with record or alternating orchestral and vocal radio. movements, the latter magnificently sung Two microphones in by Gloria Davy. The work is original with- different locations. Instrument with out striving after originality; the vocal writ- SAVE MOST on quality Stereo hi -fi! See background music. ing is really vocal. The harmonic idiom top buys in Allied -recommended com- ranges from simple harmonics to complicated plete systems, KNIGHT® quality Stereo hi -fi units, and KNIGHT -KIT® build -your- chord formations but makes no reference to own Stereo. You'll find hundreds of serial practices. To this piece the audience money -saving values in famous name amplifiers, tuners, changers, speakers, reacted spontaneously -with stormy ap- cabinetry, accessories -as well as re- plause. corders, P. A. systems, test instrumenta and electronic supplies. Extra big sav- Built -in volume control for each Since the days when the enfant terrible ings on stereo records and tapes! Send sound source. A model for most for your FREE Henze intimidated his listeners with serial Allied Supplement packed every type Recorder. with bargain buys and newest products! stridencies, a tremendous change has taken place ALLIED RADIO STEREO -MONAURAL in his style. It began around 1953, TRANSISTORIZED when he moved to Italy and "rediscovered" melody. Since then he has gradually MIXER moved ALLIED RADIO, Dept. 74 -H out of and ever 100 N. more away from the camp Western Ave., Chicago 80, III No. 306TR of the avant garde, much to the latter's an- Send FREE Allied Supplement No. 195 Mixes sound sources. Handy switch permits Stereo or noyance. His recent work, the ballet Undine, Monophonic recording. No loss- provides 6db. gain. Name is in a style even more traditional Write for catalog S -590. than ,'s'ururrnes and Arias, and Addres 9 SS77 N. Elston Are. that without sacri- tñic.r. 30. III lice of originality. City Zone State STOCKED BY LEADING Henze's seeming retreat may well turn I- J DISTRIBUTORS out to be the harbinger of an important step t:11LCLF. st 1\ HEADER-SERVICE CARD CIHCLF: 75 ON 10:41)F11-SF:IIVICF: I:AHI) forward -not, as has sometimes been stated, NEW TURNTABLE AT in the sense of a return to the past, but of an PURCHASING A RECORD incorporation of radical techniques and CHANGER idioms into the main current of music. A HI -FI PRICE FROM Prophecy is a very tricky business, but I am willing to guess that such a synthesis is not SYSTEM? STROM BERG -CARLSON far off. PARTIAL LIST By the same token, avant-garde -ism as a OF BRANDS sure way to fame and fortune seems to be Send Us IN STOCK Jim Lansing* Your Alter Lansing Electrovoice Jensen Hartley Stephens List Of University Acoustic Research J . Viking Components Wharfedale Karlson Cabinets Concertons For A Bell G.E. Weathers Harman Kardon The extremely low flutter and rumble of Package Eico Pilot Sherwood* the new PR -500 invites comparison with Tandberg* turntables at several times the price. Quotation Acre d Clued Amplifiers High compliance belt drive (at 331/3 rpm) a Speakers' from two vibration -free hysteresis - WE WON'T BE Dual Changer' UNDERSOLD! Bogen Leak synchronous motors assures constant Dynakit Fisher speed. Viscous damped arm riding on a All merchandise H. H. Scott Uher Recorder single friction -free needlepoint bearing is brand new, fal'- Thorons' tracks perfectly down tory fresh & guar- Pentron Roberts to less than one anteed. Ampex De Wald gram. Complete with arm and cables, Sony Challenger ready to play at just $69.95. Try a listen- FItF.'R rH Pl C'ntun" Wollensak Available on Reyue.ct Garrard Miracord ing test at your dealer (in Yellow Pages) Glaser -Steers or write 1419 about spent. "Total determination" of musi- Rek -O -Kut North Goodman Street, Components Rochester, New York. cal material has proved to be a blind alley Norelco Fairchild and is already being abandoned as too restric- AIREX Pickering Gray Audio Tape tive by some of the leading radicals. Improvi- Magnecord' "There is nothing finer than RADIO Artisan Cabinets a Stromberg -Carlson" sation and other means of allowing more Rockford Cabinets freedom to performers are being sought by CORPORATION * Fair Trad,, Stockhausen and Boulez under the general 64-HF Cortlandt St., N.Y. 7, CO 7-2137 WTROMBERG- CARLSON o,vu.ae a. GENERAL DYNAMICS concept "Aleatonik" (a term derived from l:IH1:LE 2 ON ItF:Sltlat_tiEnSl1:F; 1:5111 CIRCLE 72 U\ Itl'.VDER-SEA( SII:I': t:tltlt 94 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com the Latin word "alea" meaning "chance" PROFESSIONAL DIRECTORY or "hazard "). Their recent discovery of MARYLAND NEW YORK " Musik im Raum" ("Music in Space") is a gimmick rather than a real discovery, DIXIE since it is at least as old as the sixteenth BUT oi.Si'ACE? and has been applied by such mas- HIGH FIDELITY WHOLESALERS You bet we'd be..... century If we were to tell you ters as the Gabrielis, Benevoli, and Berlioz; Largest discount High Fidelity component distributors U about AUDION's in the South. Wholesale prices on package or "Out of this World" the early passing of this phase can be pre- individual components. AI !latest models in factory Hi FI Values. sealed cortons. dicted without great fear of contradiction. Write for free catalog. If totally determined music has a future, Are prices too high ? - Write: it is certainly in the realm of electronic DIXIE HI -FI audidn music, which is still in its infancy. But be- 25 -HF Oxford Road 12402 C ticut Ave., cause of its relatively complicated machinery Silver Spring, Md. Massapequa, New York

this medium is not at the disposal of every CIRCLE 2h ON IIF.AIF:It-SERVICE U. RD r :INCLE: IS ON IfF. ADER-SER yICE /:.11(1) budding young composer who has a rudimen- OKLAHOMA ,HI -FI RECORDING tary knowledge of mathematics -enough GENUINE DIAMOND NEEDLE $2.95 TAPE If your needle is to get by, for a brief time, under the covering replaceable chances are 10 to 1 Sold with I0 -day money -bark guarantee that we can replace it for only I+ 12+ 24+ protection of a swollen $2.95. Simply re- '1201' avant garde. For the move your old needle from the cartridge, tape it to 7" acetate $1.29 $1.24 $1.19 'IBS' 7" mylar 2.02 1.90 1.85 a piece of paper with your name and address, en- rank and file of this movement, therefore, close 1800'7" acetate L7S 1.59 1.49 $2.95 check or money order and mail to us. 2401' 7" mylar 2.81 2.75 By return 2.70 it appears that the sun is setting and that the Air Mail postpaid we will send you a Can be assorted. Add 15f postage per reel brand new genuine diamond needle lot for 24+ lot orders twilight hour is near. for exact re- placement. Your old needle will also be returned. MAIL ORDER Hi -Fl. You can now purchase all Complete your Hi -Fi from one reliable If such is indeed the case, the musical satisfaction or money back. In rare cases source and be where we cannot furnish replacement assured of perfect delivery. We deliver from NV your money rock most components. recorders and needle will be A tape within public at large has great cause for rejoicing. returned by Air Mail. No COD's. 24 hours. SEND US A LIST OF YOUR HI -Fl Postwar European music in its REQUIRE FOR OUR WHOLESALE: more radical SOUND ACCESSORIES Q I 'I I T .\ l' I1 IN and our FREE wholesale catalog. manifestations has done much to drive listen- P.O. Box 3402 Oklahoma 125-D e. 88 street City, Okla. CARSTON Nrw York 28, N. Y. ers away from contemporary music of any l :nu(1.F: 71 ON Ist: sl)F :It- S1:11 'ICF: C %IND :nt(:I.F: 21 ON 1tF. VDER-S F:IVICF: (:altl) kind. The undue emphasis placed on ad- NEW YORK vanced styles and techniques, moreover, FOR THE TOPS IN VALUE TAPE has resulted in relegating modern music AND THE BEST TRADE -IN ON RECORDERS without gimmicks and shock effects to a HIGH FIDELITY EQUIPMENT HI -FI back seat not always deserved. If develop- Check with Arrow.' Components ments of the next few years have the effect MERITAPE SLEEP LEARN of reducing the ranks of the avant garde I.., w' Cast, KITS high quality by seceding out those hangers -on who have r er oral t Itg ('n usual ARROW/ELECTRONICS, INC. tupe. In boxee latched onto a technique and idiom that or runs. l'allies 65 Cortlandl St., New York 7, N. Y. FIt1:1; disguise the poverty of their own invention, Dlgby 9 -4730 19611 I'alawg another of music's periodic crises will have 525 Jericho Turnpike, Mineola, N. Y. 69 -02 FA, 174 Street Pioneer 6-8686 DRESSNER Flushing 63, New York been successfully overcome. The real talents CIRCLE 6 ON READER-SERA ICE CARD CIRCLE: 27 ON READER-SERVICE CARD of this hectic postwar period will remain; the others will be mercifully forgotten. The F & B questions of style that have plagued the V1_ 11-170 MAGNETIC TAPE past fifteen years of Is OFFERS BOTH! music (Is it serial? SERVICE I it totally determined? Is it advanced? Is it 90 Day Why pay more when F A 8 absolutely quay antees Warranty new. fresh. highest quality hin tape -Freq. Resp. really new? Will it create a sensation ?) will 10. 15.000 cycles -or your money.relunded. JAMAICA -JA 3 -8850 1200' no longer be important. The big question MANNA -MA 7 -5737 7" reel - Acetate -- 3 for $3.95 1800' 7" reel Acetate 3 'BROOKLYN 8U 2 -5300 - - for 5.25 will again be: Is it good? 1800' 7" reel Mylar 3 for 6.85 WHITS PLAINS -WH 8 -3380 - - 2400' 7" reel - Mylar - 3 for 10.60 The Original Hi -fi 'boding Organization Please add l Sc PP L Handling-Per Reel

iaudio L FLORMAN exchange (IP) & BABB, Inc. NEW YORK 4 36, N. Y. i CALIFORNIA MAICA 153.21 Müksld Ain. CIIRCLF: 36 O. IRE:SI)F:IR- SEIIVICF: CARI SLIDE OUT -SEE QUICKLY I:IIfC1.F: 10 ON READER-SERVICE CARD SELECT EASILY WITH QUICK -SEE il ALBUM FILE Note to the Hi-ii buyer Draw... your own conclusions 95 AIR MAIL us your 1 pardner, when you re- ceive our special quota- 7Ppd. requirements for an tions on your Hi -Fi needs. Rolls smoothly forward on ball Write loo for audio cata- bearings for easy front view till. IMMEDIATE WHOLESALE QUOTATION through log A -10, loaded with selection. Capacity 50 12" albums. Raspy Components, Tapes double -barreled values. Installed to cabinets. closets. or shelves. Specify black. and brass, or copper finish end check to Recorders SHIPPED Key Electronics Co. KERSTING MANUFACTURING COMPANY PROMPTLY AT LOWEST PRICES FREE 504 South Data Avenue Alhambra, California 120116.414 St.. N. Y. 4,N. Y. CLeeerda4 8-4288 n t: tLF:It I\ql IMF:, 1 \tI EI, IInliHitt'il EATAI.OI; CIRCLE 45 ON READER-SERVICE CAllu AUDIO 714 -F Lea. Ave., N.Y. 22, N.Y. CIRCLE 46 ON READER-SERVICE CARD CIRCLE 12 ON RF:,V)F:II-SERVICE I:,IItD COMPLETE STOCKS ELECTROSTATIC SOUNDTASTIC! TWEETER . . . FAST DELIVERY That's what our customers TERMINAL THRILLING are say- PRICE HI FREQUENCY ing upon receiving our prices! Write Before buying any Audio equipment, Check with AUDIO for RESPONSE special low prices on all hi -fi TERMINAL for a Package Deal ONote. Come in or ONLY $19.95 components, tape recorders, etc. write to Irwin Levy, Mgr. Audio Dept. Distributors ORDER BY MAIL INDIVIDUAL QUOTATIONS ONLY! Authorized 1015 South for All Name Manufacturers Figueroa AZJI1 CP No catalogs. Los Angeles, WORLD Terminal Electronics, Inc. Calif. 2057 Coney Island Ave., Brooklyn 23, N. Y. RS CORTLANDT STREET, NEW YORK 7, N. Y.

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www.americanradiohistory.com The SOUND... August ... of Genius ISAAC STERN deploys a virtuoso's disciplined ardor in the service of Brahms' Violin Concerto. A recording eminently suited to celebrate his EILEEN FARRELL is a 25th year on the concert stage. In a bountifully illustrated companion gallery of heroines - Tosca, portfolio, Theodore White profiles Isaac Stern, citizen and musician. Madame Butterfly ...and a ML 5486-Ms 6153 25TH ANNIVERSARY ALBUM BRAHMS: VIOLIN CONCERTO dimea -dance ballroom STERN /PHILADELPHIA hostess. Three new recordings l'rokoftev's neglected Fourth Symphony. acre/ recorded hr THE of opera arias. concert songs PHILADELPHIA ORCHESTRA and El'GENEOR.i1A:%DI'. who play and the blues present the Proko fire, as the composers widow said, "exactl r the tear he wanted his music sumptuous voice that makes to sound." The Philadelphians' artiurr is further revealed in I)ebussy's every Farrell performance - other - worldly Martyrdom o/ St. Sebastian. with VERA ZORII%'A as narrator. Puccini. Schubert or Harold MI.5- 188Ms 6154 PROKOFIEV: SYMPHONY NO. 4 PHILADELPHIA/ORAL NDY... Arlen work of art. -a NI2L 266Jt2s 609 DERUSSY: MARTYRDOM OF SAINT SER %STI \N ML 5483 -MS 6150 Eileen ZORIN.% /PHII. (DEI.PHIA. Farrell /Puccini Arias... LEONARD BERNSTEIN, lovers from Atlantic City to ML 5484-MS 6151 An Eileen impassioned Hollywood Bowl: Bernstein and Farrell Song Recital ... Mahlerite, transmits faithfully the choirboy naïveté Philharmonic touring country CL 1465 -CS 8256 I've Got A and serene charm of the Fourth August and September.) Right To Sing The Blues/ next, marshals the ML 5485-Ms 6152 MAHLER: Eileen Farrell Symphony ... NEW YORK PHILHARMONIC for SYMPHONY NO. 4 IN G MAJOR An astonishing "premiere" Bartók's resounding Concerto for BERNSTEIN /NY PHILHARMONIC... Orchestra. With French pianist ML 5471 -Ms 6140 BARTÓK: ...BRUNO WALTER's PHILIPPE ENTREMONT, CONCERTO FOR ORCHESTRA first Wagner album in a long BERNSTEIN and the same BERNSTEIN /NY PHILHARMONIC... and noble career on records company bring restorative vigor to ML 5481/Ms 6148 RACHMANINOFF: ...now, revelations of Rachmaninoff's Second Concerto. PIANO CONCERTO NO. 2 "Parsifal," "The Flying (Fortuitous footnote for music ENTREMONT /BERNSTEIN. Dutchman" and GLENN GOULD, a pianist of extrasensory perception and agility, plays Bach "Meistersinger." as though he were 300 years old instead of 27. ML 5472 -Ms 6141 BACH: ML 5482 -Ms 6149 "ITALIAN" CONCERTO/ PARTITAS I & 2 GLENN GOULD. BRUNO WALTER /WAGNER. ... of Jazz Philadelphia revisited ... LEOPOLD STOKOWSKI in an A spirited dialogue between 105 musicians historic reunion with the superb PHILADELPHIA ...DAVE RRI'RE/'K"1 JAZZ QUARTET is ORCHESTRA he helped to mold. The works in hand: stationed at strategic points amidst the Wagner, a specialty, and El Amor Brujo, a passionate tone NEW YORK PHILHARMONIC forces. with poem. ML 5479 -Ms 6147 AN HISTORIC REUNION LEONARD BERNSTEIN presiding overall STOKOWSKI/PHILADELPH IA ( WAGNER /DE FALLA). ...The brooding estate hondo or "41eep mong- ol the Andalusian gypsies is translated with extraordinary empathy ... of Fun .. of Broadway by MILES DAVIS. II i s trumpet. incisive as is MITCH MILLER convoys a The dash and drama of Broadway's classics, seen /:ova. etches the blues to a well- burnished brass through the knowing voice of DORIS DAY, a Flamenco beat. ('L 1166- band through its pretty chameleon who changes from flamboyant CS. 8257 Bernstein Plays flourishes in virile "Annie (Get Your Gun)" to elegant "(My) Fair Draftee,: Plays Bernstein march tempos. Great for Lady." ct. 1470-cs 8261 snow Ttstr /Mutts DAN'. -CI. I 1110-CS 8271 stereo parades. CL 1475 - Sketches Of Spain/ CS 8266 March Along .Niles Davis. With Mitch /Mitch Miller . . . of Devotion & The Brass, Piccolos MAHALIA JACKSON, fortified by Folk Song & Drums. ...of PERCY FAITH'S majestic orchestral accompaniment, sings with a fervor that THE BROTHERS FOUR, could move mountains. cL 1473cs 8264 a freshly- bathed ... Another Voice THE POWER AND THE GLORY/ MAHALIA JACKSON. quartet with enormous vitality and a hamper TONY BENNETT...a man who cherishes good of lively songs. CL 1479 - songs and sings them with intense affection. Cs 8270 RALLY 'ROUND/ CL 1471 -CS 8262 Alone Together/ Tony Bennett. THE BROTHERS FOUR.

...always on COLUMBIA I RECORDS

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HOW TO TURN OUT.. GOOD MUSIC

Start with tape. All recorded music does. That's because tape is the accepted quality standard for all recording sessions ... why tape masters are used to make monophonic and stereo discs. Because there's nothing to wear or scratch, the fidelity cf your tape is the same the 5th, 15th or 115th time you play it. Make your selection from the hundreds of tapes now available at lead- ing hi fi salons, music stores and tape machine dealers. For complete catalog, write: 1024 Kifer Road, Sunnyvale, California, UNITED STEREO TAPES. MUSIC SOUNDS BEST ON TAPE

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